September/October 2014 •  · Blues News Info ... great bass back line, organ riffs, and throw in...

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Transcript of September/October 2014 •  · Blues News Info ... great bass back line, organ riffs, and throw in...

NON-PROFITU.S. POSTAGE

PAID NORFOLK, VAPERMIT #344

P.O. BOX 1773NORFOLK VA 23510-1773

TIME SENSITIVE MATERIAL

DO NO FORWARD

2 September/October 2014 • www.NatchelBlues.org

3September/October 2014 • www.NatchelBlues.org

WORDS FROM THE PRESIDENTWow, it’s September already. The summer has flown past and now we’re sailing into fall and eventually winter.

The past couple of months have brought the local blues community some great music and events. In this issue we look back on the local International Blues Challenge held in July, graciously hosted by Shaka’s and coordinated by the brilliant Shayne McKean, as well as the long awaited R&B AllStars Reunion Concert that was held at the Jewish Mother Taphouse at the Oceanfront in August. It ain’t nothin’ but a party!

This issue showcases our biggest event of the year – Blues at the Beach! We are celebrating 21 years of this festival which started in 1994, hobbled together in a couple of weeks by myself and Tracy Hallman who was working with Beach Events at the time. It has certainly grown leaps and bounds since that humble beginning thanks to the dedicated work of the Natchel’ Blues Network and booking meister Mark Johnson and the incredible support of Beach Events. Thank you! We will be needing a ton of volunteers again to pull off this event. You can volunteer at the Natchel’ Blues Network webpage under the Blues at the Beach link. You get in free, get a really cool festival t-shirt and know you are helping support the blues in Hampton Roads. We have a killer lineup this year! Check out the back page of this issue for the official BAB poster.

Also in September, Festevents will be hosting the annual Ribtoberfest at Town Point Park in Norfolk on September 20th. Should be a great afternoon/evening of ribs, beer and blues featuring Anthony Rosano & the Conqueroos, Seth Stainback & Roosterfoot and “more.” Brings back memories of the now defunct Elizabeth River Blues Festival ... that’s a whole ‘nother story ... maybe one of these days. Hey, we still have the banner…

That’s about all from me this issue. Remember – go out and hear some live music and support your local musicians and the venues that book them.

Cathy Dixson2014 President

Natchel’ Blues Network P.O. Box 1773

Norfolk, VA 23501-1773BLUES NEWS

Published bi-monthly by the NBN, Inc. ©2014 All Rights Reserved.

BLUES NEWSThe official publication of the Natchel’ Blues

Network, Inc., a 501(c)(3) non-profit organization, run by volunteers dedicated to promoting the blues as America’s one true musical art form.

BLUES NEWS EDITORBeth Jarock

BLUES NEWS ASSOC. EDITORCathy Dixson

BLUES NEWS LAYOUT & DESIGNJeff Miller

CONTRIBUTING PHOTOGRAPHERSCathy Dixson, Allan Grossman,

Jeff Miller

CONTRIBUTING WRITERSBrian Beachum, Jack Campbell,

Cathy Dixson, Beth Jarock, Jeff Miller, Bobby “Blackhat” Walters, Steve White,

2014 NBN BOARD OF DIRECTORSCathy Dixson, Debra Hanbury,

Jeff Miller, Paul O’Keefe, Colleen Smith,Nick Vandergrift, John Vukovich,

Steve White

2014 NBN OFFICERSCathy Dixson, President

Jeff Miller, Vice-PresidentDebra Hanbury, SecretaryColleen Smith, Treasurer

WEBMASTERJeff Miller

©2014 All Rights Reserved.

The views & opinions expressed in this publication by individual writers are not necessarily the opinions of NBN or Blues News. The staff cannot guarantee the return of submitted material. Dates, times and venues are subject

to change without notice.

[email protected]

TABLE OFCONTENTS

Blues News Info .......................................4

Membership Discounts.............................4

Blues Birthdays........................................4

Blues Gig Submission ..............................4

Blues Heaven...........................................5

NBN New Members & Renewals................5

Company Members..................................5

NBN’s International Blues Challenge ........6-7

Blues Bits .............................................8, 17

Blues Dance ............................................8

Blues At The Beach Bands...................... 9-11

Lucero Fundraiser ...................................12

Blues At The Beach Schedule ...................12

R&B Allstars Reunion Concert ..................13

Interview with Jack Campbell....................14

Blues Jam Etiquette .................................15

Blues Trivia ............................................16

CD Reviews ....................................... 5, 16, 17

NBN’s Mission........................................17

Blues Jams.............................................17

NBNMembership Form............................18

Local Blues Bands...................................18

Newsletter Deadlines ...............................18

Recipient of theKeeping The Blues Alive Award

for Blues Organization of the Year 1998

4 September/October 2014 • www.NatchelBlues.org

MEMBERSHIP DISCOUNTS BLUES BIRTHDAYSBLUES NEWSBLUES NEWS BLUESLETTERBeth Jarock, Editor - [email protected] Advertising Reservation Deadline: 6 wks. prior to publication.Copy Deadline: 5th of month prior to publication.

DESCRIPTION:BLUES NEWS is published bi-monthly by the Natchel’ Blues Network Inc. (NBN), Hampton Roads’ Blues Society. BLUES NEWS is a source of information concerning blues music with articles on national and local artists, show reviews, local spotlights, CD & DVD reviews, and items of interest to blues lovers. It contains the only complete listing of blues events in the Hampton Roads area. Size of the newsletter is 11 3/4” x 11 1/8” newsprint.

CIRCULATION & DISTRIBUTION:Printing and distribution consists of approx. 2000 copies each publication. These are available to NBN members, blues societies, national recording companies, and blues professionals. Additional copies are distributed locally to record stores, music stores, restaurants, nightclubs, NBN events and other locations.

NATCHEL’ BLUES NETWORK, INC.NBN is a non-profit 501c3 corporation formed in 1984 in Norfolk, Virginia. NBN has been dedicated to promoting the Blues as a true American art form. All advertisements are accepted by publisher upon representation that the advertiser will hold the publisher unaccountable from claims or suits based on contents or subject matter of such advertisements. Rates effective 1/1/10, subject to change. Ads are due by the 5th of the month prior to publication. Print Ads are to be submitted as JPGs, PDFs, or EPSs. Ads must be created to correct size without bleeds. Ads that are not at the correct size will be resized to fit the ad space.

PREMIUM COLOR ADSBACK PAGE 10.125’x10.25” FULL PAGES 10.125”x9.75”Inside Front & Inside Back, & Back CoverHALF PAGE Horizontal 10.125”x4.75” QUARTER PAGE 5”x4.75”

BLACK & WHITE ADSFULL PAGE 10.125”x9.75”HALF PAGE Horizontal 10.125”x4.75” Vertical 5”x9.75”QUARTER PAGE Horizontal 10.125”x2.25” Vertical 5”x4.75”EIGHTH PAGE 2.375”x4.75”

ADVERTISING OPPORTUNITIEShttp://www.natchelblues.org/BluesNews

SEPTEMBER1

Katie Webster

2Edith Wilson

3Memphis SlimFreddie King

4Meade Lux Lewis

John Cephas

5Sunnyland Slim

6Jimmy ReedFred Below

7Little Milton Campbell

8Jimmie Rodgers

10Roy Brown

11Barbecue Bob

12Maria Muldaur

13Charles BrownJoanna Connor

14Darrell Nulisch

15Snooky Pryor

16B.B. King

Billy Boy Arnold

19Lovie Austin

21Henry Butler

22Big Twist

Bobby Radcliff

23Mighty Joe Young

Ray CharlesFenton Robinson

24Chick Willis

28Koko TaylorC.J. Chenier

30Z.Z. Hill

OCTOBER1

Wild Child Butler

2Coco Montoya

3Albert Collins

Keb’ Mo’Billy Branch

Stevie Ray VaughanDeborah Coleman

5Roy Book Binder

Rick Estrin

8Lonnie Pitchford

10Ivory Joe Hunter

12Nappy Brown

13Dorothy Moore

14Kenny Neal

15Victoria Spivey

16Big Joe Williams

17Bernie Pearl

18Chuck Berry

Jessie Mae Hemphill

21Dr. Isaiah RossElvin Bishop

23Speckled RedBoozoo Chavis

24Sonny Terry

Willie MabonJimmy Dawkins

Clarence Holliman

25Sam Taylor

27Henry Townsend

Sherman Robertson

29Hadda Brooks

30Dave Myers

31Ethel Waters

NOTE: Always present your NBN Membership Card prior to ordering and verify your discount amounts prior to purchase. Vendors may change amounts without notice.

