The Groove: Mar-Apr 2017

The Crossroads Blues Society Newsletter

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The

GROOVE

Doug Deming Coming to Blues Fest

In early January we found out that Steepwater Band had a conflict with a big offer for an overseas opportunity for which we wish them well. It gave us the opportunity to reach out to one of our favorites who mixes blues and swing and R&B into a fantastic sound, none other than Doug Deming and the Jewel

Tones! He will have a surprise guest artist with him, too!

Tickets have just gone on sale. You can get them from Crossroads Board Members, our website http:// crossroadsbluessociety.com, and all our retail ticket outlets. They are:

Rockford: Woodman’s Supermarket (Perryville) Culture Shock (Charles St) Guzzardo’s Music (Charles St) Smokehouse BBQ (Harrison & S. Main) CD Source (State St Downtown) Toad Hall Records (Broadway) Just Goods (7th St) Lyran Club (4th Ave) Loves Park: Hope and Anchor English Pub (N. 2nd St) Machesney Park: Pig’s Mind Brewery Freeport: TBD Beloit: Paradise Guitars Byron: Snyders Drugs Felker’s Market Oregon: Snyders Drugs Winnebago: Snyders Drugs

March– April 2017

2016/2017 BITS By Date 

10/14/16 Mark Dvorak and Steve Jones at Durand and Shirland Schools (2)  12/02/16 Bobby Messano at Haskell ES and Spring Creek ES (2)  12/16/16 Dave Fields at Carlson ES and Lathrop ES (2)  12/17/16 Dave Fields at Byron Public Library Community(1)  12/21/16 Gerry Hundt at Froberg ES and Highland ES (2)  02/08/17 Tas Cru at Thurgood Marshall ES (1)  02/09/17 Tas Cru at Whitehead ES (1)  02/15/17 Dan Phelps at Rockford Day Nursery Child Care Center (4)  02/21/17 Dan Phelps at Orton Keyes Child Care Center (9)  02/22/17 Dan Phelps at Hand-nHand Child Care Center (2)  02/23/17 Fruteland Jackson at Rockton Grade School ES and continued on page 2 Whitman Post ES (2)  02/28/17 Dan Phelps at Fairgrounds Child Care Center (8)  03/02/17 Dan Phelps Dennis Early Education Center (2) 03/09/17 Billy Flynn at McNair ES on March 2nd, with over 800 pre-  and one other school (2) school students at those events.  03/17 Dan Phelps at East HS (1) continued on page 2  03/17 Dan Phelps at East HS (1)  03 or 04/17 Bobby Messano at two schools (2)  05/12/17 Dave Fields at two schools (2) 46 programs projected for 8,000 students this school year

2016/2017 BITS Has Been Huge!!!

As of March 2nd we will have completed 14 school BITS programs and 25 Headstart pre-school BITS programs. We estimate that by May, when we celebrate 15 years of BITS, we will have reached 8,000 students this school year, the most ever!

Fruteland Jackson returned as we passed 200 total BITS programs. He was the presenter for our first and our 100th BITS programs and here we are with 221 programs conducted for over 56,000 students! Fruteland

spent Thursday February 23rd at Rockton’s Rockton Grade School and Whitman Post Elementary School and gave one heck of a set of programs to about 950 students total at those programs.

Dan Phelps completed 5 days at Rockford’s Head Start Facilities

Inside this issue: News Music Reviews Playlist, Members Membership Application Upcoming Events

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The Groove- Crossroads Blues Society Newsletter

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2017 Crossroads Blues Festival Tickets On Sale We will have some new ticket outlets to announce, too. You can also send a check and a SASE to Crossroads Tickets, PO Box 840, Byron, IL 61010.

The 2017 Crossroads Blues Festival logo contest is still going on. Get entries turned in to us ASAP to us please!

Sponsorships are available at several levels: Festival Sponsor: $5,000.

One sponsorship is available. Festival name will include sponsor (e.g. “The Acme Crossroads Blues Festival at Lyran Park” or perhaps “Crossroads Blues Festival at Lyran Park brought to you by the Acme Company.” Benefits include logo integrated into festival logo for all uses including the front of the tee shirt and on television advertising, recognition on banner on stage, recognition in newsletter and other printed materials plus 100 free tickets Platinum: $1000 and up. Benefits include logo on television advertising, large logo on banner on stage, large logo on tee shirt back, recognition in newsletter and other printed materials plus 25 free tickets.

Gold: $500 to $999. Benefits include small logo on banner near the stage, logo

on tee shirt back, recognition in newsletter and other printed materials plus 10 free tickets.

Silver: $200 to $499. Benefits include larger name on banner near the stage, larger name on tee shirt back, recognition in newsletter and other printed materials plus 4 free tickets.

Bronze: $100 business, $50 individual.

Benefits include small name on banner near the stage, name on tee shirt back recognition in newsletter and other printed materials plus 2 free tickets.

Gold and above sponsors also get to have a free promotional tent/booth at the festival and may place banners in the park.

All sponsors are also frequently noted on stage after each act. .

2016/2017 BITS Tally at 47Programs & Rising!

Dan’s programs begins with a brief Introduction by Crossroads President Steve Jones. Steve explained how the blues are the first original music form created in the United States and came to us from African American slaves who blended their music with European church music and Field Hollers. He and Bob Haendler gave out instruments for the kids to be Dan’s “band” and then introduced Dan Phelps.

current American popular music. He played, had the students sing along with “The Blues Had a Baby and They Called it Rock and Roll” while the students stood with one hand on their hip and the other hand pointing and dancing in place. The kids loved it at each facility and class and it was a huge success! We were at Rockford Day Nursery, Orton Keyes Head Start, Hand N Hand Day Care, Fairgrounds Head Start and Dennis Early Childhood Center-Head Start/RPS 205 Collaboration.

Dan did a brief introduction and played “Little Red Rooster” for the students after making sure they were ready to make farm animal sounds during the songs. He then played “Barnyard Boogie” and had them keep the beat and do call and response to the choruses.

On February 8th and 9th Tas Cru and his Band of Tortures Souls were respectively at Thurgood Marshall Elementary and Whitehead Elementary Schools. Tas and the Band captivated the students with their music, interaction and discussion.

Fruteland Jackson received a Keeping the Blues Alive Award in 1996 for his education work while Tas received his in 2014.

We are proud to bring these renowned music educators to area schools!

Lastly, Dan explained how the blues gave rise to rock and roll and all the forms of

Billy Flynn is scheduled for 2 programs in March while Dave Fields returns in May.

We also are looking to have Bobby Messano back and Dan Phelps will return to East HS for 2 days working with three guitar classes each day some time in March. We are having a bang up year and will also do another Byron Library event in June. With Dan Phelps. We may do even more– stay turned for info!

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Head Start BITS with Dan Phelps

February 15th- Day One. We were at Rockford Day Nursery on 6th Street. Not sure how pre-school programs would be received, we were tenuous when we arrived. After getting out feet wet, Dan Phelps, Bob Haendler and all the kids had a blast at our 4 programs. Our plan worked and we’d developed a winner!

Photo by Bob Haendler February 21st- Day Two. Now we were at Orton Keyes Head Start off of Kishwaukee Road. It was a long day with 4 AM and 5 PM programs but it was fun!

February 23rd– Day 3. Two larger programs in Loves Park at the Hand N Hand Day Care Facility. These kids were the best dancers so far!

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The Groove- Crossroads Blues Society Newsletter

More Head Start BITS with Dan Phelps

February 28th- Day Four. Six more programs (we did combine two in the AM and two in the PM) so it was 6 instead of 8, this time at Fairgrounds Head Start on Acorn St just off Kilrburn. A raucous and joyful event! And the kids were into it

March 2nd– Day Five. Dennis Early Education Center which is Head Start collaborating with RPS 205. The last day of one of the coolest BITS events we’ve ever set out to accomplish! We split the sessions in two in both AM and PM, 3 and 4 classes each.

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More BITS with Tas Cru & Fruteland Jackson

Tas Cru and His Band of Tortured Souls at Thurgood Marshall ES. Photos by Rick Davis

Fruteland Jackson at Rockton Grade School and Whitman Post ES

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The Groove- Crossroads Blues Society Newsletter

Ghost Town Blues Band Rocks Out the MPAC! Friday night February 24th the Mendelssohn PAC went wild for the great Ghost Town Blues Band from Memphis, Tennessee! It was a fantastic reprise of their music from our festival last August and they gave us two killer sets of music.

The driving beat of Preston McEwen on the drums and Matt Karner on the bass provide a superb backdrop. Multiinstrumentalist and front man Matt Isbell on his cigar box, silverware chest and electric guitars and vocals sets the tone for the performances. Trombonist Suavo Jones and and Taylor Orr on lead guitar are both superb and make for a great night of music.

Thanks to Lee Ann Flynn (Sweet Music Chica) and Rick Davis for adding their photos to the mix– great shots! And thanks to Lee Ann for her coverage of our events in the last issue of Big City Rhythm and Blues– we appreciate it!

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The Blues Return The Hope and Anchor 2nd to the BMO Harris Bank Center Saturday Shows and Ice Hogs Fri- Remain a Hot Commodity! day Pregame Shows For the third straight season there will be pregame music events featuring blues and blues rock artists playing from 5:15 to 6:45 PM prior to each Friday home game for the AHL Hockey Affiliate Rockford Ice Hogs. The season kicks off with music at the Blues Flame Lounge on October 28th with the first Friday home game. Local band Recently Paroled with play their high energy, rocking blues to the great crowds that come out for music prior to these Friday games. Music will be featured prior to each Friday home game this season, nine dates in all:     

28-Oct Recently Paroled 25-Nov Val and Char Browne 2-Dec Val and Char Browne 30-Dec Roy Roots 13-Jan Matthew Flamm & These House Rituals  27-Jan Don Collins & the Night Shift  17-Feb The Hoodoo Rhythm Kings  3-Mar Andrew Robinson  31-Mar Recently Paroled Admission to the shows is free with a ticket to the game. Check out the schedule and get info for these events here: http://icehogs.com/tickets/Blues-FlameFridays/ and go out for some great music and hockey!

March brings Shaun Holt and the Teardrops in while April has Joanna Connor returning from her festival success last August. Shaun keeps Magic Slim’s leg-

Crossroads Blues Society Officers and Board Members Contact Info President: Steve Jones sub_insignia@yahoo.com Vice-President: Bill Graw williamjgraw@gmail.com Secretary: Bonnie Fox bonitafx@gmail.com Treasurer: Terry Keller terry@markpack.com Board of Directors: Denny Barker harkthebark@mchsi.com Rick Davis rick_davis_937@comcast.net Bob Haendler rhaendler@comcast.net Ken Pearson cntrylivng@aol.com Rick Hein mrrickhein@sbcglobal.net

acy and band on the road while Joanna shows she is equal to anyone with her awesome slide work! Show are at 8 PM March 11th and April 8th and no cover before 7 PM for diners! $5 cover starting at 7 PM. We thank the Hope & Anchor for their continued support of these monthly shows the last 3-plus years and look forward to many more events there this year and beyond! And in May we have Reverend Raven and the Chain Smoking Altar Boys returning for another show!

The Groove- Crossroads Blues Society Newsletter

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Music Reviews The Catfish Popa Chubby Popa Chubby Productions www.popachubby.com 12 songs/57 minutes No one in the blues community is enigmatic as Popa Chubby. Despite his heavily tattooed appearance and sometimes in -your-face personality, like the music he plays, he’s a true dichotomy: intelligently switching between hard-edged blues-rock to jazz and sweet, gutbucket blues, as The Catfish, the 18th release in his 25year catalog, clearly shows.

There’s no argument about his punk pedigree, having spent his youth in denizens like CBGB in New York. But beneath the weathered surface, he’s a larger-than-life, thinking, caring man with a great appreciation for his fans. “This recording is for you,” he states in the liner notes of this one. “You inspire me every day. You make me want to play better, write better, sing better.”

A fearless entertainer, Chubby – born Ted Horowitz – is a powerful vocalist and guitar player who’s able to switch from the most tender of blues ballads to the most blistering rock riffs without a moment’s notice, as The Catfish demonstrates once again. A collection of 10 originals and two covers, Popa contributes most of the instrumentation here, playing guitar and providing percussion on all tracks, drums and bass on six tunes and keyboards on another.

He backed here by Dave Keyes on keyboards throughout with additional rhythm from Dave Moore and Rich Monica (drums) and Matt Lapham (bass).

Chubby’s daughter, Tipitina Horowitz, provides trumpet accents for two cuts.

The rock-tinged blues “Going Downtown See My Old Gal Sue” opens the set with Chubby flying across the Stratocaster with burning single-note runs atop a funky backbeat, displaying the six-string mastery fans have come to love. “Good Thing,” a funk with guitar breaks, a jazzy piano solo and plenty of sexual innuendo follows before a new arrangement of “Bye Bye Love,” a tune written by Felice and Bodleaux Bryant and a hit for both Buddy Holly and the Everly Brothers.

“Cry Till It’s A Dull Ache,” a straight-ahead blues-rocker about enduring five years of agony after a lady said goodbye, precedes “Wes Is More,” a seven-minute tribute to guitarist Wes Montgomery. It’s a sweet sonic break from what’s come before and puts Chubby’s jazz chops on display with stop-time breaks and swinging riffs from Keyes on the keys.

