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Kitto meets the deadline of her expression". Brian Kramer
"Only the immense, poetic beauty of Kitto's lyrics can match her strong vocals. This is an artist with veracity, talent and a spirit that shines with intensity". Beat magazine
Kitto rocks! Hailed as 'feminine Cobainesque', her latest album Precious Junk showcases the talents of a dynamic guitar-wielding singer-songwriter. The album's title was inspired by her toolmaker/engineer father who, when asked what he was doing admiring a few obsolete metal presses and statues scattered around the home yard, replied, "Ah, it's just me and my Precious Junk."
Critics have hailed her as a 'vocal chameleon' and a 'musical abductress'. Whatever, Kitto's intense. She doesn't bleed words, she moulds them into sounds that soar. Reliving stories through songs, she spreads herself across the spectrum. She's driven, barefoot on stage and swinging, always giving her all when she performs. Musicians who've worked with her will tell you "She has an improvisational mentality, the inflections are never the same." American musos have hailed 'her unique guitar style, exploding with complex rhythmic textures, subtle nuances and dramatic dynamics.' Despite having nodules cut out of her throat a couple of years ago, the voice is big, afterburners blazing.
Bil Bryant, who co-produced Princess of Tragedy, believes "She's totally committed to her music and she sings for her supper. Kitto will give 100% every time. Very rarely do you find a musician like that."
She teamed up with Gypsies drummer John Annas, a vigorous combination given Kitto's "Free spirit, trust the universe, get on stage and do it" approach to music and what she calls "John's professional approach, always taking responsibility. Playing with me was like riding a wild pony." They toured from Melbourne to the outback, playing covers and introducing originals. Through Premier Artists' Frank Stivala they got the opportunity to record with producer Ernie Rose (Little River Band/John Farnham).
Blind Lead The Blind in May 1991.
In Los Angeles - the city of 'pay to play' Black n 'white café - Kitto went looking for a job pulling coffees and landed a gig playing at Beetlejuice on Melrose. She scored bookings at the Roxy, the Whisky-A-Go-Go and the Tatou Club and laid down demos with Michael Blum (producer for Suicidal Tendencies, New Radicals). When her US visa expired, Kitto returned to Australia to record her first independent epee 20 Jacksonia, and then headed for Europe in 1995, kicking off with an appearance on Good Morning Sweden and shows in universities and clubs with acts as diverse as Wilson Pickett, Bon Jovi and Megadeath.
By February 1996, she was playing the major Scandinavian festivals. Kitto then formed the band Baby Porcelain in London and spent the year's 1997-99 touring Europe, including a performance for Princess Stephanie of Monaco at Café Replay. Taking a breather in the UK, Kitto took to busking on London's iconic Portobello Road. Baby Porcelain's last hurrah was the live CD Umbilically Yours released in 2000.
After solo shows in Australia, Kitto headed back to Europe in 2001, hitting the Spanish coast where she wrote ten songs in ten days. Returning to her current base in Sweden she formed her own label Whosjack - named after her mascot teddy bear - and went to work with producers Bil Bryant (Joan Osborne) and Anders Molin (Roxette) recording her debut album Princess of Tragedy.
Moving forward two years and onto her new album Precious Junk, Molin and newcomer Jan Destner have taken the elemental approach to Kitto's sonic ideas, pressed the record button and 'let her rip' on what has become her strongest album to date.
"I chase themes constantly in order to understand or summarise the patterns of life".
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In 1969, Tony Joe White came howling out of the swamplands of Louisiana into the national spotlight with his classic, "Polk Salad Annie,"--a Top 10 Hit, followed in 1970, by Brook Benton's soulful rendition of White's timeless classic, "Rainy Night In Georgia." Thirty years later he's still doing just what he's always done, creating soul-flavored, blues-drenched, truth-injected songs about swamp characters and reflective soul-tinged ballads about life and love.
Throughout the '70s and '80s Tony Joe White toured with some of the biggest artists of the decade including Credence Clearwater Revival and James Taylor. The 1990s began with an explosion of activity for White as superstar Tina Turner recorded four of his songs for her multi-platinum selling Foreign Affairs album including the world-wide hit, "Steamy Windows". With the advent of that project, White formed an alliance with Turner's manager, Roger Davies and his career began to soar.
While there was a certain "mystique" surrounding White in the United States, it was in Europe where he gained legendary status. In 1991 he signed with Remark and debuted Closer To The Truth and spent the next two years touring Europe with Eric Clapton and Joe Cocker, among others. He cut two more albums for Remark, 1993s Path Of A Decent Groove and '95s Lake Placid Blues, the latter garnering the first of two nominations for "Best R & B Album" from the Nashville Music Awards, (the second being, The Best Of Tony Joe White, a 1996 retrospective of his work on Warner Bros.). French audiences eagerly embraced White as the 'Swamp Fox' and in 1998, he became the subject of a French produced documentary: Tony Joe White-The Man From Down South. In 1999, White went back to his roots and recorded One Hot July, in the swamps of Louisiana. He then toured Australia and Europe once again in support of the critically acclaimed album. In 2001, Audium and Koch Entertainment released The Beginning - a stripped down in your face acoustic masterpiece that received worldwide recognition and five star ratings in virtually every country.
Throughout the years, White has had songs recorded by dozens of major artists including Elvis, Ray Charles, Joe Cocker, Etta James, Hank, Jr., Tim McGraw, John Mayall and Waylon Jennings, (who recorded numerous White covers-including the '99 release, "Closing In On The Fire"). Most recently, he has worked with Marc Bryan of Hootie & The Blowfish and Michael McDonald (with whom he co-wrote a song recorded by Joe Cocker). He has written and performed jingles for McDonalds and Levi's 501 Blues and been featured on movie soundtracks for Millennium, Selena and Hotspot. His music has also been featured in two HBO original films.
People who are still "Searching For Tony Joe".as witnessed by the award-winning documentary of the same name, can find the self-proclaimed lone wolf on tour this fall. His most recent CD releases are entitled, Heros and Heroines, the newest products recorded on his own label, Swamp Records. White says he created the company with his son Jody White, so that he could continue to produce music the way he always has -- his way. For full tour schedule, or TJW news, visit www.tonyjoewhite.com
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Geno Washington &
The Purple Aces (USA)
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Forty Years of Geno
Geno Washington had two of the biggest selling U.K. albums of the sixties. Amazingly both of these were live albums. The First Hand Clappin Foot Stompin Funky Butt Live was in the album charts for 48 out of 52 weeks in 1966. Incredibly only The Sound of Music and Bridge Over Troubled Water sold more copies in the UK that year.
U.S. blues acts rarely visited the UK. Having come over with the U.S. Airforce and stayed Geno subsequently became our blues man. His level of touring and the high energy of his gigs was and still is the stuff of legends as immortalized by the 80s hit Geno by Dexys Midnight Runners. Genos sets were relentless with almost every song segueing into the next. Hit followed hit the beat was continuous and the punters couldnt get enough of it.
2005 is Genos 40th year as a soulfull blues rocker in the UK.
Geno is always in demand and highly entertaining... As was proved at the Royal Albert Hall with Eric Clapton, Jools Holland, Bill Wyman Georgie Fame and friends for The Lords Taverners.
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"Blues outside the box" is how Hamilton Loomis describes his music. The promising young guitarist and singer, based out of Houston, Texas, has been touring the country with his band for the last few years, carving a reputation as a crowd-pleasing newcomer on the scene. His music is redefining blues for contemporary audiences.
At age sixteen he met and befriended Bo Diddley, who was to become a mentor. Recognizing his talent, and viewing him as someone worthy of carrying on the torch, a number of music greats worked with Loomis early on to teach him his craft and show him the ropes. When the likes of Diddley, and Texas blues legends Johnny Copeland, Gatemouth Brown, and Albert Collins decide to take you under their wings, it speaks volumes about your potential.
Before he turned eighteen, Hamilton performed in front of thousands at the Delta Blues Festival, and he was writing, arranging, and performing his own material. He produced and released his first CD in 1994, titled simply Hamilton, on which he played all the instruments. The press quickly took notice of this new talent. The Houston Chronicle said, "He is probably the tightest young blues guitarist west of the Mississippi." Added the Galveston Daily News, "Hamilton is a mind-blowing piece of work. The sheer talent packed into the album's 11 cuts can only be described as awesome." And Texas Blues Magazine added, "As a lead guitarist, Hamilton ranks second to none."
He released his second disc, Just Gimme One Night, 1996, and the accolades continued. The Austin American Statesman heralded Loomis as "a certifiable guitar hero...a polished vocalist who knows how to get the message across." The Houston Press described him as "the next blues-god guitarist to emerge from the Gulf Coast." Living Blues wrote, "The confident, gifted guitarist steps forward on a number of tracks with jumping rhythm work and powerful, occasionally extravagant solos. Hamilton should emerge as a talent to be reckoned with." Scott Jordon of Offbeat Magazine added, "This kid has the goods...and I predict everyone is going to know his name both inside and outside of the blues circles."
Hamilton's next album, All Fired Up, was released in 1999. In an editorial review, Amazon said, "Hamilton Loomis is the future of modern music. Very few artists are able to meld such a strong sense of the past with such an ardent vision of the future. T-Bone, Muddy, and B.B. shared that vision. Perhaps future generations will add the name Hamilton Loomis to that list of luminaries." The Memphis Commercial Appeal called him a "contemporary blues revivalist and guitar whiz." Typical were the comments from a reviewer in Canada: "Loomis brings what few blues artists can - a distinctive sound. Loomis combines the party vibe of soul music with the swagger of Texas."
As a result of performing practically non-stop ever since his teenage years, Loomis has developed into a top-flight showman, exuding an easy-going, winning persona and stage charisma that allow him to establish a strong rapport with his audience. The power of Hamilton's stage performances was captured in his 2002 CD release, Live: Highlights. The multi-talented Loomis extended his artistic reach to the movies in 2000 when he landed a role in a VH1 movie entitled "At Any Cost."