Mojo Bones BBQ Joint9659 First View Street

Norfolk, VA 2350315% Off Food only

Jewish Mother Taphouse (VB)211 21st St. Virginia Beach, VA

757-222-181820% Off Food & Merchandise only

Tidewater Friendsof Acoustic Music

P.O. BOX 9606Norfolk, VA 23505

Voice Mail / Reservations757-626-FOLK(3655)

[email protected]$4 Off tickets for all blues shows

Birdland MusicProvidence Square,Virginia Beach, VA

10% Off Records,Tapes, & Compact Discs

Captain Zig-Zag4704 Hampton Blvd., Norfolk, VA(Unisex haircutting, across from ODU)Coupons in the BluesNews Bluesletter

Dirt Cheap Blues Dance Clubwww.DirtCheapBlues.com

757-567-40362-for-1 Dance Lessons

GOT ABLUES GIG?

Let people know where you are playing next!

Take a minute to fill out the form and put your

blues gig on the online calendar

and fill the seats.

www.NatchelBlues.org/BandGig.html

5September/October 2014 • www.NatchelBlues.org

CD REVIEW by Brian “The Bluesman” BeachumVANEESE THOMASBlues For My FatherSegue Records SRVT2014vaneesethomas.com

When you grow up with a famous name, it’s sometimes hard to make your own spot in the world, make your own name or find your own voice. Well, Vanesse has found hers. Vaneese, you see, is the daughter of the famous Rufus Thomas. Vaneese was a former French teacher and has joined the ranks of her family, soul singer Carla Thomas and keyboard player Marvell Thomas, in the music scene. Her famous father, Rufus, passed in 2001. They are all on this release. Go figure.

On this great collection of blues and soulful cuts, she even puts together a couple of tracks with Carla and her late father. So cool. And so is this CD. Vaneese is velvet to the ears and razor sharp on the tongue when she wants to be. She sings of love lost and love betrayed. I would not want to be on the latter side with this woman. You just need to listen to the songs to find that out!

There are twelve cuts on this release. From the start, “Southern Central Blues,” a swinging soulful cut, gets things going. The band features Tash Neal on guitars, Will Lee on bass, Robbie Kondor on piano, Buddy Williams on drums, and Wayne Warnecke on percussion. And that’s just the first cut. The band changes up on most every cut. “Wrong Turn” features a duet with her sister, Carla Thomas, and talks about a love affair thrown away and how to get it back. Now none of us know about that, do we? Ha! And it has horns and a badass B3 track! You just can’t go wrong with this one. One of my favorite tracks is “Corner of Heartache and Pain.” What a blues tune name! And it delivers. A great bass back line, organ riffs, and throw in some horns. Good God! “Feels like I’m standing alone out in the rain...” “Can’t Ever Let You Go” teams her up with her late father, the great Rufus Thomas. Just so soulful. “Love‘em and Leave‘em Behind” throws a little funk into the blues and it works. The heavy sax with the sweet horn work makes it.

This CD blends soul, blues, funk, powerful vocals, a killer horn section, great musicians, a strong musical family, and a wonderful collection of cuts. When you get this CD, and I trust you will, make sure you have some dancing shoes when you pop this one in the CD slot. You’re gonna get up and start movin’ your feet. I guarantee it.

BLUES HEAVEN Johnny WinterJohnny Winter, American blues guitarist and singer, died on July 16, 2014 in a hotel room in Switzerland. He was 70. Winter was in Zurich, Switzerland, as part of a tour of Europe, although he was scheduled to return to the United States for shows later in July, according to his official Facebook page.

Winter first gained national attention when Rolling Stone magazine featured the Texas music scene in a December 1968 cover story. It captioned his photo: “Johnny Winter, Albino Bluesman.” The article said guitarist Mike Bloomfield considered the young Winter the “best white blues guitarist he had ever heard.” Rolling Stone now ranks Winter 63rd on its list of 100 greatest guitarists.

Winter’s family moved from Mississippi to Beaumont, Texas, when he was an infant. Johnny and brother Edgar, who was nearly three years younger, both were born with albinism, a melanin production deficiency that left them with little color in their hair, skin and eyes. Winter was just 15 in 1959 when he began playing guitar in Texas clubs. It was also the year he started drinking and smoking. “It seemed a big year for me,” Winter told an interviewer for the documentary Johnny Winter: Down & Dirty. The film was released this year.

Another big year for Winter was 1969, when he played at the Woodstock festival. “One week we’re playing clubs for about 20 people and in a matter of a few months we’re playing Woodstock,” bassist Tommy Shannon said in the documentary.

Columbia Records won a bidding war for Winter that resulted in a self-titled debut album, followed by a second titled Second Winter in late 1969.

Though none of his several dozen albums earned a Grammy, he shared three for producing blues legend Muddy Waters in the late 1970s. Winter announced this year that he had another album ready for release in September. Step Back will include contributions from guests including Eric Clapton, Joe Perry and Dr. John, according to his official website. His summer tour schedule was filled with shows, including 15 concerts planned across the United States in August.

His resurgence began after he fired a longtime manager in 2005 and hired fellow musician Paul Nelson to guide his career. “I think that Johnny now is really coming back to being himself,” brother Edgar Winter said in the just-released documentary. In an interview with the New York Times earlier this year, Winter said he enjoyed touring and working with younger musicians. “I think about legacy a lot,” he said. “Hopefully at the end of the day they say I was a good bluesman. That’s all I want.”

COMPANYMEMBERS

We want to thank our Company Members for their continual support of the Blues.

Be sure to pay them a visit and consider them for their Goods or Services.

Stuart BurnleyHermitage Farms Nursery

Scotty MillerJewish Mother-Oceanfront

Bruce HarlowThe Original Rhondels

Seven Venues/Attucks Theatre

Discovery Music Series

Jeff P MillerDirt Cheap Blues Dance Co.

Steve Wilkins Wilkins & Associates, Inc.

Insource Consulting

Ruth & Tim Morgan Ruth & Tim Enterprises

NEW NBNMEMBERS

& RENEWALSThanks to the following new members or renewals over the last couple of months.

Your support is helping to keep the Natchel’ Blues Network and blues music in

Hampton Roads alive!

Ray ConnerPeggy Wilson

6 September/October 2014 • www.NatchelBlues.org

INTERNATIONAL BLUES CHALLENGE local competitionInternational Blues Challenge, Sunday, July 27th At Shaka’s Nightclub in Virginia Beach

The NBN hosted the local International Blues Challenge on Sunday, July 27th at Shaka’s at the Virginia Beach Oceanfront.

Shayne McKean coordinated this year’s competition and did one great job. Thank you Shayne. Jack Campbell generously donated his time and outstanding emceeing talents to host the event.

The competitors consisted of two (2) solo/duo acts – Shawn and Gary Strickland and Ray Atkinson and Mike Conover. The four (4) band competitors were Urban Hill, Billy Joe Trio, Planet Full of Blues and the Bobby Blackhat Walters band.

Our preeminent judges were Jimmy Williams, Michael Goldberg and Scotty Miller. Thank you for your time and expertise.

The winners were announced by Shayne McKean and drumroll please…representing the NBN in January 2015 at the Blues Foundation’s IBC competition in Memphis will be Shawn and Gary Strickland in the solo/duo category and the Bobby Blackhat Walters Band in the band category.

Fundraisers will be held throughout the rest of the year to help defray their travel expenses.

