Crustee Tees Records

 

The story-telling griots in Africa dispensed the tribal wisdom and blues artists in America have been doing the same for well over 100 years. Like Percy Mayfield, who was also called the “poet of the blues,” Tas Cru tells life lessons with a rare verbal flair. His bestowed moniker roughly translates as “peeled potato,” and it is not for nothing he has been called “the master of the triple entendre.”  On  Jus’ Desserts Cru serves up the next course in his to-date four album set  (Biscuit 2006, gravi-Tas 2008, Grizzle n’ Bone 2009) with a trayful of songs with a range of styles that show he is as much at home playing on the front porch as performing on the festival stage.  The 11 original songs spotlight his wise wit, gnarly vocals and tasty guitar and harmonica chops as backed superbly by his talented and seasoned band. Mama always said, “Eat up, but be sure you save room for dessert!” Hopefully fans of Tas Cru had a mama who gave the same sage advice and they saved plenty of room for these tasty treats. Indeed, fans who enjoy their blues with literate, saucy, profound lyrics are in store for a something sumptuous and satisfying.  Jus’ Desserts are the kind that sticks to the ribs and the soul.  Jus’ Desserts is available at cdbaby www.cdbaby.com/tascru3

 

Official Website www.tascru.com

Festival Booking –BackRoads Booking Agency brbagency@gmail.com 303.757.1949

Publicist- Blind Raccoon LLC betsie@blindraccoon.com 901.278.6850

 

 

The first ever Watermelon Slim DVD—And live from one of
the best blues clubs in America—Ground Zero Blues Club
in Clarksdale, MI (co-owned by Morgan Freeman).

 

Live concert has special guests Charlie Musselwhite, Big George Brock, and Jimbo Mathus.

 

Lots of terrific extras:
• Hour long interview with Watermelon Slim and Chip Eagle, Publisher of Blues Revue Magazine.
• Watermelon Slim playing slide guitar on the balcony of the Ground Zero Blues Club talking to
blues great John Mayall.
• A short feature on theWatermelon Slim band, The
Workers.
• More great slide playing on the balcony.

 

Click on the button to see Slim perform "Black Water" from the DVD

                                    

                                         

OTTAWA (CelebrityAccess ) -- The Ottawa Blues Fest has agreed to provide a loan to their neighbors at the Ottawa Folk Fest (OFF) to allow festival organizers to pay off existing creditors and keep the event on track for August 2011 and in the future.

 

"The folk fest had a tough year, with one of the three days being completely washed out. I've known and worked with them for years so I reached out to ask how bad the things were and offered to help." Bluesfest executive director Mark Monohan told CelebrityAccess. "A stronger festival community is good for everyone." - Ian Courtney

 

 

Everybody takes pictures when they’re on vacation.

 

Brant Zwicker takes pictures with a purpose — to create a calendar that will benefit the Kamloops Brain Injury Association (KBIA).

 

The Blues in Black and White features 13 blues artists who performed in Canada this year, including Alexis P. Suter, John Nemeth, Sean Carney, Mississippi Heat and Coco Montoya, among others.

 

Most were taken at blues festivals in Toronto or Calgary or at the Salmon Arm Roots and Blues Festival.

 

Zwicker chose the KBIA to benefit from the annual calendar this year because his friend, singer-songwriter Neil Harnett, supports brain-injury organizations, a cause that became dear to him when his daughter Amy suffered a serious life-altering brain injury a few years ago.

 

Her struggles have shaped his recent music — and inspired Zwicker to do what he can to help, as well.

 

The calendar is part of Zwicker’s At the Crossroads weekly blues radio program (atcblues.ca), which is heard in Kamloops on Sunday nights at 7 p.m. on 98.3 CIFM.

 

“Proceeds from calendar sales are going to the KBIA in the name of Amy Dougan,” Zwicker said.

 

“This is just a simple way of putting the blues and my camera to work for a hugely worthwhile cause.”

