Living Blues magazine

Living Blues

2021

Awards, Nominations, Podcast, Magazine Feature, CD Release Party!
John Primer & Bob Corritore / The Gypsy Woman Told Me album wins Living Blues Award!
Thank you Living Blues Magazine for this honor! Winner of a 2021 Living Blues Award for Best New Recording / Contemporary Blues.
Blues Blast Music Awards Annouced! Three of Bob Corritore’s projects are nominated! You can vote today!
In June 2021, a group of Blues music industry professionals including music critics, journalists, festival promoters, music venue managers, producers, musicians and other Blues music industry professionals nominated the best in Blues music in twelve categories.
Voting has begun and continues until August 6, 2021 at BluesBlastMagazine.com. Voting is free and open to anyone. You may only vote one time. If you are not currently a subscriber you are automatically signed up as a subscriber to our free magazine as part of the voting process.
Blues Blast Magazine subscriptions are always FREE and you may unsubscribe at any time at the bottom of each issue! The nominees are listed here. Thank you Blues Blast Magazine!
Bob Corritore featured on Happy Hour Harmonica Podcast!
Thank you to Neil Warren for this beautiful interview. Quite an honor to be included in the series! Click here to enjoy the podcast.
France’s amazing Soul Bag Magazine features Bob Corritore article! Thank you to Christophe Mourot for this stunning 8 page article!
Congratulations John Primer, winner 2021 Blues Music Award for Best Traditional Male Blues Artist.
Save The Date! Gonna be a party!
Advance tickets at www.rhythmroom.com.
Less Than One Week To Vote For The Living Blues Awards
Voting is open to the public until June 15. You can vote now at www.livingblues.com.
Bob Corritore & Friends / Spider In My Stew is #1 on the Living Blues Radio Chart May 2021!
Thank you to all the DJs for spinning this album!
Bob Corritore & Friends/Spider In My Stew is #1 in the Roots Music Report Top 50 Blues Album Chart!
Other Spider accolades!
And check out the over 25 rave reviews from all around the world by clicking here.
T-shirts and autographed CD are available directly from Bob.
You can contact Bob directly at bobcorritore@yahoo.com to go over purchase details.
A Message From Bill & Shy Perry!
In-depth Bob Corritore interview on the Happy Hour Harmonica Podcast.
Thank you to host Neil Warren! Click here to listen.
John Primer wins Blues Music Award for Best Traditional Male Blues Artist!
But was that ever in question? Photo by Eric Kriesant.
Thank you for all the love! We love you all back!
For nearly 50 years, Living Blues has provided the most in-depth documentation of the contemporary blues scene. With almost 2,500 profiles published since 1970, Living Blues has spent decades documenting blues musicians and their culture.

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ELECTRO-FI RECORDS
FALL RELEASES
 

MEL BROWN
Best of the Electro-Fi Years

Vinyl LP (Electro-Fi 3458)

It’s hard to imagine a guitarist who could win the admiration of such a diverse group of artists as: T-Bone Walker, B.B. King, Jimi Hendrix, Stevie & Jimmie Vaughn, Willie Nelson, Etta James, Bobby Blue Bland, John Lee Hooker and Buddy Guy.

MEL BROWN was such a guitarist. Best of the Electro-Fi Years shines a light on his Soulful, Blues Guitar driven tracks that he cut for Electro-Fi from 1999 – 2009. Specially Remastered for Vinyl and release in a Numbered Limited Collector’s Edition of just 500 copies, to commemorate the 10th Anniversary of Mel’s passing.

“One of the Finest Electric Blues Guitarists in the World”
–  Living Blues Magazine.

Vinyl LP $20 plus $14.00 1st class mail delivery.

Buy Now!
MARK HUMMEL
Wayback Machine
CD (Electro-Fi 3459)Grammy nominated Harp Ace MARK HUMMEL is moving forward by looking backward on his new Electro-Fi CD release “Wayback Machine” and he’s picked a sweet spot in Blues History to explore, the glorious Bluebird sound of the 30’s and 40’s.Joining Mark is Chicago Guitar Maestro BILLY FLYNN, Hot New West Coast combo, the Deep Basement Shakers, and Mississippi Blues Master JOE BEARD. Recorded by KID ANDERSEN at Greaseland Studios.“Mark Hummel is one of the Very Top Notch guys on the Blues Harmonica Scene today. He’s a Great Traditional Player”
– BILLY BOY ARNOLD.Streetdate: 1/17/20
CD $14.99. Postage N/C
Click below to pre-order online or Call 416-251-3036, 9am-5pm EST.
SPECIAL ADVANCE PRE-SALE!

 

 

Taj Mahal joins the Music Works International roster.
TAJ MAHAL + MUSIC WORKS INTERNATIONAL
cd7a451e-6a51-4302-9bc0-d16d78023472.jpg
MUSIC WORKS INTERNATIONAL’s roster now includes the famed blues icon, TAJ MAHAL.

Singer/songwriter/multi-instrumentalist, Taj Mahal, has joined the MWI roster of Blues, Folk, Roots, and World artists. Through the MWI agency, Taj will be touring Europe this summer with fellow Grammy Award-winner, New Orleans singer/songwriter/pianist, Jon Cleary, for concerts jam-packed with gumbo and blues.

Five short years after forming the MWI agency, industry luminary Katherine McVicker has assembled a wide roster of unique blues, roots, folk, world artists:
TAJ MAHAL

JON CLEARY 

ROOSEVELT COLLIER 

BLIND BOYS OF ALABAMA

HAMILTON de HOLANDA

CHARLIE HUNTER & LUCY WOODWARD

LIONEL LOUEKE

RUTHIE FOSTER

RICHARD BONA

MARTIN HAYES

OMER AVITAL

LIZZ WRIGHT

BOKANTÉ

SONA JOBARTEH
[MWI Territories for each artist are defined at the bottom of this email.]
To find out more about each artist or project, as well as our full list of blue-chip jazz artists and special projects, please download the Performing Arts Catalog for your specific territory through the links below.
European Tours | South and Central America Tours
Asia/Pacific Tours | North American Tours

MUSICWORKSINTERNATIONAL.COM

TAJ MAHAL leads off our MWI Blues, Roots, Folk, and World Playlist on YouTube
Our Agents

Katherine McVicker (World) katherine@musicworksinternational.com
Luigi Sidero (Eastern Europe, Russia, Finland, Italy) luigi@musicworksinternational.com
Katie Hattier (Benelux, Germany, UK, Ireland) katie@musicworksinternational.com
Gunter Schroder (North America) gunter@musicworksinternational.com

 

MWI is also instrumental in creating cross-cultural collaborations and partnerships around the world. In summer 2019 our historic project, FROM BAMAKO TO BIRMINGHAM, featuring the stars of Afro-Pop, AMADOU + MARIAM from Mali, in concert with the legendary BLIND BOYS OF ALABAMA, from Alabama of course, toured Europe and will be back again throughout the Spring and Summer of 2020.  As well, another project for MWI is focusing on creating stronger touring partners throughout the African and Latin American continents. For more information on collaborations and partnerships, please contact: Katherine McVicker | katherine@musicworksinternational.com

Download the full MWI Catalog for Europe here >>
Download the full MWI Catalog for Asia and Pacific here >>
Download the full MWI Catalog for South and Central America here >>
North America! Get our new MWI Catalog for Canada and the USofA here >>
ARTIST TERRITORIES

Taj Mahal (Europe, Africa, Central America, Caribbean, Asia), Roosevelt Collier (World), Blind Boys of Alabama (Europe), Hamilton de Holanda (World, ex. Brazil), Charlie Hunter & Lucy Woodward (World; ex. North America), Lionel Loueke (World; ex. North America), Ruthie Foster (Europe, Africa), Richard Bona (World; ex N. America, France, Poland), Martin Hayes (World; ex N. America, Ireland), Omer Avital (World; ex. North America), Lizz Wright (World; ex. North America), Jon Cleary (World, ex. North America, Australia), Bokanté (World; ex. North America), Sona Jobarteh (N. America).

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You signed up to this list either via the Living Blues web site or by voting in our Annual Living Blues Awards. We do not buy or use lists from other entities, nor do we sell our list.Our mailing address is:

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University, MS 38677

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Tickets are now available
for the 2019
Mississippi John Hurt
Homecoming Festival!

Come celebrate one of America’s most esteemed songsters with us on October 5-6 at the Mississippi John Hurt Museum, 1973 CR 109, Carrollton, MS, 38917. There will be food, fun, open mic, and museum tours, with live music Saturday by the legendary Taj Mahal and special guest Jesse Colin Young of The Youngbloods, Dom Flemons, The Piedmont Bluz Acoustic Duo, Jim Kweskin, Guy Davis with Christopher James, the Howard Curry Duo, and music Sunday by Como Mams, Gigi Iam, and Pastor Jay Terrell with Country Jim, open mic, and more!

Festivities start at noon on Saturday!
Saturday will be Blues Day, and Sunday will be dedicated to Gospel.

Please visit us at www.mississippijohnhurthomecoming.com to find out more information, including a link to purchase tickets. Also, don’t forget to like the Mississippi John Hurt Foundation page on Facebook for the most current information, including suggestions for hotels and restaurants in the Greenwood, Mississippi, area!

See you there!
Copyright © 2019 Living Blues Magazine, All rights reserved.
You signed up to this list either via the Living Blues web site or by voting in our Annual Living Blues Awards. We do not buy or use lists from other entities, nor do we sell our list.Our mailing address is:

Living Blues Magazine

South Oxford Center
Box 1848

UniversityMS 38677

Add us to your address boo

 

For the next 72 hours… 

Subscribe to the world’s leading blues magazine for ONLY $19.95 for 1 year!

That’s right—get 6 issues of Living Blues for OVER 50% OFF the cover price! Plus get our digital edition absolutely free!

Visit www.livingblues.com and subscribe today!

Enter offer code lbflash72 at checkout. Offer good for new US print subscribers only.

Offer expires at noon on August 31, 2019
Don’t be late!

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Available Everywhere Now!
The NEW album fromBRUCE KATZSOLO RIDE

Bruce Katz is one of the best.

