Catfood Records announces the release of Johnny Rawls' Ace of Spades CD.  The title song is a tribute to his mentor, O V Wright, and was suggested by Bill Wax of Bluesville. Ace of Spades has the same songwriters and backing musicians as Red Cadillac which was Living Blues Critics' Choice Southern Soul Album of the Year. Red Cadillac was #1 on the Living Blues Charts in August 2008 and was also nominated for Soul Album of the Year at the Blues Music Awards. In addition to Texas band, the Rays, and Montana drummer Dan Nichols, Johnny added LTD and former LA Motown guitarist Johnny McGhee and former Rod Stewart guitarist Lance Keltner to the studio lineup for Ace of Spades.  Ace of Spades was released September 1 and debuted at #17 on the Roots Blues Airplay Report for week of September 4.  For more information on Johnny Rawls and Ace of Spades go to www.catfoodrecords.com .

 

Dave Riley and Bob Corritore’s sophomore album, Lucky To Be Living, is a natural progression of the duo’s five-year musical and personal relationship that developed out of the Deep South. The duo plays powerful down home blues deeply rooted in the Chicago and Mississippi styles that represent Corritore and Riley’s respective upbringings. Their instinctive blues chemistry and enduring friendship prompts wild, fun and enthusiastic performances.

 

Riley’s raspy Mississippi voice, articulate down home blues guitar, and rowdy, personable, original songs combine with Corritore's passionate, blues seasoned, full-toned harmonica for an engaging performance that entertains both the blues novice and the seasoned listener.

 

Highly celebrated and world traveled with many festival appearances under their belts, Riley and Corritore’s debut album, Travelin’ The Dirt Road, released in September 2007, received much critical acclaim. It was a 2008 Blues Music Award Nominee for Acoustic Album of The Year and Blues Blast Music Award Nominee for Best Traditional Blues Recording. Also produced by Bob Corritore, Lucky To Be Living continues in the same traditional vein upholding the tradition of the legendary Jelly Roll Kings with four Riley originals as well as songs by Riley’s friends, Frank Frost, John Weston and Fred James.

 

Click for more 

 

 

The Blues Foundation, the non-profit organization dedicated to the past, present and future of blues music, has completed the annual election of its Board of Directors and its officers, electing nine individuals to lead and assist The Blues Foundation in establishing a permanent home in downtown Memphis. The plan for a permanent home proposes to centralize the Foundation's educational, audio-visual and retail opportunities, in addition to housing its staff and operations. The new board members elected will contribute their respective expertise in finance, marketing, consulting and development to the Foundation's efforts through 2012, and as Foundation members will continue to provide the worldwide Blues community with support, information and news.

 

The membership of the current Board voted to fill the nine available seats in this year's election, including seven new members: Phil Barkett, a Chicago area financial analyst, Steve Bryson, Chairman and CEO, Global Electronic Technology, Cypress, CA; Smart City Consulting, Memphis; Tom Jones, Stefan Levy, Big Cat Search, Barrington, IL; Craig Ray, Mississippi Development Authority, Jackson, MS; Eric Simonsen, AlixPartners LLC, Providence, RI; and Laurie Tucker, Senior Vice-President of Corporate Marketing, FedEx, Germantown, TN. The Board members re-elected two current members: Dorothy Moore, a Grammy-nominated performer, Florence, MS; and Kevin Kane, President and CEO, Memphis Convention and Visitors Bureau. All recently-elected members will begin three-year terms October 23 at the next Board meeting in Nashville, TN.

 

Following the Board election, the new Board selected the following Board members to leadership positions, who will serve for one year each: the Board's first female President Pat Morgan, artist manager for Pinetop Perkins and Willie "Big Eyes" Smith, and Vice President Bill Wax, programmer and on-air host of Sirius XM Satellite Radio's B.B. King's Bluesville channel. Additional members of the Executive Committee are: Gary Anton, a Tallahassee, FL attorney and owner of Bradfordville Blues Club, Kevin Kane, and Gaynell Rogers, a Nevada City, CA marketing & publicity consultant. In addition, Clay Purdom, an attorney with the Memphis law firm of Martin, Tate, Morrow & Marston, is the Treasurer.