His groove-driven guitar work and silky, soul-drenched vocals, Hamilton Loomis may become the hottest thing out of Texas since the jalapeño.
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Over the past few years The Kyla Brox Band have shot to prominance, wowing audiences with their passionate performances. As the daughter of bluesman Victor Brox, Kyla was surely born to sing the blues and her stunning voice is matched by a band of uniquely talented musicians.
Hailing from Greater Manchester in the UK, the band met while cutting their teeth in Victor's blues band, when they were still kids. In 2002 they finally stepped out on their own, creating the Kyla Brox Band. Having played countless concerts and festivals in the UK and abroad, they have gained a tightness which only comes from intimate knowledge, but have retained their original, explosive chemistry.
Kyla and the band have recorded three albums to date, with a repertoire drawn from classic R&B songs and their own compositions. The Blues runs deep through their original material, but they build on that to create their own sound. They are anything but your average blues band, yet they keep the fundamentals of the Blues alive and they play with a feeling that is infectious.
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Born in Manchester on August 21st 1977, Matt Schofield grew up listening to the sounds of his Father's collection of classic blues LPs. Already familiar with the music of Muddy Waters, Freddie, Albert and B.B. King, along with contemporary guitar heroes like Jimi Hendrix, Eric Clapton and ZZ Top's Billy Gibbons, he began fooling with the guitar around the age of 7, after his family had relocated to Gloucestershire.
However, after a brief spell with the bass guitar, the defining moment for Matt came at age 12 whilst visiting his Dad who had by now moved to Northern California. There he saw a video of B.B. King, Albert Collins and Stevie Ray Vaughan jamming together that blew his mind. It was unlike anything he'd witnessed before and the sheer power and virtuosity of these artists left a permanent impression.
Returning home Matt immediately formed a band with his schoolmates, and by age 13 had performed his first gig. Local gigging in and around Gloucestershire and Wiltshire followed including bands with Jonny Henderson, still organ player in Matt's trio, until at the age of 18 he started venturing to London with friend and fellow guitarist James Henderson to check out the blues jams. After finishing school and heading out for a lengthy stay in the U.S.A, taking in gigs and learning first hand at the feet of American blues greats, Matt returned to the UK and at age 19 moved to London to turn professional.
He was quickly welcomed into the tight knit London blues scene and immediately joined the Lee Sankey Group, recording the critically acclaimed 1997 debut album "My Day is Just Beginning" and it's follow up - the live/studio EP "She's Not Alone". Matt played and toured with Lee for the next 4 years.
Always in demand, Matt found time along with countless one night pickup gigs, to be in as many as five different bands at once, including developing his ongoing association with current Nugene Records labelmate Ian Siegal, and his work the piano player Dino Baptiste. In 1999 Matt played on and co produced Dino's debut album, and along side Dino and drummer Evan Jenkins, who currently holds the drum chair in Matt's own trio, he found himself as guitarist for British blues diva Dana Gillespie appearing on three of her albums and touring the world extensively including unique trips to India and the Caribbean.
His time in London with these bands proved to be a huge learning experience, opening up avenues to future ventures, and allowing Matt to develop his fluid and versatile style amid many different musical contexts. It also afforded him the chance to perform with many great international blues artists at festivals and concerts throughout the world. Personal highlights, to name just a few, include the privilege of opening shows for Robben Ford and Jimmie Vaughan - two other favourite musicians and vital influences for Matt.
At the turn of the millenium Matt formed a much-praised joint project with singer Corrina Greyson. After the bands stunning debut at the Cognac Blues Passions Festival, they continued to perform at some of the best clubs and festivals throughout Europe and the UK, whilst receiving widespread airplay on American radio after a trip to the U.S.A found them guesting with some of the most respected West Coast blues artists. The success of this project earned Matt a nomination for "British Blues Guitarist of the year" from the British Blues Connection, and brought him to the forefront as one of the finest up and coming bandleaders in the country.
In 2002, along with being asked to perform in Poland as part of a one off super group "The Best of British Blues" with vocalist Earl Green, Matt was invited to take part in The Lester Butler Tribute Band - a tribute to the late great harp player and vocalist from The Red Devils and Thirteen, featuring one of his original rhythm sections from Los Angeles. Two European tours and a live album were the results of this hugely popular project.
The Lester Butler Tribute also spawned Matt's occasional project, The Urban Achievers, a band with "Big" Pete Van Der Pluym, the vocalist and harp player who filled Lester's shoes for the tribute, along with a kicking Dutch rhythm section, contributing a track to the "Harmonica Posse - Driving Savage Groove" compilation album on the Dutch Coolbuzz label.
In mid 2003 Matt signed to the newly established Nugene Records label, and the Matt Schofield Trio was officially born. The critically acclaimed 2004 debut CD - 'The Trio, Live' with organist Jonny Henderson and drummer Evan Jenkins - is a melting pot of energetic swinging blues and powerful funk that draws inspiration from the classic American jazz organ trios of the fifties and sixties, and mixes this with guitar-led blues and funky instrumental workouts. The result is a distinctive and highly charged sound, described by one music critic as "astonishingly mature for such a young group of musicians".
With a year of solid touring behind the Trio, including wowing audiences throughout Europe at their first festival appearances as a band, Matt started 2005 by producing and playing on Ian Siegal's latest release "Meat & Potatoes", and performing songs from that album during a coveted main stage performance at the North Sea Jazz Festival in front of a 10,000 plus crowd.
Attention now turns to Matt's new album for Nugene Records. Using the same band line up that performs so powerfully on the live CD "Siftin' Thru Ashes" marks the studio recording debut for the Matt Schofield Trio, introducing Matt's colours as a fine songwriter as well as cementing his place as one of the most gifted guitarists on the contemporary Blues scene.
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Dave has been hooked into the Blues since first encountering the music in the early Sixties, along with his sister, the late and very great, Jo Anne Kelly.
Dave and Jo got their first guitars when he was 10 and she was 14 and had their first taste of performing live when featuring in, and winning, talent contests on their annual family Pontins holiday each summer. Originally their material was based around The Everly Brothers and Lonnie Donegan.
Their interest naturally progressed beyond the much admired Bordeleaux and Felice Bryant material The Everlys so beautifully portrayed - so Dave and Jo looked to the roots of that music and other music coming out of the States at that time.
"Then the Blues came to town" in the shape of big billed live concert near their home territory .. To let Dave tell it himself:
"When I was fifteen years old I attended my first blues gig at which the performers were visiting American Artists. The venue was Fairfield Hall, Croydon, the year 1963.
My sister Jo Anne and I were both into blues by then, those happy days when old 1930s recordings were beginning to filter through to the UK on vinyl reissues.
A couple of years earlier Jo Anne had got hold of a copy of Muddy Waters live at Newport Jazz Festival. As a nine year old I'd liked the Bill Haley records my cousins had, then we heard Elvis and shortly after, Little Richard. Elvis was an animal compared to Haley but Little Richard was - well WHAT was that sound - how DID they DO that? Muddy at Newport had the same effect as Little Richard.
So I was quite surprised when one morning Jo told me that she'd met Muddy Waters and Sonny Boy Williamson at our local Jazz /R&B Club - The Star, Croydon - the night before. They had a night off, and were probably staying in Croydon as their gig was at the Fairfield Hall the next day. Muddy had promised Jo some tickets but she had a gig that night, so I went along to collect the freebies, taking along with me a couple of older friends, both of whom were guitarists. I bet Muddy was disappointed to see three young guys rather than the young lady he thought he was giving tickets to, but he was still absolutely charming. We had backstage passes, saw the show, chatted in the artists' bar with some legends, collected autographs and generally had to pinch ourselves on the way home.
What a show, what a package. For those who didn't see that tour, or have an album of the concert, the line up was:
Muddy Waters vocal & guitar / Sonny Boy Williamson vocal & harp / Big Joe Williams vocal & 9 string guitar / Lonnie Johnson vocal & guitar / Victoria Spivey vocal & piano / Memphis Slim vocal & piano / Willie Dixon vocal & bass / Matt Guitar Murphy guitar / Billy Stepney drums.
Forgive me if I've missed anyone. It was needless to say a fabulous show!
Fast forward forty years, here I am, a professional blues musician and somehow also involved in a music agency, and an occasional promoter."
Dave works constantly - either as a member of The Blues Band, in a duo with Paul Jones, in his own band, The DKB (Dave Kelly Band) or as a solo artist..... and when the time is available... enjoys putting together tours with GTA.
His solo performances draw heavily from his essential feelings about the Blues in its rawest, most original form.
Dave has written and performed music for various films, tv series and ads including the Montreux Rose winning Strike starring Robbie Coltrane and the BBC four part drama series, King of the Ghetto, starring Tim Roth. He is an honorary patron of The London Guitar College along with Hank Marvin. Dave was voted Best Acoustic Artist in the B B C polls 1991, 1994, 1996, 1997 and 1998
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Paul was the front man with the group Manfred Mann, co-composer of the signature tune to Ready, Steady, Go! and founder of The Blues Band. He was at the front of the 60s pop revolution, with million-selling records alongside the likes of The Beatles, The Rolling Stones and The Animals. Nowadays he shares the lead with Mike D'Arbo in The Manfreds - along with many of the original members of Manfred Mann, touring extensively both in the UK and abroad. Dates can be found at The Manfreds' website.
In 1966 he turned to acting, first in films and then on stage and television. His film credits include Privilege and The Committee. His television credits include Thank Your Lucky Stars, Top of the Pops, Z Cars, Space 1999 and The Sweeney. In the 80s he hosted Weekend for Granada and A Plus 4 on Channel Four. More recently he presented the BBC's Play It Again and starred in four series of the children's favourite Uncle Jack. At the Royal National Theatre he starred in The Beggar's Opera and Guys and Dolls, and for the RSC, Kiss Me Kate. Other West End shows include Cats and Pump Boys and Dinettes. He has worked with directors such as Richard Eyre, Peter Gill and Toby Robertson. He has numerous gold albums, including one for the original recording of Evita.