I want to thank all the musicians who participated and thank you for your continued support of the Natchel’ Blues Network. And a big thank you to Shaka’s for opening on what would normally be a closed Sunday. The staff was friendly and very accommodating. The NBN will definitely be having more events at this venue.~Cathy Dixson

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Gary Strickland Shawn Strickland

Bobby Blackhat

IBC Winners

Brian Eubanks

7September/October 2014 • www.NatchelBlues.org

INTERNATIONAL BLUES CHALLENGE continued

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Emcee Jack Campbell

Kevin Payne Bob Elliott Billy Joe Brock Howe Johnny Ray Light

IBC JUDGES

Kevin Yoder Lathan Hill Michael Behlmar Tom Euler

Paul UrbanRon DameronMike Covoner & Ray Atkin

Jimmy Williams & Shane McKean Tallying Votes

Jack Campbell & Anthony Rosano Chris Serrano Jack Campbell & Shane McKean

8 September/October 2014 • www.NatchelBlues.org

BLUES DANCE from the Juke Joints to the Dance FloorWHAT IS BLUES DANCE?For most Blues lovers, you may often find yourself at a Blues concert just chilling out, enjoying the show, listening to the band create sweet music to wash away the problems of the day. And where there is music, there is dancing. Some people hit the dance floor and just sway. Some do the shake-your-booty shimmy. But others may move together in unison as one totally connecting to the music. That is called Blues Dance!

Now Blues Dance is much more than just dancing to Blues music. Since Blues itself is not only a genre, but a feeling, a style, a noun, a verb, an expression. It is unlike any other dance style. Blues music itself dates back to the late 1800s historically deriving from work songs from the Southern states. Turning it into its own American folk music style with playing, singing, and dancing about the happenings of the times. Good or bad. Blues is a style of music that has tested the trials of time.

The roots of Blues Dance goes back to the African tribal rhythms and movements combined with modern techniques into the dance you see today. Blues Dance is a term used to describe a whole family of dance styles that has had over a century to be redeveloped, reformed, and reshaped into today’s dance. It is also a reflection the listener’s natural reaction to Blues music. It may just start with the tapping of a foot, clapping hands, or simply moving rhythmically by yourself. But Blues Dancers take that natural movement and express intensity, with their own musical and emotional interpretation by putting the body into motion.

THE RETURNTechnically, it never left. But the Swing Dance revival in the 1990s prompted interest in other traditional Black vernacular dances of the early 1900s. And the current interest in Blues dancing is a result of this. Historically, Blues Dances were not considered a “social” dance or danced in public ballrooms mainly due to its sensuality and intimate ties to the dancers. The dances were mainly held at juke joints, house parties, rent parties, and any place they played the Blues. Thus, giving Blues Dance a more personal connection. Blues Dance still contains some of its original forms of improvisation, connection, rhythmic motion, and emotion.Blues Dance techniques have strong ties to the Blues music itself. Combining simple features like the call & response conventions in the music composition, emotional intensity, and spirituality that is prevalent in Blues music. As long as there are variations of Blues music (Delta, jump, Dixie, folk, slow, fast, Chicago, Memphis, etc), there will be different styles of Blues dancing. Each conveying the feelings and rhythms each of region.

ART IMITATING LIFE IMITATING ARTBlues music is a reflection of one’s perception on life’s experiences and feelings which has the ability to connect to pretty much every person listening. Experiences ranging from love lost & found, financial hardships, spirituality, sadness, celebration, dreams, and aspirations. Each one of us can connect to some part of Blues. Blues Dance puts these experiences into the dance. Dancers often demonstrate the entire range of human emotions each one of us experience in life. These expressions range across musical styles and tempos also.When you see Blues Dancers on the dance floor, it is much more than just dancing a set pattern. It is the connection between the dancers to each other, and also the connection to the music which is what the dancers are trying to achieve. Blues Dance allows one a chance to delve into our emotional history and to connect with people from all walks of life, to interact and to share a part of ourselves. Blues can express or release what one is feeling at the moment. More important, it’s what the music is says to each person. Some hear happiness, some sadness, some passion, and some joy. But most important, Blues Dance is a dynamic partnership between the dancers and to the music.

GET OUT & DANCESocial Dancing in general is a fun form of exercise that allows you to get out of the house, meet other people, spend some time doing fun exercise, and make new friends. But Blues Dancing is totally unlike other dance styles out there. Dancing to Blues Music is all about real life - the good, the bad, the ugly, and everything in between. Blues Dancing is the ultimate expression of one’s being.In today’s Blues dancing communities, there are various notions about what constitutes true “Blues Dancing”. Blues Dancing today may range from traditional Blues dances to the shake your booty. But each has been adapted to suit the needs and interests of contemporary dancers.

DANCING ACROSS THE NATIONJust like Blues Societies, there are Blues Dance clubs across the nation. We encourage you to find more on Blues Dancing by finding your local swing dance club and take a class or two. We guarantee you’ll get hooked and have a new appreciation for Dancing the Blues away.One thing is for certain, Blues Dance is a natural expression when listening to Blues music. As long as there is Blues music, there is Blues Dancing.

sources:Jeff Miller: DirtCheapBlues.comJerry Warwick: JerryandKathy.netHeidi Fite: Blues-Dance.com Bryan Spellman: DirtCheapBlues.comNational Event Listings: www.BluesCal.com

BLUES BITSAirPlay Direct Honors Alligator Records President Bruce Iglauer with “Iconic Innovators” Award.

Alligator Records founder and president Bruce Iglauer will receive the very first “Iconic Innovators” Award from AirPlay Direct. AirPlay Direct is among the leading secure digital file transfer systems for the music industry. AirPlay Direct president Michael Harnett explains that the award, new this year, “will be given to the AirPlay Direct member who best embraces the vision and opportunities that digital innovation in the music industry continues to create.”

Harnett says Iglauer was the first person who came to mind for this new award. “Bruce’s professional career is a road map for success and accomplishment. He is a passionate, committed and relevant leader in the ever-evolving independent global music community. Bruce is undoubtedly an ‘Iconic Innovator,’ but more importantly he is the type of man that blazes trails and leads by example. Great pair of ears, great heart and a great partner.”

Iglauer is equally thrilled to be receiving the award, which comes with a $50,000 AirPlay Direct Marketing And Awareness campaign. “I’m extremely honored to receive the first ‘Iconic Innovators’ Award from AirPlay Direct. Although Alligator is over 40 years old, we’ve always tried to make sure that we stayed on the technological cutting edge. We were the first Blues label to manufacture compact discs in 1984. We were selling online from our own website twenty years ago, and we were among the first independent labels to commit to streaming services and download stores. More recently,” Iglauer continues, “we began working with AirPlay Direct to deliver our music to radio and online programmers around the world. This has been a great decision for us, and the AirPlay Direct staff have been terrific to deal with. I also have to give kudos to Josh Lindner, Alligator’s Director of New Technology, who first connected Alligator and AirPlay Direct, as well as leading us to many other new technology opportunities.”

AirPlay Direct is a centralized, professional eco-system that connects artists, labels, radio stations, as well as equipment and services. All of their subscribers are qualified music industry participants. They have a national and international reach of 9,000+ radio station members in 90 countries with over 38,000 artist / label members. They give direct access to the primary target market of artists, musicians, labels, and radio stations of all musical genres.

9September/October 2014 • www.NatchelBlues.org

BLUES AT THE BEACH FESTIVAL BANDSTommy Castro & The Painkillers Born in San Jose, California in 1955, Tommy Castro first picked up a guitar at age 10. He came under the spell of Eric Clapton, Elvin Bishop, Mike Bloomfield and other blues rock players early on. As he got older, Castro moved forward by investigating the past, falling in love with the blues guitar work of Muddy Waters, B.B. King, Freddie King, Buddy Guy, Elmore James and singers like Ray Charles, Wilson Pickett and James Brown. By his late 20s he was playing in a variety of San Francisco-area blues and soul bands. With his local fan base quickly expanding, he released his debut album in 1996 on Blind Pig. The album won the 1997 Bay Area Music Award for Outstanding Blues Album, and Castro also took the award for Outstanding Blues Musician that same year. During the 1990s and into the 2000s, Castro released a series of critically acclaimed CDs for Blind Pig, Telarc and 33rd Street Records as well as one on his own Heart And Soul label, and began years of year-round, relentless touring, continuing to this day. Castro’s 2009 Alligator debut, Hard Believer, was anchored by his inspired vocal delivery, masterful horn arrangements and expert guitar work. On the strength of the album and subsequent touring, Castro won four 2010 Blues Music Awards including, for the second time in his career, the coveted B.B. King Entertainer Of The Year Award (the very highest award a blues performer can receive). In 2011, Castro released Tommy Castro Presents The Legendary Rhythm & Blues Revue–Live! on Alligator. The album is a fiery collection of the highest highlights from a series of live performances anchored by Castro and an all-star collection of nationally recognized blues musicians. Castro’s latest release is The Devil You Know (2014, Alligator).