“This man is as good as it gets. One of the greatest keyboard artists I’ve ever heard.” – John Hammond
“Katz cooks up a brilliant marriage of blues, jazz, gospel and soul.” – Jazz TimesSolo Ride is the newest CD on American Showplace Music from legendary keyboardist Bruce Katz and for the first time in his career, he has recorded a solo piano album and the results are stunning and unmistakably original. Bruce’s virtuosic and original playing draws the listener into his musical world where many of the artificial boundaries created in the ‘music business’ fall away and leave the listener with a new appreciation for what Bruce calls “improvisational American Roots and Blues music”.“He can play jazz, blues, Bach, anything. Man, he’s a heavy!” Gregg AllmanDon and Sheryl Crow – Nashville Blues and Roots Alliance:
“On Solo Ride, Bruce Katz becomes the Picasso of the Piano”Known throughout the world as the keyboardist with Gregg Allman, Delbert McClinton, John Hammond, Ronnie Earl & many others, Solo Ride puts Bruce Katz and a grand piano in a world class studio and sounds as rich and dynamic as any of the recordings he has done with full bands.
Get Your Copy Today!
Bruce’s rich musical past starts when he was just a child, learning how to play the piano, to Berklee College as a student and a longtime professor to being a member of some of blues and rock’s most cherished bands and stages.

Bruce Katz was a Professor of Piano at the Berklee College of Music in Boston for fourteen years where he taught music that was new as well as historically rooted; blues, jazz, funk and all sorts of soulful roots styles.

Solo Ride brings it all together onto one album and through the magnificent tones of an acoustic piano being played by one of the masters of the instrument.

Eleven of the twelve tracks on the album are original Bruce Katz tunes and exhibit not only his virtuosic playing but also showcase his eclectic and compelling compositions. These range from Barrelhouse boogie-woogie to classic ‘30s/‘40s style jazz to gospel influenced and New Orleans influenced tunes and even a “country” waltz, all with the little details and surprising “twists” that set Bruce’s writing and playing apart from the ordinary.

Visit Bruce’s Website
Track Listing:  SOLO RIDE  (American Showplace Music)
1. Down at the Barrelhouse
2. Crescent Crawl
3. It Hurts Me Too
4. Praise House
5. Red Sneakers
6. Dreams of Yesterday
7. Midnight Plans
8. Easy Living
9. Going Places
10. The Way to Your Heart
11. Watermelon Thump
12. Redemption
Produced by
Ben Elliott and Bruce Katz
Co-produced by Legare Robertson
Listen to “Down At The Barrelhouse” now!
Management/Booking: Legare Robertson – Foundingmusic@gmail.com
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UniversityMS 38677

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Living Blues #262 (August/September) is a special Women of the Blues issue. Cover artist and Texas-native Trudy Lynn has been singing the blues for over 50 years now. She has worked with a who’s who of Texas blues artists. Her career has seen a resurgence over the past six years with a new label and a worldwide touring schedule. Millie Jackson has always had something to say and has never shied away from saying it. Her songs have attacked racial issues, social issues, and prudish sexuality. Explicit, outspoken, and bold, Millie Jackson was on the cutting edge of major societal changes over 40 years ago—and nothing is different today. Vocalist Annika Chambers has exploded onto the blues scene over the last five years. With three albums and a string of BMA nominations and awards, the Houston native is riding high on her newfound success. Louisiana-born Crystal Thomas is finally focusing her life on her musical career, and the response from the blues world has been immediate and positive. Eighty-four-year-old Mary Lane has been singing the blues in Chicago since the 1950s. The subject of a new documentary and on the heels of a new CD release, Lane is enjoying a late-career resurgence.  This issues edition ofLet It Roll features Memphis Minnie Douglas and her boyfriend, Ernest “Little Son Joe” Lawlars May 21, 1941 recordings at the Wrigley Building at 400–410 North Michigan Avenue in Chicago for OKeh Records.

All of this plus Breaking Out with Amythyst Kiah, the latest Blues News, the 2019 Living Blues Awards winners, and reviews of all of the latest releases in the industry

In the mid-1960s, the Cinderella Club, nestled in the sleepy town of Lufkin, Texas, about 130 miles northeast of Houston, was an unlikely location to observe racial enlightenment. Like most small, rural Texas towns of the period, codified rules regarding racial mingling were strictly observed, with transgressions of said rules by black citizens usually resulting in swift retribution. Lee Audrey Nelms, an 18 year old in town from her native Houston for an extended visit with her aunt, was acutely aware of the possible dangers of flouting the social norms that all but prohibited a black person from entering an all-white night spot like the Cinderella Club. But for her, the lure of music was too strong to ignore.
Millie Jackson is as feisty as ever as she nears 50 years as a recording artist. Her recording heyday lasted a remarkable two decades from the 1970s through the 1980s and though it has slowed considerably, she continues to perform and record today. Over her long career, she hit gold with her records multiple times, recorded a duet with Elton John and an entire album with Isaac Hayes, worked on the road regularly with B.B. King and Bobby Bland, made the rounds of the chitlin’ circuit, and played many of the largest venues in the States and overseas. In 2012, the TV One network premiered Unsung: The Story of Mildred “Millie” Jackson.
Winner of the 2019 Blues Music Award (BMA) for Soul Blues Female Artist, Annika Chambers has relatively quickly established herself as a major voice on the contemporary scene. Only five years ago the personable singer gained notice with her acclaimed 2014 debut, Making My Mark. Released when Chambers was 29 years old, it earned her a BMA finalist nomination for Best New Artist Album. Her follow up in 2016, Wild and Free, generated more positive reviews and propelled Chambers to another BMA finalist nomination—this time for the Koko Taylor Award for Traditional Blues Female Artist. With the breakthrough BMA victory finally happening this year, her third album (Kiss My Sass) due out this summer, her tour schedule busy, and her recent engagement to be married, Chambers is seemingly on top of the world.
It seems that the path to working in music has always been right in front of Crystal Thomas. It came early with fond memories of her dad playing guitar and her mom listening to everything, especially disco. Her grandparents were spinning Jimmy Reed, Lightnin’ Hopkins, and Muddy Waters records. And Thomas always knew she could sing. She also quickly picked up an unlikely instrument—the trombone. Then, came a music scholarship to Jackson State. But, taking care of family during a tough time interrupted that musical future. At just past 40, she’s finally back to music full time and clearly finding her way.
With a new CD, a rejuvenated performing schedule, and a raft of fresh publicity, octogenarian Mary Lane is being touted in some quarters as a rare 21st century blues “rediscovery.” Once again, though, that term (and the unspoken patronization behind it) is misguided. Her Chicago-area career extends back to the 1950s; before that, while living in the South, she appeared on bandstands with the likes of Robert Nighthawk, Howlin’ Wolf, and Joe Hill Louis. Like so many who’ve come before her, Mary Lane could easily record a blues with the all-too-appropriate title “How can you ‘discover’ me when I’ve never been away?”
On May 21, 1941, Memphis Minnie Douglas and her boyfriend, Ernest “Little Son Joe” Lawlars, arrived at the Wrigley Building at 400-410 North Michigan Avenue in Chicago. Built in 1920, this sumptuous skyscraper housed WBBM radio, an affiliate of the Columbia Broadcasting System. In recent months, a parade of artists signed to Columbia and its OKeh subsidiary had recorded in the station’s studio facilities—the Carter Family, Roy Acuff, Big Bill Broonzy, Brownie McGhee, Curtis Jones, Merline Johnson, Roosevelt Sykes, Gene Krupa, Teddy Wilson, Cab Calloway, and Count Basie among them. As they stepped into the air-conditioned lobby on that hot, sunny day, Memphis Minnie and Little Son Joe likely carried with them at least three guitars. The only musicians scheduled to record that day, they’d worked out the arrangements for eight songs. One of these, Me and My Chauffeur Blues, was destined to become Memphis Minnie’s biggest hit.
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Copyright © 2019 Living Blues Magazine, All rights reserved.
You signed up to this list either via the Living Blues web site or by voting in our Annual Living Blues Awards. We do not buy or use lists from other entities, nor do we sell our list.Our mailing address is:

Living Blues Magazine

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Box 1848

UniversityMS 38677

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Please remember to VOTE in the
Living Blues Awards which closes on July 15.John Primer is up for an award for:MOST OUTSTANDING GUITAR!VOTE TODAY! at www.livingblues.comTHANK YOU FOR YOUR SUPPORT

 

Voting is now open for
The 26th Annual
Living Blues Awards!

Go to LivingBlues.com and click on the “VOTE” button on the right side of the page to vote.
VOTE FOR YOUR FAVORITES TODAY!

It’s quick and easy to vote.

Voting is open until July 15, 2019.
Everyone is eligible to vote.
No subscription or membership is required.
Support your favorite blues artists!Winners will be announced in the August/September #262 issue of Living Blues.
Living Blues #261
is available.
SUBSCRIBE NOW!
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Copyright © 2019 Living Blues Magazine, All rights reserved.
You signed up to this list either via the Living Blues web site or by voting in our Annual Living Blues Awards. We do not buy or use lists from other entities, nor do we sell our list.Our mailing address is:

Living Blues Magazine

South Oxford Center
Box 1848

UniversityMS 38677

Add us to your address book

Voting is now open for
The 26th Annual
Living Blues Awards!

Go to LivingBlues.com and click on the “VOTE” button on the right side of the page to vote.
VOTE FOR YOUR FAVORITES TODAY!

It’s quick and easy to vote.