In 1979 he founded The Blues Band. They recorded many albums, including 'Wireless', which helped kick start another boom in Blues music. 2004 sees the 25th anniversary of the band and dates can be found at The Blues Band's website. Blues is still popular today, helped by Paul's programme on Radio 2. He worked for five years on the BBC's World Service, and has broadcast on all five BBC Radio networks as musician, DJ, actor, critic and Desert Island Discs castaway.
Paul is an accomplished harmonica-player and he has recorded with a range of artists from Tina Turner to the Royal Philharmonic Orchestra. He also performs on the backing tracks for commercials promoting everything from BT to yoghurt.
Paul is married to Fiona Hendley and together they have produced a gospel album, 'Personal'. In 1996 The Manfreds' Greatest Hits album was released. Paul says: "The Blues Band tour 'goes on for ever'.
Paul was a BASCA Gold Badge-winner in 1996.
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One of the last of the generation that came from the Delta in the mid-40s and invented electric Chicago blues, John William Henderson got his nickname from a track he cut for Chicago label Chance in 1953. The Chicago slide guitarist spent years playing with blues legend Elmore James (who Homesick has long claimed as a "cousin" -- Elmore is said to have died on Homesick's couch while the latter frantically searched for the former's heart pills), roommate/cousin Sonny Boy Williamson, Howlin' Wolf, Little Walter, Big Walter, Big Bill Broonzy, Sunnyland Slim and Johnny Shines. High-pitched voice and stark slide guitar mark his southern roots authenticity, and were part of the famous Maxwell Street sound of a few decades ago.
Born in Somerville, Tennessee, his wailing moans hark back to the field hollers of the Mississippi delta. Self-taught on guitar, Homesick developed a wild slide guitar style which he developed playing at local dances and taverns by the age of 14. In his early years, he played with Yank Rachell, Sleepy John Estes, Sonny Boy Williamson, Hammie Nixon, Snooky Pryor, Muddy Waters, Honeyboy Edwards, Blind Boy Fuller (Homesick's mentor), Robert Johnson, Charley Patton, Son House, and Big Joe Williams.
Homesick led a group called the Dusters during the early '30s, featuring at various times Pryor, Baby Face Leroy Foster, and Albert King on drums. Later that decade, James began his recording career, with sides for RCA and Vocalion. Homesick moved up to memphis during the 1940s, playing regularly with Big Walter Horton, and in the early '50s, he continued north, settling in Chicago.
There, he began sitting in with Memphis Minnie (Homesick's girlfriend for many years), Big Bill Broonzy, Lonnie Johnson, Tampa Red, Yank Rachell, Robert Lockwood, Jr., Roosevelt Sykes, Henry Townsend, Junio Wells, Sunnyland Slim, Little Walter Jacobs, and Elmore James. Homesick apparently bought Elmore his first guitar, and taught him how to play slide, and was a longtime member of Elmore's band (from 1955-1963), contributing to such classics as "Dust My Broom," "The Sky is Crying," and "Roll and Tumble."
Since then, he has recorded for Delmark, Prestige/Fantasy, Bluesvile, Appaloosa, Stanhope, Trix, Black and Blue and Earwig Records. Most recently, he released Words and Wisdom on Icehouse Records. Though over 90 years old, he remains active, performing both locally and at international festivals, including headlining gigs at the Chicago Blues Festival, San Francisco Blues Festival, and St. Louis Blues Festival. Homesick fans including Robert Plant and Jimmy Page (Led Zeppelin) and members of the Black Crowes have come to Chicago to see their idol perform in the last few years.
Living Blues Magazine calls him "One of the most delightful characters in blues...." and Option says "Hearing this is as riveting as discovering Robert Johnson recordings for the first time... it's like finding the roots of every blues guitarist twisted together in a single source."
Says the Chicago Reader, "... in recent years he's raised irascibility to an art form: throwing together snippits of standards both vintage and recent; pulling and popping his guitar strings with anarchistic fierceness and then breaking into a shimmering slide run; and interspersing his tight-throated vocals with boasts, anecdotes, and aphorisms drawn from some 70 years of hard traveling."
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David "Honeyboy" Edwards was born June 28, 1915 in Shaw, Mississippi. Honeyboy is one of the last living links to Robert Johnson, and one of the last original acoustic Delta blues players. He is a living legend, and his story is truly part of history. He is the real deal.
Honeyboy was a part of many of the seminal moments of the blues. As Honeyboy writes in "The World Don't Own Me Nothing", "...it was in '29 when Tommy Johnson come down from Crystal Springs, Mississippi. He was just a little guy, tan colored, easy-going; but he drank a whole lot. At nighttime, we'd go there and listen to Tommy Johnson play." Honeyboy continues, " Listening to Tommy, that's when I really learned something about how to play guitar."
Honeyboy's life has been intertwined with almost every major blues legend, including Robert Johnson, Charlie Patton, Big Joe Williams, Rice "Sonny Boy Williamson" Miller, Howlin' Wolf, Peetie Wheatstraw, Sunnyland Slim, Lightnin' Hopkins, Big Walter, Little Walter, Magic Sam, Muddy Waters, and ... well, let's just say the list goes on darn near forever!
In 1942, Alan Lomax recorded Honeyboy in Clarksdale, Mississippi for the Library of Congress. He recorded a total of fifteen sides of Honeyboy's music.
Honeyboy didn't record again commercially until 1951, when he recorded "Who May Your Regular Be" for Arc Records. Honeyboy also cut "Build A Cave" as 'Mr. Honey' for Artist.
Moving to Chicago in the early fifties, Honeyboy played small clubs and street corners with Floyd Jones, Johnny Temple, and Kansas City Red. In 1953, Honeyboy recorded several songs for Chess that remained un-issued until "Drop Down Mama" was included in an anthology release.
In 1972, Honeyboy met Michael Frank, and the two soon became fast friends. In 1976, they hit the North Side Blues scene as The Honeyboy Edwards Blues Band, as well as performing as a duo on occasion. Michael founded Earwig Records, and in 1979 Honeyboy and his friends Sunnyland Slim, Kansas City Red, Floyd Jones, and Big Walter Horton recorded "Old Friends".
Honeyboy's early Library of Congress performances and more recent recordings were combined on "Delta Bluesman", released by Earwig in 1992.
Honeyboy has written several blues hits, including "Long Tall Woman Blues", "Sweet Home Chicago" and "Just Like Jesse James".
Honeyboy continues up and down the Blues Highway, traveling from juke joint to nightclub to festival, playing real Delta blues to adoring fans everywhere.
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Robert Lockwood Jnr (USA)
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Robert Jr. Lockwood learned his blues first-hand from an unimpeachable source: the immortal Robert Johnson. Lockwood can still conjure up the bone-chilling Johnson sound whenever he so desires, but he's never been one to linger in the past for long -- which accounts for the jazzy swing he often brings to the licks he plays on his 12-string electric guitar.
Now past the age of 80, Lockwood is one of the last living links to the glorious Johnson legacy. When Lockwood's mother became romantically involved with the charismatic rambler in Helena, AR, the quiet teenager suddenly gained a role model and a close friend -- so close that Lockwood considered himself Johnson's stepson. Robert Jr. learned how to play guitar very quickly with Johnson's expert help, assimilating Johnson's technique inside and out.
Following Johnson's tragic murder in 1938, Lockwood embarked on his own intriguing musical journey. He was among the first bluesmen to score an electric guitar in 1938 and eventually made his way to Chicago, where he cut four seminal tracks for Bluebird. Jazz elements steadily crept into Lockwood's dazzling fretwork, although his role as Sonny Boy Williamson's musical partner on the fabled KFFA King Biscuit Time radio broadcasts during the early '40s out of Helena, AR, probably didn't emphasize that side of his dexterity all that much.
Settling in Chicago in 1950, Lockwood swiftly gained a reputation as a versatile in-demand studio sideman, recording behind harp genius Little Walter, piano masters Sunnyland Slim and Eddie Boyd, and plenty more. Solo recording opportunities were scarce, though Lockwood did cut fine singles for Mercury in 1951 ("I'm Gonna Dig Myself a Hole" and a very early "Dust My Broom") and JOB in 1955 ("Sweet Woman from Maine"/"Aw Aw Baby").
Lockwood's best modern work as a leader was done for Pete Lowry's Trix label, including some startling workouts on the 12-string axe that he daringly added to his arsenal in 1965. He later joined forces with fellow Johnson disciple Johnny Shines for two eclectic early-'80s Rounder albums. Intent on satisfying his own instincts first and foremost, the sometimes taciturn Lockwood is a priceless connection between past and present.
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Paul Lamb and The King Snakes (UK)
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Hailed by aficionados and music press around the world as Europe's foremost blues harmonica exponent, Paul Lamb has forged himself a place in the history books as one of the greatest players of our time. He has won countless awards, sold record-breaking quantities of albums, and performed the world over with his long-standing musical compatriots, The Kingsnakes. Recently inducted into the British Blues Awards Hall Of Fame (alongside the likes of Peter Green, John Mayall & Alexis Korner), Lamb still continues to bring his infectious brand of soulful blues to a plethora of fans around the globe.