“Put A Grown Man To Shame” comes across with a Memphis feel before the cover tune, “The Catfish,” hints of the Delta as it draws parallels between the river bottom dweller and Chubby himself, knowing he’s fat, elusive and always the boss. A country blues cover of Robert Johnson’s “C’mon In My Kitchen” brings the CD to a close.

Popa channels Lemmy Kilmister for the rocker “Motorhead Saved My Life” before the tempo slows for “Blues For Charlie,” a burning instrumental, before picking up steam for “Dirty Diesel,” an uptempo number about a woman who’s out-of-control but still looking good. A military drumbeat and Tipitina’s horn introduce “Slow Down Sugar,” a reggae-flavored rap that urges the subject to make the morning last.

Available through most major retailers and dedicated to the memory of Timber Dawg Horowitz, a pooch Chubby lost after five short years,The Catfish presents Popa at his best. If your ears are open to influences beyond the old blues one-four-five, you’ll love this one.

Reviewed by Marty Gunther

Blues in the Preschool at Dennis Early Education Center

Blues in the Preschool at Dennis Early Education Center

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Ike March– April 2017 If You Want A Good Woman Tim Gartland Tastes Good Music www.timgartland.com 12 songs/44 minutes Like your blues laid back and soulful Southern style? Like your harmonica smooth and old-school, devoid of overblows and pyrotechnics? Like your tunes simple and deep? Then this CD’s right for you.

Tim Gartland fell in love with the blues after seeing Muddy Waters in concert near his home in Warren, Ohio, when he was just 14. Born into a large musical family, he gravitated to the harmonica early. Three brothers were guitar players and he sought a way to fit in to the clan’s jams.

After graduating from Kent State University, he moved to Chicago and began what turned out to be a 25-year career in business. But the blues always beckoned.

He hung out at the clubs and studied harp with Jerry Portnoy, Muddy’s reed-bender for most of the 1970s. And he cut his musical teeth on stage by sitting in with Pinetop Perkins, Carey Bell, Bo Diddley and others.

Tim relocated to Boston in 1991 for work.

That’s where he co-founded The Porch Rockers, a group that eventually released three albums. He didn’t make the leap to music fulltime until 2010 or so, 12 years after being a finalist in the Boston Blues Challenge. In the time since, he’s released two previous CDs – Looking Into The Sun and Million Stars – and written an instructional book, The Talking Harmonica.

Gartland moved to Nashville in 2015, where Kevin McKendree, a longtime bandmate of Delbert McClinton, produced this album. It’s a good fit. Despite his Rust Belt and New England background, his relaxed attack on diatonic and chromatic harmonica and his baritone stylings are a perfect fit in the Music City landscape.

He’s backed here by Tom West on keyboards, Tom Britt on electric and slide guitar, Lynn Williams on drums and Steve Mackey on electric and upright bass.

Wendy Moten -- whose song “Come In Out Of The Rain” peaked at No. 5 in the Billboard Adult Contemporary charts – provides backing vocals, and McKendree adds piano and organ on three cuts.

All of the material here is original. The loping “What The Blues Look Like” runs down all of the themes popular to the music in one neat package to start the set.

Gartland’s attack on the reeds features

single-note runs, and his vocals are molasses sweet. Next up, Tim has an “Hour’s Worth” of whiskey but “an evening to kill” in a medium fast shuffle highlighted by West’s work on the keys.

“I Had It All” is a slow blues regret on chromatic about losing the love of your life through your own ignorance, while the title tune, “If You Want A Good Woman,” relies on a country feel as it advises to be a good man and to give the lady reasons to believe in you. The ballad “I Come When You Call” is a love song of the first order, while the funky instrumental “Eight Ball” gives Gartland space to stretch out on the diatonic.

“If That’s What You Call Love” questions a woman’s words in contrast to her actions before “Introduce Me To Your Hat” suggests that the subject should be himself/ herself instead of changing appearance in an attempt to be someone else. “Too Many Groceries” is a bit of blue-eyed soul about someone who’s “as subtle as a train wreck.” It alludes to her issues by stating she has “too many groceries for one bag.”

Gartland refers to the constant bombardment of pharmaceutical ads on TV in “Where’s The Cure For You” before tipping his hat to Willie Dixon in “Willie That’s Who” – the “man who put the wang in the dang doodle and was born the seventh son” before a speedy instrumental -- “Go West!” – brings the set to a close.

Available through Amazon and CDBaby, and strongly recommended if you good tunes with great messages and a relaxed, down home feel.

Reviewed by Marty Gunther Swing Set Eight O’Five Jive Red Ruby Too Tunes www.eightofivejive.com 11 tracks/36:33 Harking back to a bygone era several generations removed, the Nashville-based ensemble Eight O’Five Jive sounds right at home with a retro style full of cool rhythms designed to excite the dancers and humorous lyrics that address the various shades of love as viewed through an alcohol-induced sheen.

Vocalist Lee Shropshire has a smooth, mellow voice complimented by vintage dresses and cool spectacles. Her husband, Andy Scheinman, is the band’s guitarist. The other instrumental soloist is saxophonist Patrick Mosser while the swinging beats stem from the combined efforts of Bill Bois on bass and Duane

Spencer on a Cocktail drum kit. The four musicians also add backing vocals as needed.

Several blasts from Mosser’s horn open the disc, then Shropshire delivers a smooth litany of her cocktails of choice with a special request on “Make Mine A Double”. On the closing track, ‘A Little Bit Of Bourbon,” she finds comfort in the warm glow generated by the whiskey, with Scheinman urging her on with a fleetfingered solo. In between these bookends, the group runs through nine other songs that never fail to induce your feet to start tapping.

“Get Away” is a excited plea for a break from the stress of life, accented by Mosser’s brawny sax. The buoyant tempo on “Never” will certainly fill the dance floor every night while “One More Glass Of Wine” returns to the alcohol theme, with Shropshire breaking out her femme fatale attitude as she delivers a resounding kiss off to a man headed out of her life. Mosser chills the mood with a wispy solo that seems to come complete with late-night cigarette smoke. The mid-tempo glide and humorous lyrics on “Watch Out For The Wives” take some of the edge off Shropshire’s recitation of mistreatment at the hands of male deviants. She issues a nodoubt-about-it warning on the bluesy ‘Back of My Hand,” letting her man know she is nobody’s fool.

Throughout the disc, Mosser and Scheinman deliver short, concise solo statements, as they do on “Put It Back” while Shropshire delivers a captivating sermon on booze, neon lights, and enjoying life after the work day ends. “Ragged” finds Shropshire looking for a break from her man’s constant attention, reassuring him that her love is true. On “I Won’t Wear Flats (To Your Funeral),” her voice rides a jazzy rhythm while delivering a solemn promise to celebrate in style once her man leaves this world. The lone cover, “My Mumblin’ Baby,” is a rocking tribute to a tongue-tied man complete with Mosser’s obligatory sax solo and a fiery turn from Scheinman before the duo engage in a heated musical exchange.

The party never ends for Eight O’Five Jive. Even when things take a turn for the worse lyrically, the band keeps swinging their cares away with tight rhythms and a hep cat attitude that has no time for worrisome, downhearted blues. This one will be a guaranteed delight for for all the cool chicks and chucks!

Reviewed by Mark Thompson

Ike Page 10 Simmered & Stewed Tas Cru Vizztone Label Group tascru.com 11 tracks What Tas Cru presents here is, well, 11 old and recycled Tas Cru songs. That would not be so cool except here we have 11 tunes he did on prior solo albums in a very minimalistic manner. The cuts here are a full production with backing and arrangements. What Tas has done is taking the sound he achieved and loved off his last album in December 2014 and recreating that with some of the stuff he still does at his shows that he’d released on solo albums. He says, “Finally, after five albums everything fell into placethe songwriting, the performance, and production.” He doesn’t have inventory to sell those old CDs so he figured why not take the stuff he still plays and create a bigger and better sounding version of it? I must agree. He’s done a fine job here!

Tas Cru is based in Upstate New York and has been a fixture as a solo artist and as a blues educator. He was the 2014 Blues Foundation's Keeping the Blues Alive Award (KBA) for Blues Education. His success as a blues educator is noteworthy as is his music. Also, in 2009 he was named by Blues Festival Guide Magazine as their 2009 Blues Artist on the Rise. So Tas is renowned and has been a superb musician for many a year. What’s different is his approach. Drums, bass guitars, harmonicas, backing vocalists pianos, and organs were used in the production of these cuts. Tas wrote all but one of the tunes here and produced the album. It was recorded in three locations in Upstate New York.

“Dat Maybe” starts things off. It’s got a driving beat and blasts off smartly with a big harp (Dick Earl Erickson on all tracks) and Tas on electric guitar delivering a high energy, rocking blues sound. Chip Lamson is on piano here, but it’s on the second track where we see him featured. “Grizzle and Bone” has him doing some mean solo and backing work. The harp also comes in for a nice solo and the organ (Guy Nirelli on tracks 1 and 2) is effective in support. This is a hopping and fun cut and Tas does a great job on vocals and guitar.”Feel I’m Falling” opens to resonator guitar and then the thump of a foot pedaled drum. It builds and builds with haunting backing vocals and slide as Taz testifies. The full band joins in and finishes things off in a cacophony of sound until things end and go out with the wind. “Time and Time” is a slow ballad with a mournful harp that counters Cru’s vocals. Thoughtful guitar and a deep bass line

by Mike Lawrence also impressed me. A funky boogie gets things going with “Road to My Obsession.” It’s interesting and cool as

The Groove- Crossroads Blues Society Newsletter Tas bounces through the lyrics. Tas fantasizes over his baby’s “Bisquit” that he misses in another driving and upbeat cut. Guitar, piano (David Liddy this time) and the rest of the band all shine in this one. There is even some slide to satisfy the slide lovers.

“Cover My Love” is next. Has a lot of percussive sounds along with witty lyrics and a host of cool sounds as the band and Cru weave their way through another uptempo cut. Liddy’s piano and the harp blowing complement the guitar and vocals nicely. “Woman Won’t You Love Me” has a longish intro. It’s a big, slow country blues with Cru pretty much begging his woman for some love. Slide and harp take us down home and Lamson’s piano adds well to the mix. “Just Let It Happen” is a is a fun song where Cru instructs us to be loose and just do what the song title says. He picks out some guitar for us and Lamson’s piano keeps pace. It’s a bouncy little ditty. Things get darker and dirtier in “Tired of Bluesmen Cryin’” and then Cru lets loose on his compatriots by basically telling them in a tongue and cheek way to man up and stop complaining about losing loves, families and homes. Lamson offers some interesting and dark twists to boogie woogie piano. “Higher and Higher” closes the CD, the only non-Tas Cru cut. Tas takes this way down in tempo, making it almost into a slow spiritual. The organ sets the tone (Lamson again), and Cru builds things from his opening resonator guitar into electric and then with his slide work. He and the backing vocalists increase the intensity as they and the band make this into an interesting cover .

Ron Keck does percussion throughout. Mary Anne Casale and Alice “Honeybea” Erickson are backing on vocals throughout, too. 13 other artists fill in on the other tracks. They all contribute well and make Cru’s more sparse original recordings into new sounding production cuts.

Cru is shown on the album cover mixing a big pot of something in an industrial kitchen, symbolizing his chef work in taking his solo stuff and cooking them up in a new and intriguing way. I like Cru’s acoustic stuff but I like his stuff here, too. He’s done a fine job finding a new angle and way to make his old songs new and cool. I liked the album and enjoyed each of the cuts. It there is any complaint I might offer the backing vocals were very big at times throughout the album. I think that was the intent, but it almost seemed to me they were the featured vocals. Despite this small comment, this is cool and fun stuff. I think his fans will like it and I think blues fans in general will like the well produced and integrated cuts with lots of keys and guitar and harp blended with vocals to make some fresh and interesting music. Well done!

Reviewed by Steve Jones

Restless Heart Mary Ann Casale Crustee Tees Records maryanncasale.com 12 tracks Mary Ann Casale is a Syracuse, NY based artist who originally hails from Long Island.

Touring with and supported by Tas Cru and his band on this CD, Casale is a good vocalist and guitar player. She plays acoustic while Tas supports on both acoustic and electric guitars. The rest of the Wild Hooligans Band is Dick Earl Erickson who blows some more great harp while his wife Alice does backing vocals. Sonny Rock is on drums, Ron Keck fills in on percussion for a track, Dave Liddy plays piano, Guy Nirelli is on organ, Bob Purdy plays bass and Andy Rudy is on organ on one track. Casale dabbles in the blues, folk and Americana and has a long career in her craft.

Casale has a breathy and deep voice. The opening tracks showcases that as she sings in this rootsy cut with good organ and guitar work. The harp supports nicely as a whispering wind and Cru offers a fine electric solo. “Clear Skies” is similar in a haunting and cool way. The cut “By The Riverside” is a folksy Americana cut with piano and harmonies that hearken to a bygone era. Next is “Don’t Know Where To Start,” a slow ballad with a country sort of feel to it; nice lead and electric guitar and harp fills, too.

“Threads of Time” is next, a more upbeat cut with Tas opening up picking his electric guitar. Casale is supported well by the organ as she belts out the vocals. “One More Hour” has a bluesy feeling to it. Cru offers some well done guitar licks and Casale shows her chops on vocals, building a little and nicely through the song. Piano and guitar solos and the harp again fills sweetly.