Voting is open until July 15, 2019.
Everyone is eligible to vote.
No subscription or membership is required.
Support your favorite blues artists!Winners will be announced in the August/September #262 issue of Living Blues.
Living Blues #261
is available.
SUBSCRIBE NOW!
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Copyright © 2019 Living Blues Magazine, All rights reserved.
You signed up to this list either via the Living Blues web site or by voting in our Annual Living Blues Awards. We do not buy or use lists from other entities, nor do we sell our list.Our mailing address is:

Living Blues Magazine

South Oxford Center
Box 1848

UniversityMS 38677

Living Blues #261 (June/July 2019) features bluesman Lucky Peterson on the cover. Peterson is a multi-instrumentalist and vocalist who recorded his first album 50 years ago. Still only in his mid-50s, Peterson is at the peak of his prowess in the blues world. Louisiana native Wayne “Blue” Burns spent most of his career as one of the preeminent bass players in the zydeco scene and did long stints with Clifton Chenier, Fernest Arceneaux, and C.J. Chenier. But these days Burns has stepped out front and is making his own music, this time playing guitar. As a teenager in Cincinnati, Ohio, Larry Griffith worked as a practice session drummer for the local King, Fraternity, QCA, and Jewel record labels. Moving to the Atlanta area in the 1990s, Griffith followed his musical path as a drummer, as well as a guitarist and songwriter. The Stone Gas Band was a legendary blues band in the Mississippi Delta in the late 1980s through the mid-1990s. After over 20 years apart, the group has reformed and has recorded their first CD as a tribute to founder Arthneice “Gas Man” Jones and musical teacher Johnnie Billington. This issues edition of Let It Roll features Alan Lomax’ September 3, 1941 recordings of Son House, Willie Brown, Fiddlin’ Joe Martin, and Leroy Williams at Lake Cormorant, Mississippi.

All of this plus Catching Up with the Lee Boys, the latest Blues News, LB Talks To Christone “Kingfish” Ingram, and reviews of all of the latest releases in the industry.

The multi-instrumentalist and vocalist Lucky Peterson recorded his first album 50 years ago. Since then his name has graced over 30 subsequent album covers as well as venue marquees and festival programs all over the world. How many other still-active African American blues artists possess such impressive credentials? Only a few, indeed. But of those, how many are currently in their mid-50s? Perhaps only one, and he’s Lucky, for sure.
After 60 years of working as a professional musician, Wayne “Blue” Burns has finally come full circle. Although known throughout much of his career as a preeminent zydeco bassist, the 71-year-old south Louisiana native’s first love was the guitar, and playing the blues. After decades of traveling throughout the world and recording with many of the biggest names in zydeco, including long tenures with Clifton Chenier, Fernest Arceneaux, C.J. Chenier, and Nathan Williams, Burns has reclaimed the Telecaster as his main instrument and the blues as his music of choice. It’s something that’s been a dream of his for a very long time.
While Theodis Ealey’s version of Blues Is Calling My Name has received a lot of airplay since it was released in 2014, the song was actually written by Atlanta bluesman Larry Griffith and first appeared on his 2012 release, Hard As It Gets. The lyric “I’ve got to answer, the blues is calling my name” tells Griffith’s story. Recently Griffith took a break from working on his next CD for an interview.

Larry Griffith was born on October 27, 1962, and raised in Cincinnati, Ohio, as the ninth of ten children. There were five girls and five boys including two sets of twins. “Most of us, we stayed in this one two-bedroom flat. We were super poor.” Griffith didn’t know his father, J.D. Griffith. “My father drank himself to death when I was two years old.” Originally from West Virginia, he was a gospel singer whom success eluded. “Whenever something really big was about to break for him they say he’d just get scared about it and start drinking and blow it . . . pick his own pockets more or less.”

The Stone Gas Band was a legendary blues band in the Mississippi Delta. The band was “hot” and performed throughout the Delta from the late 1980s into the mid-1990s. Everyone turned out to hear the band and dance to their signature sound, “dancing blues” songs played with feeling and an upbeat tempo. Arthneice “Gas Man” Jones, brothers Harvell and Dione Thomas, Terry Williams, and Patrick Murphy were the original members of the band. The band released one recording, a VHS called Juke Joint Saturday Night. The video was recorded live at Margaret’s Blue Diamond Lounge in Clarksdale, Mississippi, on October 5, 1991, and featured the Jelly Roll Kings (Big Jack Johnson, Sam Carr, and Frank Frost) and Arthneice “Gas Man” Jones and the Stone Gas Band.
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For the next 72 hours… 

Subscribe to the world’s leading blues magazine for ONLY $19.95 for 1 year!

That’s right—get 6 issues of Living Blues for OVER 50% OFF the cover price! Plus get our digital edition absolutely free!

Visit www.livingblues.com and subscribe today!

Enter offer code lbflash72 at checkout. Offer good for new US print subscribers only.

Offer expires at noon on April 27, 2019
Don’t be late!

If you love the blues, don’t miss a single issue of what All Music Guide calls “Absolutely the best blues publication available, and in fact one of the best specialized music magazines of any kind.”
Living Blues Online
Living Blues on Facebook
Living Blues on Twitter
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Living Blues #260 (April/May 2019) features bluesman Eric Bibb on the cover.  Eric Bibb’s music is rooted in the American blues tradition, but the scope of his vision is expanded by his world travels and musical partnerships. California bluesmanMike Henderson is a true Renaissance man. His artistic skills are wide ranging. A musician, filmmaker and painter, Henderson has pursued his vision and craft for more than 50 years. Zydeco frontman Nathan Williams has spent his life immersed in the culture of southern Louisiana. Schooled at the feet of men like Clifton Chenier and Buckwheat Zydeco, Williams is intent on carrying on the zydeco tradition. Bentonia blues pioneer Henry “Son” Stuckey is credited as a major influence on Skip James, Jack Owens and Duck Holmes. Until now there have been no known photos of the man. We publish recently uncovered photos of the influential musician. The inaugural article in our new column from Jas Obrecht focuses on the first blues recording session, Mamie Smith’s Crazy Blues. We take you behind the scenes, into the recording studio for this famous 1920 session.

All this plus the 2019 Living Blues Festival Guide, Breaking Out with Chicago artist Theo Huff, the latest Blues News, LB Talks To Kenny “Beedy Eyes” Smith, obituaries on Jody Williams and Mitchell “Gabrial” Hearns and reviews of all of the latest releases in the industry.

Eric Bibb, bluesman and folk musician, is one of the most significant singer-songwriters in the acoustic blues genre today. His voice is pivotal, not just for the continuation of blues as a relevant musical form, but also as a bold, emancipatory artistic force. His lyrics enter the realm of the literary in the tradition of musicians and writers like Huddie Ledbetter, Big Bill Broonzy, Amiri Baraka and James Baldwin, taking on difficult themes of slavery, Jim Crow violence and oppression, injustice, migration and the universal longing for freedom. Yet, he is not a typical protest singer. Nor is he a typical blues singer, or, frankly, anything typical. Inimitable and strikingly singular, deeply intellectual and musically refined are befitting descriptions. By infusing hope and dreams, daringly even “love” into his poignant lyrics, he is singing some of the most relevant, far-reaching blues, tied to the essence of humanity.
Mike Henderson has been a blues musician, a university professor, a filmmaker and an artist who has received two National Endowment for the Arts grants and a Guggenheim Fellowship. “Sound and images are my languages,” he says. He lives with his wife, Susan, on a quiet street in San Leandro, California. Behind their comfortable home is a yard containing his studio, where he jokingly says he hangs out 24-7.

The studio is strewn with guitars, easels, paintings in progress, computer equipment, a microwave, food supplies, speakers and televisions. There’s a mixer from the late 1960s that he still uses for rehearsing his music.

Posters of Hendrix and Coltrane, and photos of Son House, Lonnie Johnson and W.C. Handy dot the walls. There’s a blue top hat and a sign that says “Waddle – Forward – Progress,” dated 1965. There’s also an old clock that runs backwards.

During my extended trip through southern Louisiana, where I interviewed more than a dozen musicians, it seemed that Nathan Williams was nowhere to be found. With only a few days left to catch up with him, he had not responded to my email or daily phone messages. As it turns out, it was well worth the extra effort it took to track him down.

Several artists mentioned that they had seen him recently at one place or another. He was not on the road. They suggested I drop by his brother’s club, El Sido’s, but it just did not fit the schedule. Finally, late on a Friday afternoon, I called from a borrowed phone in Lafayette and Williams answered. When he learned I was a writer who wanted to interview him in person, he hesitated, but ultimately agreed to get together at his home after church on Sunday.

Henry “Son” Stuckey loved to fish and play the blues. “Fishing. If I had to describe my dad, I’d say he’d be fishing,” says his daughter Mozelle Stuckey. Henry Stuckey has been called the father of Bentonia blues, but he has remained an enigmatic and obscure figure. Many “facts” people claimed to know about him have been contradicted by other accounts. There are no recordings of Henry Stuckey. And there have been no photos published of Henry Stuckey—until now.
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Watch: One Step Forward by Harpdog Brown. Captured live off the floor at The Warehouse Studio in Vancouver BC. Album produced by Steve Dawson.
Video by Ken Stewart.
The video One Step Forward is a brand new song from Canada’s blues giant, Harpdog Brown. It recently premiered on American Blues Scene and you’ll find it on his new album For Love & Money. We’d love it if you would Like it and comment and share it far and wide!

A little bit Chicago.
A whole lotta New Orleans.
For Love and Money, is available for preorder now!

Be the coolest kid on your block with an exclusive early release of this great new album! Canada’s Classic Bluesman, Harpdog Brown has a brand new album out. It’s called For Love & Money and it’s unlike anything you’ve heard from Dog! Produced by JUNO Award winner Steve Dawson, it’s a little bit Chicago and a whole lotta New Orleans and it is guaranteed to move ya!

Harpdog Brown - For Love & Money

Pre-order For Love and Money now via BandCamp or iTunes or Pre-Add if you use Apple Music.  You might even help them hit the charts on release day! Wouldn’t it be fun to know you were part of that?  http://smarturl.it/HarpdogBrown

Pre-Order Now

Hear what they’re saying about For Love & Money

“Hearing Harpdog Brown singing Reefer Lovin’ Woman is a joy with the traditional old school instrumentation here. I am always drawn to the good old downhome style blues and this is certainly it!” 

– Duke Robillard, Legendary Blues Musician

___________________________________

“I love Harpdog’s singing and playing. He’s old school which is a high compliment because Old School is Real School! Harpdog is Real Deal Smoking and Cooking Old School style. Look out and stand back for the real deal!”

– Charlie Musselwhite, Blues Harmonica Legend

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“The old boy is putting it down so it stays there! This album sounds great!”

– Jim Byrnes, Legendary Blues Musician

___________________________________

“Having watched Harpdog hone his craft for the past quarter century and pick up multiple awards and legions of fans along the way with a very traditional blues approach I was intrigued by this new direction. Take a listen… I’m sure you’ll agree he’s nailed that vintage New Orleans sound … complete with those growling Harpdog vocals, 2nd line sensibilities, horns, and overall, a great sense of fun!”

