Brian Langlinais’ 2nd CD – Tonight I Might – reminds us once again that art takes time. It has been four years since his debut CD – Rock & Fire – was released, but the wait was worth it. The 12 songs in the album not only showcase his rich, soulful voice; but they open a window into the heart of a maturing artist reflecting on the joy and pain of life with uncommon honesty. “This CD is closer to who I am,” says Brian, “I’ve been growing up the last four years and I’ve tried to zero in on that. Nothing heavy, but like a lot of people, I’m working on being a better man, a better father.”

 

The theme that binds the record together is an unwavering commitment to personal responsibility as heard in the album’s beautiful anchor song “By My Own Hand.” But there are no sermons here. “I don’t want to preach,” says Langlinais, “It’s about looking at life a little differently – seeing the glass half full.”

 

The songs run the gamut of emotions from the fun, up-tempo, swamp rock sounds of “Tennessee Hideaway,” “Don’t Shoot the Snake (In the Bottom of the Boat)” and the 60’s rocker “Do What’s Right;” to poignant and tender love songs like “When I Look Into Her Eyes” and “She’s Everything To Me;” to the spiritually-infused and brutally honest “Soul Searching” and “Could’ve Been Worse.”

 

With Tonight I Might, Louisiana-born Brian Langlinais has accomplished what few artists realize in a sophomore CD – an authentic musical work in a unique and singular voice. Like a spicy Cajun etouffee each bite has something for the soul.

 

Hailed as one of the most soulful blues-rock guitarists today, Joe Pitts is pulling influences from yesterday into today. Joe has been compared to guitarists such as Duane Allman and Walter Trout. Although his influences range from Jeff Beck to Roy Buchanan, Joe is known worldwide for his slide guitar work.
Studying at Berklee College of Music, set Joe up for the possibilities that are endless on a stringed instrument. From funk to jazz to blues to rock, and everything in between, Joe is a musician's musician. Touted as one of Arkansas' best musicians, this international touring artist has played hundreds of shows, touring Europe and the Midwest to Southeast US constantly.

 

"Ten Shades Of Blue does a great job of putting Joe Pitts in the context of the blues greats, and in the process, suggests he is worthy of their exalted company." Rob Johnson - Hittin' the Note

SATURDAY OCT. 23 

 

Reserve your advanced tickets today!

 

Lots of people have been asking if a meal will be served at this show.

 

Well, you're in luck! The Proud Bird is also a high-quality restaurant.

An optional three-course dinner will be served beginning as early as 6 PM. This dinner is not included in the Divas Concert admission. The set price for the three course meal, which includes a delicious salad, one fabulous entree that includes your choice of chicken, steak or fish, plus a tasty dessert, (tax and tip is also included) is an all-inclusive twenty-seven dollars.

 

Come early, grab a great seat.

 

 

 

Then prepare to spend the entire evening surrounded by wonderful culinary tastes, the riveting sounds of ten spellbinding blues divas, and the warm company of 250 other blues fanatics just like you!

 

GET TICKETS & INFO TODAY AT:

 

 

 

LOS ANGELES (Hollywood Reporter) - The Jimi Hendrix estate, Martin Scorsese and an old saxophone player named Lonnie Youngblood are among those battling over a 40-year-old song entitled "Georgia Blues" that was recently featured on a Scorsese-directed PBS special on blues music and distributed via an accompanying album.

 

In the mid-1960s, Hendrix, working as Jimmy James, played in Youngblood's band. Later the guitar virtuoso struck out on his own, but he reunited in 1969 with Youngblood in a New York studio to record "Georgia Blues."

 

The tune was mostly forgotten until Scorsese's 2003 PBS special, "The Blues," which spawned a few albums including "Martin Scorsese Presents the Blues: Jimi Hendrix," which included the song. It's now the subject of heated litigation.

 

Earlier this year, Youngblood sued the estate, MCA Records and Scorsese, claiming the song was released without his permission and without proper credit. Youngblood said the Hendrix estate offered him $3,000 for rights, which he refused.

 

On Tuesday, the Hendrix estate struck back with counterclaims, asking a judge to declare it the owner of the song and Youngblood's belated copyright registration as invalid.

 

According to papers filed in New Jersey District Court, Hendrix produced and recorded the song at his own cost. The estate says the two-day session at the Record Plant Studio in New York produced several Hendrix tracks, including "Georgia Blues," which have remained in the physical possession of the estate since that time.

 

The estate now wants Youngblood to account for all of his royalties on "Georgia Blues."

 

 

Stacy McArdle (formally Stacy Sardelli), an Illinois-native based in the Chicago suburbs, created Babble and Beat Music Magazine in 2006. After a successful 3-year run, she chose to let the zine dissolve so she could concentrate on her books. In September of 2010, she brought Babble and Beat Magazine back in blog form. She has been collecting exclusive ghost stories from bands since B&B's beginnings. Half of these accounts appear in her first release

 

True ghost stories from bands / musicians will be accepted for consideration for Volume 2 until November 1, 2010. Please note: Stacy is not accepting works of fiction. Please send true accounts only to RockAndRollGhostStories@gmail.com.