 

Zwicker will be selling the calendars at Sahali Centre Mall on Friday, Dec. 3, from 10 a.m. to 3 p.m.

 

More information on them, including a slideshow of the photographs, is on his website.

 

The calendars cost $10.

 

 

Newswise — Ask 12 people what was the first rock ‘n’ roll song and you’re likely to get a dozen different answers.

 

Southeastern Louisiana University Professor of Communication and rock historian Joseph Burns says he has wondered about this for some time, but there are no absolute answers.

 

He said the first rock ‘n’ roll song should be music that draws heavily from blues and country in a danceable, hit form. There should be hints of jazz, gospel, or folk influence, as well as technological influence.

 

“It’s a lot to ask of one song,” he said. “Few fit the bill.”

 

Candidates considered for the honor include “How High the Moon” by Les Paul and Mary Ford; “The Honey Dripper” by Joe Liggens; “Boogie Chllen’” by John Lee Hooker; “Saturday Night Fish Fry” by Louis Jordan; “The Fat Man” by Fats Domino; “(We’re Gonna) Rock Around the Clock” by Bill Haley and the Comets; and “Rocket 88” by Jackie Brenston and his Delta Cats.

 

“An argument can be made for and against every song mentioned, but there’s one that fits better than all of those noted: ‘That’s All Right Mama,’ by Arthur ‘Big Boy’ Crudup,” said Burns, who hosts the weekly program “Rock School” on Southeastern’s KSLU 90.9 FM radio station.

 

He said the song came out in September 1946 as a great rockabilly piece with blues melody line over top. “It’s sung with power, may contain the first guitar solo break, and, as a remake, became one of Elvis’ first singles,” he added.

 

Burns says the origin of the term “rock ‘n’ roll,” is pretty straightforward.

 

“It started as a nautical phrase meaning the movement of the boat up and down and back and forth,” he said. “Sometime in the late 1800s to early 1900s, gospel and jubilee music co-opted the term and used it to mean being rocked and rolled in the arms of the Lord. In fact, the first recorded use of the term in a song was ‘Camp Meeting Jubilee’ in 1916.”

 

Sometime between that recording and the early 20s, according to Burns, the term “rock ‘n’ roll” started to leave the church and began to be used in blues and vaudeville music as a euphemism for sex. He cites as examples Trixie Smith’s “My Man Rocks Me with One Steady Roll” in 1922, “Rock That Think” by Lil’ Johnson and “Rock Me Mama” by Banjo Ikey Robinson.

 

Burns said blues wasn’t the only music using the term then, citing big band greats like Ella Fitzgerald and Benny Goodman who used it in their music, as well as famous gospel singers like Sister Rosetta Tharp, who sang re-written lyrics to popular church songs so the phrase could be included.

 

“Even country artists were using the term in a new form of music that sounded like an early form of rockabilly,” he said. “Buddy Jones was an early popular singer in the genre with his song “Rockin’ Rollin’ Mama.”

 

Burns explained that using the term alone isn’t enough to give a song the title of being the first rock ‘n’ roll record.

 

“Too often rock ‘n’ roll is described as the coming together of blues and country, but that’s too simplistic,” he said. “Rock ‘n’ roll is a much more complex music that draws from six forms of music, three dominant and three sub-dominants.”

 

He lists the dominant forms of music as blues for the basic chord progressions, country for stringed instruments becoming dominant and major melody lines and what was then termed “white pop” and “tin pan alley” style music for the concept of dance and hit song writing. The sub-dominant forms of music, Burns said, are jazz for a boogie-woogie beat, gospel for the vocal influence and folk for the influence of social concern.

 

One additional technological element aided rock ‘n’ roll’s rise, and that was the 45-rpm record.

 

“RCA Victor put out the 45-record just as television was taking all the major networks’ attention away from radio; that made the radio business local rather than national network-fed,” he explained. “That forced the radio business to rely on records – mainly the 45 – for the music they played. The 45 was cheap and plentiful, and the music that was poised to break, just as the technology broke, was rock ‘n’ roll.”