Lil Ed & The Blues Imperials “A bazooka assault of foot-stompin’ blues and slow-burnin’ knee-bucklers.” -Chicago Sun-Times

“Full of fire, Lil’ Ed & The Blues Imperials hit the floor running and accelerate from there. High-octane, expressive, fiercely articulated, harrowing intensity, raucous slide.” -Living Blues

Mixing smoking slide guitar boogies and raw-boned Chicago shuffles with the deepest slow-burners, Lil’ Ed and his blistering Blues Imperials - bassist James “Pookie” Young, guitarist Mike Garrett and drummer Kelly Littleton - deliver the blues, from gloriously riotous and rollicking to intensely emotional and moving. Not since the heyday of Hound Dog Taylor & The HouseRockers has a blues band made such a consistently joyful noise. Blues history runs deep through Lil’ Ed’s blood - his uncle and musical mentor (to both Ed and his younger half-brother Pookie) was the great Chicago slide guitarist, songwriter and recording artist J.B. Hutto. Lil' Ed & The Blues Imperials released six Alligator albums between 1989 and 2008. With each one, the band’s stature grew as their fan base continued to expand. With their latest CD, Jump Start (2012, Alligator), the band continues to bring their seriously inspired and wildly fun Chicago blues to “Ed Heads” new and old, wherever they may be. “Long ago,” recalls Lil’ Ed, “Uncle J.B. told me, ‘When you get the right guys in your band, you’ll know.’ When Mike and then Kelly joined up with me and Pookie, we just clicked. I knew. We are a family,” says Lil’ Ed, summing it all up. “And families stay together.” Currently celebrating 24 years together, Lil’ Ed & The Blues Imperials ply their musical talents with skills that have been honed to a razor’s edge.

Bernard Allison Group Bernard Allison totes the same smokin’ six-string shooter that his late father Luther Allison assaulted the blues with. And he is blessed with his father’s soulful voice, spiritual devotion, and a musical freedom that experiments with the blues. He joined Koko Taylor’s Blues Machine for three years. The 1980’s became Bernard’s classroom as both learner and teacher. Relationships in the ‘80s with Johnny Winter and Stevie Ray Vaughan expanded Bernard’s guitar foundation. In 1989, Bernard flew to Europe to record with his father, was asked to lead the band, and, like his father, adopted permanent residence in Europe.

10 September/October 2014 • www.NatchelBlues.org

BLUES AT THE BEACH FESTIVAL BANDS

Bernard released his first solo album in 1990 with the significant title The Next Generation. Bernard’s other titles during the 1990’s included Born With The Blues, Keepin’ The Blues Alive, and Times Are Changing. In the new millennium, his recordings include Across The Water, Storms Of Life, Kentucky Fried Blues, the highly personal Higher Power, and Energized, a live recording and DVD from a 2005 show. One look at that DVD and it’s obvious that Bernard has inherited Luther’s knack for igniting audiences; but he’s no clone of his famous father. He is definitely blazing his own path with a style that reflects a unique mix of traditional and modern influences. The Allison torch has been passed, and it’s clear that Bernard takes his role as its bearer very seriously. He’s assumed the challenge of keeping the blues alive and growing - a commitment he renews every time he takes the stage. His current record is Live at the Jazzhaus (2011, Jazzhaus). After over 20 years of recording experience, Bernard has perfected his sound. Instead of just using his guitar, Bernard has become a mature artist who uses the full palate of musical colors in his band to paint his stories.

Jarekus Singleton “High-energy, rock-tinged and tough…a winning blend of modern-day blues and emotionally intense soul with melodic, hot-toned lead guitar, funk-seasoned rhythms and hip-hop flavored lyrics. Singleton creates unpredictable and challenging music that sounds both firmly rooted in blues tradition and fearlessly dedicated to breaking boundaries and blazing new paths.” -Living Blues At just 29 years old, Jarekus Singleton is a musical trailblazer with a bold vision for the future of the blues. Springing from the same Mississippi soil as Charley Patton, Muddy Waters and B.B. King, Singleton’s cutting-edge sound—equally rooted in rap, rock and blues traditions—is all his own. He melds hip-hop wordplay, rock energy and R&B grooves with contemporary and traditional blues, turning audiences of all ages into devoted fans. With his untamed guitar licks and strong, soulful voice effortlessly moving from ferocious and funky to slow and steamy to smoking hot, Singleton is a fresh, electrifying bluesman. Singleton’s Alligator debut, Refuse To Lose, features a scintillating guitar attack and lyrically startling original songs all sung with a natural storyteller’s voice. Produced by Singleton along with Alligator Records president Bruce Iglauer and recorded at PM Music in Memphis, the album is an impossible-to-ignore first step onto the world stage. With songs telling real life, streetwise (sometimes funny) stories brimming with surprising images, pop culture references, infectious rhythms and unexpected musical twists, Refuse To Lose unleashes a new wave of blues for a new generation of fans. “Blues is honest music,” says Singleton. “I love the blues tradition, and have always been inspired by the masters. But I want to create something for today’s audience that is as original and new as those blues masters were when they first started making records. I want to create blues for the 21st century.”

Damon Fowler Group After spending much of the past year touring with the band Southern Hospitality, Damon Fowler is back with his third solo project for Blind Pig Records, Sounds of Home. Damon chose swamp blues master Tab Benoit to produce and record him at Tab’s rural Louisiana home studio, and their collaboration has resulted in Damon’s strongest effort to date. The tension between his measured, laid-back vocal delivery and the hallmark intensity of his guitar virtuosity has never been keener, and the stories told in his songwriting here - sometimes in collaboration with long-time writing partner Ed Wright and Benoit - exhibit a combination of depth, grace and humor very few of his contemporaries can match. Fowler’s other recordings are Sugar Shack (2009, Blind Pig) and Devil Got His Way (2011, Blind Pig). On the strength of his hybrid of roots rock, blues, and sacred steel, the Florida native started wowing audiences with his musical exploits as a teenager, building a reputation as one of the hottest young players on the scene. Adding songwriting and vocal skills to his repertoire over the years has brought him many accolades, with critics extolling his originality and maturity as well as his technical guitar expertise. Fowler’s guitar work has been compared to Johnny Winter and Jeff Beck, while his slide guitar has a hint of the late Duane Allman. He can play fiery guitar runs with the best of them, but it’s his lyrical work on lap steel and Dobro that makes him stand out among the legions of guitar heroes.

11September/October 2014 • www.NatchelBlues.org

BLUES AT THE BEACH FESTIVAL BANDSDoug Deming & Dennis Gruenling w/ The Jewel Tones Acclaimed guitarist/vocalist Doug Deming and harmonica ace Dennis Gruenling - now both VizzTone recording artists - announce a new partnership to bring their music to a wider audience. Doug Deming has garnered widespread attention for his deft guitar work and memorable songwriting. With a nod to the likes of T-Bone Walker and Charlie Christian, Doug leaves his own mark whether swingin’ on the big jazz box, or playing straight up blues on the solid body Fender guitar. With a decade of touring and recording to his credit, Doug has earned his position alongside today’s heavies on the blues scene. Leading his band, The Jewel Tones, Doug continues to bring noteworthy traditional and original roots music to his audiences. His latest recording, What’s it Gonna Take, exhibits the outstanding guitar work and remarkable singing and songwriting that have become Doug’s calling card. Dennis Gruenling is without a doubt one of the baddest, swingingest, most innovative harp blowers on the planet. For the past fifteen years, Dennis has played with many top-notch traditional blues acts such as Snooky Pryor, Pinetop Perkins, A.C. Reed, Nappy Brown, and Homesick James, as well as his own original jump blues outfit “Jump Time.” For years critics and musicians worldwide have been praising how he blends both the blues harmonica and swing saxophone traditions, as he pioneers a whole new sound and direction for the harp. One of the world’s foremost blues harmonica instructors, Dennis is also in demand as a harmonica teacher and lecturer worldwide, in addition to the blues history knowledge he airs on his weekly “Blues & the Beat” radio program (WFDU-FM). Equally adept at performing, composing, arranging, and teaching, what fans remember most is the fun, energy, and emotional intensity of each and every show he is a part of.