“I Got a Fever” moves the tempo up a bit as Casale sings of her fever for her man. Earl does some sweet harp work here and the organ has a nice presence, too. Cru gives a country feel to his licks here. “Cryin’ Over You” is another ballad of lost love. Thoughtfully done, the band offers similar restraint to sell this one. They get bouncy with “Room For You,” a tune with a quick shuffling beat as Casale sings the blues. It verges on rockabilly as Cru offers a good guitar solo– it’s bouncy and lots of fun with a piano and guitar trading licks. “Storm Before The Calm” is a sultry cut with great guitar work throughout. “I’m Leavin’ Town” is a bluesy Americana cut with a honky tonk beat.

“Eclipse” closes things out, offering up a cool Native American sound with only vocals and percussion. Thoughtful and cool.

Casales is a good vocalist and has great support by the band behind her. Her rootsy and deep vocals are different and offer the listener a changeup from the norm. I enjoyed the album!

Reviewed by Steve Jones

Ike March– April 2017 The Secret Of My Success The Cadillac Kings 33 Records www.cadillackings.co.uk 14 tracks/59 minutes The Cadillac Kings are undoubtedly the top rhythm and blues band on the UK scene and their latest album that may well be their best yet. The line-up remains stable from the previous release: Mal Barclay on guitar and vocals, Tim Penn on piano and accordion, Paul Cuff on bass, Roy Webber on drums and vocals, singer and main writer Mike Thomas adding slide and harp. Mike wrote ten tracks, adapted one tune and there are three covers.

Opener “For Richer, For Poorer” has great T-Bone Walker guitar from Mal and Mike’s cynical humour as he advises on marriage: “Get married in the morning, that’s the sensible way; then if it don’t work out you haven’t wasted the whole day”. Tim’s piano is at the heart of “Five Won’t Getcha Ten” as Mike tells of ‘a real heartbreaker’ and “Wasted” has some depressing news: “when we reach the age of 50 we get the face we deserve”! Tim’s accordion drives “Cadillac Shake”, an ode to classic cars and Mike’s harp adds to the shuffle “I Ain’t Gonna Miss Ya”, another tale of romance gone west. “Left-Handed Woman” is another comic song done in Jimmy Reed style and “One Step Forward” references Bo Diddley with maracas and shimmering guitar. The band hits a rocking groove on the title track in which Mike seeks his Dad’s advice – get five women with all the virtues and make sure they never meet! “Stalking Blues” is a darker song, apparently inspired by watching “Fatal Attraction” and “Everybody’s Out” uses a Charleston tempo as the band swings like crazy and Mike vents his frustration about selfishness.

Turning to the covers, the piano leads on Professor Longhair’s New Orleans classic “In The Night” while TV Slim’s “Flatfoot Sam” has Tim’s rocking piano, Roy’s rhythm work on the rims and Mal’s scorching guitar break. Rockin’ Sidney Simien’s “No Good Woman” features Mal’s echoey guitar and Mike’s harp to evoke the swamps of Louisiana. Mike adapted Henry Glover’s “California Sun”, relocated it to Louisiana and renamed it “Soleil de Louisiane” to provide a rocking finale to the disc.

This disc has everything that fans of the band expect: great playing, appropriate reference to their influences and some hilarious lyrics on the originals. Unfamiliar

Page 11 with the CK’s? Check them out and buy this terrific disc.

Reviewed by John Mitchell I'll Sing The Blues For You Trudy Lynn Connor Ray Music http://www.connorraymusic.com/trudylynn.html 10 tracks Trudy Lynn is a fantastic blues singer whose presence on the music scene spans over five decades. She joined forces with Steve Krase and Connor Ray Music i n her hometown of Houston in 2014 and began writing songs and choosing covers that fit in with her original music and now has produced her third album with them.

Born Lee Audrey Nelms 68 years ago, she grew up in her Mom's beauty shop down the street from the Club Manatee in Houston where she listened from outside the venue to the likes of Joe Hinton and Bobby "Blue" Bland. She sang in high school and then in clubs singing R&B, soul and blues for years but was unable to sign a good recording contract. In the 1980's Ichiban Records was stood up in Atlanta and gave Trudy her first real recording success. She toured the world for many years singing at major festivals and now for the last few years she has focused on her career with Connor Ray Music. Trudy notes she lost her son in 2015 and Steve Krase and Connor Ray Music helped her get through those tough times.

Featured on the CD with Trudy are Steve Krase on harp, David Carter on guitar, Terry Dry on bass, Randy Wall on keys and Matt Johnson on drums. They offer an explosive backing to this dynamic and seasoned vocal powerhouse. I got to meet and hear her at the Blues Blast awards where she was nominated several times and now she has been nominated for a BMA. She is the real deal!

She opens this set with the jumping "Alright Baby," a Big Mama Thornton cut that she and the band just blow away. It's a big, driving cut and a super opening for the album. Krase blows some mean harpp as Lynn gives a fine performance. Lowell Fulson's "Black Night" takes the tempo way down for a fine, slow blues . As she sings it's a if shes stirring a big old pot of emotions for us to savor. The guitar solo and work is sultry and

suave; very tastefully done as is the piano work.

Lynn's original cut follows; "Thru Chasin' You" starts off with a little funkiness and Krase punching out some nice harp. The organ, piano ad harp all support things nicely as Trudy tells her man off. It's a great cut. Mel Tillis' 1957 "Honky Tonk Song" gets a gutsy and fun cover. This country tune has been also done by the likes of Koko Taylor as far back as 1963. This is a fantastic version with Lynn and Krase playing the major protagonists. Memphis Minnie's "World Of Trouble" opens to some stinging guitar licks and then Lynn some in with her sultry delivery. She grinds out the lyrics with great gusto. Krase and then Carter both deliver super solos, too.

"Ramblin' Blues" opens the second half of the album. It's a Big Maybelle tune that Lynn delivers in a big way. Wall's organ and piano work stands out as Trudy, David and Steve trade vocal , guitar and harp licks. Alma "The Lollipop Mama" Mondy's 1949 "Still My Little Angel Child " gets dressed up nicely by Trudy and the band. This version is a little more bouncy and fun, with Krase's harp replacing the sax and Carter's guitar is a bit more prevalent and well done. Wall's piano also helps to move things along well and he gets a nice solo to boot. Little Esther's "If its News To You" gets a fresh cover. Trudy takes a sassy approach to this similar to Esther. Carter's guitar licks are all over this one as the rest of the band bounce and bop along with this fiery and fun song. Wall gets another sweet solo with his honky tonk piano and Lynn delivers a hot performance.

"Kissin' In The Dark" follows, a tune made famous originally by Memphis Minnie. Lynn sings about how sick she and some friends got sick or in trouble by kissin' in the dark. Johnny Copeland's great "Down On Bended Knee" get's turned down a few notches with this more soulful take by Trudy. Krase offers a cool and restrained solo as does Carter on guitar. They make this work nicely as a slower blues. giving it their own spin.

I've enjoyed Trudy's work over the years and with Connor Ray Music she is in a great place. This is a super soulful blues album with a fantastic singer and great band. If you like sassy and soulful blues, then go no further- this album has some great interpretive stuff that Lynn and company deliver in their own way. I recommend this one with zero reservations!

Reviewed by Steve Jones

Ike Page 12 Get Ready For Me Tom Craig & Soul Patch Self Released www.soulpatchband.net 12 tracks/44 minutes Tom Craig comes from Philadelphia and this is his debut album, recorded in New Jersey at Dave Gross’ Fat Rabbit Studios and produced by Tom and drummer John O’Connell. Tom handles the lead vocals and guitar with bassist Rando Branning, and organist Eric Johnson but the key element here is the five man horn section: Vince Gleason on tenor, Dan Young on alto, Mark Gallagher and Skyler Hagner doubling up on baritone and Sean McCusker on trombone. Dave Gross adds backing vocals to four and Mikey Jr harp and b/v’s on two tracks.

All the material is original and taps into the sort of horn arrangements familiar to lovers of Memphis music and Albert King.

The depth of the horn arrangements is revealed especially listening on headphones: try the opener “Louita” which has each of the four sax players playing a short burst in between verses on a song with a funky backbeat and a brooding bari solo at its heart. In “How Did I Break The Rules” Tom bemoans how his intentions were misunderstood, the horns embellishing everything with a powerhouse riff. The title track has a moody organ base, Tom inviting us to watch out for his music, adding a stinging guitar break on a song that bears a slight resemblance to “Breaking Up Somebody’s Home”.

The Rn’B flavoured “Can’t Stop Thinking About You” adds Mikey’s blues harp to good effect and the ballad “She Did It To Me” has a horn arrangement that takes you back to some classic big band blues.

“Ballroom Dancer” has a lovely swaying rhythm with an appropriate hint of latin as Tom recalls being persuaded on to the dance floor and is immediately followed by “Captain Funk” which is pure dancing music with an infectious rhythm and a superb horn arrangement – a great pair of songs. Tom then settles the band down for a soulful blues ballad “Please Forgive Me Baby” which the horns join in half way through, Tom playing some anguished guitar to suit the mood of the lyrics: “no matter how I try, just keep on disappointing you”. “Tornado” returns to a funky rhythm and another full-on horn section performance before the very catchy “I Can’t Help Myself” finds Tom admitting that he is a real flirt: “After the second set I found myself backstage flirting with a waitress who was half my age – I can’t help myself”! The horns set a fast pace to the short and sweet “Nothing That A Man Can Do” with the trombone and organ to the fore before the CD closes with the soul ballad “Every Woman”.

The Groove- Crossroads Blues Society Newsletter Southern Avenue Southern Avenue Stax Records www.southernavenueband.com 10 tracks/39 minutes Southern Avenue is a new five piece soul band from Memphis and their debut disc is appropriately released on the Stax label. With powerful female vocals over a horn and guitar-driven soul base this is an impressive debut. The band consists of sisters Tierinii and Tikyra Jackson on lead vocals and drums/B/V’s respectively, Daniel McKee on bass, Jeremy Powell on keys and Israeli Ori Naftaly on guitar; Ori released a good solo album in 2016 so the fact that he has hitched his wagon to this new band is significant. The band was formed after Ori saw Tierinii singing and decided that her voice would suit his idea for a new project that then morphed into Southern Avenue. All the material was written by Tierinii and Ori apart from a cover of a classic Ann Peebles song. Horns appear on several tracks, including Marc Franklin of the Bo-Keys on trumpet and horn arrangements, Art Edmaiston and Kevin Houston on sax, Suavo Jones on trombone. Luther Dickinson of the North Mississippi Allstars adds slide guitar to two cuts and Jackson family members Ava, Laurie and Bradley add backing vocals to the final track “Peace Will Come”.

The CD opens with the pure gospel of “Don’t Give Up”, Tierinii’s wonderful voice building up over simple resonator guitar and backing vocals to a full-on church sound, Ori’s guitar adding weight to the slide tones from Luther. The guitar opening on “What Did I Do” is classic Memphis and the horns then add their weight to a pure soul song. “It’s Gonna Be Alright” is a soul ballad, Tierinii sounding suitably vulnerable.

“Slipped, Tripped And Fell In Love” is a familiar tune and is well done here, pushed along by the horns and some emphatic drumming form Tikyra. “Love Me Right” finds Tierinii pleading for real love as she issues an ultimatum to her lover, the tune topped off with a fine sax solo.

The pace quickens and the style changes with “80 Miles From Memphis” as Ori plays some twangy guitar on a rock and roll piece that fairly buzzes along and “Wildflower” taps into the modern pop idiom, Ori playing a nicely constructed guitar solo. “No Time To Lose” is more of a rock-blues tune with plenty of oomph from Ori’s guitar and a tough horn arrangement. The band sets a frantic pace on “Rumble” with a vibrant horn arrangement, rocking guitar and wild vocals before the CD closes with a return to gospel roots with the acoustic-based “Peace Will Come” which omits the horns but does retain the power and passion of the vocals and some striking guitar.

Maiuke - Ukelele Music Willie May Self-Release www.williemaymusic.com 12 tracks/42 minutes Buffalo, NY’s Willie May is an eclectic musician, having made electric and acoustic albums in the past. On this release, however, he sets himself a new challenge with an album of mainly unaccompanied ukulele pieces. Willie wrote ten of the twelve songs here and produced the album. Evan Laedke joins him on melodica on two tracks (including one that he wrote), Mark Panfil plays accordion on one track and harmonica on two and Randy Bolman plays drums on one tune; otherwise everything you hear is Willie who adds some guitar, bass, kalimba and ocarina to his ukulele and vocals.

The ukulele is not heard often in the blues and it is interesting to hear Willie feature the instrument throughout though the music here is far from all blues, my I-Tunes classifying the album as ‘Country & Western’ though folk might be equally appropriate in some cases. On such a minimalist recording there really is no place to hide and Willie’s vocals are not the most robust though some of the songs work fine.

Opener “Go Back Home” has a wistful lyric for which the lone ukelele makes the ideal accompaniment and “Another Moon Song” lopes along effectively with the accordion adding a dimension to the song which finds Willie getting ready to move on in life. “”Damn That Gubmint” (AKA government) with the rather strange melodica and “Shaken’ Tree Blues” are more blues than what has preceded but “Still Love You” (the only track with drums) is more of a catchy pop song with rather obvious lyrics.