– Cam Hayden, Producer, Edmonton Blues Festival; Announcer/Producer, CKUA Radio Network

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Many years ago now, I worked every Saturday at a record collector store in Toronto, the now legendary, ‘Don’s Discs’.  When I started there I was already heavily into ’50’s and ’60’s blues but over time the owner, Don Keele, introduced me to the magic R & B sounds of the 1940’s. Many a Saturday, at closing time, I would leave the store clutching a stack of 78’s by such artists as Wynonie Harris, Amos Milburn and my all time favourite, Louis Jordan & his Tympany Five. On his new record, Harpdog Brown, with a full brass section, takes us back to that era of jump & jive. I think maybe he’s slipped into my record room and listened to my dusty 78s….who knows. If it’s good music and fun you’re looking for, “For Love & Money” is the album for you.”

– Dave “Daddy Cool” Booth, Showtime Music Production Inc.

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‘”Harpdog Brown, the modern day wizard of the harp, has recorded his strongest album yet!  A larger than life character, the blues dog, works with stellar players including an inspired and creative New Orleans horn band and master producer Steve Dawson. This is a joyful and unique album….one of this years best!”

– Holger Petersen, Host of Saturday Night Blues (CBC Radio & SiriusXM), Natch’l Blues (CKUA), and President, Stony Plain Records

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Living Blues #259 (February/March 2019) features Chicago guitarist Linsey Alexander on the cover. The Delmark Records artist is one of the top acts in the Windy City and has a growing national profile. Cash McCall first emerged on the Chicago gospel scene in the 1960s but soon moved to the blues. As a guitarist, songwriter, session man (with Chess Records), sideman and eventual front man McCall has had a fascinating career. We shine a spotlight on vocalists Soul Man Sam Evans of Austin and Booker “Blues” Brown of Memphis. Both men are central figures in their local scenes and we’re sure to hear more from them soon. During the 1950s in California John Dolphin was a music industry pioneer, innovator and entrepreneur. His Dolphin’s of Hollywood record store was open 24 hours a day, had its own radio show and a popular DJ—it even boasted a recording studio in the back where Dolphin cut and pressed his own hits.

Plus Breaking Out with Virginia bluesman Rick Franklin, the latest Blues News, obituaries for Eddie C. Campbell and Maurice McKinnies and our review section contains over 50 reviews of the latest releases in the industry.

Linsey Alexander’s broad, easy smile belies his reticence for talking about certain subjects, like his impoverished childhood in Mississippi, or his years as a Chicago police officer. Nonetheless, he makes reference to those early years in his original songs, and he wears a small police star on a neck chain as a reminder of his service.

Retired from the force, he has played guitar and sung full time for almost 20 years; life looks pretty good now for “The Hoochie Man” (his nickname, after his comedic answer in song to Marvin Sease’s Hoochie Momma). He is enjoying a nice, late run in his second career as an entertainer, singing and playing blues “for the sheer and simple pleasure of it,” as his website states, including performing his original songs tinged with sly innuendo and outrageous double entendres. Alexander also married late—at 62—but he now has time to help his teenaged son, Nicholas Kennedy, get his legs under himself as a musician.

It sounds almost as if he’s never been away.

On the new Nola Blue release Going Back Home, legendary songwriter/session man Cash McCall shares the spotlight with veteran fretman Benny Turner, a longtime friend with whom he has only recently re-established contact. McCall’s steady-rolling rhythm guitar work and resonant vocals invoke sounds from several Chicago “glory eras”—postwar blues (SpoonfulIt Hurts Me TooThe Dirty Dozens); jazz-tinged pop/R&B (Money)—with the kind of joyful vitality we usually expect from young artists in their prime.

The project came about largely because Turner, whose 2017 autobiography, Survivor, includes vivid and affectionate portraits of the myriad artists with whom he’s worked over the years, wanted to re-establish his connections with some of those artists. And, like a lot of people, he was surprised to learn that Cash McCall was living in Memphis, somewhat slowed down by health problems but ready and eager to re-ignite some of the musical flames of his youth.

Soul Man Sam Evans has been bringing deep Memphis soul to Austin, Texas, for six years now. You can catch him performing at Antone’s, the Skylark Lounge, the Continental Club or C-Boy’s Heart and Soul just about any week—sometimes several nights a week. It should be a tough sell for a powerhouse singer like Evans in the land of guitar heroes like Stevie Ray Vaughan, W.C. Clark and Gary Clark Jr., but his no-frills vocal workouts grab hard and pull any audience right to him. It’s been that way since he first stepped in front of a mic at the remarkably late age of 49.

A natural storyteller, Evans knows he blew more than one shot at stardom when he was a young man in his hometown of Memphis. He never fully explains what he was doing back then, but jail, women and gambling are mentioned as he talks about letting the opportunity to record with the iconic Stax label float away. His other big break might have come singing with his childhood friend, soul blues artist J. Blackfoot, but he let that one slip away, too.

The lineup for the 2018 Porretta Soul Festival, held July 19–22 in northern Italy, was excellent as usual, and included Don Bryant, Ernie Johnson, Wee Willie Walker, Lacee and Booker “Blues” Brown. “Who’s he?” the person sitting next to me asked as Brown took the stage. Booker Brown brought the house down with his version of his old friend Bobby Bland’s I’ll Take Care of You and his own song Blues Stew from his first album, Stir It Up, on T.O.C. in 1997. “He’s great!” said my neighbor excitedly. “How come I’ve never heard of him before?” By the end of the festival everyone had heard of Booker “Blues” Brown and was singing his praises.

This was Booker’s first performance outside the United States, which makes you wonder when you see the list of people he has shared the bill with. It reads like a who’s who of blues and southern soul. Brown has shared the stage with the likes of Bobby “Blue” Bland, Johnnie Taylor, Chuck Strong, Tyrone Davis, Denise LaSalle and dozens more. After his Porretta performance, hopefully the world will see a lot more of Booker “Blues” Brown.

When you hear the name John Dolphin, you should think of blues legends such as Pee Wee Crayton, T-Bone Walker, John Lee Hooker, Bill Brown, Clyde McPhatter, Billy Lamont, Joe Houston and Jesse Belvin. These are just some of the blues artists that John Dolphin recorded and promoted at his celebrated record shop, Dolphin’s of Hollywood. James Brown is quoted as saying, “John Dolphin is the first black man to be successful in the music business.” He sold records—a lot of records. Recorded in Hollywood, along with all of the other labels John created, sold cuts in the hundreds of thousands. Huggy Boy, one of John’s most successful disc jockeys, would play a record over and over all night long, while incorporating an entertaining story to beef up the experience if he truly liked a record. Thousands of fans lined up around the corner, all listening to the Dolphin’s of Hollywood radio station, excited to buy the latest cut.
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Rose Hill is expectedly a fiery, ethereal, down-home blues record…. Fierce, shit-kicking music… infuses new energy into the country blues.” –Living Blues

“Munson’s music has a “sense of artistry with an organic and primal passion … [that] summons the specters of American music to both possess and exorcise the listener.” – No Depression Magazine

“stunning… this is authentic as blues gets.”  – Elmore Magazine

“Strikingly original fretwork and always near-unique style of attack… worth discovering and looking out for.” – Blues Magazine, NL

 

With his new album, Rose HillMike Munson delivers a signature work highlighting his unique style of blues steeped in Minnesota’s folk blues traditions of Spider John Koerner and Charlie Parr as well as Mississippi’s deep blues traditions of Skip James, Fred McDowell, Jesse Mae Hemphill and Jack Owens. Since 2015, Munson further developed his blues under the mentorship of Mississippi blues legend, Jimmy “Duck” Holmes, the last of the Bentonia bluesmen.  Duck, who was featured by the U.S. Postal Service on a postage stamp in 2017, was introduced to the blues in the early 1950s by Henry Stuckey, the same man who taught the haunting Bentonia Blues to the great Skip James and Jack Owens. Duck has devoted his life to keeping the Bentonia Blues alive by opening the doors of the Blue Front Café every day and greeting tourists, hosting the Bentonia Blues Festival for the past 47 years (June 10 – 15, 2019), and mentoring younger blues musicians like Mike Munson.

Recorded at the Blue Front Café on a cold February weekend under Jimmy “Duck” Holmes’ attentive ear and Jack Owen’s faded portrait, the cinderblock acoustics of the old juke joint where Jack and Skip James used to play provided a perfect backdrop for this album of eerie and somber tunes and rhythmic and caterwauling stompers.  From the driving, melodic and complex finger picking of the instrumental title track to the swampy Rotgut Devil, the emotive Sinner, and the captivating Good as Good May Be, Munson’s original tracks establish his compelling and unmistakable voice. Munson honors the music’s roots with unique covers including Skip James’ Illinois Blues, and Fred McDowell’s Keep Your Lamps Trimmed and Burning. Duck joined the session to play harp on Jack Owen’s Jack Ain’t Had No Water and handled the vocals on the haunting Broke and Hungry.


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For nearly 50 years, Living Blues has provided the most in-depth documentation of the contemporary blues scene. With almost 2,500 profiles published since 1970, Living Blues has spent decades documenting blues musicians and their culture.

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“[Living Blues] remains the best blues publication available, and in fact one of the best specialized music magazines of any kind.” – All Music Guide
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The October issue of
Living Blues is in the mail!
Living Blues #257 (October/November 2018) features Latimore on the cover. Forty-four years after Let’s Straighten It Out shot to No. 1 on the R&B charts, the deep, rich-toned vocals of Benny Latimore still melt hearts.

One of Chicago’s top pianists, Roosevelt “Hatter” Purifoy Jr. never thought he would wind up playing the blues. Now at age 60, he has played and recorded with some of the city’s best. Winner of the 2017 LB award for “Artist Deserving More Attention,” Bruce “Mississippi” Johnson tells a unique life story that has taken him from Starkville, Mississippi, to Zaire, Paris and now England to sing the blues. In our excerpt from his new book, Bitten by the Blues: The Alligator Records Story, label founder Bruce Iglauer tells the story of recording Hound Dog Taylor for his first release.