 

The newly-elected members and officers join fellow Board members Barbara Blue, Betsie Brown, Thomas Cain, Jostein Forsberg, Zac Harmon, Jerry Mason, Karen McFarland, Thomas Ruf, Joey Sichting, Ricky Stevens, Cassie Taylor and C. Sade Turnipseed.

 

Newly-elected Board President Pat Morgan stated, "I am very excited to take on this new leadership role. I believe the Blues Foundation is now poised to take on new challenges, to continue to provide for our membership, and to further our mission of keeping the blues alive for generations to come."

 

Executive Director Jay Sieleman added "Adding people of this caliber from outside of the blues music community is critical to taking The Blues Foundation to the next level. But they were not just recruited; each is a Blues fan and was a Blues Foundation member before coming on the Board. I fully expect the next three years to be the best ever for The Blues Foundation and therefore, for blues music."

 

The Foundation is celebrating its 30th anniversary, having already seen this year their 25th anniversary of the International Blues Challenge and the largest, star-studded 30th anniversary of the Blues Music Awards. As the Foundation moves into its 31st year, several new programs will soon be announced to further assist blues musicians and those making their careers within the blues music community.

 

The following Board members will be concluding their Board service in September: Paul Benjamin, Dom Forcella, Bruce Iglauer, Fred Litwin, Patrick Reilly and Chris Sabie.

 

 

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“In these trying economic times, we as a university try to evaluate our priorities and ensure that they are in line with our academic mission," said George Hanbury, Ph.D., executive vice president and COO at NSU. "While the blues festival has been a popular event at NSU, ultimately our academic programs take precedent and we made the decision to discontinue the festival.”

Anyone who already purchased tickets for the festival will automatically receive a full refund to their credit card. For questions regarding refunds, call 954-262-7228.

 

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On November 12th Austin, Texas will once again honor legendary blues club owner, the late Clifford Antone, by hosting his namesake fundraising gala - Help Clifford Help Kids. The annual fundraiser benefits American YouthWorks, a program for at-risk youth in Central Texas. American YouthWorks’ mission is to build productive lives and better communities for disadvantaged young people by giving them an education and the life skills they need to turn their lives around and be successful.

 

Created in 2001 by Clifford, his sister Susan Antone and several of their civic-minded friends, Help Clifford Help Kids combines Clifford’s passion for music and his devotion to helping young people in need. As presenting sponsor of the gala, Gibson Guitar is providing a stunning Gibson BB King Lucille guitar customized with Clifford’s autograph on the pickguard. With Susan’s blessing, American Youthworks is offering the guitar for auction on eBay to a worldwide audience, with all proceeds benefitting Help Clifford Help Kids. The photograph featured on the auction site of Susan with this unique guitar was taken by renowned music photographer Gary Miller.

 

“What my brother did to help keep the blues alive is pretty well known by music fans worldwide,” Susan says. “I think it is fitting to have fans of the blues from all over the world bid on this amazing Gibson guitar that was Clifford’s favorite model. He’d like that.”

 

Clifford Antone founded the legendary Antone’s Night Club in 1975 at the early age of 25. He was revered for his unwavering support of both blues music and blues musicians. Antone dedicated his life to this passion and happily shared it with every blues legend, sideman, and struggling newcomer that walked through his door, providing the resources he had to help musicians survive and succeed. Clifford opened his heart and his stage to blues greats like Muddy Waters, BB King, Jimmy Reed , John Lee Hooker, Buddy Guy, Junior Wells, James Cotton, Albert Collins, Koko Taylor, Clarence “Gatemouth” Brown, Fats Domino, Pinetop Perkins, and Hubert Sumlin just to name a few. The Fabulous Thunderbirds, featuring Jimmie Vaughan and harmonica player Kim Wilson, became the first house band at the club. Clifford is also credited as being an early mentor for Jimmie Vaughan’s little brother Stevie Ray.

 

Antone was quoted by the Austin American-Statesman as saying, “When I finally heard the Chicago Blues, man, it was like I finally discovered what had been in my mind my whole life.” Today his sister Susan keeps the club thriving in the heart of Austin’s music scene, true to the traditions and beliefs her brother started almost 35 years ago. Clifford passed away in 2006 followed by a wake of sorrow from a city that recognized his role in making Austin’s moniker “Live Music Capital of the World” ring true. Earlier this year, Clifford Antone was inducted into the Blues Hall of Fame in Memphis, Tennessee.