Born in 1955, & originally hailing from the urban & industrial backdrop of Newcastle, Paul Lamb began his illustrious career at the tender age of 15. Struggling against the tide of local un-employment and economic depression, he took to the road working the club scene around the UK, paying his dues in the time-honoured tradition of the blues. Within a short time he was representing Great Britain in the World Harmonica Championships, leading to a spell of working with his mentor, Sonny Terry. The following years ensued, seeing Lamb performing with Buddy Guy, Junior Wells, Brownie McGhee, and countless other blues greats that had originally inspired him. However, the need to write and express his own music soon gave birth to the Blues Burglars, the first incarnation of the Kingsnakes (and the beginning of the longstanding collaboration between Paul Lamb and guitar genius Johnny Whitehill). The Burglars released an album on the legendary Red Lightnin' label ("Whoopin'") and Lamb swiftly became known in his own right due to the huge critical acclaim that accompanied the release. As the young harmonica virtuoso became more focused and confident of his abilities, a new band line-up became an inevitability, and Paul Lamb & The Kingsnakes were thus born. Signing to Ace Records in 1991, Paul & his band went on to take the blues world by storm with a gruelling tour schedule in support of their Ace debut (aptly entitled "Paul Lamb & The Kingsnakes" CDBLUH 011). After a follow up release on Euro label "Tight & Juicy" ("Shifting Into Gear" T&J CD 656834), the band have since enjoyed a further 5 releases with Indigo Records as part of a 6 album deal. These five albums went on to secure Paul Lamb's reputation internationally as a one-of-a-kind bluesman, as did the heavy tour schedules that the Kingsnakes to this day, still happily endure (approx 290 dates a year!). In addition, one would be hard pushed to think of a prestigious international festival that Paul Lamb & The Kingsnakes have not graced by headlining at some point, let alone merely appeared at! To date, the band can regularly be seen far a-field; from Spain to Scandinavia, Belgium to Bahrain, Hungary to Hong-Kong.
Despite his dedication to his touring band, Paul Lamb has also enjoyed considerable success in other musical fields. His unique harmonica skills are constantly in demand by others, and he has amongst other experiences had a chart hit with "Harmonica Man"(under the pseudonym of "Bravado") with Pete Waterman, and worked with Mark Knopfler, The Who, Rod Stewart, and Jimmy Nail amongst others. The BBC have contracted him on many occasions to score and perform various TV soundtracks, and his harmonica playing can be heard on many a television advertisement. In addition to TV, he has also had his music featured in 3 motion pictures.
Wherever his career may lead, Lamb has been instrumental in keeping the blues alive, and he can always be relied upon to further this vocation. As the worlds' music press can happily testify, his name is synonymous with serious quality and his leadership skills have kept the Kingsnakes at the top of the British blues scene for almost 2 decades. Paul Lamb stands beside a small number of American counterparts (close friends such as Kim Wilson, Rod Piazza, Jerry Portnoy, & Charlie Musselwhite) as an equal in every sense, and as a testimony to the standards that most young harmonica players can only allude to. He bears this talent with both humility and grace as one of the last of the old-school, a true gentleman of the blues .
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the story so far.....
It seems yet again I'm thrust into more directions.
Just when you feel it's coming together right something always happens where you have two options left open, give up or carry on with it andbuild, as it's a learning thing all the timeSo now with a little detox after Christmas 2004,with the old players messing me around Trafficker has moved forward starting with a new three-piece rhythm section and hopefully new songs with a third album under the pen. I would like to keep keyboards in but until I can find a committed keyboard player (if one exists) I have to work with what there is. But I do have a few guest keyboard players that will be dropping in on certain performances through the year.
Trafficker's songs have built and come a long way, it's been 3 years and Trafficker has travelled as far as Italy as well as constantly touring across UK. Trafficker has recorded two BBC Radio Two Session for Paul Jones, Supported Walter Trout
and been the backing band behind Mojo Buford on his 2003 UK Tour.
Tommy was given his first guitar for Christmas in 1990 and at the age of 13 began to teach himself to play. In 1995 he was awarded a scholarship to attend the prestigious guitar institute in London and could be seen busking on the streets in his home town of Basingstoke, as well as gaining experience around his local blues venues. However at the age of 19 he left the institute and joined the Marcus Malone band Red House, which included appearing on Malone's album 'One more time'. At the age of 21 he joined Nicky Moore's Blues Corporation, performed all over Britain and Europe and recorded two CDs '300lb of joy' and 'Live'. He was also seen with the top British blues band the Producers with Harry Skinner in 2000 and in 1999-2000 appeared with the pop group Sugababes
which included recording a single 'Soul sound' and performing live on many television programmes. Through out this time he was busy recording his album on his home studio and appearing with dr JJs Blues Band. November 2002 he toured with Big Joe Turner and his Memphis Blues Caravan with Michael Roach on vocals. He has also jammed with many of the old greats of the blues world including Buddy Guy, Pee Wee Ellis and Luther Allison and is consistently described as the best young blues guitarist in Britain. The future looks bright!
Barry Pethers was inspired to play Bass Guitar at just 15 years of age by the late, great Maurice Gibb, whom had a Bass Guitar made in the States and sent over for Barry. Barry never put down the instrument and shortly after, he joined the fantastic young band Too Hot To Handle. The band became extremely popular, twice supporting Dr. Feelgood and headlining many festivals.
After Too Hot To Handle, Barry joined the fabulous Dr. JJ's Blues Band, performing to packed audiences all over the country. Shortly after this came a request from Bruce Dickinson (Iron Maiden) asking Barry to play Bass for him at a private solo concert. Barry was invited to record a track for the Maurice Gibb Tribute Album. The track also featured Tommy Allen on vocals and guitar, and became the opening song of the album. Barry has also enjoyed success as a session player, with one song he performed on entering the European charts. Barry met his Bass hero, Marcus Miller at a London gig. Marcus asked Barry to play for him and said, "I'm very impressed. I look forward to hearing great things of you in the future!" Barry has recently played & toured with the Robin Bibi Band and is still after 4years plucking the strings with Dr.JJ.
Barry says he is looking forward to playing with his long time friend Tommy & hopefully the future will be bright.
Craig's initial live experience was gained in pubs and clubs playing with covers bands, and original bands on the London circuit. During this time he had his first experience in the recording studio and has since worked with various artists, producers and writers including Alex Von Soos (All Saints, Atomic Kitten, Bellefire) Gary Bromham (George Michael, Dannii Minogue) and Brio Taliaferro (Sugababes, Aswad). He has also played fesitvals, made TV appearances and toured with a show band, playing to a click track and packed audiences every night. His drumming style is totally natural and groove based. He has studied at Drum Tech
(London) honing his technique.
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Grounded in tradition, airborne by imagination, this is one of the most inventive blues recordings ever made by a British artist." MOJO magazine Feb 06
"The closest thing I've heard to Chester Burnett" Jeff Beck
"Album of the year" Blues Matters magazine
"He got 'church' in his voice. If my Daddy was alive today he'd say 'That's my Boy!'" Big Bill Morganfield.
"His lyrics are several notches above the usual Blues fare, displaying rare wit and originality" Blues Revue.
"The man is a star. Period." That's how one reviewer described Ian Siegal after a recent appearance at London's renowned venue, The Jazz Café.
Whether sitting on a stool with an old resonator guitar, or fronting his band with Telecaster in hand, Ian Siegal is power and emotion personified. Quite simply he is one of the most natural, exciting and vibrant talents on the scene today.
Ian is a remarkable and versatile singer - one minute digging deep in Howlin' Wolf territory, the next minute caressing a ballad like the woman he loves. It has often been said that had Ian been around in the sixties, he would today be accorded the same reverence as names such as Joe Cocker, Van Morrison and Eric Clapton.
On the continent of Europe, particularly the Benelux countries, Ian is fast becoming a household name, topping the Jazz/Blues/Soul charts and playing many of the major festivals including the 2005 North Sea Jazz Festival (the World's largest indoor music festival) where he shared the main stage with Al Green, Robert Cray and Solomon Burke.
It all started 15 years ago when as an occasional roadie for his cousin's band he was one night, quite unexpectedly, asked to sing. The result was a blown-away audience and a delighted (and rather surprised!) 16 year old vocal talent with a long career ahead of him. vTwo years later he picked up a guitar and taught himself to play, travelled to Berlin and started busking for a living. This is where he says his playing dramatically improved as, if he didn't make money, he didn't eat! By the time he returned to England he knew that a career in music was the only one for him.
He started out just as the Blues entered another of its periodic doldrums, but his talent built him a loyal following in areas around the UK. His gigs have always been packed. Then he found himself in increasing demand around Europe. A move to London gave him another springboard and a pool of first class musicians from which to create his current band.
In 2003/04 Ian toured two successive years opening for ex-Rolling Stones Bill Wyman's Rhythm Kings and played a string of UK venues as a duo with Big Bill Morganfield. With his latest album "Meat & Potatoes" receiving rave reviews, Ian is ready to conquer the world.
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Chris Farlowe was born John Henry Deighton in Islington, North London on October 13 1940, amidst the rationing, gas masks and bombing raids of WWII. In common with many of the great British stars who emerged from the sixties, Chris's earliest hero was Lonnie Donegan and whilst still a teenager, Chris formed his own skiffle band - the modestly named 'John Henry Skiffle Group! By the late fifties Chris had gravitated more towards Rock and Roll and left off guitar to concentrate on singing. The group evolved into Chris Farlowe and the Thunderbirds; the Farlowe coming from guitarist Tal Farlowe and Thunderbirds from the American car of the same name. By the early sixties, Chris and The Thunderbirds were established favourites on the London and Hamburg club scene and had a growing band of enthusiastic and loyal followers. Their musical direction was also changing - becoming more R&B than R&R.
November 1962 saw the first vinyl release, the intriguingly named 'Air Travel', unfortunately it didn't chart but it did bring Chris to the attention of the Columbia record label who signed him the following year; releasing five singles over the next couple of years. Apart from dance floor hit, 'The Blue Beat', commercial success was limited though critical acclaim (as always) was widespread.
It wasn't until Chris signed to Andrew Loog Oldham's new Immediate label that things finally started to happen. 1966 seeing the release of Immediate's show case EP where Chris covered 'In the Midnight Hour', Mr Pitiful, Satisfaction and 'Who Can I Turn To?'. This was followed by the single release 'Think' which charted and the first Album, '14 Things to Think About'.