 

So how did the term rock ‘n’ roll become associated with the music? Burns said it was probably the influence of radio, but one disc jockey in particular – Alan Freed.

 

“Freed was the Moondoogie on WJW in Cleveland, Ohio and the host of the Rock and Roll Show on WINS in New York City,” he said. “He was so massively popular through radio, television, movies and records, that he led the way for rock ‘n’ roll to become a legitimate music form recognized by the music industry and not just another short-lived genre.”

 

MILWAUKEE (AP) -- The music festival that draws hundreds of thousands of people to Milwaukee's lakefront each summer will break with tradition and close on July 4.

Summerfest organizers say the festival will run Wednesday, June 29 through Sunday, July 3, break for the holiday, then resume on Tuesday, July 5 and run through Sunday, July 10.

 

Summerfest's parent company, Milwaukee World Festival, says it's responding to customer preferences.

 

Here are just a few of my favorite pictures from last months Legendary Rhythm and Blues Cruise.  Enjoy! 

 

 

       

Tom Crivellone                            Eddy "The Chief" Clearwater

 

      

Bnois' King                                  Terry Hanck

 

      

Ed Early                 Terry Hanck                                Kid Anderson

 

 

 

Larry McCray 

 

 

Smokin Joe Kubek 

 

Mike Morgan, Coco Montoya & Jimmy Thackery 

 

      

Mike Morgan 

 

Keith Crossan 

 

      

 

 

 

Randy Oxford 

 

Click on Coco to watch this great moment from the cruise and to see more pics.                  

 

Steve & Jeff Simon and Radio Woodstock will present BLUESTOCK 2011, a major 3-day Blues festival featuring top Blues artists at Hunter Mountain Ski Center over the weekend of August 26th, 2011.

 

BLUESTOCK 2011 will be a mega-Blues event bringing together a wide variety of great performers that represent all aspects of Blues music. The line-up of talent will read like a veritable "who's who" of Blues and Blues-rock legends and up-and-coming stars.

 

At the first annual BLUESTOCK, there will be two stages that will provide non-stop music throughout the weekend with an amazing all-star Blues jam on Friday and Saturday nights and a late night “Blues Club” that will keep the music going well into early morning hours.

 

BLUESTOCK 2011 will also feature an array of attractions including a mountain Skyride and New York Zipline Adventures with canopy zipline tours and North America’s longest zipline.

 

Hunter Mountain provides the perfect natural environment for BLUESTOCK 2011 with breath-taking mountain views amidst rolling green valleys and hills. Hunter Mountain is easily accessible from anywhere in the Northeast. Hunter Mountain’s proximity to New York City and other major Eastern cities makes BLUESTOCK 2011 a great summer vacation destination for Blues lovers.

 

The Hunter Mountain Ski Lodge provides BLUESTOCK 2011 attendees with 24-hour access to both food and indoor bathrooms. Along with on-site tent camping and an RV area, BLUESTOCK 2011 offers a variety of alternative accommodations including nearby hotels, lodges, local vacation homes and mountainside condominiums including luxury suites at Hunter’s Kaatskill Mountain Club. BLUESTOCK 2011 offers other first class amenities such as on-site taxis and a special VIP Lounge with gourmet food.

 

Radio Woodstock and Steve & Jeff Simon Presents are both seasoned festival promoters. Radio Woodstock produces the annual Mountain Jam Festival which, in its short 6 year history, has become one of the top festivals in the country and the premier music festival in the Northeast.

 

“This is a great next step for us. We have wanted to promote another annual music festival and co-promoting a Blues festival with Steve & Jeff Simon is the perfect scenario”, said Gary Chetkof, Founder and President of Radio Woodstock.

 

Steve & Jeff Simon have been producing Blues festivals around the world since 2000 including the St. John Blues Festival, the St. Thomas Blues Festival, the Charleston Blues Festival and BLUZAPALOOZA, the celebrity Blues concert tours for U.S. Troops in Iraq, South Korea, Japan, Egypt, Italy and Kuwait. Also in 2011, Steve and Jeff will be bringing the Blues to Cuba with their inaugural and historic Blues Without Borders concert tour. From the company’s inception, Steve and Jeff's focus has been to create new audiences for the Blues all over the world. 