 

The walls of Antone’s are full of memorabilia, photographs and sounds documenting the musical history for which the club is so well known. The spirit and rhythm of all the musicians who have visited Antone’s fills the club, and that’s what makes it what it is today.

 

Though thousands of great Gibson guitars have graced the Antone’s stage over the decades, very few if any have had the potential significance of accomplishing so much to further the dreams and legacy left behind by the great Clifford Antone.

 

“It’s such an honor to have Gibson Guitar’s support with this one-of-a -kind chance to continue Clifford’s dream of helping children,” Susan says. “I can’t think of a better tribute to my brother than to combine his love of Gibson guitars, music, and kids by putting this wonderful guitar into the hands of a fan of Clifford and the blues.”

 

To bid on this stunning Gibson BB King Lucille guitar customized with Clifford’s autograph on the pickguard click here. The auction will run from September 3 through September 30. For more information on Help Clifford Help Kids fundraising gala or American Youthworks, click

 

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The theme of the Rowan Annual Blues and Jazz festival this year is “Music performed by all age groups”.  The Rowan Annual Blues and Jazz festival committee has continued the tradition of presenting quality live music performed by musicians mainly from the Piedmont region as well as internationally renowned musicians.  The Salisbury Swing Band with eighteen musicians will kick off the festival near noon with the big band jazz sound.  The Triad Youth Jazz Society from Greensboro with eight students ranging in ages from 11 to 16 represents the next generation of talented jazz musicians. 

 

The Reggie Grantham Show will present a special presentation of jazzy patriotic songs in honor of veterans and the combined armed forces.  This band is composed of the Navy Reserve members of Norfolk VA and Pensacola, FL.  Our own local bluesman, Blazin’ Blues Bob (Bob Paolino, Owner of Woodleaf Lanes) will get the audience set to enjoy “roots blues” with his performance reflecting on the legendary blues musicians such as Robert Johnson and Muddy Waters. The Joe Robinson Jazz band of Winston Salem will introduce their latest CD songs. Sometime around sunset, the popular and requested Homemade Jamz Blues Band featuring Ryan and Kyle on their homemade guitars and their eleven year old sister, Taya on drums with a light show. Next the award-winning MTV band, Ju-Taun (from South New Jersey and currently on a BET Black College Tour) will present a variety of love songs that have made them in demand all over the world.  The Blues Providers blues band from the region will round out the evening with Chicago and “Jump blues.”

 

Ron “Big E” Eldridge, NPR radio personality of a jazz show on WNAA 90.1 FM will be MC for this event. For more information contact Rowan Blues and Jazz Society at 704-636-2811 or go to www.rowanblueandjazz.org

 

The gates will open at noon and performances start with the Salisbury Swing Band, Triad Youth Jazz Society at 1 pm, The Reggie Grantham Show after 2 pm, Blazin’ Blues Bob after 3:30 pm, Musical Tributes after 4 pm, Joe Robinson Jazz Band after 5 pm, Homemade Jamz Blues Band after 7 pm, Ju-Taun vocalists after 8 pm and closing the evening will be the

Blues Providers after 9 pm.

 

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The Philadelphia Inquirer

 

"Barrelhouse Blues: Location Recording and the Early Traditions of the Blues" by Paul Oliver; Basic Civitas

 

Blues music, in its early days, was often regarded as vulgar and primitive, not worthy of serious attention. Later, the early musicians came to be regarded as creators of folk art who had been exploited by the business.

 

In recent years, there's been a countercurrent that claimed these musicians were just like any other of their era, folks who played what they did simply because it could earn them money.

 

Blues scholar Paul Oliver doesn't opt for sexy theories or easy explanations. He has spent decades documenting the music, and "Barrelhouse Blues," his latest work, is designed as a response to "The Negro and His Music," a 1936 work by the noted Harlem Renaissance figure Alain Locke.

 

Oliver examines how Locke classified music according to style and geography. In an effort to answer questions Locke raised, Oliver focuses on recordings that record-company representatives made on location in the South in the 1920s and 1930s.

