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reviews

  Burnley Blues Festival 2008 (1)

Khalif Wailin' Walter on the 'Blues Cruise'.

(Pic Chris Owens)     

Michael writes- "..surreal trip.."

    I have, I admit, taken a paddleboat steamer out of Memphis on the Mississippi River but the barge trip out of Burnley on the Leeds-Liverpool Canal is bluesier by far.Two dozen-or-so hardened blues fans chose to don metaphorical sou’westers and launch their ‘Blues-Saturday’ afloat; the fact that the travelling bar(ge) proudly displayed a photo of the artiste formerly known as Prince (Charles) aboard the same vessel only added to the surreal nature of the trip.

Musical entertainment was provided by Khalif Wailin' Walter, nephew of bluesman Carl Weathersby (but very much his own man). He had contrasting outings at Burnley –with his band in a hot ‘n’ heaving Oliver’s Bar on Friday and solo, and waterborne, on Saturday. Chicago-born but now Germany based Khalif has accompanied B.B. King’s daughter Shirley King as her bandleader throughout the U.S. Khalif has appeared on stage with such Blues giants as Grammy Winner Taj Mahal, Grammy Winner Otis Rush, The Jimmy Vaughan Band, The Buddy Guy Band, Junior Wells, Bernard Allison, Grammy nominee and W.C Handy nominee Pinetop Perkins but here he was alone.His warm smile and obvious enjoyment of the situation (how often do you get a truly ‘captive audience?) endeared him to the mariners as he launched into a set of classic blues standards such as King Bee, Hoochie Coochie Man, Crosscut Saw,  Sweet Home Chicago along with his notorious self-penned Coffee Grinder.

The squalor of the canals flotsam and jetsam in its own way added to the ‘downtown’ feel and the hour passed all-too-quickly. A great and atmospheric start to the day, enhanced by a charming and talented blues-musician.

Burnley Blues Festival 2008 (2) Harmonica Workshop with Johnny Mars

Mike writes - "...Johnny is a natural teacher..."                   Johnny Mars pic - Chris Owens

I was a little concerned when I booked into the Johnny Mars harmonica workshop last Saturday.  I am an absolute beginner after all.  I need not have worried. Although it was a little scary to have to play solo within the first five minutes.  Johnny is a natural teacher who managed to put everyone at ease from the word go.  There were about 14 in the group, a mixture of beginners, some with a little experience and a couple of guys who really could play.  Despite this disparate group the workshop managed to provide each one of us with techniques and skills that we did not have when we arrived.  The level of skill and experience had no real bearing on the teaching. 

Johnny is a very relaxed character of immense charm.  He was at great pains to make sure that we all went away with the beginnings of new skills to practice.  His main message seems to be that where you are is where you are and as long as you have the desire to improve and the will to practice then you will progress. The ability to be content with yourself and to believe that you can improve is all that is required in the eyes of Mr. Mars. 
I came away after two hours, (should have been 90 minutes!), with a feeling of some satisfaction and the knowledge that I could now do some things I could not have done without this excellent workshop, by a true master of his instrument.  I now know how to 'bend' a note. That’s cool.

 

  Burnley Blues Festival 2008 (3)  Connie Lush on the Main Stage

Barbara writes - ".....bubbly and enthusiastic..."

It was Easter Saturday and Connie was striding around the stage wearing a huge silver cross, singing at one stage, “Jesus on the Mainline” in complete contrast to her usual “Turner-esque” blues shouter style. Connie is bubbly and enthusiastic, backed by talented musicians who obviously enjoy performing together.

“Blues is my Business” stamped her mark, as the opening number. She never actually sings softly, but rather pulls the mic away, However, light and shade were apparent with a more restrained “Hanging on” – an Anne Peebles classic- which rightly received an enthusiastic response from the crowd.

I also enjoyed an unusual, but mournful, drum and voice duet of Blind Willie Johnson's “Nobody’s fault but mine” Her voice was not having to compete with the full band, and sounded fine. The overall quality of the vocal sound system was inadequate; not being set up for quiet voices, (this was even more apparent, when Michael Roach could hardly be heard in his set)

Those of us at Mike’s 65^th all perked up when we heard the opening bars to “Feeling Good” the Nina Simone favourite; (because we so enjoyed Kyla Brox’s amazing rendition) unfortunately, “Blues lovers out there, you know what I mean?”, Connie’s version was far too raucous for such a sweet song and weirdly extemporised into “Hit the Road Jack” at one stage.