Plus Catching Up with Texas bluesman Andrew “Junior Boy” Jones, the latest Blues News, obituaries for Lazy Lester, Henry Butler and more and a special bonus review section with over 50 reviews of the latest releases in the industry.

Benny Latimore’s career-defining hit, 1974’s Let’s Straighten It Out, codified his persona as a tenderhearted sensualist—flawed yet penitent, ready by any means necessary to win or redeem his lady’s affections, and fortified with wisdom by the experience. He never again hit the top of the charts (he charted a total of 15 times between 1973 and 1991), but once he claimed that image, he never abandoned it. In fact, he’s cultivated and honed it over the years. Over 40 years after Let’s Straighten It Out made its indelible mark on pop and R&B history, Latimore still reigns as the Sweet-Loving Philosopher King of Southern Soul. His aphoristic meld of romantic fervor, life lessons and self-deprecating irony continues to melt hearts and elicit screams, no matter how predictable his set lists may become, no matter how tirelessly he keeps his show on the road, year after year and decade after decade, in lounges and theaters across the dwindling but still potent chitlin’ circuit.
Though he is not well known, even to many blues fans, Roosevelt “Hatter” Purifoy Jr. has performed for decades with a who’s who of artists: Buddy Guy, Marvin Gaye, Son Seals, Jimmy Johnson, Willie Clayton; and he appears on dozens and dozens of recordings, likely into the hundreds. He has been the go-to pianist for indy blues and jazz label Delmark Records for years. His talent for adapting his style to best support other artists has led to sessions with Lurrie Bell, Syl Johnson, Sugar Blue, Larry McCray, Eddie Burns, Mavis Staples, the Kinsey Report and many others.
“My artist name is Bruce ‘Mississippi’ Johnson, which I picked up when living in France and I’m from Starkville, Mississippi. I’m 58 and was born in 1959. I grew up in the church; my granddad was a pastor and he had a church in Starkville. I didn’t sing at all as a kid and the first time I went on stage ever was when I was 12 years old and I did a lip sync to a James Brown song called Soul Power and I was terrified and frozen stiff, and I never would have imagined that I would be a singer and a performer.
With Bitten by the Blues, I hope to share the overwhelming excitement that I felt when I moved to Chicago in 1970 to work (as a shipping clerk) for my mentor and hero, Bob Koester of Delmark Records. The reality was even more exciting than what I had imagined. I had envisioned spending a year in the blues world before I went back to college. It became a lifetime.

Only a week after arriving, I was in a recording studio for the first time, acting as “gopher” at a session with Junior Wells, Buddy Guy, Otis Spann (his last time in the studio), Louis Myers, Fred Below and Earnest Johnson. I thought I had moved from Wisconsin to Heaven! From that night on, I wanted to be with Bob Koester every time he went to the studio.

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Maria Muldaur’s


Don’t You Feel My Leg: 
The Naughty Bawdy Blues of Blue Lu Barker


OUT NOW!

Don’t You Feel My Leg will mark Maria’s 41st album in a distinguished career that has established her as a preeminent and revered interpreter of American roots music ~ and it is her first studio album in six years.

For this stunning set, Maria pays tribute to the wonderful Blue Lu Barker, the popular vocalist and songwriter of the late 30s and early 40s whom Billie Holiday once cited as her biggest influence.

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Watch “Don’t You Feel My Leg”
Catch Maria on Tour This Fall:
09.28.2018 The Temporary, Basalt, CO
09.30.2018 Daniels Hall, Denver, CO
10.05.2018 Tybee Post Theater, Tybee Island, GA
10.06.2018 Red Light Cafe, Atlanta, GA
10.07.2018 Ambrose West, Asheville, NC
10.10.2018 Blue Note Grill, Durham, NC
10.11.2018 Historic Jessups Church, Sparks, MD
10.12.2018 Courthouse Center for the Arts, West Kingston, RI
10.13.2018 Firehouse Center for the Arts, Newburyport, MA
10.14.2018 Colony, Woodstock, NY
10.15.2018 NYS Fall Arts Conference, Albany, NY
10.16.2018 City Winery, Washington, DC
10.18.2018 Trinity House Theatre, Livonia, MI
10.20.2018 Freshwater Art Gallery, Boyne City, MI
10.21.20118 Tip Top Deluxe Bar & Grill, Grand Rapids, MI
10.24.2018 Jazz Kitchen, Indianapolis, IN
10.25.2018 Stage Left Café, Woodstock, IL
10.26.2018 CSPS Legion Arts, Cedar Radids, IA
10.27.2018 Shank Hall, Milwaukee, WI
10.28.2018 Big River Theater, Alma, WI
10.30.2018 View Carre, St. Paul, MN
11.01.2018 The State Room, Salt Lake City, UT
11.14.2018 Tales from the Tavern, Santa Ynez, CA
11.15.2018 Grand Annex, San Pedro, CA
02.02.2019 Sun City Shadow Hills, Indio, CA
02.15.2019 George Nakano Theatre, Torrence, CA
02.16.2019 George Nakano Theatre, Torrence, CA
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The August issue of
Living Blues is in the mail!
Living Blues #256 (August/September 2018) takes a look at protest in the blues. There have been songs of protest throughout the history of the blues and in this issue we trace a sampling of the voices of dissent over the decades and then turn our gaze to several contemporary musicians and their strong voices of dissent.  Rhiannon Giddens, a founding member of the Carolina Chocolate Drops, has branched out on a soaring solo career that finds her taking on challenging subjects from America’s past and present. Winner of the 2017 GRAMMY for Best Contemporary Blues Album, Fantastic Negrito has roared onto the scene with a voice and attack that takes on a wide range of nationally relevant issues. Colorado native Otis Taylor has been challenging the power structure in America since the 1970s and his focus has only steadied as he has aged. Reverend Osagyefo Uhuru Sekou, who hails from the Arkansas Delta, has a message of peaceful protest that is international. A musician who is also a human rights activist, Sekou practices what he sings. This issue also includes the winners of the 25th annual Living Blues awards, Breaking Out with Reggie Garrett, the latest blues news, over 40 reviews and much more.
“Sing Out!” said Pete Seeger. Protest songs testify about suffering and hope, the tenacity of survival and the gritty determination to overcome injustice and a yearning for freedom.

In these perilous times, a new age of injustice, African American musicians in the blues scene are singing out louder than ever through verse and song lyrics. Their powerful voices join mainstream pop stars who express anger over racism and injustice, such as Beyoncé and Kendrick Lamar. Given the current backlash against Black Lives Matter on social media, even by a few misguided people professing to be blues fans, it is important that a new wave of protest and social-change songs has emerged.

“Know thy history,” wrote Rhiannon Giddens for the release of her 2017 solo album Freedom Highway. “Let it horrify you; let it inspire you. Let it show you how the future can look, for nothing in this world has not come around before.” These words serve as a preface to the North Carolina native’s album, but they also crystallize her approach to music in general. Listen to her ballads Julie or At the Purchaser’s Option—the former born from a slave narrative, the latter from a 19th-century advertisement for a young slave and her baby—and you are drawn in by the beauty of her supple soprano voice, only to be horrified as the narratives unfurl. The not-so-distant past, in all its brutality and heartbreak, is alive again, and you realize you are in the presence of a master storyteller.
Fantastic Negrito is a lot of things. On the surface, he’s a stage persona, the means of delivery for songs that chronicle the realities of life. But dig deeper and you’ll find Xavier Dphrepaulezz, a middle-aged African American who has experienced more than his share of starts and near-finishes. His past informs his present, and his indefatigable yet clear-eyed optimism points toward a direction for our shared, collective future.
Some, with ultracrepidarian tendencies, have claimed that Otis Taylor is “not real blues”—perhaps because he is proudly nonconformist and contemptuously impertinent, musically and lyrically. That’s a foolish thing to say, especially about a guy who not only rejects such nonsense, he declares: “I don’t need white people to tell me what I am. You can’t tell me what I am. I am a black man. I am automatically a bluesman.” He also occasionally exclaims to that issue, “I may not know much about the blues, but I’m good at being black.” The Boulder, Colorado–based bard is, in fact, a deep, highly original blues singer-songwriter. Therein lies another paradox, which Taylor nails with merciless veracity: “If you are white then you are called a singer-songwriter. If you are a black songwriter then you are called a blues musician!” Otis Taylor is a force for musical defiance and bombastic nonconformity—plainspoken and honest.
On July 13, 2015, Reverend Osagyefo Uhuru Sekou was on the streets peacefully protesting the implementation of deadly force by the St. Louis Police Department. He was joined by other members of the clergy, rapper Tef Poe and singer-songwriter Tara Thompson. “Some people went out and held the street. Reverend Rebecca Ragland and some others held the street and then we pulled back and got back on the sidewalk. We had made our point. We were in front of the police department. They ended up making random arrests. They snatched a 15-year-old girl off the street. They snatched me. Tef and Tara were actually in their car about to drive off. They snatched them out of the car and arrested us,” Sekou explainedRev. Ragland insisted that the police take her with them: “I’m a white clergy person, what do I need to do to get arrested? Because you’re snatching black people off the street. I’m one of the one’s blocking the street. Why didn’t you arrest me?” The police took her up on the offer, and the peaceful demonstrators were booked and taken to jail.
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Support your favorite blues artists!Winners will be announced in the August/September #256 issue of Living Blues.
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Voting is now open for
The 25th Annual
Living Blues Awards!

Go to LivingBlues.com and click on the “VOTE” button on the right side of the page to vote.
VOTE FOR YOUR FAVORITES TODAY!

It’s quick and easy to vote.