The summer of 66 saw England winning the Football World Cup (honestly!), the USA fighting in Vietnam and the release of 'Out of Time', affectionately referred to as 'OOT'. To say it was a huge hit would be an understatement. It was a phenomenon and struck a cord with young and old alike. One of those rare records that just hit the right spot in a nation's consciousness at the right time. Against Chris's wishes, EMI followed up with the release of 'Just a Dream' and then the much better 'Ride on Baby' both of which received a luke warm reception. 'OOT' was such a tough act to follow. The latter part of the sixties saw a number of releases, none of which had any major chart success with the exception of the classic 'Handbags and Gladrags' a song penned especially for Chris by buddy Mike D'arbo of Manfred Mann fame and recently covered by Welsh rockers, the Stereophonics in 2003. Incredibly, this was to be Chris's last chart success, not counting the re-release of 'OOT' in the mid seventies. By the end of the sixties, Chris didn't have a record deal and looked set to fade into obscurity.
But wait... it's 1970 and who's this in the afghan coat with long hair and fashionably flared trousers? Yep, it is our very own Chris, now playing with progressive rockers, Colosseum (hands up those who remember progressive rock?). Two albums followed before Chris moved on to Atomic Rooster (Don't ask. I don't know, remember people used a lot of drugs in the early seventies!). Not a happy time for Chris and after completing two albums, 'Made in England' and 'Nice N Greasy' the relationship was terminated. It was a bleak time; Chris was involved in a serious road accident that kept him away from recording and performing for two, long years. In 1975 Chris emerged out of the doldrums, hitting the road again with a new Thunderbirds lineup and chart success coming with the re-release of 'Out of Time' in 1975. But, it wasn't to be. Management hassles and the punk explosion (hands up who remembers punk!) saw Chris sidelined once more.
The 80's saw Chris's re-emergence from semi-retirement, guesting on Jimmy Page's highly acclaimed 'Outrider' album and bringing the house down at a Radio one live show with his rendition of 'Stormy Weather'. The very worthy albums 'Out of the Blue' and 'Born Again' were released during this artistically rich and productive time.
In the nineties Chris just went from strength to strength. Recording and gigging relentlessly. Tours with the newly reformed Colosseum, the Manfreds and solo dates, reawakened interest throughout the old fan base and brought a whole new generation of fans on board (me included). Colosseum and solo albums were ecstatically reviewed but didn't translate to chart success (the general public have no taste you know)!
The new century is proving to be a productive time, for Chris who shows no signs of slowing down. Despite reaching 65 years of age, he continues a punishing schedule of recording and touring and runs a successful antiques business into the bargain. He has become the favoured special guest for 'Van Morrison's' live shows as well as completing annual UK and European Tours in his own right with the Norman Beaker Band.
The last three albums have all been mini classics; 'The Voice', produced by Clem Clempson, saw Chris' in a contemplative and mellow mood and was followed by 'Glory Bound', a beautifully crafted collection of songs with spot on production by Norman Beaker. A solid, quality effort, typically mold breaking and denying those who would try to pigeonhole Chris as purely a 'blues' singer. 2003 saw the release of 'Farlowe That', a much more rock orientated album, which resembled more closely, the feel of a live set from Chris. The single, 'I'll Leave the Light on', from this album was released in Summer 2003. Unfortunately, despite a show stopping performance on 'Top of The Pops' and the inexhaustible efforts of Kris Gray, Chris' long standing and dedicated manager, it didn't chart.
2004, continues the Farlowe tradition of touring and record releases. The beginning of the year, saw Chris reunited with the original Colosseum line up for a short European and UK Tour. This was followed by an extensive UK Tour, with the 'Hit Makers'; Dave Dee, Chip Hawkes and Cliff Bennett. Following on from this, Chris toured the UK and Europe with the Norman Beaker Band. The year also saw the release of a 46 track anthology 'Rock n' Roll Soldier' which contains a connoisseurs selection of his work from 1970 to the present and includes nine previously unreleased tracks. And just to show the modern 'beat generation' a thing or two, he has covered 'Paul Wellers', 'Changing Man', on 'Delicious Records' 2004 compilation, 'Back To the Future'
Perhaps the highlight for 2005 has been the release of a long awaited live CD, 'Hungary for the Blues'. And. once again Chris has been busy in Europe, touring in his own right and also with Colosseum.
The future... Chris gives no indication of stopping; 'The Voice' is as strong as ever. A UK tour is planned for 2006 and hopefully a new studio album will be cut
For Farlowe fanatics everywhere, he is the consummate rocker, the living embodiment of the star who's seen it all and done most of it, but remains as fresh and enthusiastic as when he started out, an incredible 50 years ago. We can count ourselves fortunate to be witnesses to this living legend, and privileged to call him a friend. With a live act honed to perfection, many of today's so called superstars could learn a lot from him. Whenever we see him, wherever we see him, the audience is spellbound, gripped by every gesture, and each note in every song; the hardest act to follow I have ever seen.
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"The blues is an emotionally pure form of music. If you're not speaking from the heart with true emotion or being honest with who you are...you will be revealed." - Eric Sardinas
Eric's signature brand of Delta dynamite has been a long time in the making. At the incredibly early age of six, he already had his fingers on the fretboard. Though born a lefty, he naturally gravitated towards playing the guitar as a right-hander. Admittedly, this could be considered a difficult approach, but it never slowed Sardinas down. In fact, it's actually been a major contributing factor in the formation of his unique style and specialized technique.
The 1999 debut (Treat Me Right) and 2001 follow-up (Devil's Train) were chock-full of electrified Dobro thunder, but neither surrendered Eric's deeply rooted respect for traditional blues. Mixed alongside his aggressively soulful, self-penned compositions were searing renditions of several obscure treasures pulled from the back catalogues of classic blues artists. Further historical influence came via a stunning array of legendary guest performers including: Howlin Wolf sideman Hubert Sumlin, blues/rock pioneer Johnny Winter, and Delta blues kingpin Honeyboy Edwards. "Singing with Honeyboy meant a lot to me," recalled Sardinas. "He's one of the last surviving links to the first generation of Delta blues." All said and done, each of these two albums garnered bushels full of stellar reviews and rave reactions from fans, critics, and fellow artists alike. Most notably, however, even staunch traditionalists within the blues community now freely recognized and accepted Eric as a legitimate student and purveyor of the Delta legacy.
Looking back on his first two albums Sardinas can now insightfully reflect, "These records explored everything I'd learned, but at the same time they used blues as a jumping off point to go deeper." And so with his latest release, Black Pearls, Eric continues his ongoing artistic quest to soar above and beyond the safe confines of twelve-bar familiarity and hopefully encourage listeners to re-examine many of their preconceived notions regarding blues music. Celebrated studio legend Eddie Kramer was enlisted to spearhead this exciting and revolutionary musical undertaking. "Eric is single-handedly turning the polite world of acoustic Dobro into a mean sounding machine of blues and rock," says Kramer. "His outstanding ability and mastery of his instrument allow him to use feedback and sustain one minute and play with beautiful acoustic sensitivity the next." Employing his renowned talents and fresh perspectives, Kramer helped create an optimum environment within which Sardinas, was able to creatively thrive and flourish. "Eddie's approach in the studio is quite unique," states Sardinas. "His organically rich ways of capturing and recording sound allowed my musical spirit to fly wherever it needed to go for the songs. This same freedom of spirit is showcased consistently throughout Eddie's past recordings. From Jimi Hendrix, to Led Zeppelin, to The Beatles, and on and on... it is clearly there. The energy that is captured on those records is like a living,breathing moment in time. I feel this is what we have achieved here; I think all those sensations come through on this record." Also worthy of note is the fact that this album was recorded completely live and direct to analog tape (ie: no Pro-Tools, no vocal tuners, etc.).
With legions of corporate-fueled, musical puppets littering our stages and airwaves, originality has become virtually extinct within the landscape of today's popular music. Fortunately there's Eric Sardinas. His unique sound and honest delivery are breathing life back into the lungs of a stale industry on the verge of collapsing face first like a suffocating giant. Sardinas is both a welcome reminder of the finest unfiltered music from an era bygone, as well as, a glimpse into a future realm of infinite sonic liberty. He's a courageous trailblazer who's constantly repudiating routine limits and challenging all genre inherent boundaries with his wild, but never-the-less ingenious, innovations. As such, this performer shines brilliantly and refreshingly like a beaming beacon of hope. So, if you find yourself understandably lost and aimlessly drifting through a sad sea of musical mediocrity... find Eric Sardinas. Find him, because he will single-handedly realign your ears with your heart and restore your faith in the power and beauty of music. The simple truth is that you need only witness to believe. And once you see him... you'll never forget him.
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John O'Leary Band (Ireland)
Ex Savoy Brown
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Blues Harp Player & Singer, John O'Leary was born in Clonakilty in the Republic of Ireland in October 1944. He moved with his parents to England in 1955. Interest in music began on hearing Louis Armstrong, Bessie Smith and King Oliver on a friend's record player. His interest in jazz developed and is now a great admirer of Charlie Parker, Duke Ellington and Charles Mingus. Interest in the blues began on hearing the legendary harmonica player Cyril Davies playing with the great Alexis Korner's Blues Incorporated at the Ealing Jazz Club in London in 1962. The Ealing club was really the birth of the British blues movement; it's where it all began for a lot of people (including The Rolling Stones). As soon as he heard Blues Inc., he quickly discovered Muddy Waters, Howlin' Wolf, John Lee Hooker, Little Walter & Sonny Boy Williamson. With inspiration like this, he took up the harmonica almost immediately and learned by carefully watching and listening to Cyril Davies.