That said It’s great to have women singing the Blues, but I’d rather have Nina, Aretha and Kyla.

(Connie pic  above and Angela pic. below- Chris Owens)

 Burnley Blues Festival 2008 (4)

Angela Brown & her Mighty 45s on the Main Stage

Ros  writes - "..from the juke joint to the church and back again..."

Now, I can’t claim to have been at the very first Burnley Blues Festival 20 years ago; in fact I think my first visit was in 1998 and Angela Brown was on the Saturday Main Stage that night (just before Paul Jones’ bill-topping ‘Blues Band’) with the UK based 5-piece ‘Mighty 45s’ giving a master-class in the art of the blues-diva with polished arrangements and a sassy persona. She and her band clearly remembered and enjoyed that night and made a point, this year, of bemoaning the long gap between that and this return. But it is we, the audience, which should be complaining of being deprived of such an immense talent for so long.

Born in Chicago, Illinois, Angela began her musical career by singing gospel music in church and although she was aware of the blues she didn't sing them until around 1980, when she played the role of Gertrude "Ma" Rainey in a stage musical. This theatrical background is the basis for her commanding stage presence, setting her apart from many of her contemporaries making her a popular attraction at blues festivals all over the world not only vocally, but for her onstage presence which takes us from the juke joint to the church and back again in the raising of an eyebrow!

Both here recorded and live performances have been UK award winners and it was easy to see why during this much-too-short outing. (The pompous MC making himself even less-popular by hastening her from the stage)

This was, for me, Saturday’s stand-out set with Angela’s huge personality, some excellent musicianship and fine choice of numbers from Jimmy Hughes’ accusatory ‘Neighbour Neighbour’ through Denise LaSalle’s lascivious ‘Man Size Job’ to her sincerely spiritual take on James Cleveland’s ‘God Has Smiled on Me’. She even overcome the decidedly second-rate sound-set-up.

Outstanding!

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Doug MacLeod at Bronte Blues Club

'Ickledot' writes -  "...a superb musician..."

You don't need me to tell you the Bronte Blues Club is fast gaining a reputation for delivering Blues of the highest quality and last night was no exception. ickledot was proud to witness a performance from the excellent Doug MacLeod. A superb musician and singer, his set included much of his own material, particularly from his latest recording, The Utrecht Sessions. Most impressive though was his emphasis on performing for us in particular. As he said, his song list changes on a nightly basis, thus ensuring a fresh, unique feel for each venue.

The house band, BBC4 (1,2, 3?) were also in acoustic mood and in great form. Highlight for ickledot (bit of a creep and not necessarily a blues purist) was Jon Crossley's rendition of Randy Newman's 'Louisiana 1927'. Clearly enjoyed by all, the pre-main act chat melted away, so if any pin dropping had occurred, we'd have certainly heard it (well not really, cos Jon was playing, but you know what I mean).   (see www.ickledotco.co.uk )

Saturday 16^th February was a memorable night for many reasons.  However, the highlight was the performance by the Kyla Brox Trio at my birthday bash at Dean Clough in Halifax.

Christine writes-

" An absolute must...."

As the lucky winner of the early bird draw at the inaugural BBC event with the excellent Memo Gonzalez, I emerged with a copy of Robert Johnson’s complete works. Few will be unfamiliar with his music and the considerable influence he has had, despite his short lifespan, on countless musicians over the last 70 years. The vast majority of blues collections will include some contribution from Johnson. Johnson’s delta blues reflect a lifestyle as an itinerant, a man dogged by the supernatural and, as legend would have it, a serial womaniser - this last characteristic reported to be responsible for his murder by a jealous husband in 1938 at the age of 27. Key contemporary influences on Johnson were Son House and his idol, Lonnie Johnson. This CD contains 41 tracks including all 29 songs he recorded along with alternative cuts of some of these songs. With this CD you have the complete recordings he put out in one package so you can hear how songs and lyrics changed from take to take.