 

 

 

 

 

Chicagotribune.com - The city's downtown music festivals have proliferated since Richard M. Daley was first elected mayor, in 1989. Under his tenure, the lineup has mushroomed to include the Viva Chicago Latin Music Festival (launched in '89), Chicago Country Music Festival (1991), Celtic Fest Chicago (1997), and the best of them all, the World Music Festival Chicago (1999).

 

And those were in addition to already thriving soirees such as the Chicago Jazz Festival (1979), Chicago Blues Festival (1984) and Chicago Gospel Music Festival (1985). Plus don't forget all the music blasting away at Taste of Chicago (which started feeding Chicagoans in 1980).

 

True, the production values at these festivals have ranged from the dismal (concerts at the acoustically challenged Petrillo Music Shell in Grant Park) to the nearly sublime (shows at the welcoming Pritzker Pavilion in Millennium Park).

 

Yet there's no debating that during Daley's reign, millions have heard music they otherwise might not have been able to afford. In presenting icons such as jazz saxophonist Sonny Rollins, gospel diva Albertina Walker and bluegrass visionary Bill Monroe — for free — the festivals have made great music a summertime ritual here.

 

"We're one of the few, if not the only, cities in the country that has continued this tradition of free festivals and free programming," says Megan McDonald, executive director of the Mayor's Office of Special Events, which produces hundreds of shows each summer.

 

Indeed, no other major city in America has gotten as deeply involved in concert production as Chicago. The spectacle of throngs crowding the lakefront to hear music has come to define summer in the city. With a 2010 programming budget of $960,000 — plus in-kind and promotional support — the Mayor's Office of Special Events long ago emerged a major player in musical Chicago.

 

But things soon may be changing. A new mayor may be less inclined to trumpet the city's music scene with free concerts, choosing to leave the music business to private industry. And the city's gaping budget gap suggests that nonvital city services may be the first cut.

 

"I would hope a new mayor would see this great cultural legacy and want to continue that tradition, but it's a challenging time," says McDonald. "So, things like admission fees and other (changes) to these festivals may become more of a reality."

 

For listeners who value these fests, and for those who want to improve them, the Chicago Jazz Festival may be pointing the way. This year, the Jazz Fest liberated itself from Grant Park to present a run of free concerts in the Chicago Cultural Center and in Millennium Park. At the same time, the Jazz Fest generated funding outside the city coffers, from the Chicago Jazz Partnership (a consortium of Chicago corporations and foundations).

 

What's more, the nonprofit Jazz Institute of Chicago — which programs the festival — presented a ticketed (sold-out) concert during Chicago Jazz Festival week at the Spertus Institute, proving that some listeners are willing to pay top dollar to hear great music as part of the celebration.

 

"The important thing is to widen the tent," says Lauren Deutsch, executive director of the Jazz Institute, referring to the Jazz Festival's expanding footprint and funding sources this year.

 

It's not difficult to predict that if Chicago's downtown music festivals are to survive under a new mayor, they may need to follow the Jazz Fest's lead in finding fresh sources of revenue and pushing well beyond the tired Grant Park formula.

 

"In some form, the festival structure should be there" in the future, says Barry Dolins, who began producing festivals for the Office of Special Events in 1984 and retired in July.

 

"It can be done in a manner that's economically feasible."

 

We'll soon find out if he's right.

 

WHEN:  Saturday, November 20, 2010 at 1pm

 

WHERE:  Cat Head Delta Blues & Folk Art, Clarksdale, Mississippi

 

WHAT:  "Mississippi: State of Blues" book signing with music to follow

 

WHO:  photographer Ken Murphy and writer Scott Barretta PLUS free live blues by Terry "Harmonica" Bean (Bean is a photo subject in the book)

 

WHY:  release of brand-new Mississippi blues coffee table book

 

PREVIEW:  official book web site at www.mississippistateofblues.com

 

ORDERS:  pre-order at 662-624-5992, starting November 1st; signed copies mailed out week after event

 

DETAILS:  cathead.biz - roger@cathead.biz - 662-624-5992

 

 

 

 

 

 

 

RBA Publishing Inc is based in Reno, NV with a satellite office in Beverly Hills, Florida. We produce the annual Blues Festival Guide magazine (now in its 7th year), the top-ranking website: www.BluesFestivalGuide.com, and this weekly blues newsletter: The Blues Festival E-Guide with approximately 20,000 weekly subscribers. We look forward to your suggestions, critiques, questions, etc.

Reach the E-Guide editor, Gordon Bulcock, gordon@bluesfestivalguide.com

or contact our home office at 775-337-8626, eguide@bluesfestivalguide.com
 

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