 

Steve Simon commented, "BLUESTOCK 2011 is our vision of 'Woodstock meets The Blues Cruise'.......3 days of non-stop world-class Blues entertainment in a magical outdoor setting.  BLUESTOCK 2011 is destined to be the greatest Blues show on earth." 

 

BLUESTOCK 2011 will be a 3-day event with music starting on Friday evening August 26th and ending early Sunday evening August 28th. Weekend tickets and single day Saturday and Sunday tickets will be available at BLUESTOCK.COM.  Friday’s performances will be reserved for full-weekend ticket holders only.

 

Additional information is available at: BLUESTOCK.com

 

 

Blues music has its roots in America - largely in the Delta regions of the Mississippi River. The music is alive and well for the moment, with many blues festivals and a flourishing museum in the music's home region. But many Mississippi Delta Blues stars are in their 80s, even their 90s. And those who love the music feel it's important to pass it down to a younger generation.

 

Musician Bill "Howlin Mad" Perry sings sings the Blues and has lived a life of it. He sings "damn right I got the blues" as other lyrics explain why. Perry never had an indoor toilet as a kid, and he never graduated from high school. "Ain't got nothing to win, sure ain't got a damn thing to lose," he growls in another part of the chorus.

 

Daily troubles are at the heart of the Blues. But Perry finds joy playing the music and passing it down to the next generation. Four days a week, he drives an hour-and-a-half to the Delta Blues Museum to teach. It's not like a traditional class at school, but more like a jam session. He teaches how to play the music - with a musician's attitude.

 

He laughed as he worked, then said, "Ok, look. Let's try it again ... and ... let's watch the volume this time."

 

Two of his star pupils are Kylen and Keydrous Thomas. He calls them "The Blues Brothers."  Kylen, who is 12, said, "I want to be just like him, playing and going all around the world, playing everywhere."

 

11-year-old Christone Ingram started playing bass just a year ago. He sees himself as a famous bluesman one day. "Music producer, song writer, musician, and a whole lot more stuff that I can't name. And I list them."

 

"It don't surprise me at all," said Perry of Ingram. "He's just constantly practicing. I told him if you want to get great at what you are doing, that's what you got to do."

 

And Perry teaches the kids what they "got to do" - in ways that go far beyond the music. "Imagine what it's going to be like when they get 10 or 15 years older. I just want them to have something positive that they can count on."

 

The blues draw thousands here in Mississippi. This crowd is mainly African-American. Older. Just like the men with the blues, who started it all.

 

David "Honey Boy" Edwards is 95. He knew blues legend Robert Johnson - who supposedly sold his soul to the devil, right here at the Crossroads of Highways 49 and 61. In exchange, legend says Johnson mastered the blues guitar.

 

Blues lyrics recount the hardships of blacks in the South.

 

The format of the music gives musicians freedom to improvise - freedom the original writers, slaves and sharecroppers, never had.

 

The father of the blues, W.C. Handy, got  his inspiration waiting for a train in Tutwiler, Mississippi. The sound evolved into the slide guitar technique.

 

James Johnson is another blues musician. They call him "Super Chikan" because of his signature line, "Somebody, shoot that thing" and and his unique way to, well, cluck.
He crowed like a rooster, then said, "That means I love you."

 

As a kid, Super Chikan sneaked under the porch to hear his grandfather play the blues. He learned there and in the fields, picking cotton. He sings, "Hey old water boy, bring that water around." And then, "Sleeping four to a bed, you all, we eat whenever we can."

 

His daughter plays the drums in his band. Super Chikan said his generation must continue playing the older style, after the legends are gone and the music goes with them.