 

Location recording was a widespread practice before World War II, and it yielded some amazing material. Robert Johnson, the most mythologized of blues figures, recorded in 1936 and 1937 in Texas. He shows up briefly in "Barrelhouse Blues" when Oliver contrasts his work with that of the obscure Harold Holiday as part of a lengthy parade of musical characters.

Oliver focuses on a multitude of genres, several of which he calls "proto-blues" — music that helped the blues develop its distinctive flair. He divides religious music from what he and Locke call "seculars," and then further splits the music into very precise categories. Chapter 9, for instance, deals with spirituals, sea shanties, levee camp hollers, and call-and-response songs as sung by various work groups, including prisoners.

 

Most of these, at least to Oliver, have some relation to the blues, but the distinctions he makes can be befuddling: "The call and response principle was embedded in the African American song tradition and helped shape the blues, not so much as a vocal form but in the relationship of sung line and instrumental response characteristic of blues expression. There is no direct connection between the two idioms."

 

All this seems maddeningly arcane at times, particularly since Oliver also has a tendency to do too much guesswork. He explains numerous things he can't possibly know by saying "presumably" or "probably." Simply put, he alternates between being too academic and not academic enough.

 

Why read this book, then? Because Oliver has genuine and abiding affection for this music, and he quite ably examines songs and artists forgotten by time within the context of making larger points. There is, for instance, Cleosephus "Cleo" Gibson, who recorded the risque "I've Got Ford Engine Movements in My Hips" in Atlanta in 1929. Oliver connects her to vaudeville, then uses that link as a jumping-off point to discuss male-female vaudeville teams.

 

In discussing the field recordings, two key questions pop up. One of them is how the locations and performers chosen by the various companies influenced the music's future.

 

While it's not clear how certain locales came to be chosen at the expense of others, it is clear those decisions had consequences. No field recordings, for instance, were done in Florida and very few in Arkansas. The omission of certain regions means some local styles were to remain obscure.

 

A second question is handled less directly. Did the representatives from the record companies influence what was recorded and how it sounded? This is a key question, particularly when discussing the legacy of someone like Johnson, whose repertoire included non-blues songs but who recorded only blues. If that were a choice made for him, if he were the tool of a music mogul's notion of what would sell, one might view his legacy differently.

 

Oliver has one former talent scout, Sam Ayo of Texas, address this topic, but Ayo's words leave room for interpretation. Oliver, however, with his diligent research, makes it clear that the South was a patchwork quilt of styles — and that a great many of these were captured in their true forms. "What is truly significant is the individuality of blues singers and instrumentalists, and the originality or poetry of their personal expression," he writes.

 

Ultimately, Oliver's book serves as a reminder of the strains and disparate personalities that make up the culture of blues music, as well as the hit-or-miss nature of who and what came to be recorded for posterity. The book is a little dry and clumsy, but that somehow fits a writer who doesn't fall back on slogans or simple theories.

 

Detailed and deeply felt, "Barrelhouse Blues" is quite the education.

 

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We are doing some exciting renovations inside and outside at the “new” Bull Run. Outside we have installed a beautiful patio/café called Arthur’s Garden which will be opening soon. Inside we have completely renovated our 300 seat Sawtelle Room where most of our larger concerts are held. Our first concert in the new Sawtelle Room will be September 12 for the Johnny A show.

 

Also, you can now PURCHASE CONCERT TICKETS ONLINE with your credit card. Check out our schedule and ticket page here

 

Sat., Sept. 12 @ 8:00 pm.

 

Johnny A - For Johnny A., the guitar has held a lifelong fascination, her six strings exerting a powerful influence and addictive beauty since the first time he held them. He is widely regarded as one of America's finest contemporary guitarists. Gibson thinks so – their Custom Shop designed a Signature Edition guitar per his specific requests which, when it was marketed in 2003, placed him in an exclusive club that included legends like BB King, Wes Montgomery, Chet Atkins, Joe Perry, Pat Martino and Les Paul himself.

 

Opener: Chris Reddy - “...one of the most respected and sought after musicians in New England. His combination of vocal and instrumental prowess and a dynamic stage presence make his performances one of the driving forces behind today’s solo acoustic scene. ” - Lara Dean, Sr. Editor, Pulse Magazine

Tickets are $20 advance and $25 day of show.