Voting is open until July 15, 2018.
Everyone is eligible to vote.
No subscription or membership is required.
Support your favorite blues artists!Winners will be announced in the August/September #256 issue of Living Blues.
Living Blues #255
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04:44 (Il y a 12 heures)

À moi

 

 

The June issue of
Living Blues is in the mail!
Living Blues #255 (June/July 2018) features Louisiana bluesman Chris Thomas King on the cover. A Second generation Baton Rouge bluesman, King has been making records for more than 30 years and over that time his perception of the blues and where it came from has evolved and broadened. King discusses his early years with his father, Tabby Thomas, and his forthcoming book about the origins of the blues. Louisiana soul singer and guitarist Robert Finley has leapt from obscurity to stardom in two short years. His raw, unabashed style endears him to lovers of old-school hard blues and soul. Drummer and vocalist Johnny Tucker has been playing blues since 1965 when he joined Phillip Walker’s band, but he didn’t record a solo album until 2006. On the heels of his second solo release we talk with the colorful character about his years in the scene. We sit down and talk with author Lynn Abbott about the completion of his groundbreaking trilogy of books with collaborator Doug Seroff that trace the evolution of African American popular music from 1888 to 1926. After 65 years at the company’s helm, Bob Koester recently sold Delmark Records. We look back at his remarkable life in the blues. All this plus Breaking Out with Jamell Richardson, the latest Blues News, reviews and much more.
Chris Thomas King’s engagement with the blues idiom runs deep and is remarkably complex. Born in 1962 in Baton Rouge, Louisiana, he was performing regularly on guitar and filling in on other instruments during his early teen years at his father’s club, Tabby’s Blues Box and Heritage Hall, alongside his father, Rockin’ Tabby Thomas, and a roll call of veteran Louisiana blues artists. King’s debut album, The Beginning, was released on the Arhoolie label in 1986. During the late 1980s, he was an integral figure on the burgeoning Austin, Texas, blues scene that was centered around Antone’s club. He went on to record a remarkable range of musical styles and release albums on numerous labels, including Warner Brothers, HighTone, Black Top and Blind Pig and ultimately formed his own label, 21st Century Blues. His innovative melding of blues and hip-hop on such albums as 21st Century Blues  From Da ’Hood (1994) and Dirty South Hip-Hop Blues (2002) spurred controversy in the blues world.
Just south of the Louisiana-Arkansas border in Union Parish, where US highway 167 meets highway 2, is Bernice, Louisiana. With a population of around 1,700, the town qualifies in most idyllic writing as “sleepy.” I’m visiting the home of the person ranked seventh on Wikipedia’s list of notable people from Bernice—a towering man called “the greatest soul singer alive” by Black Keys founding member Dan Auerbach.

“See, my question is … who the hell are the other six?” Robert Finley asks me in a raspy chuckle that almost overtakes his words, his white teeth flashing a grin that was, I would learn, directed just as much at himself as at me.

Do an internet search on Johnny Tucker, and you won’t find a lot of information that predates the release of Seven Day Blues, his new album on Highjohn Records. But Tucker is a veteran bluesman with a long and colorful backstory. His musical journey brought him up close and personal with Screamin’ Jay Hawkins, the “5” Royales, Johnny Otis and Phillip Walker, and took him all over the globe. Tucker also recorded on albums by Eddie Taylor, Phillip Walker, Ted Hawkins, Lowell Fulson, Mary Dukes, Floyd Dixon and others. After decades of taking a back seat to other artists, in 2006 Tucker embarked on a recording career of his own. Seven Day Blues is his second solo album.
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Otis Redding: An Unfinished Life
 is published by Penguin Random House Books
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21:24 (Il y a 1 heure)

À moi

 

 

Living Blues #254
(April 2018)
is headed to mailboxes
all over the world!
Living Blues #254 (April/May 2018) features the duo of Warner Williams and Jay Summerour on the cover. One of the last great East Coast blues duos, Williams (age 87) and Summerour do it the old-school way. Also featured is trumpet player James “Boogaloo” Bolden. Given the nickname “Boogaloo” by B.B. King because of his nonstop dancing on stage, James Bolden was King’s bandleader for his last 21 years. Bolden now fronts his own band and continues to keep the legacy of King alive in B.B. King’s Blues Band. Eugene “Hideaway” Bridges is a Louisiana-born, former Houston resident who had to leave the United States to get the recognition he deserved—but now he has now become a blues citizen of the world. Camden, Mississippi–native Belton Sutherland never made any records, but John Bishop, Worth Long and Alan Lomax filmed him performing a handful of remarkable country blues songs. We explore this bluesman’s rare story. All this plus the 2018 Living Blues Festival Guide, Breaking Out with Roosevelt Collier, the latest Blues News, reviews and much more.
Songster Warner Williams used to be taciturn; now he is outright uncommunicative. He is generally distrustful of people outside of his inner circle and just a little grumpy, well okay, kind of gruff. Even though his partner of 30-plus years, harmonica player Jay Summerour, assured me that Warner actually really liked me a lot, as we had spent time together at music festivals, it was hard to prove it in the interview attempts for this article. Jay always calls him “Mister Warner.” His laconic nature, coupled with his extremely bad hearing, tanked the interview. And, Mr. Warner is no spring chicken at 87. His partner, Jay, was exasperated: “Mr. Warner won’t get no hearing aide. He can’t hear and he won’t get a hearing aide.” It’s true, but when you hear him play and sing it seems unbelievable. How can someone play so well and simultaneously be hard of hearing? He’s like Beethoven in that way. …
The action begins at the 4:15 mark of the seven-minute video from 1986 of B.B. King and his band performing Nightlife at a festival in Sweden. Following what must qualify as one of the most incendiary solos to open a song that King has ever coaxed out of Lucille, trumpeter James “Boogaloo” Bolden—clad in a maroon three-piece suit and clutching his handmade Schilke trumpet in one hand and a plunger in the other—steps from the horn section into the spotlight and delivers a note-perfect solo that elicits shouts and screams not only from the crowd, but from King himself. The clip, which can be found on YouTube, offers a glimpse of the onstage gyrations that earned the trumpet savant his iconic nickname. Just before he steps to the front of the stage to launch into the solo, Bolden can be seen bobbing his head and twitching like a bucking bronco champing at the bit. Bolden gained fame and a legion of fans, due in part to his footwork and physical flexibility, while a member of King’s band from the early 1980s until the blues legend’s death at age 89 in 2015.  …
It is ironic that today Eugene Bridges is a worldwide ambassador for American music—blues, gospel, soul, R&B, zydeco and even country. He left the States decades ago, fed up and angry on a one-way flight to France, unable to get regular club dates or a good recording deal at home. Bridges cites his skin color, his relative youth at the time and his refusal to simply do what he was told by record companies as the reasons for those early struggles.  …
The Association for Cultural Equity (ACE)—a charitable organization founded by folklorist Alan Lomax to explore and preserve the world’s expressive traditions with humanistic commitment and scientific engagement—posted four and a half minutes of largely unseen footage to the internet on December 16, 2010. [Blues #2 – https://youtu.be/W6jjNRUqPxg ] It featured a guitar player singing an improvised blues number on a porch in Madison County, Mississippi. Shot by John Bishop, Worth Long and Lomax at the farm of Clyde Maxwell on September 3, 1978, the rolling rhythm of his guitar and the atmospheric accompaniment of the crickets projected a pure release of emotion to the creator, introducing Belton Sutherland, in all his foot-tapping and cigarette-smoking glory, to folks across the globe. He played a classic Kay archtop guitar tuned down almost two whole steps to around C#, which puts him a minor third low of standard tuning; other than that, all folks could say for sure, and they did so repeatedly, was that he was “the real thing.” According to the counter beneath the video, almost 1.5 million people have watched it to date. ACE released two more solo blues performances, one a cappella field holler and one duet with the fiddle accompaniment, almost none of which made it into the original release of the documentary The Land Where the Blues Began. In fact, Sutherland appears only for about a minute and ten seconds during the entire film. In the introduction and the main body of the film, he hollers out, “Kill that old grey mule; burn down the white man’s barn,” and then he disappears for 30 years.

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21:24 (Il y a 1 heure)

À moi

 

 

Living Blues #254
(April 2018)
is headed to mailboxes
all over the world!
Living Blues #254 (April/May 2018) features the duo of Warner Williams and Jay Summerour on the cover. One of the last great East Coast blues duos, Williams (age 87) and Summerour do it the old-school way. Also featured is trumpet player James “Boogaloo” Bolden. Given the nickname “Boogaloo” by B.B. King because of his nonstop dancing on stage, James Bolden was King’s bandleader for his last 21 years. Bolden now fronts his own band and continues to keep the legacy of King alive in B.B. King’s Blues Band. Eugene “Hideaway” Bridges is a Louisiana-born, former Houston resident who had to leave the United States to get the recognition he deserved—but now he has now become a blues citizen of the world. Camden, Mississippi–native Belton Sutherland never made any records, but John Bishop, Worth Long and Alan Lomax filmed him performing a handful of remarkable country blues songs. We explore this bluesman’s rare story. All this plus the 2018 Living Blues Festival Guide, Breaking Out with Roosevelt Collier, the latest Blues News, reviews and much more.
Songster Warner Williams used to be taciturn; now he is outright uncommunicative. He is generally distrustful of people outside of his inner circle and just a little grumpy, well okay, kind of gruff. Even though his partner of 30-plus years, harmonica player Jay Summerour, assured me that Warner actually really liked me a lot, as we had spent time together at music festivals, it was hard to prove it in the interview attempts for this article. Jay always calls him “Mister Warner.” His laconic nature, coupled with his extremely bad hearing, tanked the interview. And, Mr. Warner is no spring chicken at 87. His partner, Jay, was exasperated: “Mr. Warner won’t get no hearing aide. He can’t hear and he won’t get a hearing aide.” It’s true, but when you hear him play and sing it seems unbelievable. How can someone play so well and simultaneously be hard of hearing? He’s like Beethoven in that way. …
The action begins at the 4:15 mark of the seven-minute video from 1986 of B.B. King and his band performing Nightlife at a festival in Sweden. Following what must qualify as one of the most incendiary solos to open a song that King has ever coaxed out of Lucille, trumpeter James “Boogaloo” Bolden—clad in a maroon three-piece suit and clutching his handmade Schilke trumpet in one hand and a plunger in the other—steps from the horn section into the spotlight and delivers a note-perfect solo that elicits shouts and screams not only from the crowd, but from King himself. The clip, which can be found on YouTube, offers a glimpse of the onstage gyrations that earned the trumpet savant his iconic nickname. Just before he steps to the front of the stage to launch into the solo, Bolden can be seen bobbing his head and twitching like a bucking bronco champing at the bit. Bolden gained fame and a legion of fans, due in part to his footwork and physical flexibility, while a member of King’s band from the early 1980s until the blues legend’s death at age 89 in 2015.  …
It is ironic that today Eugene Bridges is a worldwide ambassador for American music—blues, gospel, soul, R&B, zydeco and even country. He left the States decades ago, fed up and angry on a one-way flight to France, unable to get regular club dates or a good recording deal at home. Bridges cites his skin color, his relative youth at the time and his refusal to simply do what he was told by record companies as the reasons for those early struggles.  …
The Association for Cultural Equity (ACE)—a charitable organization founded by folklorist Alan Lomax to explore and preserve the world’s expressive traditions with humanistic commitment and scientific engagement—posted four and a half minutes of largely unseen footage to the internet on December 16, 2010. [Blues #2 – https://youtu.be/W6jjNRUqPxg ] It featured a guitar player singing an improvised blues number on a porch in Madison County, Mississippi. Shot by John Bishop, Worth Long and Lomax at the farm of Clyde Maxwell on September 3, 1978, the rolling rhythm of his guitar and the atmospheric accompaniment of the crickets projected a pure release of emotion to the creator, introducing Belton Sutherland, in all his foot-tapping and cigarette-smoking glory, to folks across the globe. He played a classic Kay archtop guitar tuned down almost two whole steps to around C#, which puts him a minor third low of standard tuning; other than that, all folks could say for sure, and they did so repeatedly, was that he was “the real thing.” According to the counter beneath the video, almost 1.5 million people have watched it to date. ACE released two more solo blues performances, one a cappella field holler and one duet with the fiddle accompaniment, almost none of which made it into the original release of the documentary The Land Where the Blues Began. In fact, Sutherland appears only for about a minute and ten seconds during the entire film. In the introduction and the main body of the film, he hollers out, “Kill that old grey mule; burn down the white man’s barn,” and then he disappears for 30 years.