Elsewhere Willie finds a little island vibe in “Wish You Could Stay” and “Made In The Shade” in which he sounds very contented with his lot – “I think I got it made”. The last two tracks add harmonica: “Hey Big Fannie” is a comic piece, a swinging blues on which the harp adds a definite blues feel, making it possibly the strongest track here; “Zombie Dance” was written by Ron Kain and adds a spooky feel with mention of a shaman and zombies who have “come to dance all night long”.

Tom is not the greatest vocalist but sings clearly and handles the range here pretty well.

With excellent horns and a good set of original material this CD will please those who enjoy soulful blues. This is one of those CDs that grows on you and repays repeated listening.

This is a good debut disc. Personally I preferred the out and out soul and gospel pieces but the band clearly wants to cover a wider range. This is not a blues album but if you like old-school soul you will find some good stuff here.

This is not an album that appealed to this reviewer’s tastes but Willie’s fans will no doubt appreciate his desire to explore new directions.

Reviewed by John Mitchell

Reviewed by John Mitchell

Reviewed by John Mitchell

Ike March– April 2017 Texas Rhody Blues Knickerbocker All-Stars JP Cadillac Records http:// knickerbockerallstars.com/ 13 Tracks With an all-star lineup of Mark Teixeira on drums, Brad Hallen on standup/electric bass, Al Copley, Bruce Bears, and Matt McCabe on piano, Duke Robillard, Jimmie Vaughan, and Monster Mike Welch on guitar, Doug James on baritone/tenor sax, Rich Lataille on alto/tenor sax, Doc Chanonhouse on trumpet, Carl Querfurth on trombone, combined with vocals from Duke Robillard, Sugaray Rayford, Brian Templeton, and Willie J Laws, it is no surprise that the Knickerbocker All-Stars latest release is gaining popularity rapidly.

In 1992 the USA assembled an Olympic basketball team that some think was the greatest Olympic sports team ever assembled. If I may apply the same label of “Dream Team” to jump blues, I’m sure you would agree this could be one of the greatest groups of blues musicians ever assembled. You would be hard pressed anywhere to find a band with this many veteran musicians! After you listen to Texas Rhody Blues, their third release, I think you will agree that this is truly one of the best groups of musicians ever recorded.

The cd is supported by the Knickerbocker Music Center, a non-profit organization formed in partnership with the Rhode Island Philharmonic Orchestra & Music School. Jump blues legends from the blues community, along with Texas blues legends and generations of blues musicians that have followed, have assembled for a celebration of the blues on one album. Texas Rhody Blues opens with Sugar Ray Rayford singing the Levy/ Kubek tune “Texas Cadillac,” the title track from the 2015 Smokin’ Joe Kubek and Bnois King album. Smokin’ Joe Kubek would be proud to hear Monster Mike Welch take lead guitar on this one. Next on the set list is the King/McCracken classic “You’ve Got Me Licked,” performed by early legends Eddie Taylor Jr. and John Mayall. Willie J Laws takes care of the vocals on this track with Welch still on lead guitar. The Tucker/Walker tune “Respirator Blues” will captivate you with Rayford’s soulful vocals. Welch hands the lead guitar duties over to Duke Robillard & Jimmie Vaughan on the Bartholomew/ Jones track “Going To The Country,” with Robillard also taking care of the vocals.

Page 13 The band keeps the 1951 Roy Milton “I Have News For You” authentic with the same lead musicians in place. Wait until you hear Rayford’s vocal performance on Lowell Fulson’s Chess recording “I Still Love You Baby!” With Welch back on lead guitar and Matt McCabe on piano, the band takes this one to a whole new level that would have Fulson’s approval!

Thibeaux Walker. The grand finale brings us to the classic hit by T-Bone Walker, the Florence Cadrez tune “Tell Me What’s the Reason,” covered by numerous other blues artists over the years. Brian Templeton returns on vocals for the second time and Monster Mike Welch closes the album out on guitar with a spectacular performance from the rest of the band.

Willie J Laws returns on vocals for “I Got With Texas Rhody Blues roots entrenched News For You,” a classic recorded by Pee the Newport Folk and Jazz Festivals of Wee Crayton. With Doc Chanonhouse on the late 1950s and early ‘60s, as well as trumpet and Mike Welch on guitar, supthe 1963 Blues at Newport recorded live ported by this all-star cast, this track could at the Newport Folk Festival, many music be one of my favorites. Brian Templeton fans became blues, rhythm and blues, steps in on vocals for the Bernard/Mann and jump blues fans overnight. With the number “I Trusted You Baby,” recorded by help of jump blues, folk, and Texas blues Eddie “Cleanhead” Vinson. The guitar legends like Bonnie Raitt, Lightnin’ Hop(Welch) and trumpet (Chanonhouse) sokins, Mance Lipscomb, Mike Bloomfield, los take center stage on this song. Duke Paul Butterfield, Al Kooper, Bob Dylan, Robillard’s vocals and guitar, along with Sam Lay, Berry Goldberg, and Duke RoJimmy Vaughan on guitar are a perfect fit billard, blues changed our society forever. for the 1953 Frank “Honeyboy” Patt blues That tight network has once again been tune “Blood Stains On The Wall.” Welch reunited with the Knickerbocker All-Stars. returns on guitar and Al Copley on piano for a stellar performance on the Clarence Reviewed by Rick Davis “Gatemouth” Brown’s hit “Ain’t That Dandy.” With Welch on guitar and Willie Laws on vocals, they set the stage for a great rendition of the 1953 tune “Reap What You Sow (aka Bad Woman Blues),” written and performed Eddie “Guitar Slim” Blues in the Preschool at Fairgrounds Head Start Jones. In a rare interview on the next track, TBone Walker sets the record straight on how his name transitioned from Aaron

Blues in the Preschool at Fairgrounds Head Start

Ike Page 14 West Coast Toast Mitch Kashmar Delta Grove Music www.deltagrooveproductions.com/ project/mitchkashmar/ 11 Tracks Contemporary “West Coast” harmonica is defined by a style and tone set forth by George Harmonica Smith. He settled in California as a stopping point for Universal Attractions touring revue that also included Margie Evans, Little Willie John, Champion Jack Dupree, and Hal Singer & his orchestra. The tour wound down and it was L.A. where George made his home.

From there George generated a whole new generation of harp players in California after his tenure with Muddy Waters when he replaced James Cotton in 1968.

He teamed up with an all-star group in the seventies with Pee Wee Crayton, Buddy Reed, Greg Schaefer, Jerry Lee Smith on bass, and the dynamic Harp duo of Rod Piazza and George Smith. The group Bacon Fat was instrumental in really developing the total “West coast” blues sound we enjoy today.

The Groove- Crossroads Blues Society Newsletter combined with Kashmar’s signature vocals and harp. The tune “Young Girl,” written by the songwriting team of Henry Glover and Rudy Toombs, delivers more of a West Coast blues sound than the earlier 1957 recording by Little Willie John. “Petroleum Blues,” an earlier release on Kashmar’s “100 Miles to Go,” reprised on this new release, goes the distance on vocals and harp, making it one of my favorites on the album. Kashmar, Watson, and Kaplin pull out the stops on the original instrumental “Mood Indica.”

The band pays a memorable tribute to Billy Boy Arnold and his original 1957 classic blues number “Don’t Stay Out All Night.” Kashmar takes you back to authentic California blues on the original “My Lil’ Stumptown Shack,” with his deep vocals and solid harp to compliment the piano of Kaplin and guitar of Watson. Kashmar adds another two more original instruments with “Makin’ Bacon” up first, giving Kashmar, Kaplan, and Watson opportunities to deliver some tasty solos. That

brings us to my favorite track “Alcohol Blues” recorded originally in Chicago (1947) by Sonny Boy Williamson I. The entire band is showcased on this classic blues tune. I especially enjoyed the harp and slow steady walking base groove on this one. It is only fitting that Kashmar would include a tribute to Lowell Fulson, one of his early influences with his rendition of “Love Grows Cold.” The final instrumental track “Canoodlin’ ” allows over 7 minutes to demonstrate a perfect blend of blues and jazz from this all-star band and their long awaited album.

West Coast Toast is dedicated to the memory of California blues legends Randy Chortkoff, Finis Tasby, Johnny Dyer, Lynwood Slim, Candye Kane, Richard Innes, and Max Bangwell. This is one for your collection!

Reviewed by Rick Davis

In addition to Piazza, George Smith had a great impact on a new generation of blues in addition to harmonica artists like William Clarke, Paul deLay, Kim Wilson, Mark Hummel, and Steve Guyger. As time continues, new blues artists climb to the top and continue this swinging world-wide “West coast” branch that is distinctly different than the Chicago blues of the 50’s.

One such artist Mitch Kashmar has been a pioneer in the contemporary “West coast” scene now for three decades.

Blues in the Preschool at Orton Keyes Head Start With his new album West Coast Toast, he pays tribute to this popular blues genre with a combination of covers and original tunes composed through his own individual artistic approach to the blues. With a supporting cast of Junior Watson on guitar, Fred Kaplan on piano, Bill Stuve on bass, and Marty Dodson, Kashmar convinces us that the golden era of West Coast blues harmonica is alive and well.

The band opens the album with the original instrumental “East of 82nd Street,” demonstrating the superb tone Kashmar’s achieves on the chromatic. Bill Stuve rides a heavy bass groove and Junior Watson keeps pace with guitar solos that would impress Hollywood Fats. Fred Kaplin adds some strong support on piano for the Willie Dixon classic tune “Too Many Cooks,”

Blues in the Preschool at Orton Keyes Head Start

Ike March– April 2017 Woman On A Mission Val Starr & The Blues Rocket Valerie Starr Ellis Music www.valstarrandthebluesrocket.com/ 12 Tracks

Page 15 to perfection. After listening to this latest release, it is easy to understand why Val Starr and the Blues Rocket have received many accolades. With her writing ability, she is much more than a performer, but a true blues artist.

Reviewed by Rick Davis

Woman On A Mission is the third release from Sacramento based Val Starr & The Blues Rocket. The band has shared the stage with artists past, present, and future with Rick Estrin & The Night Cats, Chris Cain, Tommy Castro & The Painkillers, Arbess Williams, Laurie Morvan, Daniel Castro, Dennis Jones Band, Kyle Rowland Band, Leah Tysse, and Mick Martin.

With Val Starr on vocals and rhythm guitar, John Ellis on bass, Frankie Soul on lead guitar, and Paul Farman on drums, they open Woman On A Mission with the sizzling tune “Yesterday’s News,” featuring the red hot guitar licks from Frankie Soul and sassy vocals from Starr. On the next track, she tells a tale for all the ladies, advising them to stay away from the “Bad Shoes Blues.” They slow things down for Val to issue her stern warning to stay away from booze on the tune “The Boozin’ Blues.” The title track, “Woman On A Mission,” is vocally soulful, direct, and convincing that she is a woman on a mission. “My Baby” features Frankie Soul with his SRV like guitar licks to create a perfect balance with Todd Morgan’s organ solos, as are tied together with a steady groove laid down by the rhythm section.

The band changes it up nicely with some funky guitar licks, smooth sax from Marty Deradoorian, and sultry vocals on “Steppin’ Outside The Zone.” Starr’s passionate vocals tell the story of her lost relationship, as she says her regrets by asking the question was it “Worth The Cost.” The high powered guitar riffs are blended well on “None Of My Business,” focusing on Val’s vocals with her backup vocals. Slow and seductive best describes the vocals keeping pace with the smooth jazz sax solos on “Mr. Distraction.” “Baby You’re Not True Blue” is a soulful tune with swing guitar to lead into the final West-coast swing tune and finale. Jump blues, swing, and boogie woogie piano keep things jumping and shaking on the track “The Blues Is Not A Color.” As an added bonus Woman On A Mission concludes with the festive Christmas blues tune “Spending Christmas With The Blues.”

Each track is individually woven together with a steady bass groove delivered by John Ellis with lyrics crafted and delivered

Play Date!

Nancy Wright Vizztone www.nancywrightmusic.com/ 13 Tracks Nancy Wright is one of most sought after sax players in the blues arena today.

She has toured North America, Europe, and Asia with such artists as Lonnie Mack, Elvin Bishop, Commander Cody, Johnny Adams, Earl King, Joe Louis Walker, John Lee Hooker, Maria Muldaur, and Greg “Fingers” Taylor (accompanied

by Debbie Davies and Janiva Magnus), opening for Jimmy Buffet’s summer amphitheater Outpost Tour.

She has shared the stage with Stevie Ray Vaughn, Albert King, and Albert Collins, Robert Cray, Bonnie Raitt, Pinetop Perkins, Hubert Sumlin, Lowell Fulsom, Son Seals, and Ike Turner.

Wright recorded with B.B. King, Katie Webster, Elvin Bishop, Joe Louis Walker, Little Charlie and the Nitecats, Mark Hummel, and numerous others in the 80’s and early 90’s, before she stopped touring in the mid-1990.