Bobby “BlackHat” Walters Band Bobby “BlackHat” Walters, recording artist, harmonica player, vocalist, songwriter and actor, hails from Cleveland, OH and has been playing harp for over 40 years. He is a retired U.S. Coast Guard Officer with 27 years of active duty service. Bobby has released four CDs and his song “I Hear Mama’s Voice” won the 2012 Blewzzy Award for “Song of the Year.” Bassist Brian Eubanks is native of Newark, NJ. Brian attended the famed Arts High School in Newark and has performed, recorded and shared the stage with some of the top artists and musicians in the country. Brian is the younger brother of the late jazz bassist Dave Eubanks and a cousin to Kevin Eubanks of “Tonight Show” fame. Guitarist Tom Euler’s powerful and thoughtful playing style has quickly led to him becoming known as “the young guy with the old soul.” This 19-year old singer/songwriter from Hartfield, VA made his way onto the Hampton Roads blues scene after meeting Bobby “BlackHat” Walters. In early 2014, Tom entered jazz legend Lee Ritenour’s global guitar contest, the Six String Theory Competition, making the semi-finals, ultimately landing in the top 5 for blues players. Michael Behlmar has been performing and teaching drums in Hampton Roads for more than 25 years. Michael is a 1985 graduate of the Percussion Institute of Technology in Hollywood, CA. He has traveled extensively throughout the United States and Canada, playing a wide variety of music, and appears on several studio mastered CDs for diverse artists.

The UnXpected Recently named “Best Teen Band” by VEER Magazine, The UnXpected captivates audiences and is quickly becoming a household name in southeastern Virginia. Featuring Logan Layman (14, Bass/Vocals), Cole Layman (17, Guitar/Vocals), Zachary Salsberry (14, Guitar/Vocals) and Nick Weber (19, Drums), these young musicians are passionate about the blues. Their live performances include songs that pay homage to the roots of the blues genre as well as reflect more modern day influences. Their original music is characterized by powerful and soulful vocals, stirring guitar licks and melodies that stick. And just when you think you’ve got your arms around who they are, they hit you with some thumping classic rock tunes that will remind you why you fell in love with music in the first place. The UnXpected has performed shows and festivals in southeastern and central Virginia, Maryland, Washington D.C. and at the International Blues Challenge in Memphis, TN. Their first EP was released in January 2013 and a full-length CD is in the works and due to be released in the fall of 2014. They have been featured on local radio and television shows and have opened for Gary U.S. Bonds as well as blues greats Albert Cummings, Moreland & Arbuckle and other influential blues artists. Take a listen. Better yet, check them out live. You might just witness something that was completely UnXpected.

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12 September/October 2014 • www.NatchelBlues.org

BLUES AT THE BEACH SCHEDULELUCEROFUNDRAISERAnnouncement from Bobby “BlackHat” Walters...

The 757 blues family and beyond have rallied to lend financial and emotional support to well known blues drummer Tony Lucero.

Donations can be made online by visiting www.fundly.com and typing BLACKHAT in the search block.

The Natchel’ Blues Network and Beach Events presents...

The 21st Annual Blues At The Beach Festival September 5 & 6, 201417th Street Stage - Virginia Beach, VA • $5.00 Daily / $8.00 Weekend Pass

Friday, September 5, 2014Gates: 5:00pm

6:00pm – 7:00pmThe UnXpected

7:30pm - 8:45pmJarekus Singleton

9:15pm – 10:45pmLil Ed & The Blues Imperials

2:00pm – 3:00pmBobby BlackHat Band

3:00pm – 3:30pmNBN Blues Workshop

3:45pm - 5:00pmDoug Deming &Dennis Gruenling

w/ The Jewel Tones

5:15pm - 5:30pmDirt Cheap Blues Exchange

Dance Workshop

5:45pm – 7:00pmDamon Fowler Group

7:30pm - 8:45pmBernard Allison Group

9:15pm – 10:45pmTommy Castro & The Painkillers

Saturday, September 6, 2014Gates: 1:00pm

BLUES RADIO SHOWS

WHRV 89.5 FMBlues Stage

with Melvin Van PeeblesThursday 12:00am

Out of the Box with Paul ShugrueMonday-Thursday 7-9 pm

Saturday 1-5 pm

A Shot of the Blues with Paul Shugrue

Friday 8-10 pm

Blues Before Sunrise with Steve Cushing

Sunday 1-6 am

WHOV 88.1 FMNothin’ But the Blues Wednesday 7-10 pm

WFOS FM 88.7Blues Traffic Jam with Jerry Carter,

Mon.-Fri. 3-7pm

WRVS FM 89.9Elizabeth City, NCwww.cooolcat.com

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13September/October 2014 • www.NatchelBlues.org

R&B ALLSTARS REUNION CONCERT AUGUST 8, 2014R&B ALLSTARS REUNION CONCERT FRIDAY, AUGUST 8, 2014 JEWISH MOTHER TAPHOUSE, VIRGINIA BEACH

“IT AIN’T NOTHIN’ BUT A PARTY, YES, YES YES!”

Those of you who remember and partied with the R&B AllStars back in the mid to late 90’s surely remember the front man for the band – William Gilliam, The Godfather of the Blues. Each time William would introduce the band, he would always end with that unmistakable phrase “it ain’t nothin’ but a party, yes, yes yes!”

Well Friday night, August 8th was definitely one of those parties. Fifteen years after splitting, the R&B AllStars reunited for one, explosive night of dynamic rhythm and blues entertainment. The entire band of Michael Goldberg on keyboards (founder of the band), Rick Thompson on drums, Walter Potter (Mr. Virginia Beach) on rhythm guitar, Sandy Veale Brown, vocals, Kathy Moore on lead guitar, the horn

section of Roger D. Carroll, sax, Tom Graper on trumpet, Chuck Sayles on trombone and last but not least, Larry McClelland completed the band with his best Mick Jagger imitation. The place was packed – SRO. The only person missing was William Gilliam. Unfortunately, he passed in 2011 but he was there in spirit.

Several guest musicians sat in for a song or two including Bruce Gray of the Bartones, Bobby Blackhat Walters, Deborah Coleman, and even Jeffrey Lefcoe who traveled from North Carolina was on stage. Kelly Morris’ sons opened the show – the Morris Brothers - and Kathy Moore who booked the band up and down the East Coast was there as well.

What a night. If you weren’t there, you missed the show of the year. I hear rumors they just might do it again next year. Yes, Yes, Yes!

~Cathy Dixson

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Tommy & DebbieChuckBruce & SandyBobby & MichaelJeffrey & Bruce

Debbie & Beth Kathy & Scotty Tom Kelly Michael, Debbie & Larry

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14 September/October 2014 • www.NatchelBlues.org

INTERVIEW WITH JACK CAMPBELL by uh...Jack CampbellJack: I’m thinking this is going to be a bit awkward, so how about we call you something other than Jack.JC: Well I was baptized Johannes Jacobus.

Jack: That’s too long. How about JC?JC: Sure, why not?

Jack: So where were you born?JC: In Lady of Lourdes Hospital on the beautiful banks of the Cooper River in New Jersey.

Jack: Why can’t you just give us an exit number like all other Jersey boys? I think you are making it sound more romantic than it really is. JC: Huh?

Jack: Never mind. Let’s cut right to the chase - MUSIC! After all, that’s what we’re here for. Did you come from a musical family?JC: Haha! No. I guess I’m still searching for my musical heritage. But if you look at the broader picture, and say music is a creative process, then yes - I have that in my family.