In 1965, John met and struck up a friendship with the guitarist Kim Simmonds which led to the creation of the seminal British blues band, Savoy Brown's Blues Band. The band began it's long life by opening its own club called Kilroy's at The Nags Head, York Road, Battersea (opposite Price's Candle Factory), and from there they gradually branched out to play the leading clubs in London. Venues like The Marquee, The Flamingo, Klook's Kleek, Eel Pie Island, Blazes and The Scotch of St. James were enormously popular and it got them in front of big audiences. Kilroy's, too became a popular venue in it's own right and played host to Freddy King, Chicken Shack & Fleetwood Mac et al. They supported The Cream on the famous trio's first gig at Klook's Kleek, shortlty after their debut at The Isle of Wight Festival. This period in the band's life was one of rapid progress both musically and in terms of the band's popularity. Four sides were cut for Mike Vernon's Purdah label. These were subsequently reissued on the Immediate label. The original line of the band was completed by Brice Portious (vocals), Bob Hall piano), Ray Chappell (bass) and Leo Mannings (drums). The time came when pianist Bob Hall left, as he was unable to meet the very heavy touring schedule and was replaced by guitarist Martin Stone. Decca Records eventually signed the band and initially recorded 3 (unreleased) sides with this line up. At this time the band's management began to interfere with the personal freedom of the musicians and on a matter of principal, John left shortly before the "Shakedown" album was recorded.
Soon after leaving Savoy Brown, pianist Bob Hall, invited him the join the newly formed John Dummer Blues Band. The Dummer band featured The Groundhog's great guitarist Tony McPhee, the wonderful country blues singer Joanne Kelly and her brother Dave Kelly (who is now with The Blues Band). He recorded a single ("Travellin' Man" b/w "40 Day & 40 Nights" ) and the album "Cabal" with the band before leaving in 1969. The single and album are both included in the reissue CD Cabal... Plus on See For Miles CD 456 along with other items recorded by the band in its subsequent incarnations.
Whilst still with the John Dummer Band, he organised a studio session using the name Sweet Pain. The album was essentially a jam session with members of Alexis Korner's Blues Inc., and John Mayall's Blues Breakers - Dick Heckstall-Smith, Victor Brox, Keith Tillman and Aynsley Dunbar. Most of the vocals are beutifully sung by Victor's wife Annette Brox and the guitar chores were handled by the underrated Stuart Cowell. The results were issued by Mercury and received some very good reviews. A second album by Sweet Pain was recorded, but unfortunately, somebody stole the tapes!!!!!!
Shortly after the Sweet Pain collaboration, John recorded an album for the French Byg label with the great New Orleans blues singer and pianist Champion Jack Dupree. Jack used The Aynsley Dunbar Retaliation along with jazzmen, saxophonist Ray Warleigh and trombonist Nick Evans. The album , originally released as The Heart of the Blues is Sound , is once again available in the Charley Blues Masterworks Series and has since been renamed "Home".
The next two ventures were both short lived affairs, with bass player Jerome Arnold's attempt to form a band in the UK, and "never quite made it to live gigs" in The Brunning/Hall Sunflower Band. However some sides were issued on their Gemini album and have been recently reissued by Indigo Records on CD.
Following a retirement from the music business, John returned to the scene in the late 1970's and in collaboration with his long term friend, bassist Keith Tillman, they formed The Famous Bluesblasters. The band drew it's inspiration from the Sweet Pain session and it worked constantly in the London area and built up a solid following. The core of the band consisted of saxophonist Dick Heckstall-Smith, singer/pianist/trumpeter Victor Brox, and the brilliant jazz guitarist, Kenny Shaw from the jazz rock band Nucleus. From time to time other musicians such as Pete Bardens (keyboards), Chris Mercer (tenor), Tim Jones (guitar) and Roger Jones (drummer now with Angela Brown) gigged with the band. Although these were difficult times for blues bands the band survived up into the early 1980's untill it was relaunched as Mainsqueeze.
This new incarnation, a step on musically from The Bluesblasters, had a really strong line up... John, Dick, Keith and Victor remained to form the nucleus of the new band, whilst Keef Hartley joined on drums, Eric Bell from Thin Lizzy came in on guitar and vocals, Diana Wood on vocals and alto sax and Dave "Munch" Moore on Hammond organ. The band toured mainly in Europe and recorded a live album during its residency at Ronnie Scott's Jazz Club in London. The album was issued on the Expulsion label and is now deleted. The end of Mainsqueeze was an acrimonious affair (a real "can of worms") with John and Diana Wood leaving. A scaled down version of the band continued for a little while under Keith Tillman's leadership with an irregular line up. The one high spot for the remainder of the band was the probably the fine tour and album with Bo Diddley.
With his departure from Mainsqueeze, another lean period set in. Although not touring, he continued to play with numerous bands in the London area. Some of these bands include:- The (Chicago)Sunsets, Black Market, Juju Blue, The Sidewinders, The Engineers, Grass Roots, Sugarcane and a special concert at the Marquee to commemorate the 25th anniversary of the death of Rolling Stone Brian Jones with folk singer Donovan, Eric Bell, Noel Redding, Marianne Faithfull.
From it's inception in 2001, John has been working with The Andy Cortes Band. Andy is a brilliant 14 years old guitarist, who is deservedly fast making a big name for himself in the blues world. Andy has also had the good fortune to have been helped by the many wonderful musicians who have played in his band... Noel Brown (guitar), Rob Millis (hammond organ), Foxy, Chris Belshaw, Nick Dalton & Dave Hadley (bass), Ed Spevock, "Funky" George Dare, Mark Freeman, Roger Hunt, Frank Diamore (drums) and multi-instrumentalists Pete Sargent & Pete Brown
At the present time John is working with his own band in the UK and whilst in Eastern Europe, he works frequently with The Pointblank Blues Band, Pointblank is a fine blues band from Belgrade, Yugoslavia. You can get some nice photos and sound clips if you check out their web site at www.pointblank.co.yu.
As well as the solo album, The Savoy Brown Fanzine Shades of Savoy Brown has also made available a limited edition CD of tracks from former members of Savoy Brown. This new CD featuring John, and other former members of Savoy Brown is a limited pressing and copies may be ordered only from Blues Matters Magazine, try their website at www.bluesmatters.co.uk, or write to them at Blues Matters, POB 18, Bridgend , Wales CF33 6YW.
Other recent recording projects have included a contribution to albums by Joe Hollywood and Andy Cortes's debut albums, and some tracks on a new album by Pointblank.
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Taste (Ireland)
Rory Gallaghers original band
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Before becoming a solo star, Rory Gallagher fronted the blues-rock trio Taste, which experienced reasonable success in the U.K. in the late '60s and early '70s. Taste was molded very much on the model of Cream, adding some folk, pop, and jazz elements to a blues-rock base, and featuring a virtuosic guitarist.
The focus of Taste was always upon Gallagher. In addition to playing accomplished and versatile lead guitar, he sang in a gentle but convincing fashion, and wrote the band's original material. Much of Taste's repertoire was more restrained and balanced than the territory Gallagher would explore on his '70s outings, which placed more emphasis upon him as guitar hero. Gallagher also played occasional saxophone and harmonica with the group.
Gallagher formed Taste in his native Ireland in 1966. In May of 1968, he relocated to London and, still months shy of his 20th birthday, formed a new version of Taste with bassist Charlie McCracken (who had played bass with Spencer Davis, though not at the peak of Davis' hit-making days) and drummer John Wilson (who had been a drummer with Them, likewise not during one of their well-known incarnations). Two studio albums followed in 1969 and 1970, the second of which made the British Top 20.
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Nine Below Zero (UK/Ireland)
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Dennis Greaves heads up the band, playing guitar and singing better now than at any time in his career, a legend in waiting persona! Then there is the mighty rhythm section of Gerry McAvoy and Brendan O'Neill blowing up a storm! Gerry is a bass player's bass player, who spent 15 years laying it down for Rory Gallagher as did Brendan on drums for 10 years. Over this fat slice of rhythm, comes the unique harmonica of Mark Feltham,since January 2001 Mark has been back playing with Nine Below Zero needless to say anyone who knows the band will be aware of his history, himself and Dennis being the founder members of the band. Live, this combination is lethal, hammering and nailing the big R n B sound to the floor of many a famous stage. It is not unusual for the band to sell out big clubs weeks up front.
"NBZ are brilliant live, they work so hard , the audience often go home as exhausted as the band" so says Andrew Zweck of top promoters Harvey Goldsmith Ents. They have carved out a very credible niche, a place they will be for a very long time to come, because, who else is this good?.....this often? NBZ are the viable alternative to Alternative, a band that most definately come to play, a band with their own genuine sound and deep understanding of their musical roots. NBZ have a tireless spirit, no regrets, no excuses, no crap.
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Blues Bishops
featuring Martin Turner
ex Wishbone Ash
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The Blue Bishops are a UK based band with a musical style firmly rooted in the hard edged British blues/rock idiom. The band have been in existence for a number of years and, following the departure of their original bassist in 1999, the Bishops enlisted the services of long time friend Martin Turner.
Martin has appeared with the band for live appearances since 1999 and was heavily involved in the production of the band's second album, "Deep", which was recorded both in London and also at Jethro Tull guitarist Martin Barre's studio in Devon, and was released during May 2002. The line-up at that time comprised Geoff Grange (vocals/harmonica), Bob Sellins (guitar/vocals), Simon Burrett (guitar/vocals), John Fisher (drums) and Martin Turner (bass/production). Since then John Fisher and Bob Sellins have departed and the band now exist as a four-piece completed by drummer Justin Hildreth
The Bishops spend much of their playing time in Europe, where the harder, rocky edge of their blues style has a wide cross over appeal. They appear regularly in Holland and Belgium and notable appearances include the Swing Festival in Wespelaar, the Blues Parade in Peer and the world renowned Ghent Festival. In 1999 the Bishops also opened the Bishopstock festival in the West of England - the UK's premier blues festival to critical acclaim from both the audience and the international media.