Many of these tracks will be familiar to BBC members and their wide coverage by other, more contemporary electronic, acts bears testament to the strength of Johnson’s song writing ability. For illustration purposes, a few of my favourite covers include the Stones (Love in Vain), John Mayall’s Blues breakers (Ramblin’ on my Mind), Cream (Crossroads), Elmore James (Dust my Broom), Freddie King and Luther Allison (Sweet Home Chicago). Apart from the tracks mentioned above, other gold blues standards, covered by many, include Terraplane blues, Come on in my Kitchen, and Stop Breaking Down.

As a singer, he could perhaps be described as passionate rather than technically brilliant, but it would be difficult to find a rival to Johnson’s ability as an acoustic blues guitarist. Anything more than a superficial listening will reveal, despite the raw sound of his guitar, complex and spellbinding guitar work. I recall a recent TV tribute concert to Robert Johnson, performed by Eric Clapton (who was accompanied by the excellent Duane Bramhall 2^nd), where Clapton said that it was virtually impossible to recreate the essence of Johnson‘s distinctive sound with only one guitar.

An absolute must have for all blues enthusiasts.

Breakin’ it UP. Breakin’ it DOWN’ (CD) :Muddy Waters, Johnny Winter, James Cotton.

 Chris  writes -

"...one outstanding album.."

In March 1977 seven musicians took to the road and performed three outstanding concerts. Thirty years later ten live tracks from these concerts were released on one astounding album, though purists may not agree. Fronted by the legendary Muddy Waters, Johnny Winter and James Cotton how could it fail to be of great value in its own right as a testament to the blues.

It is obvious from the opening bars of the first track that these three eminent blues men are working totally together and thoroughly enjoying themselves, and their enjoyment and energy will continue to fuel the listener’s appetite.

The front three are not the only ones to feature, Pinetop Perkins on piano, Charles Calmese on base, Willie ‘Big Eyes’ Smith on drums and guitarist Bob Margolis all add their individual contributions while making a full ‘jumping’ album.

If you enjoy live blues where the band and audience are at one and the joint is jumping then this is one for you. The musicians do not need the studio to purify and sanitise, this is how the music should be heard. 

Memo Gonzales & the Bluescasters at 'the bbc' -7th September

Margaret & Carol write-

"...a Blues Music Extravaganza..."

On Friday evening we attended the grand opening of the Bronte Blues Club in Laycock.  Not sure what to expect, we were amazed at how the hall had been transformed into a fantastic venue for a Blues music extravaganza. Firstly we were entertained by the BBC4, whose original lively music (inc. 'Fresh Air Boogie' and 'Disconnect from the Blues') set the scene for the rest of a very entertaining evening.

Next on stage were Memo Gonzales & The Bluescasters whose music couldn’t fail to have everyone tapping their feet and swaying from side to side. The lead guitarist  Kai Strauss was simply amazing.  His almost at times acrobatic performance, was second to none.  Memo was very entertaining and played  the harmonica and sang with energy and passion.  Overall a brilliant night was had by all and we would certainly recommend you give it a try.  

Michael Roach at the Colne R’n’B Festival, 25^th August

Rachel  writes-

The  ‘Upstairs, Downstairs of the Blues’

 Michael Roach was born in 1955 in Washington DC, the eleventh of thirteen children and was thus exposed, whilst still a child, to the wide range of vibrant music from the black community; gospel, doo-wop, jump-jive, R’n’B, Motown, soul, funk….; he came to acoustic blues later.  On Saturday, at ‘Colne Muni’ all his influences were on show during two infectious outings in one afternoon – firstly in solo acoustic mode downstairs in the ‘Mini Muni’ and, with barely time to change his suit and silk tie, a second with his nine-piece band upstairs.    A leading figure in the European Blues Organisation, Michael is a performer and an educator and engages easily with his audience, especially in the informal setting of the Acoustic Stage. Here his collection of  traditional blues songs and instrumentals such as ‘Kassie Jones’ and ‘CC Rider’ were punctuated by entertaining anecdotes and snippets of historical information (Michael postulates that ‘the blues’ owes more to the influences of English folk music than it does to Africa.) He generated enthusiastic audience participation as in the ‘nursery rhyme blues’ ‘Little Boy Blue’ and reserved a 'starring role' for myself in the clapping song ‘Did You Ever, Ever, Ever…’. (I volunteered after much nudging from my Mum!).   Upstairs, on the International Stage, the breadth of his influences and of talent became clear. As vocalist in a nine-piece rhythm and blues band with prominent brass section and Hammond B3 organ he sang and danced his way through a set of soulful r’n’b classics such as ‘Let’s Go, Let’s Go’ Let’s Go’, ‘People Get Ready’ and ‘I Pity The Fool’ along with self-penned numbers such as the title-track of their latest CD ‘I Betcha’. This tour-de-force by a talented and engaging performer makes Mr Roach's  visit to Bronte Blues Club in February  even more eagerly anticipated.