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The 2017 National Heritage Fellow
Phil Wiggins
Now Seeks Festival Bookings,
New Booking Agency Partnership
and Studio/Session Work

Washington, D.C. based harmonica player Phil Wiggins is regularly ranked in the Living Blues Readers and Critic’s Polls as one of the top harmonica players in the traditional blues. He is only the third harmonica player to receive the lifetime honor of an NEA National Heritage Fellowship since the inception of the award. Harmonica players Sonny Terry and Elder Roma Wilson are the only other harmonica instrumentalists to receive the honor. Today, Phil is the only living player of the instrument to hold the prestigious honor commonly referred to as “Living Cultural Treasure.” Phil performed for 32 years with John Cephas in the internationally renowned country blues duo Cephas & Wiggins. They played Carnegie Hall, Royal Prince Albert Hall in London and the Sydney Opera House, as well as small venues worldwide, touring every continent except Antarctica. They recorded more than a dozen critically acclaimed albums, including on Flying Fish and Alligator Records, winning the prestigious W.C. Handy Blues Award in 1984 for Best Traditional Album of the Year; and, in 1987 as Entertainers of the Year. They performed at the White House with B.B. King. Phil Wiggins as well as Cephas & Wiggins have been featured in major music magazines, including on the cover of Living Blues, and in the Washington Post, the New York Times, the Chicago Tribune and many more. He regularly tours Australia with guitarist Dom Turner.
Phil is currently leading his own ensembles in multiple acoustic constellations:

  • Full band: Phil Wiggins & The Chesapeake Sheiks – Phil on harmonica and vocals with piano, violin, guitar and upright bass, plus, when possible, a tap dancer to provide percussion 
  • Quartet: The Phil Wiggins House Party – Phil on harmonica and vocals with violin and guitar, plus a dancer to reunite the blues with dance.
  • Trio: The Phil Wiggins Tidewater Trio – Phil on harmonica and vocals with two acoustic guitarists & singers.
  • Duo: Phil on harmonica and vocals in a traditional acoustic guitar/harmonica duo.

He can play any style harmonica and is an experienced session musician and recording artist ready to assist in any project.

The Phil Wiggins House Party combines traditional Piedmont Blues with its dance origins.
Phil Wiggins, violinist Marcus Moore, guitarist Rick Franklin and dancer Junious Brickhouse.
Phil Wiggins and the Chesapeake Sheiks during the 2017 National Heritage Fellowship award concert, Washington, DC 2017.

Currently seeking new booking agency and direct festival and venue bookings

Phil Wiggins is now actively looking to sign with a new booking agency with strong connections in the blues, roots, and traditional music touring circuit, domestically and internationally, especially blues and folk festivals. Phil is currently managing his own bookings.

Please contact: bookingphilwiggins@gmail.com


About the National Heritage Fellowship 

The National Endowment for the Arts (NEA) annually awards NEA National Heritage Fellowships to master folk and traditional artists, to recognize lifetime achievement, artistic excellence, and contributions to our nation’s traditional arts heritage. Past winners include: B.B. King, John Lee Hooker, Pinetop Perkins, Sunnyland Slim, Elizabeth Cotten, Clifton Chenier, Robert Lockwood Jr., Honeyboy Edwards, Brownie McGhee, Jack Owens, Mavis Staples and her father Pops Staples, and many more. Phil’s former duo partner, John Cephas, received the National Heritage Fellowship Award in 1989. Phil’s friend and early career catalyst, the great blues singer/guitarist and songster John Jackson received the honor in 1986.

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There’s no time like the Holidays to add to your blues collection!  Treat yourself, or your favorite blues lover, to a special package, including a new LIMITED vinyl edition of “My Brothers Blues”! 

With each purchase, you will receive a free MP3 of Benny’s song “Christmas Cheer” (2017 remix).


 

$15.00

Dust off your turntable and take a trip back in time with this LIMITED vinyl edition of “My Brother’s Blues”. It’s the perfect addition to your collection and the ideal gift for the vinyl enthusiast in your life.

$42.00

Everything the blues aficionado needs to have a Happy Holiday!  Includes:  “Survivor: The Benny Turner Story” in hardcover, “My Brother’s Blues” on both CD and vinyl, and a red t-shirt with the “My Brother’s Blues” logo.​

 

$20.00

The Holidays are the perfect time to make a Joyful Noise!  This package includes “My Brother’s Blues” on both CD and vinyl.​

 

 

$15.00

Benny’s story is an inspiration – and will surely bring you some Christmas cheer throughout the Holiday season and beyond!  You’ll love his story of not only surviving … but thriving!​

$10.00

Can’t find the perfect Stocking Stuffer?  Look no further!  This package includes your choice of one of Benny’s CDs.  At this special price, you’ll want them all!

 


 

 

Still active at the age of 78, he embodies a living legacy that spans generations, genres, and eras.”

– David Whiteis, Living Blues Magazine

 

For Publicity and Promotion For Booking
info@blindraccoon.com kevin@bluzpik.com

 

     www.bennyturner.com     

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THAT’S RIGHT — get 1 year of Living Blues for nearly 50% off the cover price!

Visit www.livingblues.com and subscribe today, or give a subscription as a gift!

Enter offer code LBCYBER17 at checkout. Offer good for NEW subscribers in the US only. (Cyber Monday offer expires December 4, 2017.)

If you love the blues, don’t miss a single issue of Living Blues!


“Absolutely the best blues publication available, and in fact one of the best specialized music magazines of any kind.” — All Music Guide


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Mississippi Heat

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Welcome Carla Stinson

Welcome Carla Stinson
Photo by Mike Hoffman – Evanston, IL at SPACE – 10.13.17

Please join us in officially welcoming Carla Stinson as a new member to our Mississippi Heat blues band. Inetta Visor, Michael Dotson, Terrence Williams, Brian Quinn and Pierre Lacocque are pleased to add the singing talents of Carla Stinson to our line-up.

Carla Stinson impressed us over 3 years ago when we were featured for the 20th anniversary of the Lucerne Blues Festival. Inetta had needed a last minute surgery and we needed a worthy replacement for that tour. Carla learned all the songs from the band’s latest CD’s for that week of performances in Lucerne (10 days), and she became the highlight of the festival according to many, and to the Lucerne Blues Festival committee.

Welcome Carla Stinson
Living Blues #251 (October/November 2017)

Living Blues #251 (October/November 2017) features bass player Benny Turner on the cover. Turner is the brother of Freddie King and has spent a lifetime backing some of the best in the blues. Missouri guitarist Marquise Knox is just 26, but has been on the scene for over a decade, schooling with the elder statesmen of the blues and developing his own unique style. Nashville singer Charles “Wigg” Walker talks about his 60-plus year career on the Nashville music scene and Clarence Brewer discusses his own take on blues and visual art. This issue also includes an excerpt from Adam Gussow’s new book about the Robert Johnson legacy, Beyond the Crossroads: The Devil and the Blues Tradition. All this plus Breaking Out with Akeem Kemp, Blues News, reviews and much more.