Geoff Grange: Lead Vocals; Harmonica; Guitar
Geoff has worked with many international artists. His previous band, 'Sons of Heroes', was managed and produced by Bill Wyman, and during his tenure with the Bishops Geoff has worked as a long term collaborator on harmonica and vocals with Bill's band, the Rhythm Kings, appearing on several of his albums. Other famous names he has been associated with include Phil Collins, Terence Trent Darby, wizard keyboard player Patrick Moraz and Free drummer, Simon Kirke. He really has a great voice and a great personality on and off stage, and in addition to his lead vocals and harmonica playing; he plays some really good lead guitar solos.
Martin Turner: Bass Guitar; Backing Vocals
Founder; bass player; writer; producer; and lead vocalist with Wishbone Ash - at one time the world's biggest draw as a guitar rock act - Martin Turner occupies a legendary space in British music. The Bishops are different from Wishbone. But they work at the harder end of the R and B spectrum and the gutsy 'wring its neck' bass playing, along with Martin's role as a performer and producer perfectly fits the balance of this band. Martin fits in very well with the Bishops and thoroughly enjoys being on stage with them, and it really shows in his performance.
Justin Hildreth: Drums
Justin is a world travelled performer with a career that spans many famous artists and many different drum disciplines. His track record speaks for itself, and includes working with such luminaries as Joan Armatrading, Thomas Dolby, Nina Hagen, Lene Lovich, Blancmange, M, and Roogalator; ...the list goes on. Justin really provides a very solid backing for the band.
Simon Burrett: Vocals/Slide Guitar
Simon has been a figure on the London Rock scene for many years. A founder member of the Blue Bishops he started his career making singles with ex-Blue Horizon session man Vaughan Rees [Chicken Shack, Tony Macphee, Duster Bennet, Jo Ann Kelly sessions...]. After charting in Europe he went on to play the UK pub rock circuit when it was at its 70s peak, with a number of his own bands, teaming up at various times with a different members of the 60s and 70s cult band 'Principal Edwards Magic Theatre', Nick Pallet, Geoff Nicholls and [now Al Stewart's keyboard and guitar collaborator for many years] Pete White. Simon continues to write and produce music for TV and radio soundtracks and has recently guested on Jethro Tull guitarist, Martin Barre's latest solo album, Stage Left. Simon is an amazing slide guitarist; he really gets the crowd going and always gives a great performance.
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Linda Gail Lewis has been consolidating her reputation on this side of the Atlantic. Already much respected with the rockabilly fraternity, the Louisiana born artist has now broadened her appeal in the general entertainment marketplace.
Linda Gail's new found, ever increasing popularity has been based upon top grossing nationwide tours with Van Morrison, a best-selling duet album with Morrison, and an outrageous autobiography that knocks the socks off other "kiss and tell" diatribes.
But it's not only the public that has responded enthusiastically to her music. The critics have been singing her praises also, with acclaim coming from such prestigious publications as Rolling Stone and Time Out, Q and Record Collector.
Now she's set to win even more friends and fans with a brand new album that continues to fashion her own identity as a singer, songwriter and musician. Appropriately titled "Out Of The Shadows", it's another step away from the image garnished by her elder brother, the notorious Jerry Lee Lewis.
Linda Gail Lewis first started making waves in Britain when - following the launch of her highly controversial and much discussed autobiography "The Devil, Me And Jerry Lee" and the release of her self-titled album on Sire - she toured the U.K. and Ireland in the perfect rocking company of Shakin' Stevens. Along the way she made several television appearances and, by the year's end, had struck up an acquaintanceship with Van Morrison, leading on to the duet album "You Win Again" and several months touring together.
But Linda Gail Lewis, in common with her famous brother, has never shied away from the headlines. It comes with the territory. Just as noted Nashville journalist Robert K. Oermann had described her autobiography as "breezy, bemused, irreverent and more than a little racy", so such words could be similarly to the authoress herself.
Linda Gail and brother Jerry Lee grew up in Ferriday, Louisiana along with cousins Jimmy Swaggart (controversial, but world-renowned evangelist) and Mickey Gilley (country singer/songwriter, who gained a worldwide reputation via the movie "Urban Cowboy"). Most of their colourful, but poverty stricken childhood was spent in their hometown church built by members of the family. Their first musical experiences were right there at "The Ferriday First Assembly of God" where Jerry and Linda sang, moving toward what would be their life long career in music.
"I've been in the music business my whole life," says Linda. "I went into Sun recording studio, in Memphis, with my brother for the first time when I was 12 years old and went out on the road with him when I was 14." The impressionable Linda Gail idolized her brother and he returned her love with big brotherly concern. "He protected me when we were out on the road. He wouldn't even let anyone cuss in front of me."
Her internationally successful adult life is a far cry from what her rural tender years provided. During her school years, Linda Gail was sort of a loner, only winning the superficial affection of her peers by way of the money that Jerry always made sure that she had. "During recess I was the only kid who had money to buy refreshments, so it was the only time kids liked to hang around me." Throughout many years of social academic isolation, Linda Gail recalls only being happy when she was with her family. "I didn't have any friends in school. People would whisper things about me when I would walk down the halls as a teen. I remember feeling like I was ugly or that there was something wrong with me. It gave me a complex because I had always been different. After a while it got to the point where I just didn't care anymore. If they laughed, I laughed with them."
Never having to solicit attention from the music industry, Linda's earlier years were spent alongside Jerry Lee. "I had record deals offered to me when I was young, but I was having the time of my life traveling with my brother so I really didn't care if I had a record deal or not. I dedicated my life to my brother. He showed me things on the piano, but I never learned it then because I just didn't see the sense in it. Where was I going to use that on the road with Jerry Lee Lewis? Nobody could play like him on a show like that. Believe me, you wouldn't want to play."
Eventually, Jerry Lee and Linda Gail did join forces in the early 70's creating a duet album entitled, "Together", which launched a top 10 hit with their Mercury/smash single, Don't Let Me Cross Over, followed a few months later by a revival of Roll Over Beethoven. From there she went out on her own to pursue her own dreams and visions in an effort to step out of the shadow of her famed brother. At that time she scored a solo hit with Smile, Somebody Loves You. She continues: "You know, having name recognition is a two sided-thing, It helps you get in the door, but once you're in, you have to blow people's minds or else they will not like you. If I was Jerry Lee's sister, I better be damn good."
To say the least, Linda Gail Lewis grew up in a very unique and unusual family. Although most of her attention came from the rocketing stardom of her brother and cousins, she herself claimed a very astonishing life pattern. Quite obviously a woman who is not afraid of commitment, Linda has been married 8 times and 3 of those marriages were before she was 16 years old. Jerry is the second runner up with 7 marriages under his belt. Through all the twists and turns in her admittedly crazy life, she is a powerful musician and a wonderfully dedicated mother to her four children.
Talking with Jerry Lee Lewis fans she was often asked to write a book describing her life as a sister and cousin to three enormously successful household names. "I remember Bob Hope asking me, 'What was it like growing up with Jerry Lee Lewis?'" These questions and many others fed her need and desire to write the real version of her life and basically tell the truth so that the misconceptions of her family can be laid to rest. All were revealed in the best-selling "The Devil, Me And Jerry Lee".
"I just wanted people to know the truth and understand us. People don't know the half of us. My family is unusual, but they are very good people and my brother always made sure he took care of us." Linda also states that even though she and her brother are a lot alike, that they do see things differently especially when it comes to the public's eye. "Jerry actually feels that he has a right to privacy. He gives terrible interviews and most times won't even talk. The way I see it is, once you are a public figure, you don't have the right to privacy anymore. I mean, my brother, Little Richard, Elvis, and Chuck Berry were all pioneers. There would be no Metallica if it weren't for them. They introduced a whole new genre of music and changed the world forever. 50's music is still alive and well. Back then they were all looked upon as rebels."
These days, though, Linda Gail Lewis' music is making its own impact. The little sister has now stepped out of the shadows of her big brother and enjoys the enthusiastic support of a public that yearns for more - and the media always eager for a story linked with the Lewis name.
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By any yardstick, Chicago guitarist John Primer has paid his dues.
Prior to making The Real Deal for Mike Vernon's Atlantic-distributed
Code Blue label, Primer spent 13 years as the ever-reliable rhythm
guitarist with Magic Slim & the Teardrops. Before that, he filled the
same role behind Chicago immortals Muddy Waters and Willie Dixon.
All that grounding has paid off handsomely for Primer. His sound is
rooted in the classic Windy City blues sound of decades past:
rough-edged and uncompromising and satisfying in the extreme. He's one of the last real traditionalists in town.
By the time he came to Chicago in 1963, Primer was thoroughly familiar with the lowdown sounds of Waters, Wolf, Jimmy Reed, B.B. King, Albert King and Elmore James. He was the leader of the West Side band called The Maintainers, dishing out a mix of soul and blues, before joining the house band at the South side blues mecca Theresa's Lounge for what ended up a nine-year run. Elegant guitarist Sammy Lawhorn proved quite influential on Primer's music.
Always on the lookout for aspiring talent, Willie Dixon spirited him
away for a 1979 gig in Mexico City. After a year as one of Dixon's
All-Stars, Primer was recruited to join the last band of Muddy Waters, playing with the Chicago blues king until his 1983 death. Right after that, Primer then joined forces with Magic Slim; their styles interlocked so seamlessly that their partnership seemed like an eternal bond.
But Primer deserved his own share of the spotlight. In 1993, Michael Frank's Chicago-based Earwig label issued Primer's debut domestic disc, Stuff You Got to Watch. It was a glorious return to the classic '50s Chicago sound, powered by Primer's uncommonly concise guitar work and gruff, no-nonsense vocals. With the 1995 emergence of The Real Deal - produced by Vernon and featuring all-star backing by harpist Billy Branch, pianist David Maxwell, and bassist Johnny B. Gayden, Primer's star appeared ready to ascend. He soon transferred back to the Wolf label for set such as 1997's Cold Blooded Man, 1998's Blues Behind
Closed Doors and 2000's It's A Blues Life. He is one of the last of the great traditional Chicago bluesmen alive, and he rocks the house !!