Jack: How so? Please elaborate.JC: Well, my dad’s brother Joe Campbell was the head artist for Robert Ripley of “Ripley’s Believe It Or Not” fame. My uncle Joe would spend winters in Florida with Ripley, and in fact follow him around the world. They were headquartered in New York. That famous signature? That’s actually my uncle’s - not Ripley’s. He was quite the artist. He also had a comic strip that appeared in a New York newspaper.

Jack: Dude, don’t make stuff up!JC: Don’t call me dude. And it’s all true!

Jack: So how about any early musical influences?JC: When we were kids I had a buddy whose mom played piano. I wasn’t into most of the stuff she played, but when she launched into the boogie-woogie eight to the bar stuff - I was mesmerized! I kept saying, “Play more of that stuff!” I still remember the feeling I had from so long ago.

Jack: You know, you’re not really giving me much to go on here. So how about the harmonica? Early influences there?JC: Well, of course the earliest was Bob Dylan. “Blowin’ in the Wind” was the first song I learned how to play. It was all over the radio when I was 14. That is when I bought my first Hohner Blues Harp. I noodled around with it for maybe a year and then kinda lost interest. Flash forward four years - I’m now a lifeguard on the Jersey Shore with a kid named Bill Cann. Everyone called him Gabe because he played the trumpet. You know, the biblical trumpet playing angel? He and I were talking about music one day and he said, “How about you take first lunch, then bring back that harmonica you’ve been talking about. I’d like to try it out.” Well, I did, and Bill proceeded to teach me a bunch of horn techniques and big words like embouchure, triplets, and syncopation. Then there was this guy Frank Lynch who was a lieutenant on the squad. He drove a jeep up and down the beach keeping an eye on things. Frank was an expert harmonica player. I still remember how sweet his tone was. It would be years later until I heard tone like that! Frank would show up daily and give us a lick to try to play. The next day he would come back and listen. If we had it, he’d give us another. If we didn’t have it, he would tell us what we were doing wrong. I wonder where that darn Frank Lynch got to.

Jack: So who influenced you after Dylan?JC: Definitely Paul Butterfield. He was a huge influence in the early years. He had a very throaty sound, heavily laden with vibrato and awesome tone. The next phase was Greg “Fingers” Taylor (especially Harpoon Man), John Mayall (look me in the eye and tell me “Room To Move” is not one

of the most exciting live songs in the history of the world)! Jonathan Edwards (“Gonna lay around the shanty, and put a good buzz on”) Junior Wells (“Das right baby, hahaha”), Magic Dick from J. Geils Band (“Whammer Jammer let me hear ya, Dickie.”) Then I found out about Sonny Terry, Little Walter, Big Walter, James Cotton, Peter “Madcat” Ruth, and Sonny Boy Williamson - both one and two. And then there’s Annie Raines, Kim Wilson, Jerry Portnoy, and Paul Oscher. Then just when I thought I heard it all, those West Coast swing guys blew me away. I’m talking about George “Harmonica” Smith, Rod Piazza, John Nemeth, Mark Hummel, William Clarke, and Rick Estrin. Then my friend Kevin Selfe introduced me to a bevy of cats in the Portland, Oregon area like: Jim Wallace, Paul DeLay, Mitch Kashmar, Lynn Ann Hyde, and Arthur “Fresh Air” Moore (who by the way was the first guy I heard since the lifeguarding days that could match Frank Lynch for tone).

Jack: Are you done? We only have so much space before we start getting edited. JC: No, I’m sure I’m not done. The problem with mentioning people’s names is – you invariably forget someone. Like the time I was a student at Virginia Tech in the mid-seventies and went to see a band called The Nighthawks. I got to talking to Mark Wenner. When I left the farm, I wanted to be Mark Wenner! And then there’s Jason Ricci – whaaaaaat? He’s a wild man on the harmonica and cannot be categorized.

Jack: How many bands have you played in?JC: One - Anthony Rosano & the Conqueroos. We’ve been together since late July of 2012. We had our first gig at Redbones in Chesapeake. The next day I flew to Oregon for a week. The day after I got back, Sunday, we entered the IBC at the Jewish Mother and won. From then on it’s been gigs 2-4 times per week.

Jack: What are some of your most memorable moments in this brief career?JC: Well, of course the NorVa concert last spring was number one hands down. So many of our friends showed up, the support was overwhelming. But believe it or not, there was this one night at Wicker’s Crab Shack in Chesapeake. It was a Monday night for Ray Wicker’s 50th birthday party. Ray had always wanted to come hear us play, but being a waterman, he has to get up at 4:30AM every morning. So it never happened. But for his birthday he hired us to play on his deck. My point is that there were lots of other musicians in the house because it was Monday. It was the first time that all of our buddies could come out to see us. It ended up being a big ol’ jam by the end of the night. But I look at it as a night of validation. Our musician friends finally got to see us in action. But the size or prestige of the venue absolutely does not matter! It’s all about the crowd. I’ll take a rollicking Thursday night at Redbones over a big stage with an ambivalent crowd. We love our fans and feed off their enthusiasm.

Jack: Do you have any advice for anyone just starting out in music? JC: I’m glad you didn’t say “any young people.” You can start playing music at any age. Music soothes the soul. Music is life. Music is harmony. Music is beautiful. Music is the most important drug or non-drug you can ever take in your life. Start now. Practice, play, rehearse, and repeat. You sound better than you think. People crave music. Never stop playing. Play for someone. They will love it. They will love you. My friend Mark Hopkins said, “Listen to the guys that influenced the guys that influenced you.” Wow! Powerful advice. The folks you like, that’s just their take on the folks that they like. Go back and listen to the old, old stuff. That’s where it all came from.

15September/October 2014 • www.NatchelBlues.org

BLUES JAM ETIQUETTEBlues Jams are one of the biggest and greatest events a Blues Society can put together. It does so much more than just promote live music. It showcases local talent by local musicians. Gives an opportunity for musicians without a band to play. You all have to start somewhere. You can also network so when they need a player, they know who to contact. Many bands have grown into amazing powerhouses from a Blues Jam. So grab your instrument and keep a look out for upcoming jams and we will see YOU on stage!

WELCOME TO THE BLUES JAM, NOW WHAT DO YOU DO?1. When you get to the jam, find out who the organizer is and introduce yourself. Put your name on the list and let them know what instrument you play. The organizer will begin to think about who to pair you with. Then, while you are waiting, listen to some great music and mingle with other musicians. This is a great opportunity to network. Can’t tell you the number of bands that were born at a blues jam.

2. By default, the singer is the bandleader on stage. That means they call the tune, signal the breaks and dish out the solos. If you sing, it’s crucial that you know how to do this. The best way to learn is to watch others and listen. When in doubt, ask for help from someone that’s done this before.

3. A solo is your opportunity to shine. But it can go well, or it can go poorly. In general, try and play something that fits the feel of the song. Metallica doesn’t go well with a Robert Johnson country blues tune. Also, try and keep one eye on the band leader during your solo. They may cut you short and you want to see it coming. If you aren’t paying attention, you’ll miss the signal and step on the next guy. Finally, if you are not soloing, TURN YOUR VOLUME DOWN! That way the soloist doesn’t have to crank up theirs so much to be heard.

4. Listen. Learn. Have fun. A blues jam is a great learning experience. But you get out of it what you are willing to learn. Don’t go in with any preconceived notions. Ask a lot of questions. And listen to the guys that have been doing this a while. Their advice and input is always worth the price of admission. Think of it like free lessons.

5. Be musical. That means ... listen to what’s happening up there on stage. Don’t just listen to your one part. Listen to the whole mix. The whole point of getting on stage is to provide entertainment. It’s about the music, not some selfish goal. And you have to understand your part in the arrangement. This comes, first and foremost, from listening to the music you are trying to play. If you come out to the jam and you don’t know the first thing about blues, then it’s probably best if you listen for a while before getting up there. There are those that get it, and those that don’t.

6. Know some blues tunes. We cannot stress this enough. The sure fire way to earn the scorn of the rest of the musicians in the room is to show up and call out some classic rock or other non-blues tune. Remember, the purpose of a blues jam is not to show off how well you play the solo in “Stairway to Heaven.” It’s to perpetuate and relive a timeless American musical tradition with a group of other musicians who share the same goal. If you don’t share that goal, people will not want to get on stage with you. Seriously. All you have to do in order to not look like a complete poser is simply ask someone for some tunes you could learn and learn them. It’s that simple.