Her latest studio album Play Date features guests Tommy Castro, Elvin Bishop, Joe Louis Walker, Frank Bey, Wee Willie Walker, Victor Wainright, Mike Schermer, Chris Cain, and Jim Pugh. Combined with Nancy Wright on tenor saxophone and vocals, Christoffer “Kid” Anderson on guitar, Chris Burns on keys, Joe Kyle Jr. on bass, J. Hansen on drums and percussion, Martin Windstad on percussion, Tom Poole on trumpet, Faris Jarrah on trombone, Lisa Leuschner-Anderson on backing vocals, Chauncey Roberts on tambourine , Terri Odabi on lead and backing vocals, and Plymouth Church of Jazz and Justice Choir on vocals, you can almost imagine the caliber of this album. With just the right balance of covers and originals, Wright’s latest release is a great follow-up to her release of the 2014 Putting Down Roots.

Playdate! opens with Wee Willie Walker weaving a web of soul with his vocals on “Why You Want To Do It,” a tune done with the same soul as the early Willie

Harper release. With Nancy’s sax wailing to add to a funky soulful sound, this Harper-Royal tune sets the stage for a star studded collection to come. With Tommy Castro on guitar, he joins Nancy and her sultry vocals for a smooth blues rendition of Willie Dixon’s “I Got What It Takes.” With Victor Wainwright on piano and Nancy on sax, the jump blues original “Yes He Do” jumps and jives with Nancy again on vocals. Joe Lewis Walker joins the party for a little note bending on his guitar solos as he keeps pace with the sax and vocals of Wright on the 1966 Eddie Shaw track "Blues For The Westside."

With Frank Bey on vocals and Wright on sax, the band puts a capital “S” on soul with the McIntosh tune “Been Waiting Too Long.” Wright brings back fond memories of Jr. Walker and The All-stars on her original track “Trampled” with Jim Pugh featured on organ. With the backing vocals of the Plymouth Church of Jazz and Justice Choir, the band opens the vault for the 1951 Martha Carson country gospel “Satisfied,” delivering a lot soul on this one. “Warranty” is an original track with the powerful vocals of Terrie Odabi simmered with some 1960’s funk added to the recipe. In the 50’s, R&B legend Little Easter Williams put herself on the charts with her recording of the Glover classic “Cherry Wine.” Nancy Wright does her own arrangement with a nice delivery from the rhythm section and Nancy spicing it up with some volatile saxophone solos. The band calls on Big Jay McNeely for his hit “There Is Something On Your Mind.”

Nancy accepts the challenge of playing this hit from the West Coast sax legend and performs this jump blues tune flawlessly assisted by Elvin Bishop on guitar.

Early rock is revived with the 1956 PriceDavid hit “Back Room Rock” (performed

by Sammy Price), this time done with Mike Schermer on guitar. The album is completed with two original songs with the first being “Good Loving Daddy” and the second “Soul Blues.” “Good Loving Daddy” focuses on Nancy’s musicality and vocal abilities more than any other track. It delivers as much soul instrumentally as Tyrone Davis or vocally as Maria Muldaur.

Playdate! concludes with the instrumental “Soul Blues,” featuring Nancy (sax), Chris Cain (guitar), and Chris Burns (keys) at their best.

If you like a combination of jazz, blues, swing, R&B, funk and who doesn’t, this CD should make your top ten for 2016.

Playdate captures Nancy Wright and her 30 year dedication to the music she is so passionate about.

Reviewed by Rick Davis

Ike Page 16 Time To Let Go The Bob Lanza Blues Band Connor Ray Music www.connorraymusic.com/bob-lanzablues-band.html 11 Tracks New Jersey Native Bob Lanza was inspired by the blues at an early age, playing in a lot of local blues bands. In the 90’s he served as band leader for Floyd Phillips and The Mudflaps, until Floyd’s untimely death in 2001. During that time, the Band has backed James Cotton and Nashville legend Dave Perkins. In 2015 Bob had the distinct pleasure of performing in Trudy Lynn’s Blues review at The Lancaster Blues and Roots festival.

Since then, he has been busy with his band, who released their debut album in 2009 titled Things Ain’t So Bad. Lanza followed up with The Pain Is Gone in 2013. Since then they had another release in 2015 From Hero To Zero, and again last year with his latest album Time To Let Go. He has learned from some of the best like Johnny Copeland, James Cotton, and Floyd Phillips and that reflects in his music on all four albums. He has gone from sideman in the early years, to becoming recognized as a band leader, singer, songwriter, and superb guitarist.

His current release Time To Let Go is a combination of some classics and some well written tunes combining his Midwest and Texas style blues. The band is fortunate to include guests Steve Krase and The Cranberry Lake Horns on this new release. With the circumstances surrounding his life at the time of the recording, Lanza has poured his emotions in the release. He made the statement that “My guitar is raw, powerful, and very emotional on these tracks.” This is all in addition to the intensity he always expresses in his guitar playing.

With saxophones wailing and Bob’s guitar smoking, they tear into a blues rendition of Hank William’s “Mind Your Own Business.” They turn this country classic into a saxophone extravaganza. The album moves into a couple original tunes starting with a smooth jazz sax and blues guitar track which happens to be the title track “Time To Let Go.” The album is a tribute to two family members Bob lost during the recording of album, with the title track reminding people you have to let go and move forward with your life. The second original song “When The Sun Comes Up” opens with a funky rhythm guitar that sets

The Groove- Crossroads Blues Society Newsletter the stage for Lanza’s fiery guitar licks that will send chills through your body. Next on the album is the classic tune “Your Turn To Cry,” covered by the Westside Chicago blues legend Otis Rush in 1976. He follows up with an electrifying original guitar instrumental “Rushin’ The Blues,” that really demonstrates his expertise using his guitar style. Steve Krase demonstrates his harmonica skills on the Willie Dixon song “Don’t Go No Further,” recorded earlier by a host of legendary rock and blues artists. Lanza really adds his signature guitar style as he covers the Ronnie Earl tune “Follow Your Heart.” That element of soul can be heard in Bob’s voice with a strong emotional presence in his guitar solos, as the band covers Percy Mayfield’s “Love Me Or Leave Me.” “You’re Not In Texas” offers some Texas swing along with some New Orleans piano from Randy Wall. The last original tune, “Johnny Smith,” rocks with a 50’s Chuck Berry style guitar and Little Richard style piano. What better way to complete a project than with the Muddy Waters tune “Walkin’ Thru The Park.” It delivers the same harp tone of the Paul Butterfield’s version and some of the fire heard from Gary Moore’s guitar on his rendition.

The band will leave you wanting more, with their superb Chicago, Kansas City, and Texas blues, soul, and jazz on Bob Lanza’s latest project Time To Let Go. If you have not had the opportunity, you might want to sample some of Bob’s earlier material as well.

Reviewed by Rick Davis Blue Highways Ray Fuller and the Bluesrockers Azuretone Records www.rayfuller.com/ 14 Tracks If you are about to preview Long Black Train, grab your seat and hold on tight.

Ray Fuller and the Bluesrockers deliver a heart stopping, roadhouse sound much like “that little old band from Texas” or the Louisiana “Golliwogs” an American rock band that eventually became Creedence Clearwater Revival. This release adds some of the most electrifying slide guitar that you will hear. Ray is not new to the blues world, opening for blues legends like Muddy Waters, John Lee Hooker, Stevie Ray Vaughan, Buddy Guy, Junior Wells, and Albert Collins, with a career spanning over four decades. With vocals comparable to Charlie Musselwhite, and a blistering guitar style compared to George

Thorogood on the rock side, combined with Elmore James and Houndog Taylor on the slide side, Ray has left a trail of fans around the world.

On his new release Long Black Train, the band wastes no time launching into high gear with “Burn Me Up,” with that house rockin’groove hotter than the Reverend Willie G on “La Grange.” They establish the tone of the album with a thundering rhythmic beat that would shake the walls.

Ray continues with the thunderous, dark swamp boogie “Devil’s Den” that could rival Omar and the Howlers and their tune “Mississippi Hoo Doo Man.” They stay with the Bayou blues and that hypnotic beat with “Voodoo Mama.” They move from the swamp as Ray tears into some hot slide guitar with Doc Malone following up on harp with the track “Hip Shakin’ Mama.” The tempo slows as Fuller explains in so many words that it will be a “Cold Day In Hell” “before I take you back.” Ray cuts loose for some down and dirty rock ‘n’ roll guitar and hard drivin’ blues on the title track “Long Black Train.”

“Louisiana Woman” swings back into the Delta once again for another dose of Fuller’s patented rock ‘n’ roll guitar. The slow blues tune “Let’s Get Dirty” would be a perfect track for Ray Sharp’s Texas Boogie Blues or Jimmy Vaughan’s Strange Pleasure. Malone has nice harp tone on the 12 bar blues tune “Somethin’ Shakin’,” with Ray laying down some tasty Hound Dog Taylor style slide guitar. “New Tattoo” opens with guitar riffs that would get the attention of Pete Townsend or even Chuck Berry for the delivery of one of the best cuts on the release. “Whiskey Drinkin’ Woman” a slow, low-down, dirty blues number brings Malone center stage on the harp. “Pipeline Blues” has a solid baseline and spectacular slide guitar, similar to but not as raw as Robert Johnson’s “Walkin’ Blues.” The rhythm section is the heart and soul on “Evil On Your Mind.” Ray’s blue guitar solos with impress you once again on this tune. The album concludes the same way it opens with that steady, heart pounding pace, delivering the final blues number “You’ve Got the Blues.”

Ray Fuller delivers that same rambunctious high energy live show around the globe. It does not take long to recognize his expertise as a singer, song writer, guitar player, evident in every show and studio album. Long Black Train is no exception and a great follow up to his live show at Buddy Guy’s Legends.

Reviewed by Rick Davis

Ike March– April 2017 Blue Highways Colin James True North Records www.colinjames.com/ 13 Tracks Hailing from Regina, Saskatchewan, Colin James and his band The Hoodoo Men opened for Stevie Ray Vaughan for several tour dates with Vaughan suggesting "Colin James" for a stage name. With many Canadian blues awards to his credit, he continues today performing a great mix, of blues, rock, and jazz.

Colin has had an extensive career in music since his first debut rock and blues release Colin James in 1988. He followed up with Sudden Stop in 1990 before launching a series of three big band albums in 1993, with another at the height of the swing revival in 1998, and a third in 2016. In between his big band surge, he released two more rock and blues albums Bad Habits in 1995 and National Steel in 1997.

Blue Highways is his eighteenth album, focusing on traditional blues more than any of his releases to date. His latest project is a collection of tunes that have inspired him as he pays tribute to some of his favorite blues artists. My favorite is the opening track which is an instrumental tribute to the late great Freddie King with his tune “Boogie Funk”, played with the same energy heard in King’s live 1972 show. James has that same voice quality as does Peter Green on the shuffle “Watch Out,” from the Green’s 1971 release The Original Fleetwood Mac. The band uses the rough 1928 Thomas Johnson recording of “Big Road Blues” and turns it into a very polished, driving rendition with sensational slide guitar from James. The next tune covered is the 1950 Thomas M. Davis song “Bad Bad Whiskey,” recorded early by Amos Milburn and later on by Charles Brown and Buddy Guy with Junior Wells on harp. Simon Kendall compliments Colin’s superb guitar work with a great Hammond performance himself. Steve Pelletier and Geoff Hicks keep a nice steady shuffle beat on bass and drums. James goes into to the vault for the Don Nix tune “Going Down” to capture the same vibe of Freddie King’s emotionally charged signature tune covered later by many others. Steve Marriner executes on harp a star performance, as the band covers the classic “Gypsy Woman” with the sane soul as the late great Muddy Waters and Sunnyland Slim.

Colin James travels deep into the vaults for the next tribute to Jimmy Rogers, with his slide guitar interpretation of the James

Page 17 A. Lane cover “Goin’ Away.” James and the band pay tribute to up tempo jump blues with a snappy rendition of the 1961 tune “Lonesome,” written and performed

by American blues pianist, singer, and composer Memphis Slim (aka Peter Chatman). I’m sure Junior Wells was one artist Colin has in mind when he included Amos Blakemore’s harmonica number “Hoodoo Man Blues” on the album. With Colin on guitar and Steve Marriner on harp, accompanied by Simon Kendall on piano, they do a stellar job of honoring Junior and Otis Rush and their live performances. What would a blues tribute be without a medley of Howlin’ Wolf’s 1951 “Riding In the Moonlight” and the 1961 Jimmy Reed classic “Mr. Luck.” Sweet soul is added to the album with the William Bell tune “Don’t Miss Your Water,” with James capturing some of that same passion in his vocals and guitar riffs. Colin takes it back to the beginning for a spectacular slide guitar performance to match Jessie O’Brian’s contribution on piano, as his tribute to Blind Willie McTell with “Ain’t Long For Day.” What a way to end a blues tribute collection as James completes Blue Highways with a brilliant acoustic version of Robert Johnson’s “Last Fair Deal.”

This is more than just a collection of blues tunes, but one artist’s celebration of the music he has admired for years. James instead puts his signature on his favorite classic blues tunes that were instrumental in establishing the musical history that gave birth to all the music that followed.

Colin James has a special unique talent for taking a blues classic and arranging and delivering it as a fresh, modern version.