John currently has recorded 10 cds under his own name and countless cds
as a session guitarist.
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Born in 1958, son of blues harmonicist Carey Bell, Lurrie picked up his father's guitar at age six and taught himself to play. He was
clearly gifted beyond most. In addition to that, he grew up with many of the Chicago blues legends around him. Eddie Taylor, Big Walter Horton, Eddie C. Campbell, Eddy Clearwater (his cousin), Lovie Lee, Sunnyland Slim, Jimmy Dawkins and many more were frequent visitors to his house. They all helped to shape and school him in the blues, but none as much as his father's long time employer Muddy Waters.
By seventeen, Lurrie was playing on stage with Willie Dixon. Not only was Lurrie quickly recognized as an exceptionally gifted guitarist and musician, but his knowledge of different blues styles, his soulfulness and musical maturity brought write-ups in publications such as Rolling Stone and The New York Times. When only nineteen, Lurrie went out on the road with Koko Taylor for four years. His next role was a founding member of Son of the Blues with Willie Dixon's son Freddie and harmonicist Billy Branch. At a time when most other young blues guitarists, both black and white, were favoring the rock-blues "guitar hero" style, made popular by the likes of Johnny Winter and Stevie Ray Vaughn, Lurrie's playing has always followed more in the traditional
style of such blues greats as B.B. King, Otis Rush, Magic Sam and Eddie Taylor. For Lurrie, it has never been about how many notes he could play or how fast he could play them. Rather, it's always been about the music, and more specifically, about the blues. Above all, whatever style or flavor Lurrie chooses to draw from, it is his own sound that rules.
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"Bell has set the mark for the harp kings to beat. Stunningly great,
haunting." -- ASSOCIATED PRESS
Acoustic blues music is an introspective and intimate genre rooted in 400 years of history and tradition, fueled by honest emotion and deep feeling-something that real blues musicians learn while still in the cradle. To harmonica legend Carey Bell and his son, guitarist Lurrie Bell, the blues is second nature. The bond between Carey and Lurrie has always been tight and close, with each man bringing out the best in the other, creating music that captivates and entertains. Over the years, the two have released many critically acclaimed solo albums--with father and son oftentimes guesting on each other's records and joining each other for live performances--but they have never released an acoustic recording of just the two of them. One could only imagine what it might sound like when Carey and Lurrie sit around alone together,
swapping songs and just playing for the sheer joy of the music.
During a 1991 tour of Finland, lucky Scandinavian blues fans heard some of that magic as Carey and Lurrie began performing acoustic numbers together on stage as part of their set, often bringing the audience to their feet. The tour promoter, Chip Covington, decided he needed to capture this true blues acoustic miracle on tape. An impromptu recording session was set up and--with no rehearsal and no overdubs--Carey and Lurrie laid down the tracks for their first and only acoustic album, each in one take.
Now, 13 years later, Alligator Records releases this lost treasure,
entitled Second Nature. The recording is timeless, sounding as vibrant and relaxed as the day it was recorded. The intimate session includes six original songs and spine-chilling versions of timeless blues classics-plus the gospel standard Trouble In My Way and the surprising Lurrie interpretation of Smokey Robinson's Here I Go Again. With Carey's harmonica alternating between raucous power and sweet sophistication and Lurrie's guitar work moving seamlessly from raw intensity to smoky elegance, the two play off each other almost telepathically. And as both men sing with deep soul feeling, each and every song on Second Nature is a blues revelation.
Blues harmonica legend Carey Bell is one of the very few players today who didn't learn his craft by listening to old records, but by studying directly under the masters. "Little Walter, he showed me a lot of things," says Bell, "but Big Walter, he was crazy. He did all kinds of shit other harp players couldn't do." And like his teachers Big Walter Horton, Little Walter Jacobs and Sonny Boy Williamson II -- each with a sound of his own -- Bell was inspired to forge his own style. It didn't take long for Bell to develop his signature "chopped" harmonica phrasing and deep-blues vocal attack. A veteran of both Muddy Waters' and Willie Dixon's bands as well as a searing solo artist with chops to burn, Bell's classic yet Contemporary, funky yet subtle and deeply soulful blues place him firmly on the short list of blues harmonica superstars.
Carey Bell Harrington was born in Macon, Mississippi on November 14, 1936. A fan of Louis Jordan, Bell originally wanted a saxophone. Economic realities forced his grandfather to buy him a harmonica instead. He taught himself to play harmonica by the time he was eight, and began playing professionally with his godfather, pianist Lovie Lee, when he was 13. In 1956, Lee convinced Carey that Chicago was the place to be for aspiring bluesmen, and on September 12, 1956 they arrived. Almost immediately, Bell went to see Little Walter perform at the Club
Zanzibar at 14th and Ashland. The two became friends and Walter
delighted in showing the youngster some of his tricks. Carey went on to meet and learn from Sonny Boy Williamson II, but it was Big Walter Horton who really bowled him over. "I liked that big tone he had," recalls Bell, ìdidn't nobody else have that." Big Walter became Bell's close friend and musical mentor.
Carey learned his lessons well but by the late 1950s and early 1960s the gigs were drying up for harp players as the electric guitar began to take over as the predominant instrument of Chicago blues. Bell decided to increase his worth by becoming a bass player (learning the ropes from Hound Dog Taylor). He quickly mastered the instrument and began getting gigs as a bassist with Honeyboy Edwards, Johnny Young, Eddie Taylor, Earl Hooker and Big Walter. While playing bass in Big Walter's band, Bell studied every harp trick in the book first-hand from one of the all-time great harmonica players.
Bell, back on harp full-time, recorded behind Earl Hooker in 1968 for Arhoolie. His friend Charlie Musselwhite brought him over to Bob Koester at Delmark Records in 1969, who promptly signed Bell and recorded Carey Bell's Blues Harp. Bell spent 1970-1971 traveling and recording with Muddy Waters (he can be heard on Muddy's THE LONDON SESSIONS and UNK IN FUNK albums on Chess). Willie Dixon chose Bell for the featured role in his Chicago Blues All Stars, with whom Bell worked regularly throughout the 1970s, both touring and recording.
Even though Dixon kept Carey busy, Bell still found time for his own projects. In 1972 he teamed up with his friend Big Walter and recorded what was to be Alligator Records' second-ever release, BIG WALTER HORTON WITH CAREY BELL (AL 4702). In 1973 he made a solo album for ABC Bluesway and was featured in 1978 on Alligator's Grammy-nominated LIVING CHICAGO BLUES series (both with his own band and playing behind Lovie Lee).
By the 1980s Bell was already an established giant among blues
harmonica players. He recorded albums as a leader and as a sideman for a variety of labels both in the United States and Europe, and was constantly playing live. In 1990 Bell, along with fellow harpslingers Junior Wells, James Cotton and Billy Branch, got together and recorded the W.C. Handy Award-winning Alligator album, HARP ATTACK (AL 4790).
Bell's hot playing and deep blues vocals helped make the recording a modern blues classic. And the record has become one of Alligator's best-sellers.
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One of the hardest working harmonica-based blues groups in Chicago, Matthew Skoller is well-known for its fierce and passionate live shows. His group is comprised of some of the most respected and seasoned Chicago rhythm-men in the business.Skoller and his band are at the forefront of a new generation who've come up schooled in Chicago's world-renowned and highly competitive blues scene.
With an unwavering commitment to the music, Skoller combines his deep knowledge of traditional and modern Chicago styles with his own personal approach to create a distinctive sound in the blues.
As with many blues performers of his generation, Skoller's been
influenced as much by Bob Dylan, Neil Young, Jimi Hendrix and the
Allman Brothers as by the legends of blues. Skoller's approach to the blues tradition is about drawing from his more than 20 years on the Chicago scene and letting his own stories and voice come through -- his culture, his experience.
Skoller moved to Chicago in January 1987. His already mature harmonica playing led a number of established musicians to take him under their collective wings. He paid his dues backing up a "who's who" of creative and passionate musicians, including the legendary Jimmy Rogers, Big Time Sarah, and Deitra Farr. Skoller's emotional, high-energy style caught the ear of veteran bassist/vocalist J.W. Williams who invited Skoller to join his band, the Chi-Town Hustlers. The next year, Skoller became a member of Big Daddy Kinsey and The Kinsey Report, touring with the band throughout the U.S., Canada and Europe. It was at that time
that Skoller solidly established himself along with Billy Branch and
Sugar Blue one of the most exciting harmonica players in Chicago.
1992, despite his success working with others, Skoller heard the crying of an inner voice and knew it was time for him to lead his own group.
Like a tornado, he's blown through the Chicago blues scene.
In 1996, the band was a prize winner at the International Blues Talent Competition held by the Blues Foundation in Memphis. That same year Hohner Harmonicas signed Skoller as an endorsee. For more than two decades, Skoller's personal brand of blues has been in demand at clubs, festivals and major corporate events throughout the world. He is a veteran in the studio as well. Skoller has done session work for many major blues artists as well as national television and radio spots.
In February 2000, Alligator Records employed him to play armonica on Koko Taylor's CD, Royal Blue. Skoller's harmonica is featured on 11 songs on the Telarc CD, Knocking At Your Door, from guitarist John Primer. He has also played on albums by Bernard Allison, Larry Garner, Big Daddy Kinsey, Big Time Sarah, Michael Coleman, Harvey Mandel, among others. Skoller's original songs have been recorded by legendary blues artists such as Carey Bell and H-Bomb Ferguson.
Skoller just finished an 8-year run at the Chicago House Of Blues where he was the weekend house band. Buddy Guy has asked Skoller to open for him every year since 1995 at his club, Legend's.
Matthew was recently booked for two Chicago appearances to play harp with legendary roots band Los Lobos.
With the release of his highly acclaimed new CD, These Kind Of Blues! , his fourth album to date, Matthew Skoller is a Chicago artist with a powerful and original voice in the blues.
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