7. What is Blues? This leads to a controversial question. Better to start with some Muddy Waters or T-Bone Walker before you start testing the boundaries.

WHAT TO BRING1. Bring your instrument. Make sure it’s well maintained and ready to play.2. Bring a tuner and tune up before you get called up on stage.3. If you’re a drummer, bring your own sticks.

WHAT NOT TO BRING1. Do not bring your Marshall Half Stack. It is a Blues Jam. Remember?2. Do not bring your pedal board and all your pedals. A blues jam is all mixing it up with other musicians. It’s not about the equipment. So keep it simple. Don’t be that guy.

SONG SELECTION1. In general, any 12-bar blues song that follows the standard I-IV-V chord pattern is a good call. Everyone will know how to pull this off.2. Any blues song that stays on the one is also a good choice.3. Any of the standards are also good (”Sweet Home Chicago,” “Kansas City,” “Stormy Monday,” etc).4. If you bring your whole band up, feel free to choose songs that have a different arrangement. But remember, people have come to hear some blues. It is a blues jam after all.5. Play blues. This is a blues jam. They don’t want to hear your rendition of “Sweet Home Alabama.”

If you follow these guidelines, you will get the most out of a blues jam. The other musicians will accept you as a peer. You will get more playing time. And if you are lucky, you will experience the pure magic that happens when you get lightning in a bottle and the stars align on stage. It’s truly a blessing that happens every once in a while. And hopefully, you will avoid as many of the train wrecks as possible.

~compiled by Bobby “BlackHat” Walters, Jeff Miller, and other internet sources.

16 September/October 2014 • www.NatchelBlues.org

BLUES TRIVIA1) Which ‘King of the Blues’ came from Texas?A - Albert King. B - BB King. C - Earl King. D - Freddie King. E - Little Jimmy King. 2) Bumble Bee Slim’s real name was?A - Eddie Jones. B - Amos Easton. C - Morris Holt. D - Edward P Harris. E - Alden Bunn.

3) Why did Pinetop Perkins give up guitar and start playing piano?A - He broke his legs so badly in an auto accident, and had to play sitting down. B- Sam Phillips needed a piano player in a hurry at a session where Pinetop was hanging out. C - Rice ‘Sonny Boy II’ Miller bet him $50 he couldn’t get a deal to record a piano track. D - The boogie-woogie master Pinetop Smith gave him lessons. E - A crazy chorus girl attacked him with a knife and cut his tendons.

4) Which movie told the story of Leonard Chess’s record label?A - Checkmate. B - The Story of Chess. C -Southside. D - Chess: The Musical. E - Cadillac Records.

5) ‘Meat Head Johnson’ was the pseudonym of which great Blues pianist?A - ‘Champion Jack’ Dupree B - Ray Charles. C - Memphis Slim. D - Johnnie Johnson. E - Peetie Wheatstraw.

6) Big Mama Thornton was a great singer, but which instrument did she play on stage?A - Guitar. B - Piano. C - Harp. D - Banjo. E - None of the above.

7) John Grimaldi took his nom-de-Blues from which make of car?A - Thunderbird. B - T-Model Ford. C - Mustang. D - Pontiac. E - Studebaker.

8) Which record label released Albert King’s version of ‘Born Under a Bad Sign’.A - Chess. B - King/Federal. C - Stax. D - Parrot Records. E - Tomato.

9) What was Professor Longhair’s real name?A - Peter Higgs. B - David Evans. C - Steve Manderson. D - Rafael Wilczur. E - Roy Byrd.

10) Which Chuck Berry tune did The Beach Boys steal for their worldwide hit ‘Surfin’ USA’?A - Maybelline. B - Route 66. C - Too Much Monkey Business D - You Can’t Catch Me. E - Sweet Little Sixteen.

1) D. 2) B. 3) E. 4) E 5) A. 6) C. 7) E. 8) C. 9) E. 10) E.

CD REVIEW by Brian “The Bluesman” BeachumSTERLING KOCHLet It SlideFull Force Music FFM118www.sterlingkoch.com

Stop me if you’ve heard this story… A guy walks into a local record store looking for some music CDs and vinyl records, talks to the owner about blues music and lets him know that he’s a musician. “No kidding,” says the storeowner. “Got any of your music on ya?” The guy says, “Yeah, just one CD in the car, as I’m just traveling through here right now.” He brings the CD in the store and it turns out to be this killer blues/slide guitar CD! The guy is the real deal and this new CD from pedal steel guitarist Sterling Koch is the real deal, too.

Sterling, hailing from Pottsville, PA, has a number of CDs behind him. This one, Let It Slide, was released in 2013. It features Sterling on lap steel guitar, Gene Babula on bass and John Goba on drums. The sets are tight and Sterling’s guitar work is off-the-chain. The first song on the CD, “Shape I’m In,” starts off nice and gentle, with this nice acoustic, slow roll, but then the band hits the afterburners and they just take off. Gives one a sense of what they have in store for them on this nice collection of tunes – plenty of surprises. Most of the songs on this release are penned by Sterling, but he does throw in a few nice cherry tunes by others like the Elmore James classic “It Hurts Me Too, ” K.C Douglas’ “Mercury Blues,” and the more contemporary “My Baby’s Hot” by Rick Vito.

Some of my top picks on this release are “Mercury Blues,” “It Hurts Me Too,” “I Only Want To Be With You” and “Working Man’s Blues.” I must say that this is one of those CDs that you can just put in and let play. It has a nice mix and nice set selection. So much so, I played it a few times back-to-back riding ‘round town.

Now back to that story from the top. That is a true story, so I am told. The record store is Birdland Music in Virginia Beach, VA. Drop in to the store in the Providence Shopping Center and say hello to Barry Friedman. He’s the only one in the area carrying this CD. Mention that you are a Natchel’ Blues Network member and you’ll get 10% off the CD cost! You get that on all your CD purchases, by the way. There are advantages to an NBN membership! Barry can verify the story, too! Go pick up this CD today. It’s a great ride with some great slide!

CD REVIEW by Brian “The Bluesman” Beachum

MUD MORGANFIELD & KIM WILSONFor Pops (A Tribute to Muddy Waters)Severn Records CD 0064 www.severnrecords.com

It’s not often a son gets to celebrate his father’s 100th birthday with friends in the way Mud Morganfield did in the Severn Sound Studios in Annapolis, Maryland a few months ago. At the urging of Severn president David Earl, Mud Morganfield teamed up with Kim Wilson to record a tribute release to Mud’s famous father, Muddy Waters. Both had just released their own successful CDs – Mud has his Son of the 7th Son and the Fabulous Thunderbirds has On the Verge. Folks were saying, “we have to get these two together…” and David made it happen.

Mud brought in some friends to help out. Billy Flynn and Rusty Zinn are on guitars, Barrelhouse Chuck takes care of the piano work, Steve Gomes handles the bass and Rob Stupka keeps it all together on the drums. The album was produced by David Earl and Steve Gomes and recorded at Severn Sound Studios in Annapolis, Maryland. The practice session, which turned out to be a studio concert of sorts, set the pace for how the recording sessions were to follow. It was one big party, with everyone playing live in one studio room and Mud isolated on mic for clean sound tracks. What comes out of these recordings is just plain, great Chicago blues!

It’s amazing to listen to Mud’s voice and not believe you’re not listening to a vintage Muddy Waters recording. He has his father’s voice, timing and delivery. The CD covers fourteen tracks of some great blues tunes. Seven were written by Muddy himself. Mud and Kim also threw in a few of their favorites into the mix, including Willie Dixon’s “I Just Want to Make Love to You” and “I Love the Life I Live, I Live the Life I Love.” Those are two of my favorites on this release. Other favorites include the opening cut “Gone to Main Street,” the slow-grinding “Still a Fool” and “Nineteen Years Old” gets to show off the band’s guitar and piano work. The cut “Trouble No More” just makes you wanna get up and dance!