Reviewed by Rick Davis The Beat Of My Heart Lisa Biales Big Song Music http:// www.lisabiales.com/ 12 Tracks Lisa Biales has been releasing music since 2006, accumulating 8 other releases and a greatest hits release. Some prior recordings have had country and folk leanings. Blues has been a more dominating force in her music of late. This release The Beat Of My Heart is a series of cover tunes that come from a variety of artists, including one her mother recorded in 1947. That tune is the basis of this recording. She found an old 78 after her other passed. They had not known she had been recorded. Tony Braunagel (Taj Mahal & Bonnie Raitt)

produced this disc and played drums.

Other recurring musicians include Jim Pugh (piano) and Johnny Lee Schell (guitar). Bailes has been a fine vocalist over these years, and she is strong on this release.

The opening cut is “Disgusted”. It has a swinging beat with fine horn accompaniment by Darrell Leonard (trumpet) and Joe Sublett (sax). Although originally in the late 60’s, “What A Man” written by Dave Crawford was a big hit for the R&B group Salt-n-Pepa. It was a big hit then.

This version is more soulful blues rock (Bonnie Raitt comes to mind). The Allen Toussaint penned “I Don't Wanna Hear It” was originally recording by Betty Harris in 1966. Biales and the band do a fine job on this one. Tom Peterson joins the other horns on baritone sax. “Be My Husband” was penned by the famed Nina Simone.

This is a slower, jazzier tune. Jim Pugh switches over to organ for this one.

On the 5th track Biales takes on “Messin' Around With The Blues” from the great Fats Waller. It gets a slow semi grinding respect, similar to the Memphis Slim version. The band goes down to church on the gospel tune “Said I Wasn't Gonna Tell Nobody”. It is an uplifting toe tapper.

“Crying Over You” is the tune her Mother had recorded (her voice opens up the recording). This a 40’s torch type tune, with lots of meaning to Biales. The next tune is “Wild Stage OF Life”. It was written by Henry Glover, from the King Records era. This song is another jazzy ballad.

Blues giant Eric Bibb wrote “Don't Let Nobody Drag Your Spirit Down”. It is a slow haunting tune. I like this one a fair bit.

Leslie Smith and Will Wheaton share the background vocals. “Romance In The Dark” is another older jazzier slow tune. It was written by Lil Green back in the early 40’s. The tune “I Should've Known Better” was covered by Nickel Creek and written by Carrie Newcomer. It is a ballad with a country tinge to it. The final tune is also a jazzy/country ballad. “Brotherly Love” works well for Biales voice.

Lisa Biales is an experienced performer with a strong and varied voice. The material is not high energy, fast paced tunes.

She provides a varied showcase for a fine voice. I find this a very good release, showcasing her song choice and voice.

The band is pretty good too. This is a bit of a throwback CD, which is not unexpected. Get comfy with someone you like a lot, grab a favorite beverage and enjoy a set of music presented by a talented cast.

Reviewed by Mark Nelson

Ike Page 18

The Groove- Crossroads Blues Society Newsletter

Better The Devil You Know Big Dave McLean Black Hen Music www.blackhenmusic.com 13 songs/54 minutes Guitarist/harmonica player/songsmith Big Dave McLean proves once again why he’s a national treasure with the release of Better The Devil You Know, a follow-up to his release, Faded But Not Gone, which garnered his third Juno Award, the highest honor a musician can earn in his native Canada, and which also was a finalist for acoustic album of the year in the 2015 Blues Blast Awards.

The son of a Presbyterian minister and born in Yorkton, a wooded farm community in southeastern Saskatchewan, he got his start as a musician after receiving an impromptu guitar lesson from John Hammond at the Mariposa Folk Festival in Ontario in 1969 when he was just 17 years old.

McLean has been based out of Winnipeg for decades. His smoky, road-weathered voice that hints of Long John Baldry, his solid musicianship and his gregarious personality have been winning over fans and critics on Canada’s folk and blues circuits alike ever since. Gifted with a lifetime achievement Maple Blues Award in addition to many other tributes from organizations far and wide, he’s considered to be one of the most influential artists ever based in Western Canada.

While McLean is just as comfortable delivering his music solo, this one features him backed by an all-star electric band. It was produced by fellow Black Hen Music label mate Steve Dawson, at his Henhouse Studio in Nashville. A multiple honoree for his work in the control room in addition to being a former Blues Blast Award nominee himself, Dawson adds acoustic, electric, pedal steel, dobro and National steel guitar, mandotar and weissenborn in addition to backing vocals.

The rest of the all-star lineup includes bassist John Dymond and drummer Gary Craig, the rhythm section from Blackie And The Rodeo Kings, as well as Music City-based mandolin and fiddle player Fats Kaplin, who’s worked with everyone from Waylon Jennings to Mark Knopfler, the gospel powerhouse vocalists the McCrary Sisters, Ann and Regina, and Kevin McKendree, one of Music City’s foremost sessions players, who’s served

time with Brian Setzer, George Thorogood, Tinsley Ellis and many others.

The album includes six new McLean tunes, several of which are either autobiographical or possess a spiritual message, as well as seven well-chosen covers. The delivery is warm and intimate throughout.

Dave’s original, “Life On The Road,” provides a tongue-in-cheek view of being a touring musician: “I’m livin’ out the dream/ I’m bein’ out on the scene/I’m livin’ the dream/So it would seem.”

About Revelation” before a version of the traditional “Pet Rabbit” – delivered solo on a Resonator guitar -- brings the set to a close.

A cover of Muddy Waters’ “You Can’t Lose What You Never Had” precedes the traditional Southern gospel number “You’ll Need Somebody On Your Bond,” which features an a capella introduction from the McCrarys and Kaplin’s fiddle work and a McLean harp solo. The Dawson-penned “Angeline” follows before two originals – the country-tinged love song “I Need You” and the rock-flavored “Where The Music Comes From,” a tip of the hat to Mississippi, the birthplace of the blues.

Reviewed by Marty Gunther

“Old Time Religion” – not the old gospel number, but a fairly recent tune by Parker Millsap about a killer who keeps the bodies in his shed – follows before McLean delivers “Swingin’ On Heaven’s Gate,” a pleasant country-seasoned spiritual in which Dawson doubles Dave on the chorus. “Deliver Me,” a song of desire written

by Jeffrey Hatcher, is up next before new takes on Muddy’s “Deep Down In Florida” and Dawson’s “The Side Of The Road.” A plea for peace and love follows in “Talk

Available through all major online retailers, Better The Devil You Know will be a fine addition for anyone who’s a fan of modern acoustic blues. Despite the presence of a full band, the rich arrangements never overpower as they provide superb support.

Ike March– April 2017 Preachin’ Blues Reverend Freakchild Treated And Released Records www.reverendfreakchild.org 16 songs/40 minutes Don’t let the name fool you. Reverend Freakchild definitely preaches.

An eclectic guitarist and harmonica player, he was raised in Hawaii, the son of a blues loving father and classical pianist mom, and possesses a degree in divinity and philosophy from Boston’s Northeastern University, where he played in alternative rock and jam bands and appeared at Carnegie Hall with a gospel choir before embarking on a career in music delivering what he’s termed in the past hillbilly Zenpunk blues.

Preachin’ Blues is his seventh album using the unusual moniker, and a follow-up to Illogical Optimism, a three-disc release that hit the street last year. This release finds him solo and acoustic, accompanied only by his resonator guitar and a rackmounted harmonica, as he delivers an interesting take on spirituality in performances captured live at KBOO radio in Portland, Ore., and a blues club in Berlin, Germany.

Page 19 Kept Clean” before the traditional “In My Time Of Dyin’.” Next is the title cut, a version of Son House’s “Preachin’ Blues.”

“Kiss,” once a huge hit for Prince, receives an acoustic treatment before the Freakchild original, “All I Got Is Now,” stresses acceptance of your current situation instead of worrying about the past or what’s to come. Three more frequently recorded tunes from the past – the traditional “Wish I Was In Heaven Sitting Down,” Rev. Gary Davis’ “It’s Gonna Be Alright” and another House number, “Grinnin’ In Your Face” – bring the set to a close.

Well-meaning with a good message, and available through CDBaby. But here’s the sad truth: As a blues critic, my job here is to focus on the music, and I’m afraid that the thief at the top of this review probably was trying to do the world a favor when he stole the gear. The best part of this CD is the spoken word intervals, not what surrounds them. Reverend Freakchild’s caterwauling vocals are a perfect match with rudimentary picking and harp skills. That said, his spiritual views are worthy of a congregation.

Pick this one up only if you’re gathering a Top 10 list of worst recordings of the year.

Fortunately for anyone who gives it a listen, it’s pretty short in duration.

Reviewed by Marty Gunther

The Reverend needed plenty of faith to produce this one. Just prior to the Oregon sessions, he lost his guitars and gear to a thief in San Francisco during a stop on a three-month tour. All of the material here – eight tunes interspersed with seven brief portions of an academic essay entitled “Transcendence Through Music: Buddha And The Blues.”

The message, I’m sure is heartfelt, and the songs and accompanying sermon – broken up in the seven brief segments -flow in the songster style – a mix of tunes from different genres interspersed with insights from the stage.

The original instrumental “Holy Breathing Blues” kicks things off. Freakchild lays down a repetitive accompaniment on sixstring as he plays lead on harp. He’s a lip player who plays chords rather than individual notes, and his technique on the instrument doesn’t range far beyond what you’d expect when you give a youngster a diatonic harp for the very first time. The first portion of the essay follows - with others preceding all but the final song.

Next up is a pedestrian cover of Blind Lemon Jefferson’s “See That My Grave Is

When We Die, We All Come Back As Music Jon Gindick Old Chimney https://www.jongindickband.com/ 10 Tracks California born Jon Gindick is a highly respected harmonica player. He runs Blues Harmonica Jam Camp annually, and sells instructional videos/books/ lessons to aspiring harp players. He also does his own music CDs and plays a bit of guitar too. On this recording he is joined

by Louie Broussard (drums) and Ralph Carter (bass, Keys & backing vocals).

There are guests on certain songs to add to the music. This is his debut folk blues album. The music has an easy, modern feel to it. I believe these are all originals.

The title track “When We Die, We All Come Back As Music“ is the opener. It is an easy going, with a bit of swing, tune.

Nice horn support by Bobby Loya (trumpet) and Bill Bixler (sax/clarinet).

Overall a fine tune with Gindick’s harp

playing featured. Thing get a bit more bluesy on “Wishing Well”. This ballad is full of emotion and fine playing. Chuck Kavdoris adds some slide guitar with the first rate harmonica of Dindick. The production work and sound is first rate. “Bird On A Wire” is a first rate love story song.

Nice backing vocals accompany a full but never overwhelming set of musicians.

The 4th cut is “Ghost Dance”. The pace picks up on this one. There is a southern influence, with a bit of Allman Brothers in the chorus. This one would carry over to a big stage well. The horns are back on “School”. There is a bit of swampy feel to this mid tempo R&B influenced tune. In addition, Gindick sings and plays his harp well. I like the jazzy feel to “Maxine”. This is a fine mid tempo tune, and it will get your toe tapping. “I Love You More” is a slower blues ballad about love. Horns and the harp mix very well on this one.

“Mystery” is another mid tempo story with a country blues feel to it. The band shuffles through the tune with precision. The music takes a bit of a turn on “Jealous Kind Of Guy”. The beat is Latin, almost a cha-cha. The keyboards from Ralph Carter do a fine job. It is an okay tune, though not sure it fits into the rest of the album. I thought for a second we were getting “Stairway To Heaven” with the intro to “Easy Come, Easy Go”. It starts a bit slow, and stays that way. The musicianship is fine, though I thought the tune could have gotten more powerful as it went. Maybe I expected Led Zeppelin in my ears after the start.

This is a well played well done CD. I was not familiar with the artist before this, and I come away respecting the work. Certainly this is not for the blues rock crowd.

In a small club or on a Sunday morning, this is fine stuff. I see this as a great showcase for Gindick. I’d like to hear more, and maybe rev it up just a bit. Give this a listen, you should enjoy it.

Reviewed by Mark Nelson

Ike Page 20 Honest Woman Thornetta Davis Sweet Mama Music (Self Produced) www.thornetta-davis.com 13 tracks This CD has been 20 years in the making. Thornetta Davis is the Queen of Detroit’s blues scene with over 30 Detroit Music Awards to her name. She began her career with Lamont Zodiac and the Love Signs, who became The Chisel Brothers featuring Thornetta Davis when the lead singer departed. Her first solo album was released in 1996, entitled Sunday Morning Music on Seattle’s Sub Pop label. The HBO Series The Sopranos picked up “Cry” from that album and Entertainment Weekly magazine gave the CD a hugely positive review.

Having opened for a host of the music scene greats and appearing on albums with the likes of Bob Seger, Davis has toured the world and garnered praise for her live performances and her music in film and television. It has been 20 years since that first CD and with it we get to hear the superb voice and music from this fantastic diva of the blues! The CD features some great guest artists, including Kim Wilson, Larry McCray, Steve McCray and Kerry Clark.

The album opens with a poem by Davis’ sister Felicia. “When My Sister Sings the Blues” is a touching testimonial about her sisters’ talents with Brian (Roscoe) White playing an ethereal guitar behind Felicia.

The rousing “I Gotta Sang The Blues” is he first song after that and it features native Detroit harp master Kim Wilson. He and Brett Lucas on guitar do a fabulous job in support as Davis shows us why her music is held in high esteem. Wilson wails on harp, delivering a duet with davis and a poignant solo. The song closes in rousing fashion with guitar, backup singers, Davis and the rest of the band blowing things up!