 

In the early days of the blues, blacks sang and danced in small bars called juke joints. Nine years ago, actor Morgan Freeman started Ground Zero Blues Club on Blues Alley in Clarksdale, Mississippi, to commemorate the tradition - and help to keep it going strong.

 

On this night, Perry's band will play, with a few guest musicians - some of his young blues pupils. Perry said on stage that night, "One of the things that we've been talking about, how important it is that blues shall never die.These guys are proof of that every time."

 

Each gets a solo.

 

Perry said to his drummer, "Sticks, are you ready to give us some?"

 

To his guitar player: "Let me hear you make that thing talk. Son, I want you to know that I'm going to look you right in the eyes and tell you, you done passed me." 

 

But for now, Perry wants them in bed on time. "You can't be hanging out with us older dogs here because you got to go to school."

 

The fame will have to wait until later.

 

Parry said to the audience, "Give it up for them one more time, you all, for the young folks."

 

The now and the future of the Delta Blues.

 

There are a lot of Bay Area regular club performers, and several tribute bands.

 

Among those on this list are Kenny Blue Ray on Jan. 12, the great Andy Just on Jan. 19, Jon Nemeth on Jan. 26, Roy Rogers on Jan. 29 and the fabulous Lavay Smith on March 12.

 

But there are lots of other great acts booked.

 

Earl "Lil' Choo-Choo" Johnson left home at the age of 10, with only his father's guitar, and stepped into the world of the Delta blues. A guitar prodigy, his music led him to play with blues legends like Robert Johnson, Charley Patton, Son House, Howlin' Wolf, and Muddy Waters. Lil' Choo-Choo's story is a history of the blues, from sharecroppers' shacks on Dockery's Plantation and whiskey-soaked juke joints in Depression-era Mississippi to the swinging clubs of post-war Memphis and Chicago. It encompasses the heyday of Delta blues, the birth of rock and roll, the British invasion, the blues revival of the 1960s, and beyond.

 

 About the Author: Bryan Krull has been a history teacher for the past eight years at the high school and college level. He earned his Ph.D from the University of Wisconsin-Madison, as well as degrees from the University at Buffalo and the University at Albany (NY). He currently lives near Rochester, New York. Lil' Choo-Choo Johnson, Bluesman is his first novel.

 

Click for more

 

Frank Zappa once said that the best years of rock were when records were produced by "cigar-chomping old guys who looked at the product that came and said, 'I don't know. Who knows what it is? Record it, stick it out. If it sells, all right.'"

 

Leonard and Phil Chess were prototypical cigar-chomping, old-fashioned record men who took a chance on music they didn't understand. Jewish immigrants from Poland, they got into the record business more or less by chance: Leonard bought a liquor store in an African American neighbourhood on the south side of Chicago, and did well enough that he opened a small nightclub called the Macomba Lounge. It was a rough ghetto bar, patronised by prostitutes and drug dealers, but from the start it was known for having good music. In the late-1940s, that meant it had jazz groups playing bebop, pop tunes, and mellow blues ballads. That was what the better-paying black patrons preferred to hear, and when Leonard got involved with a small local label, Aristocrat Records, that was what he intended to record.

 

It was only after the first few records went nowhere that he took a chance on another kind of musician, a Mississippi singer who was too raw and country-sounding to have pleased the crowds at the Macomba. In fact, when Leonard Chess first heard Muddy Waters sing I Can't Be Satisfied, in a Delta growl backed with a whining electric slide guitar, he couldn't imagine it pleasing anyone. "What's he saying?" he asked. "Who's going to buy that?"

Fortunately, his partner in Aristocrat, Evelyn Arons, suggested that some of the black southerners who had moved north in search of jobs might enjoy the sounds of home. So Chess pressed 3,000 singles, they sold out in a day, and six decades later Waters's recording is remembered as the first masterpiece of electric Chicago blues.

 

In a movie – and there have been several based on this story – Chess would have instantly seen the light and devoted himself to creating further blues masterpieces. But in real life he was not a patron of the arts; he was a businessman trying to cut popular hits. By 1950 Arons had been replaced by Leonard's brother Phil and the label was called Chess, but most of its releases continued to be by jazz saxophonists.