The 20th Porretta Soul Festival, nr Bologna, Italy -July 2007

Barbara & Michael (seen here with Steve Cropper) write -

" ...this sleepy Italian spa-town becomes 'Memphis-in-Europe'.."

The great thing about the Porretta Soul Festival, which annually transforms this sleepy Italian spa-resort to ‘Memphis-in-Europe’, is its informality. This casual atmosphere infects the artistes, too, who eschew the ‘backstage-pass-ethic’ to sit amongst the fans at the Café Roma pavement bar and chew the fat as well as the complementary olives. Thus it was we chatted to Sir Mack Rice about writing ‘Mustang Sally’, Steve Cropper about the pros and cons of Kay guitars and Booker T Jones about April Fools’ Day traditions in the USA. Onstage the tiny park provides a perfect amphitheatre for a glittering array of classic Southern Soul and blues music. Eddie Floyd did his usual ‘Blues Brothers thing’, The MGs delivered their ‘no-translation-required’ instrumental back-catalogue, diminutive-silvered-haired Sugar Pie Desanto rejected any ‘senior thoughts’ with a high–octane and very physical performance and octogenarian Jimmy McCracklin wisely sat at his keyboard and sang the blues. Of the younger artistes (and at Porretta its a comparative term!) it was R’n’B chanteuse Toni Green who would have raised the roof had their been one. Porretta Festival is dedicated to keeping the memory of Otis Redding alive and in the 40th anniversary of his untimely death there can be no greater monument.

Allen Toussaint and the New Orleans Preservation Jazz Band. Newcastle Opera House. June 2007

Jon writes -

'Taking 'Coal Mine' to Newcastle...'

A smartly dressed, relaxed figure swaggered across to a waiting Steinway grand piano ready to bring to life the history of New Orleans popular music. A few twiddles on the keys and Allen Toussaint was off, telling or reminding his audience about his hidden role as a songwriter or studio producer of many  great New Orleans classics. He told stories of working with Lee Dorsey and the Neville Brothers -"before they were the Neville Brothers". After an interval the focus switched to the large screen showing a film of the history of the New Orleans Preservation Jazz Band -from Louis Armstrong to the present day. As the simplistic, yet effective drumming commenced, it was known that this was no imitation -this was the real New Orleans sound. Trumpet, trombone, sousaphone, piano, bass, drums and banjo kept the audience mesmerised. When I hear 'I Wish I Could Shimmy Like My Sister Kate'  performed by musicians who not only love their music but are evolved from it and embedded in it, then there is no comparison.This  is what we hope 'the bbc' will bring to Keighley; not just people who love 'the Blues' in all its diversity, but artists who have lived and breathed it as part of their culture and heritage.

Kentucky Fried Chicken -Bernard Allison   DVD WNRD 2206

Stuart writes -

" It's hard to concentrate on the guitar solos with those two rattlesnakes staring at  you....."

Recorded live at the 1999 WC Handy Festival in Henderson,  Kentucky (hence the title) this DVD confirms both the best, and the worst, of live recordings. Bernard, son of the legendary Luther, displays some blistering guitar but, as is often the case, the extended-audience-walk-about-guitar-solos -even for a 'fret-fan' such as myself- sometimes seem over-extended; a case, perhaps of 'you had too be there'. A mere six tracks on a sixty minute DVD gives you some idea of what you're getting! Highlights are takes on his Daddy's 'Life is a Bitch' and 'Midnight Creeper'. But the abiding memory are the glassy eyes of the two rattlesnakes on his hat daring me to be less than fulsome in this review!