“That Don’t Appease Me” is a rocking blues with a steady groove. Davis shows a lot of sass as she tells her man she’s not appeased as she tosses him out. Lucas offers a nice solo on guitar. Next up is “Set Me Free,” Gospel infused blues with a chorus of backing vocalists taking us to church, Davis delivers an inspired performance. Larry and Steve McCray (guitar and drums) with Kerry Clark (bass) and Chris Codish (keys) are the band here and make this another hit. McCray’s guitar stings as he gives us a sweet solo. “Shadow” is a soulful ballad where Luis Restos does a fine job in support on keys as Davis backs herself vocally on this moving piece.

“I Need A Whole Lotta Lovin’ To Satisfy Me” where regular backline men James Simonson (bass) and and Todd Glass

The Groove- Crossroads Blues Society Newsletter (drums) lay out a cool groove. Phillip J. Hale bangs out some nice piano and James O’Donnell (trumpet) and John Paxton (trombone) provide some sweet horn work. Lucas on guitar helps drive the beat as Davis tells us, “She needs a whole lotta lovin’!” Next up is “I’d Rather Be Alone” which adds Dave McMurray on sax and John Douglas on trumpet as Thornetta delivers some slow blues in a very satisfying performance. She testifies to us and when she was done I believed! Organ, horns and guitar are well done once again.

“I Believe (Everything Gonna Be Alright)” mixes Gospel, blues and country-infused Americana to delivers a high energy performance. Lucas’ slide guitar wails and jumps and Special Annointing does the soulful backing vocals. Very, very cool stuff here! Davis delivers what she calls an “Ode to sisterhood” with “Sister Friends Indeed.” It starts with Davis with Lucas and Chuck Bartels on guitar. The key changes and the backing vocalists join in for support and a little call and response. They things change gears again as the whole band chimes. The song ends with clapping and Davis and her sisters closing things out. “Get Up and Dance Away Your Blues” is a big number with another horn section (Marcus Belgrave and Rayse Biggs on trumpet and Edward Gooch on trombone) , some great organ work (Hale) and more jumping guitar (Lucas). This is some very cool jump blues!

“Can We Do It Again” features Davis in a very sexy and soulful number. Lucas delivers a slow and cool solo on his guitar and great support throughout for us here, too, as

does Hale’s organ work. McMurray and Douglas add sexy punctuation with their horns. The title track is classic bluesy R&B. McMurray and Douglas return as Davis’ horn section as they and the band support Davis as she delivers more soulful vocals. The CD closes to “It Feels Like Religion,” funky bluesy rocking stuff! Davis gives us a great up tempo closing cut with Gospel infused lead and backing vocals, some more great guitar from Lucas, and nice piano work by Hale. This is another fantastic song and a super way to end things, leaving the listener with a great memory and the desire to hear more!

Davis penned all the cuts here except for the opening poem. This is a really well done album by an outstanding singer who has crafted wonderful original tunes and surrounded herself with equally wonderful musicians. I loved the CD from start to finish. It is upbeat, cool and a lot of fun. All I can say to conclude is that I hope it takes far less than 20 years for her to produce her next album because I can’t wait to hear more from her!

Reviewed by Steve Jones

Ike March– April 2017 Unleashed Dave Fields FMI Records (Self Released) www.davefields.com 14 tracks Wow! Just when you think the guy has done it all he comes out with a mix of live and studio cuts of originals and original sounding covers that showcase this remarkable musician and his band; apparently he has even more to show us. He’s chose 14 fantastic songs to take the listener on a wild ride and demonstrate who he is– one the finest young musicians on the blues scene! Dave leans heavily towards rock but also weave jazz and funk into his blues in a remarkably cool manner.

Joining Dave at various times on bass are Erik Boyd, Andy Huenerberg, Buddy Allen, and Chris Tristam. On drums he has Kenny Soule, Van Romaine and Dave Moore. Keys and organ are done by Vladimir Barsky and percussion/congas has Doug Hinrichs and Juan Pertuz on two cuts.

Fields starts things off with the jazz infused jumping sounds of “Anticipating You,” a lively instrumental where Fields’ guitar and Barsky’s organ work fuse nicely to the groove set by Boyd on bass and Soule on drums. Boyd’s bass solo lends credence to the jazz influences, and Dave’s stinging guitar sound jumps out at the listener to grab them and make them want to move to the groove. There is a bit of a respite towards the end with congas added by Hindrichs for good effect and then the cut whirls into a frenzied conclusion. Recorded live at Al Weber’s, the next cut is also live but from The Stanhope House. The classic “Going Down” opens to Fields’ big guitar riffs and provides the listener a rocking and wild rides with other worldly guitar effects and a strong vocal. It’s just the trio of Fields, Bryant (drums) and Huenenberg (bass) delivering a powerhouse sound.

“Child of the World” comes from the studio where Fields is joined by Soule on drums. Allen on bass and Barsky on organ. It’s the single from the album and pays homage to the terrorist attacks in Paris. It’s got a nice mid to up tempo groove to it and Fields’ vocals are gritty and authentic. Funky guitar and organ licks make this one a lot of fun! “My Mama’s Got The Blues” is next, featuring the gutsy harp work of Norway’s J.T. Lauritzen along with Field’s guitar and Boyd’s bass. The lyrics are humorous and depicts what’s waiting at home.

Between baseball bats, guns, mace and a host of other abuses, this song just tells you to stay out all night and never get home. Fields does a beefy guitar solo and Laurtizen blows some mean harp here. This is a trademark Dave Fields song– loads of fun bundled with a superb sound!

“The Boy Wants to Play” gets funky and adds some cool backing vocals from Lis Sherman.

Lauritzen returns on harp, Soule on drums, Allen on bass and Pertuz on the congas make this one extra funky. Fields and Sherman trade licks lyrically as the blues, funk and rock blend into a melange of cool sounds. “Jagged Line Pt. 1&2” follow. These two cuts have Van Ro-

Page 21 maine on drums, Tristram on bass and Barsky on organ back Dave as he sings the blues on a rocking music canvas. It has the feel of a White Album era Beatles cut blended with Metallica on Pt 1; Pt 2 takes the tune down a more subdued path with a slow tempo and minor key feel and then builds back into the frenzy of Pt 1.

It’s very cool stuff.

International Blues Challenge #32 CD Various Artists The Blues Foundation blues.org 9 tracks

“Better Be Good” returns to The Stanhope House show with a trio format. Dave seems at ease in this format and show, playing his heart out and nailing this one. The guitar licks are heavy and the sound is, too. Not for the faint of heart. “is another big, driving and fun cut. Dave show a lot of attitude in the vocals. Full scale, rocking blues done in Dave’s inimitable style.

Recorded in the studio with Soule and Boyd is the next cut “How Am I Doing?”

Frank Roszak, a producer who was awarded a 2014 Keeping the Blues Alive Award, partnered with the Blues Foundation to produce this CD. Featuring 9 of the 16 finalists at the 2016 International Blues Challenge (IBC), we get a fantastic snapshot of the talent that graced the stage of the Orpheum Theater for the finals of the 32nd IBC.

“Pocket Full Of Dust” Recorded live at The Robin’s Nest with Dave Moore on drums and Huenerberg on bass is a pretty little slow blues with emotional vocals from Fields along with a more restrained guitar, well, at least for Dave that is. The next two songs hearken back to the great Jimi Hendrix. “Hey Joe” and “The Star Spangled Banner/Hey Joe Reprise” and also come from The Robin’s Nest Show. “Hey Joe” is a fantastic cover with some of Hendrix bells and whistles and some of Dave’s own magic. The guitar work is impeccable and the vocals are full of grit and guts. This is one of my all time favourite covers of this song. Next up we have some more emulation of Hendrix with some more of Fields originality thrown in.

It’s not an exact copy of Hendrix in Woodstock.

And then he closes with a reprise of “Hey Joe.” What’s not to like? I was exhausted after these two songs!

Dave gives us a special original next. “New York City Nights” could be a Sinatra or Tony Bennett number. Suave and cool jazz vocals, tasteful jazz guitar, expressive and fun lyrics and a slick but cool production. Dave really shows us some great chops and variety here.

And it’s just a duo in the studio with Dave making all the band sounds and guitar and Gary Oleyar on strings. Really cool and a load of fun! He closes with one recorded live at Al Weber’s studio with the same foursome as before called “L.E.S. Hoedown.” It’s blue grass meets Dave Fields with more energy than ComEd and ConEd distribute together in a year.

Cowboy junkie music because any cowboy in a hoedown would need lots of pharmaceuticals to dance to this one. Dave shows he can play with reckless abandon and have fun in so doing.

I loved this new CD. Dave shows us blues, rock and jazz with a lot of funk and all sort of other great stuff whipped into the mix. Dave’s fans will like this, perhaps his most ambitious album to date. Those new to Dave will hear what he’s all about and learn to appreciate what a great songwriter, guitar player, singer and performer he is. Surrounded by an assortment of great musicians in small ensemble formats, this is a superb album that will garner attention and recognition during the awards seasons.

Reviewed by Steve Jones

Opening the CD is Paul Deslauriers Band representing the Montreal Blues Society.

They perform “I’m Your Man,” a rousing and rocking original cut with good vocals and high energy guitar work. Innervision from the Columbus Blues Alliance does “Hound Dog” next. This classic early rock cover features gritty vocals, a strident lead guitar, some harp and piano for punch and effect, and an up tempo and driving beat. The Cincy Blues Society’s entry Sonny Moorman does his cut “You Make All My Blues Come True.” Solo Delta blues in a poignant performance, the guitar work is cool and vocals are full of sweet grit and grime. Norman Jackson Band is next with “Norman’s Blues,” representing Lake of the Ozarks Blues Society.

Full of funky soulfulness, Jackson and company blow their horns and play a funky cut with outstanding vocals and musicianship that showcases their talents.

Trey Johnson & Jason Willmon are a duo from the Arkansas River Valley Blues Society who are featured playing “When The Money Runs Out.” It’s a jumping cut with harp and guitar and an upbeat tempo that lets us see what these two can do. Hector Anchondo Band is next with “Tall Glass of Whiskey.” Representing The Blues Society of Omaha, they hint of rockabilly in their updated approach to blues and rock.

Bing Futch keeps the booze theme going with “Drinkin’ and Drivin’ Blues,” another original cut. The Orange Blossom Blues Society entry as a solo act, Futch show why he won the Cigar Box Guitar award with this thoughtful cut. Dave Muskett from the Indy Blues Society does “Can’t Move On.” He and his band perform a big, driving blues cut that shows their chops. The disc concludes with Solo/Duo winners Ben Hunter & Joe Seamons from the Washington Blues Society doing “Black Sheep Moan,” a merging of two traditional songs. Guitar, harp and vocals blend sweetly and show us why they won.

It’s a cool compilation of the 2016 event!

Reviewed by Steve Jones.

Ike Page 22 Snake Farm Beth Garner The Music Of Nashville https:// www.bethgarner.com/ 7 Tracks After growing up in Texas, Beth Garner is now based out of Nashville. She studied at the famed Booker T. Washington High School for the Performing and Visual Arts in Dallas. In school she was friends with Norah Jones. The family was very musical, and she attended college to study music. She played in various types of bands in Texas, and toured with Texan Shawn Pittman as his 2nd guitarist. This is her 3rd release. She wrote all but one of the cuts delivered here. After going to Nashville she has cut her teeth in many of the bars and music halls. She plays there regularly, thrilling fans with her guitar playing and singing. On this release she is joined by Rory Hoffman (sax, keys, guitar), Wes Litter (drums) and Steve Forrest (bass). Angela Primm and Gale Mayes provide background vocals.

The opening cut is a roots guitar tune called “Allright By Me (Mr. Fisher)”. The sax and background vocals add to the tune. I hear a bit of early Susan Tedeschi in it. Up next is “Backroads Freddie”. Her slide guitar on this one and the harmonica work is good. The pace picks up during the various solos on this cut. It is a southern blues rock type of tune. Things get soulful and maybe a bit more bluesy/gospel on “Drop Down”. It is a slow grinding tune that lets the band stretch out.

Hail! Hail! Hound Dog Taylor on “Used To Be”. This is a house rocking tune that real cranks in a good way. Garner really shows her guitar chops on this one. Old time southern rock slide guitar is showcased on “Ramblin' Man”. It is her tune, with some nice sax added by Rory Hoffman. It is a funky rockin’ blues tune. Roy Wylie Hubbard wrote the title cut “Snake Farm”. It is a country blues tune, with a slower pace. It seemed to me it needed to be a bit faster, with the guitar a bit more out front. The song seemed a bit too slow. The pace picked up on the final cut “Wish I Was” It is a rockin’ cut, with plenty of guitar. I kinda liked it, but thought the mix lacked a bit of crispness.