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To listen to—and talk with—Benny Turner is to be in the presence of living blues history. The brother of the late Texas blues guitar legend Freddie King, Turner’s musical career intersected with King’s and developed its own trajectory as well. The bassist, guitarist, singer and songwriter, who will turn 78 in October, has just released a new album, My Brother’s Blues, and a book, Survivor: The Benny Turner Story, which he co-wrote with Bill Dahl. Entertaining, engaging and deeply affecting in turns, it’s a touching chronicle of the joyous highs and devastating lows of his remarkable life and times.
On or off stage, Marquise Knox radiates a sense of purpose. He was born to play and sing blues, which he does with intensity and conviction. He is irrefutably a prodigy. At age 26 he shows the skills of a hardened veteran, a force of nature reminiscent of Muddy Waters or B.B. King, without engaging in imitation. At age 14 he tore up the stage at the Baby Blues Showcase, an annual St. Louis event organized by Jeremy Segal-Moss of the Bottoms Up Blues Gang. Two years later he did the same thing in Clarksdale, Mississippi, so impressing Sam Lay that he hooked Knox up with Chad Kassem, who brought him to perform at Salina, Kansas’ Blues Masters at the Crossroads. In late 2007 at age 16, Knox recorded his debut CD, Man Child, on Kassem’s APO label [released in 2009]. Here I Am, his second CD, was released two years later in 2011.
Most days are quiet in the stone-fronted cottage where Charles “Wigg” Walker lives with his third wife, Marva, and Gus, the black-and-white tabby. “I found him in my tire well on my car,” he says. He steps outside his “chalet” on a hillside, most of which is his, and offers a tour: “I’ve got the lot next door and then the steep hill out back that’s all woods. I don’t think they can build there.” Suits him fine. “It’s peaceful here,” he says, looking around his yard. “I like it.” The three-bedroom, two-bath home reminds Wigg of “homes in Paris, in the south of France.” He compares his house to those in European locales where he was most successful, singing his way across the continent.
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Copyright © 2017 Living Blues Magazine /, All rights reserved.
You are receiving this email from Living Blues magazine.Our mailing address is:

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Box 1848 /

UniversityMS 38677

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Copyright © 2017 Living Blues Magazine /, All rights reserved.
You are receiving this email from Living Blues magazine.Our mailing address is:

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Box 1848 /

UniversityMS 38677

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32nd Annual
King Biscuit Blues Festival
Broadens Its Reach

HELENA, AR – Warren Haynes and Gov’t Mule are this year’s Saturday night headliner at the 32nd annual King Biscuit Blues Festival, the crowning event of the blues festival season, which will take place in historic Helena, Arkansas, October 5-7, 2017. It is also a bookend of Bridging the Blues, a multi-week constellation of music events in the region.

Warren Haynes and Gov’t Mule are this year’s Saturday night headliner
at the 32nd annual King Biscuit Blues Festival.
Gov’t Mule is a fundamental link between the blues fathers and their contemporary sons and daughters. Warren Haynes reinvigorated the Allman Brothers, showed the Grateful Dead there was life after Jerry Garcia and, with Gov’t Mule, created a body of work that is the template for contemporary roots music improvisation. Equally at home jamming with blues masters and rock monsters, he is one of the most highly visible and versatile guitarists on the scene today. His first love and primary creative outlet, Gov’t Mule, channels the fundamentals that defy genre labels, spans the breadth of the fertile American songbook and captivates a fan base with a broad spectrum of tastes.

Gov’t Mule is just one of more than 50 acts that are the perfect blend of the essentials: sound and fury signifying everything that draws fans from around the world to a location that is the vital connection melding art and entertainment’s finest performers constituting America’s gift to culture. There are three stages along Helena’s Cherry Street where visitors can hear a variety of music: the Gospel Stage; the Lockwood/Stackhouse Stage, which features traditional blues artists; and the Main Stage, where the headliners perform. Admission to the first two are free, but there is an admission fee for the Main Stage. Tickets may be purchased online at www.kingbiscuitfestival.com.

PURCHASE TICKETS ONLINE!
Presented in the fertile birthplace of Delta blues on the banks of the Mississippi River on land where cotton is king and the blues artists sing, The Biscuit this year fills in the threads between the never to be forgotten legacy of native sons Sonny Boy Williamson and James Cotton with an unparalleled lineup that’s the best of the best from the past, present and future of the blues. Friday’s headliner J.J. Grey of J.J. Grey and Mofro told King Biscuit music journalist Don Wilcock in 2007: “When the empire has finally collected and chewed up every regional culture and spits it all out into one big pile of vanilla that’s not connected to anything, then this empire will fall like everyone before it did for the same reason.”
Thursday night’s headliner Tab Benoit
Friday’s headliner J.J. Grey
of J.J. Grey and Mofro
But not at the Biscuit! Not with J.J. Grey and Mofro. Not with the most diverse and talented lineup in the history of one of America’s most storied musical showcases.

Thursday night’s headliner Tab Benoit is “the voice of the wetlands.” A native of Houma, Louisiana, Benoit calls himself the “new kid from the old school,” having released 18 CDs since 1993. He is the standard bearer of a new generation of Cajun blues musicians and a tireless crusader for the preservation of the rapidly vanishing wetlands of the Gulf Coast.

PURCHASE TICKETS ONLINE!
Helena is a place where time forgot, an idyllic home away from home steeped in the traditions of America’s gift to the world, infused with the spirits and ghosts whose sounds are the deep roots of American culture stripped down to its fundamental essentials. This, The King of all blues fests, takes place where it all began, the womb of the blues.

This is the sweet spot that presents the blues in all its permutations from Sonny Burgess, who rubbed shoulders with Elvis Presley in Arkansas clubs at the birth of rock and roll, to Bob Margolin, Muddy Waters’ guitarist fresh off The Last Waltz 40th anniversary tour. There’s also the raw power of Howlin’ Wolf with Chicago… Paul Thorn, the former skydiver who stole the show from B.B. King in 2010, will make a return to The Biscuit as he has every year since then. C.W. Gatlin, who played with Sam Carr and Helena’s own Frank Frost, will bring a sense of this history with him; Reba Russell will sing her inspirational “Heaven Came to Helena;” and Allman Brothers alumnus Jack Pearson and Gregg Allman’s keyboardist Bruce Katz will offer the thrill of southern rock expertise.

The 32nd Annual King Biscuit Blues Festival is October 5-7, 2017.
Order your tickets now!
PURCHASE TICKETS ONLINE!
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Gregg Allman Out Now

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Last month marked what would have been the 100th birthday of John Lee Hooker. Almost 20 years after his passing, Hooker endures as one of the true superstars of the Blues genre; his extensive body of work is widely recognized for its impact on modern music.

King Of The Boogie celebrates this momentous anniversary in style, with a deluxe career-spanning collection housed in a 56-page book. The 5-CD set delves deep into the catalog of John Lee Hooker, featuring not only his iconic hits (“Boom Boom,” “Boogie Chillen’,” “Don’t Look Back”), but also rarities, live recordings and previously unreleased tracks. The collection also includes a wide selection of photos, taken throughout the musician’s life, plus extensive new liner notes by award-winning music journalist and John Lee Hooker historian Jas Obrecht, as well as by the artist’s longtime manager and friend, Mike Kappus.

Click below to learn more about the box set,
and to find exclusive John Lee Hooker merch.
ORDER NOW
Watch the unboxing video below to get
a closer look at King Of The Boogie:
For more information on King Of The Boogie,
and John Lee Hooker’s centennial celebrations,
visit johnleehooker.com,
or follow his official facebook page.
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Jimmy Reed’s lazy drawl, high harmonica sound, and tightly constructed blues songs are part of the bedrock of American roots music. For a decade in the late 1950s and early 1960s, he was the most popular blues artist in America, crossing over to the pop charts with songs like “Big Boss Man” and “Baby What You Want Me to Do.” Blues, country and R&B artists, including Neil Young, The Rolling Stones, Etta James and Elvis Presley, have covered his tunes.

This 3-CD collection spans Reed’s most prolific period – from the early 1950s to the mid-1960s, and includes not only his biggest hits – all remastered in their original mono format – but also several rarities from newly discovered master tapes that have never been released digitally. An annotated discography, plus detailed session notes and liner notes have been meticulously compiled by the album’s GRAMMY® award-winning producer, Scott Billington, who, as a music historian and blues musician, offers deep insight into Reed’s artistic process. Here are his complete Vee Jay singles—his defining body of work.

ORDER NOW!
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The Sherman Holmes Project
The Richmond Sessions

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Blind Pig Records today, August 11, 2017, unleashes a new album from Altered Five Blues Band. The Milwaukee-based quintet is the first artist to join the roster of the esteemed blues/roots label since it was acquired by The Orchard, one of the largest independent distributors in the world. The band’s label debut, Charmed & Dangerous, was produced by multi-Grammy-winner Tom Hambridge (Buddy Guy, Susan Tedeschi, James Cotton).

According to the Minneapolis Star Tribune, frontman Jeff Taylor’s voice is “gloriously gritty.”Downbeat raves that Jeff Schroedl’s “live-wire guitar reaches the high bar of mixed invention and fluidity,” while Blues Bytes magazine declares the group features “the funkiest rhythm section outside of Memphis.”

Charmed & Dangerous is the eagerly awaited follow-up to the group’s 2014 album Cryin’ Mercy, which reached #3 in the iTunes blues store, hit #1 on the Roots Music Report blues chart, and won “Best Self-Released CD” at the 2015 International Blues Challenge. The new album features 13 tracks, including one inspired by legendary Delta bluesman Robert Johnson entitled “Three Forks.” The song features music, adapted with the permission of Johnson’s publisher, from the seminal classic “Crossroads,” plus a guest harmonica performance by Steve Cohen. Videos will also be released for four songs:  “On My List to Quit,” “Three Forks,” “Eighth Wonder,” and the title track.

Taylor commented, “We’re fans of so many artists and records in the Blind Pig catalog, from Magic Slim and Otis Clay to Tommy Castro, Elvin Bishop, and more. We couldn’t be more excited and honored. This is a major milestone for our band and music.”

“We’re very happy to be working with Altered Five Blues Band,” added Chris Lauterbach, Director of Owned Repertoire and Special Products for The Orchard. “The new tracks sound great, and we think their music adds to Blind Pig’s rich 40-year history.”

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Video for “Three Forks”
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Delta Blues Museum celebrates
John Lee Hooker: Endless Boogie
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Announcing the 2017 Living Blues Awards Winners!

Living Blues #250 is headed to your mail box!

The August/September #250 issue of Living Bluescelebrates the blues of Clarksdale, Mississippi and the 30th anniversary of the Sunflower River Blues & Gospel Festival.
Our spotlight on Clarksdale includes an overview of 30 years of Sunflower Fest, a look at some of the city’s next generation of blues musicians and the music education programs that have spawned them. We explore two of the funkiest juke joints in the area, Big Red’s Place a.k.a. Red’s Lounge and Robert “Bilbo” Walker’s new club just outside of Clarksdale, the Wonder Light City, housed in an old, blue Quonset hut. Jim O’Neal details the evolution of the blues in Coahoma County, in the first of a series of Clarksdale blues articles we plan to publish. As usual, in our location issues we also spotlight items of interest for blues fans including festivals, clubs, music stores, blues gravesites and of course all of the best local restaurants.
Congratulations to all of the 2017 Living Blues Awards winners!

Digital and print subscriptions or single copies are available at www.livingblues.com.

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TO LIVING BLUES!
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