Worthenbury Blues & Roots Festival -Saturday 30th June -Wrexham, N. Wales.

Barbara writes -

Like a blues version of a Micky Rooney/ Judy Garland movie, the organisers said -" Let’s do the show here in the Old Barn...."

The riverbanks were bursting on the ‘Dee Delta’ but there was no chance that Pete Evans and his indefatigable team were going to let the Worthenbury Blues & Roots Festival be washed away….so this homely outdoor festival fled the rain and went indoors at Glandeg Farm. The organisers, artistes and audience ‘mucked-in’ (and to be honest there were still traces in the air of what had, only recently, been ‘mucked out’!) and this friendly and ambitious event was a resounding success. With the electric and acoustic stages now sitting next to each other many artistes performed on both and in several combinations. Headliner Big George Brock (who once flattened Sonny Liston!) played a rare acoustic set with fellow Mississippian Bill Abel, Phil Bates (ex-ELO) stepped up to play lead with Alabama –based blues chanteuse Lisa Mills and Runcorn’s finest, Smokehouse, played a set with their new line-up before becoming house-band for Big George on the main stage. The gentle, charismatic sounds of Washington’s Michael Roach stole the show for me but ‘fedoras-off’ to Big George who, amidst the wellies, jeans and waxed jackets of the audience appeared as a bluesman should –in a turquoise zoot-suit with matching snakeskin shoes and hat. That’s class!

American Folk Blues Festival '65  CD  (various artistes)

 -bellaphon CDLR 42025

Michael writes -

"Walking down through Bradford many years ago, I met Roosevelt Sykes and Freddie Below..."

Those of you who have heard Jon and I singing 'Can a White Man Sing the Blues' might not realise that the 'many years' in question are almost 42! Looking at the credits to the CD I find it hard to believe that I caught a 'bus to Bradford with my cousin and saw Roosevelt Sykes, Buddy Guy, Eddie Boyd, John Lee Hooker, Walter 'Shaky' Horton, J.B. Lenoir and  'Big Mama' Thornton. I also remember that we missed the last 'bus back and that the trolley busses  only ran as far as Crossflatts.... Lippmann & Rau who organised these tours in the 1960's decided -I'm not sure why - to record the artistes in a studio in Hamburg rather than live on stage. The technical quality benefits but the overwhelming reception the artistes received - for many of them it was the first time they'd played to a de-segregated audience- is lost. No matter...it's a wonderful piece of blues history.

Into The Blues - Joan Armatrading (429 Records)

Bev writes -

"Baby when you sing the blues......
I take all my clothes off for you................"

Now that's got you a little interested hasn't it?
When I was  asked  to listen to the new album from Joan Armatrading - 'Into the Blues' I was happy to do so as I hadn't listened to anything by her for a while. The lyrics above, from the second track got me hooked and I wanted to listen to more. I've played this personal album constantly in the car and find it great to drive to - a bit of everything. From more upbeat tunes to soulful ballads.
Her wonderful deep, mellow voice hits all the right notes for me.
Hope it does for you too.

Big Boss Man (The Life and Music of Bluesman Jimmy Reed)

 –Will Ramano – Backbeat Books -$17.95

Michael writes -

This book of 300+ pages contains all you would ever need to know –and then some- about the life of 1950’s top selling bluesman, Jimmy Reed. Author Will Ramano has sifted record company archives, legal documents, boxes of rare photos and dozens of interview transcripts to bring the most complete picture yet of the tragic life and wasted talent of ‘the down-home shuffle king’. Jimmy died in 1976 just short of his 51^st birthday; his chronic alcoholism had masked the epileptic seizures that finally claimed his life. The contributions to his success of Mama Reed and Eddie Taylor are acknowledged but running through the book is the author’s admiration of JR himself; with a back-catalogue including songs like ‘Big Boss Man’, ‘Shame, Shame, Shame’, ‘Bright Life, Big City’ and ‘Honest I Do’ covered, over the years,  by anybody who is anybody in the worlds of blues and rock, Jimmy Reed deserves this serious study .

More to follow.....

"nation shall sing blues unto nation....and to a new generation"