 

Call 978-425-4311 for info or www.bullrunrestaurant.com

 

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Chicago - Founded by world-class music geeks and all-around swell Chicagoans Nan Warshaw and Rob Miller in 1994, Bloodshot Records has spent the last 15 years building a reputation as one of the most adventurous independent labels in America, with a catalog that far exceeds the narrow alternative-country box that some put it in, and a promising future even in these turbulent times.

"In addition to the world economic collapse that's happening globally, we're going to see indie labels in free fall," Warshaw predicted at the South by Southwest Music & Media Conference last March, taking her place on a panel entitled "Indie Labels Keep the Faith." Bloodshot's plan to stay vital: More than merely manufacturing and distributing its artists' recordings, it hopes to morph into the full-service business support system that musicians need because they'd rather concentrate on making their music.

 

Of course, some fans would say that Bloodshot has been doing that from the beginning. It's always been as much a lifestyle as a label, and therein lies its success.

 

As this year's slightly slimmed-down version of the annual end-of-summer Hideout Block Party, Warshaw, Miller and staffers past and present will celebrate their accomplishments and the label's Quinceanera on Saturday on the street in front of everyone's favorite local music dive at Elston and Wabansia. The $10 admission benefits the Rock for Kids and Chicago 826 charities, and in addition to a full day of music, the 15th Anniversary Bloodshot Beer-B-Q promises a kids' area with art and games, an art show curated by the Yard Dog Gallery of Austin, Texas, belt-sander races, a drunken spelling bee and food from Pilsen's Honky Tonk BBQ.

 

As for the music, here is an hour-by-hour sampling of the sounds.

 

A fixture on the local music scene playing acoustic blues and ragtime for the last decade with Devil in a Woodpile, Rick "Cookin'" Sherry (vocals, washboard, harmonica, clarinet, jug and foot drum) has split from that group to lead this two-man band with Eric "Leadfoot" Noden (vocals, guitar, kazoo, harmonica, foot and six-string banjo) dedicated to reviving the jug band music of forgotten avatars such as Frank Stokes, Dick Justice and the Memphis Jug Band.

Moonlighting from the mighty Mekons -- something each of these ubiquitous musicians do with regularity in countless different guises -- the charmingly gruff-voiced Langford and the always enchanting Timms never fail to thrill, surprise and crack up audiences whenever they take the stage. They are, indeed, the Sonny and Cher of alt-country.

Although they split up after only two albums -- the 1998 debut "Dolly Horrorshow" and the spectacular follow-up "Just Like Home" (2000) -- the band led by guitarist-vocalist Danny Black and the inimitable bassist Gina Black were one of the most original and exciting groups Chicago produced in the last 20 years. Catch the volatile combo now, since there's no telling how long this reunion might last.

Born with music in his blood -- he's the son of Nashville legend Bobby Bare, Sr. -- junior has forged a strong solo career after starting out on the music scene with the roots-rock band Bare, Jr. His last release "The Longest Meow" (2006) found him recording 11 songs in 11 hours but showing an ever-increasing emotional depth and stylistic diversity. And his gregarious persona makes his live shows even more rewarding.

Country punks who have the distinction of being the first band Bloodshot signed, songwriter Kim Docter and her husband, bassist Mike Luke, have come out of musical retirement, raising their family in Santa Cruz, Calif., to put the band back together for a celebratory reunion gig.

Indefatigable bandleader Elia Einhorn and his ever-evolving ork-pop/folk-rock combo are celebrating the release of their new album "...And the Horse You Rode in On," arriving in stores on Tuesday. The 15 tracks show the band maturing considerably from its self-titled 2007 Bloodshot bow, with Einhorn's sophisticated melodies and witty/literate lyrics still resonant of small-town-Wales-meets-big-city-Chicago but with less of a debt to early influences Belle & Sebastian and Morrissey.

The self-proclaimed "Dirty Old One Man Band" from Austin, Texas, mixes blues, rockabilly, country and punk in an intoxicating brew, and then he drains the keg. He released his last Bloodshot album, "Something's Wrong/Lost Forever," earlier this year, but he's best appreciated live, preferably with a bottle in hand.