Now, to some true-heart blues folks, there’s nothing that can beat the original Muddy Waters recording. I will say I love ‘em too. But this CD is just a great celebration of Muddy Waters’ music and a great blues CD to have in your collection. This one is not fancy, over-mixed, over-amplified or over-done in anyway. This is one of those rare recording where you would have loved to be sitting in the corner while it was happening.

Muddy Waters’ grandmother, Della Grant, gave McKinley Morganfield the nickname “Muddy” those many years ago ‘cause he used to play in the muddy water of a creek nearby the house. Mud Morganfield and Kim Wilson made this CD as a tribute to Muddy Waters to celebrate the upcoming 100th anniversary of his birth. Give yourself a present to celebrate and pick up this CD. You’ll be glad you did.

17September/October 2014 • www.NatchelBlues.org

CD REVIEW by Steve WhiteTHE NIGHTHAWKS444EllerSoul Records ER-1406-18www.THENIGHTHAWKS.COM

The Nighthawks is made up of seasoned veterans who bring decades of varied experiences to the stage and to the studio. The current members of the band are Mark Wenner on vocals and Hohner Marine Harmonica, Paul Bell on vocals and guitar, Johnny Castle on vocals and bass, Mark Stutso on drums and vocals, and Akira Otsuka on the mandolin on the song “Roadside Cross.” Mark Wenner is the original founding father of the band, and going back to the early seventies in Washington D.C,

he went against the rules of the time by mixing Blues, R&B, Honkey-Tonk Country, Doo-Wop, Gospel and Rockabilly into a delicious musical stew.

In the very earliest days, The Nighthawks opened shows for some of the best-known names in music like Muddy Waters, James Cotton and Carl Perkins. They backed up and recorded with John Hammond and Pinetop Perkins. It was this band that opened many doors and forged many touring routes for their contemporaries, including the Fabulous Thunderbirds, Stevie Ray Vaughan and Robert Cray. They played with as many Blues and Rockabilly legends as they could.

This new CD 444 on EllerSoul captures all of the earlier influenced elements from The Nighthawks’ multi-faceted musical backgrounds as musicians and as a group. Here you will find what has become to be known as Roots Rock, Americana, Indie Rock, or Alt- Country. Songs include “Livin’ the Blues” and “Honky Tonk Queen” with its country-tinged get up and dance party feel to it, to singing about the joys of things like “Crawfish.” My two favorites on this CD are “No Secrets” and “Louisiana Blues,” which have what I feel are some of the best blues harmonica and red-hot driving rhythm section around! It’s songs like these and the band’s continued attention to their craft that has allowed them to receive awards like the 2011 Blues Music Award for Acoustic Album of the Year for Last Train to Bluesville. After all of these years The Nighthawks still know how to throw down! This CD is among the band’s finest and is a “keeper.”

BLUES BITS

Random ActsOf BluesDuring a recent sand sculpture competition on Revere Beach north of Boston, one contestant tied together his love of Ronnie Earl and the Broadcasters with his sand sculpture building skills. Check out this work by Prince Edward Island artist Abe Waterman.

NBN’s MISSION• Promote, perpetuate, and preserve Blues music as a true American art form.

• Develop and provide an educational resource for the community (i.e. schools, churches, civic organizations, etc.) as to the history and evolution of the Blues.

• Disseminate information to and act as a network for Blues musicians and others interested in the Blues, both locally and nationally.

• Advocate and work toward an increase in contributed support for the Blues in the Greater Hampton Roads area.

BLUES JAMS

1st SUNDAY MONTHLY BLUES JAMS

Mojo Bones Ocean View (N)

EVERY THURSDAY NIGHT!

Open Mic at Mojo Bones Ocean View (N)

Hosted by David Welsh

Thursday Acoustic Blues

JamVictorian Station

(Phoebus)

18 September/October 2014 • www.NatchelBlues.org

LOCAL BLUES BANDSIN HAMPTON ROADS

Amy Ferebee ................................................................... 757-434-5385Anthony Rosano and the Conqueroos ................................ 757-285-5061Back Alley Hoo Doo ......................................................... 804-513-4692 Bartones ......................................................................... 757-622-7235Blue Eyed Soul ................................................................ 757-826-2810Blues Cats ...................................................................... 757-926-4422blues committee .............................................................. 757-947-7713Blues Empacts ................................................................ 757 880 5451Bobby BlackHat Walters ................................................... 757-871-5485C-Street .......................................................................... 757-508-9966Clarence Turner Band ...................................................... 240-988-9375Corporate Woods Drive .................................................... 757-748-6775Cosmo Kings .................................................................. 757-255-0648Creek ............................................................................. 757-469-6425Crimson Velvet ................................................................ 757-289-7324Darryl Ellyson .................................................................. 804-617-8820dc3 ................................................................................ 757-463-2384Doc Robin & Friends ....................................................... 757-593-7820Elifino ............................................................................. 757-615-3788Fat Tony ......................................................................... 757-406-2425Freeborn Blues Band ....................................................... 757-872-8580Full Phase ...................................................................... 757-595-3872Grant Austin Taylor Band .................................................. 757-439-2064H.M. Johnson Band ......................................................... 757-547-4506HammerHead Blues ......................................................... 757-483-1350Herbie D and The Dangermen ........................................... 757-679-9671Holly Road ...................................................................... 757-431-8722HRB Blues Band .............................................................. 757-679-9671In Layman Terms ............................................................. 813 778-2054Incognito Brothers ........................................................... 757-481-6425Jackie Scott & the Housewreckers ..................................... 757-777-7127John Baldwin Group ........................................................ 757-735-4409Julius Pittman & the Revival ............................................. 757-634-1816Larry Van Slawson ........................................................... 757-335-2432Lisa Lim Band ................................................................. 540-379-6589M.S.G.-The Acoustic Blues Trio ........................................ 757-722-5811Michael Clark Band ......................................................... 757-418-1788More Cowbell ................................................................. 757-624-5225Next Weeks Blues ............................................................ 252-642-2701Pig Foot Riot ................................................................... 210-836-6522 Planet Full of Blues .......................................................... 804-815-3016Poorhouse Road Band ..................................................... 434-609-5229Rhythm Kings ................................................................. 757-460-6414Right Time for the Blues ................................................... 757-237-6920Rock and Blues Society Band ........................................... 757-581-3363Ron Fetner Band .............................................................. 757-810-0599Rooster Foot ................................................................... 903-343-7424 RYLO ............................................................................. 757-729-4660Seadog Blues Band ......................................................... 757-716-3667Shakedown ..................................................................... 757-566-3770Shelly Craig-Potter .......................................................... 757-546-1528Shotgun Blues Brotherhood ............................................. 757-291-7063Stevie Hoover .................................................................. 570-902-9331Straight Up Blues Band .................................................... 757-289-3117Sweet Papa & the Too Hot Blues Crew ............................... 757-855-7461T-Ford 2 Blues Project ..................................................... 757-287-8784The Doc Robin Band ........................................................ 757-593-7820The J.D. Silvia Band ......................................................... 757376-2468The Janitors .................................................................... 757-437-4419The Jukes Boogie Trio ..................................................... 757-262-8525 The Mike Lucci Band ....................................................... 804-814-4298The UnXpected ................................................................ 813-778-2054Tim Morgan & the Mojo Brothers ..................................... 757-875-0447Tom Larsen Band ............................................................ 410-651-9457Tough Deal ..................................................................... 804-241-5533

Don’t See You Band’s Info? Or Need to Update It? Submit your current Band info here:

http://www.natchelblues.org/LocalBandListing.html

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Please return this membership application with your check or money order to: Membership, Natchel’ Blues Network, P.O. Box 1773, Norfolk, VA 23501-1773.Please allow 2-3 weeks for membership cards delivery.

Natchel’ Blues Network, Inc. is a nonprofit 501(c)(3) corporation dedicated to promoting blues as a true American art form. Your annual contribution puts you on our mailing list for the newsletter/calendar and notices of special NBN events and meetings. If you enjoy blues music and/or play blues music, please join the NBN! Become an NBN Member and Receive discounts at area businesses on food, entertainment and musical merchandise! Discounts applicable only when presenting valid NBN Membership Card. Please support your local blues organization!

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19September/October 2014 • www.NatchelBlues.org