The Groove- Crossroads Blues Society Newsletter RSVP To Paradise Jim Koeppel Jongleur http:// dustmyblues.wixsite.com/ dustmyblues 5 Tracks Today we have an EP from vocalist and guitarist Jim Keoppel. He is from New York and has played in many bands over the years, with the music covering roots, blues and country. He did spend a bit of time in Nashville and Mississippi. Koeppel wrote or co-wrote 4 of the 5 songs on this EP. Tennyson Stevens (piano), Welton Git (bass) and James Gadsen (drums) play on all five tracks. A brass section with Ron Haynes (trumpet), Norman Palm (trombone) and Rajiv Halim (tenor sax) also are part of the band. Cash McCall helped produce the recordings and wrote one of the tracks.

Overall this is Koeppel’s 3rd set of recordings.

The first track is “Johnny's In The Doghouse”. The great Billy Branch adds his harmonica to this track. This track is a fine slower shuffle blues tune. A previous version of this tune was on Keoppel’s 1998 release. On “Hurry Sundown” the brass section really shines. This one was written

by Cash McCall and is a soulful blues affair.

Up next is the title track “RSVP To Paradise”. This is a much more up tempo funky tune, without being overpowering. Gene “Big Daddy” Barge joins on sax, with John Christy adding some tasty organ to the track.

The jazzy “Every Night Without Warning” is a real change of pace. This ballad features the piano work of Tennyson Stevens. The trumpet of Ron Haynes is also featured.

Closing out the EP is “Let Me Tell You”. Billy Branch rejoins the music and adds to this up tempo shuffle. This one will get your toe a tapping. I think it the best blues track on this EP. Overall not a bad cut here. It is a good introduction to this artist. There are a couple of all time greats as guests which adds to the excitement. There were threads of different styles of blues. I hope everyone can give this a listen. Jim, send out some more music soon.

Reviewed by Mark Nelson

Overall this is a pretty good intro to Beth Garner for me. I’m not a fan of the Beth and the multiple snakes artwork on the CD, but the music is good. Beth Garner is starting to gain footing from Nashville. Let’s see how she evolves and grows. She is a solid guitar player, and will grow as a writer. Let’s see where she goes next after this EP/CD release.

Playin’ It Cool Paul Kaye & The Blues Cartel Self Released http://www.paulkayeblues.com/ 10 Tracks

Reviewed by Mark Nelson

Paul Kaye is based out of Chicago, though

originally from New York. He came to Chicago to learn the blues and has been a relevant guitar player in the traditional blues community in Chicago for almost 30 years.

On this initial recording of his own, he is joined by Kenny “Beedy Eyes” Smith on drums and Harlan Terson on bass. Currently he is also a teacher at the fabled Old Town School Of Folk Music in Chicago.

After all this time as a sideman and local performer he has learned about the blues.

Kaye wrote or arranged 6 of the 10 cuts.

With this release he gives us his modern look at blues with his traditional roots.

The opening cut is “11th and State”. I like the well paced tune with some tasty guitar chops from Kaye. The trio sounds good.

The Chicago Police Headquarters is at 11th & State by the way. The pace stays the same on “Playin' It Cool”. This is an instrumental tune . The guitar work is fine, without being overpowering. On “Ramblin' Ramblin'” Kaye has written a fine Chicago blues tune.

The guitar work is well received by my ears.

Smith and Terson support this tune very well.

The 4th cut is “Feel So Good”, a traditional tune (Big Bill Broonzy) with a bit more of a rockabilly guitar feel to it. Kaye rearranged the classic “Catfish” blues tune. The production work here is pretty good. The guitar is out front, with the bass and drums shining through. Kaye shows his slide chops on the instrumental classic “Hawaian Boogie”. Elmore James wrote this one, and the band did it justice. The band resurrects and old Magic Sam classic “Out Of Bad Luck” on the next cut. The playing is fine, though nobody sings it like Sam. The band gets into a bit of country swing with “Strollin' With Uncle Floyd”. This original is another instrumental and allows the band to stretch out a bit. “Big Fat Mama” is a Tommy Johnson tune was done by Pinetop Perkins. Kaye played with Pinetop, so I am sure he got to play it often. The guys jump back to the Texas swing on the final cut “Thank You…Goodnight” This cut is another original and an instrumental.

This is a good CD. It bridges some older tunes to a bit of a modern feel. I like that he wrote or arranged most of the songs. The band as a trio plays well and is never overpowering. Kaye plays blues guitar, not guitar hero. Keep an eye open if they get out to play in your area. In the meantime seek out this one. You will enjoy it.

Reviewed by Mark Nelson

Ike March– April 2017

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Crossroads Shows and Events January and February 2017

Lurrie Bell at Hope & Anchor

with Melvin Smith

Roosevelt The Mad Hatter Purefoy

and Willie the Touch Hayes

Dan Phelps at Lyran Club photo by Rick Davis

All Photos by Rick Davis

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The Groove- Crossroads Blues Society Newsletter

Crossroads Shows and Events January and February 2017

yBblu at the Lyran Society Club in Rockford photos by Rick Davis

Tas Cru and His Band of Tortured Souls Photos by Rick Davis Duke Robillard

The Mike Wheeler Band at the Hope & Anchor photos by Rick Davis

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The Groove- Crossroads Blues Society Newsletter

Congratulations to WNIJ 89.5 FM who are completing their 25th year of Blues Programming. Begun by Dan Klefstad in 1992 on Saturday afternoons from 1 to 4 PM, they are now broadcasting the Blues three times a week for a total of nine hours of programming. On Friday evenings from 9 PM to midnight they have Harold Brown on the air. Saturday afternoons from 1 to 4 PM with David Rosik continue the 25 years in that time slot.

Lastly, on Saturday evenings from 9 PM to midnight our good friend David James broadcasts his program.

All of us who listen to the Blues thank them for their dedication and service and hope that they can continue to do it for at least another 25 years! Once again, congratulations!

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Top Blues Releases January and February 2017 Sunday Morning Blues WKGL-FM 96.7 The Eagle January Sharon Lewis & Texas Fire /Grown Ass Woman/ Delmark Ronnie Baker Brooks / Times Have Changed / Provogue Johnny Nicholas/Fresh Air /Johnny Nicholas Music Peter Karp/Alabama Town /Rose Cottage Records Big Dave McLean / Better the Devil You Know / Black Hen Music Popa Chubby / The Catfish / PCP Lil' Ed and the Blues Imperials /The Big Sound of Lil' Ed and the Blues Imperials / Alligator Catherine Russell/Harlem on My Mind/Jazz Village John Mayall/Talk About That /40 Below Records Elvin Bishop/Elvin Bishop's Big Fun Trio Alligator Various Artists / God Don't Never Change - The Songs of Blind Willie Johnson / Alligator The Imperial Playboys / Goin' Back Home! / Self Release Harvey Mandel / Snake Pit /Tompkins Square Lurrie Bell /Can't Shake This Feeling /Delmark Dan Phelps / Going Home / Vincent Records Matthew Skoller / Blues Immigrant / Tongue 'N Groove Barrelhouse Chuck / Remembering the Masters / The Sirens Records

February John Mayall/Talk About That/Forty Below Records Delbert McClinton & Self-Made Men / Prick of the Litter / Hot Shot Records Big Bill Morganfield / "Blood Stains on the Wall" / Black Shuck Records Elvin Bishop /Elvin Bishop's Big Fun Trio /Alligator Beth Hart / Fire on the Floor / Provogue James Montgomery Blues Band / James Montgomery Blues Band / Cleopatra Blues Terry Robb / Cool on the Bloom / NiaSounds Eliza Neals / 10,000 Feet Below / E-H Records Guy King / Truth / Delmark Corey Dennison Band/Corey Dennison Band/ Delmark Dawn Tyler Watson / Jawbreaker! / Self Release JW-Jones /High Temperature /Solid Blues Records

This list is submitted to Living Blues Magazine for inclusion in the January and February 2017 National Radio Chart. This list is compiled from actual radio air play statistics. WKGL-FM broadcasts 2 hours of the blues per week.

Rich Gordon Sunday Morning Blues WKGL-FM 96.7 The Eagle 3901 Brendenwood Road Rockford, IL 61107

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Membership News We continue to grow with new members and renewals continuing to sign on!

Thank you for supporting live music and keeping the blues alive to all our new and returning members!

New members: Michael R. Smith Renewing Members: Jerry Bueche Darlene Currens Jim and Jamie Deming Rosemary Edwards Rich and Monica Gordon (2 years) Rick & Pam Hein Ron Holm Family Barb Koeller Steve Langley Lenny Levinson Ted Lawrence Diane Mandell and Ronnie Struck Dennis Peabody Skip & Sylvia Richardson David Stine Dennis Stukenberg Roger Thompson New members get a CD upon joining and new family members get two CDs. Membership has been $15 (individual) and $25 (family) for over 15 years. Mail newsletter members have a $5 surcharge to help with printing and postage costs; it’s expensive to produce and distribute newsletters. We produce six newsletters a year with 25-30 reviews and all sorts of other great information related to the Society and our events.

The Groove is a bi-monthly publication of the Crossroads Blues Society. The PDF version (typically 20 to 32 pages) is emailed to members of Crossroads. Hard copies (12 pages) are sent out to members without email ($5 membership surcharge).

Editor in Chief: Steve Jones Music Reviewers: Rick Davis, Marty Gunther, Steve Jones, John Mitchell, Mark Nelson, and Mark Thompson

www.bluesblastmagazine.com

Hope & Anchor English Pub Second Saturday Blues

The Hope and Anchor Saturday Blues Schedule is set through April 2015.

From 8 PM to Midnight, $5 cover after 7 PM or free prior to that for dinner guests.

Featuring fine English pub fare, the Hope and Anchor is a great spot for dinner, craft beers, liquors, and great live music! At 5040 N 2nd Street, Loves Park IL, USA, phone 815.633.2552 for info!

Mar 11th: Shaun Holt and the Teardrops Apr 8th: Joanna Connor May 13th: Reverend Raven and the Chain Smoking Altar Boys Jun 10th: Steve Ditzell Jul 8th: Dave Weld & the Imperial Flames Aug 12th: Hoodoo Rhythm Kings Sep 9th: Tweed Funk Oct 14th: Ray Fuller & the Bluesrockers Nov 11th: Toronzo Cannon Dec 9th: The Jimmys

Lyran Society Third Friday Blues

The Lyran Society continues their Fish Fry and Steak Dinners with performances on the third Friday of each month at their club. Located half a block east of 7th Street at 1115 4th Ave, Rockford, IL 61104, you can call (815) 964-0511 for info. There is no cover charge, it’s a free show. Open to the public, all ages are welcome.

Mar 17th: St Pats Benefit with Martin Lang and Willie Buck Mar 24th: Smilin’ Bobby & Steve Ditzell Apr 21st: Sweet Bev Perron May 12th: Dave Fields

All Saints First Sunday Blues

Mar 5th: Trinadora Quintet Torch Songs Apr 2nd: Birddog and Beck May 7th: TBD June 4th: TBD

Ike Crossroads Blues Society P.O. Box 840 Byron, IL 61010 On the web at: http://crossroadsbluessociety.com Crossroads Blues Festival at Lyran Park: http://www.crossroadsbluesfestival.com

The Crossroads Blues Society Newsletter

The

GROOVE Keeping the Blues Alive Since 1994

2014 Blues Foundation Keeping the Blues Alive Affiliate Award Recipient 2014 Chicago Blues Hall of Fame Inductee

Email us at: sub_insignia@yahoo.com

Blues on Local Radio WNIJ - 89.5 FM  Friday evenings from 9 PM to midnight with Harold Brown  Saturday afternoons from 1 to 4 PM with David Rosik  Saturday evenings from 9 PM to midnight with David James The Eagle - 96.7 FM  Sunday Morning Blues now from 8 AM to 10 AM with Rich Gordon

News and Upcoming Events 2017 is now in full swing and we’re having an even better Blue Year!

March begins with Ron Holm and Trinadora doing torch Songs at All Saints on Sunday March 5th at 4 PM. Thursday night March 9 we have Billy Flynn at Just Goods at 7 PM after BITS programs. This is a recent addition to programming. Saturday March 11th is Shaun Holt and the Tear Drops at the Hope and Anchor at 8 PM. March 17th the Lyran St. Pats Fundraiser has Martin Lanf and Willie Buck and March 24th fish fry at Lyran features Smilin’ Bobby and Steve Ditzell playing together. Quite a month and more may be coming!

April begins at All Saints with Birddog and Beck on Sunday April 2nd. The Mendelssohn PAC is also doing their own blues shows with the MSG Acoustic Blues Trio on Friday April 7th.

Saturday April 8th was have Joanna Connor at Hope and Anchor.

Friday April 21st we have Sweet Bev Perron at the Lyran Club fish fry. Not too shabby, either.

Stay tuned for all our events here in our newsletters and via our website.

See inside for details on all these and more!

Membership Application www.CrossroadsBluesSociety.com Yes! I’d love to be a part of the Crossroads Blues Society!

Name_____________________________________________ Street Address___________________________________ City________________ State______ Zip Code________ Phone_____________________________________________ Email Address____________________________________ New -or-

Returning Member

This will be a membership for an/a: Individual ($15) -or-

Family ($25)

$5 extra for newsletter via regular mail Please check all applicable interests: Festival Volunteer Serve as Officer/on Board BITS Volunteer Volunteer at Shows/Events Review CDs Public Relations Edit Newsletter Other:_________________________

Please cut out/copy & mail form & payment to: Crossroads Blues Society P.O. Box 840 Byron, IL 61010

Bring this to our next meeting and get a free CD!