Led by guitarist/vocalist Kurt Marschke, these Detroit blues-rockers are touring in support of their recent album "Sao Paulo," putting the Black Crowes and others of that ilk to shame for even trying.

Still riding high on his powerhouse 2008 album, "Real Animal," an autobiographical look at his early punk years, the Texas singer, songwriter and musical treasure comes to his adopted second home to celebrate his stint on Bloodshot and its forthcoming deluxe-edition reissue of his 2001 album, "A Man Under the Influence."

If any group on the Bloodshot roster typifies the label's ideal free-spirited mix of soulful sounds trumpeted with a no-holds-barred bacchanalian joy, it's Langford and the Waco Brothers, who are certain to close out the street party in high spirits.

 

 

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A hotly anticipated, critically acclaimed new film celebrating the raw, raucous spirit of Mississippi’s surviving blues scene will have its Mississippi Gulf Coast premiere at:

 

                  The Mary C O'Keefe Cultural Center

                  1600 Government St
                  Ocean Springs, Mississippi 39564

The film, M FOR MISSISSIPPI: A Road Trip through the Birthplace of the Blues, takes audiences on a wild ride through the heart of Mississippi's current blues scene - from sun-drenched cotton fields to whiskey-soaked juke joints.

Following two self-proclaimed blues fanatics, Jeff Konkel and Roger Stolle, on a week-long road trip across the state, M FOR MISSISSIPPI explores the thriving underbelly of a dying American art form in the land where it began.

Using exclusive interviews and all-new musical performances, M FOR MISSISSIPPI captures the proverbial "real deal" in its home where it is most comfortable and authentic.

By showcasing such a fascinating foreign land so close to home, the filmmakers hope to inspire countless others to make their own road trips down Mississippi's blue highways in search of the world's last truly-Delta blues men.

The film’s companion CD soundtrack recently collected the film’s highest honor to date: A Blues Music Award for DVD of the Year, beating out platinum-selling rock legend Carlos Santana, blues icon Albert Collins, guitarist Ronnie Earl and Chicago bluesman Little Arthur Duncan.

Venue Details:
The Mary C O'Keefe Cultural Center of Arts and Education
1600 Government St
Ocean Springs, Mississippi 39564

For more details about this event, including maps, comments, and other attendees, visit the event page here

 

To view the trailer click here

 

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A festival of music, gourmet food and the arts
at Fort Mason's Great Meadow in San Francisco, CA

 

 

 

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This past weekend was filled with thirty-five bands and the sunset to sunup music schedule at the Dusk Til Dawn Festival in Rentiesville, Oklahoma. Watermelon Slim headlined Friday’s kickoff evening and was all over the stage, singing, dancing, running, and jumping, all the while playing his guitar and harmonica.  He quickly established rapport with the audience, and it was hard to tell whether Slim or the crowd was really having the better time. (On a side note, after his paying gig at Dust Til Dawn on Friday and a quick trip to Dallas and back for another playing gig on Saturday, Watermelon Slim was back in Rentiesville just to have some fun on Sunday evening. He did a kids show on the Backporch Stage before finishing the evening by jamming with Joe Louis Walker, among others.)

 

 

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Tuesday Night : Blues Jam

Drink Specials: $2 PBR Cans and $3 Jager Shots  

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The LOS ANGELES BLUES SOCIETY is pleased to announce their first BLUES JAM on SUNDAY, AUGUST 23, 2009. They would love to see as many Blues players, and fans of the blues as we can stand at this inaugural event. This jam is open to ALL musicians!

 

They will have a great band to start it off, a back line there, and gear to play. If you want to bring an amp of your own that’s fine as well. The Hosting band will be the Blues & Fries Band. They will also have some of our member artists on hand to sit-in and join the fun!

 

This will be a very cool event to come and play, or listen to some very cool local Blues. All are welcome! The Big Fish is a great place to see and hear Blues music.

 

LOCATION: THE BIG FISH BAR AND GRILL

5230 San Fernando Road

Glendale, CA 91203

818-244-6442

HOST BAND: BLUES & FRIES

TIME: 3:00 PM – 7:00 PM

 

Come down to jam, listen and have a great time!

SUPPORT LIVE BLUES MUSIC

 

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