 

Meanwhile Waters was also trying to reach a broader audience, adding a drummer and harmonica player to his live shows to create a tight, tough band. He was frustrated when Chess refused to mess with a winning formula and insisted that he keep making stark guitar-and-bass records like Rollin Stone, a one-chord chant that was archaic even by the standards of rural Mississippi. Neither of them could have imagined that a dozen years later five lads in London would like that record enough to name a band after it.

That is the paradox of the Chess story. The brothers were not musical visionaries; they were small-time "indie" record men making a quick buck from the poorest, least respected people in America. But their cheaply recorded, bread-and-butter discs of local street musicians and bar bands still sound as fresh today as they did 60 years ago. By failing to be timely, they succeeded in being timeless.

 

They were also lucky, and unusually loyal to their artists. That loyalty did not prevent them from playing some tricky games with publishing and royalty payments, but it meant that down-home bluesmen like Waters and Howlin' Wolf continued to make records long after other indie labels had switched to a trendy teen style called rock'n'roll.

 

Leonard Chess and Waters had a particularly close relationship, and it served both of them well. When Waters finally persuaded Chess to record his full band, he incidentally brought the label its biggest blues hit-maker: Little Walter was barely out of his teens, and reshaped the course of blues harmonica by amplifying his instrument and playing it like a jazz saxophone. It was a fresh, hip sound, and in 1952 he cut an instrumental called Juke that stayed at the top of the R&B charts for eight weeks. Then, in 1955, Waters introduced Chess to an unknown songwriter from St Louis named Chuck Berry. In retrospect, the list of artists who were associated with Chess in that first decade forms a pantheon of electric blues and blues-influenced rock'n'roll: Waters, Wolf, Walter, John Lee Hooker, Sonny Boy Williamson, Berry, Bo Diddley. There were some startling one-offs as well: In 1951, a teenage Ike Turner recorded a romping boogie-woogie called Rocket 88 at Sun Studios in Memphis, soon to be the birthplace of rockabilly – but Sam Phillips had not yet started the record label that would spawn Elvis Presley, so the disc appeared on Chess. When Presley hit, Chess got its own white rock'n'rollers, Dale Hawkins and Bobby Charles. Many of the label's biggest hits in this period came from doo-wop groups.

When people talk about the "Chess sound", though, they are not thinking of rockabilly or doo-wop, or even of the brilliant soul records the label produced in the 1960s with Etta James, Fontella Bass and Little Milton. They are thinking of the stripped-down blues discs that, despite changing fashions, always remained among the label's mainstays.

 

Click for the rest

 

 

14th Annual Briggs Farm Blues Festival,
                               Friday July 8th & Saturday July 9th; 2011.

 

Advance Camping & Concert Day tickets:
ON SALE  ON LINE ONLY or VIA Mail Order.

 

Take advantage of this Early Bird discount, Just in time….For the Holidays- Briggs Farm Blues Festival tickets make a GREAT  gift!!!

 

Early Bird advance Camping & Concert only day tickets for the 14th Annual Briggs Farm Blues Festivalare now ON SALE via the website only and mail order.   We accept VISA/Master Card & DISCOVER  credit cards,  checks/money orders via mail order; Full Details/mail order forms may be found on the web. www.briggsfarm.com or by calling 570-379-2003.

 

CAMPING:
                      $60.00. per  person thru - January 1st 2011:
                      $65.00. per person -Jan 2nd  thru May 7th 2011:
                      $70.00. per person – May 8th thru  July7th  2011:
                      Day of Show:   $80.00 per person, AT THE GATE.

 

CONCERT ONLY DAY TICKETS:
                     Day Ticket:  $20.00. per person – thru July 7th  2011
                     Day of show: $25.00 at The GATE - 
                     Two Day Ticket: $35.00. per person- thru July 7th  2011
                     Day of Show: $45.00. per person at The GATE.

 

 

Early-Bird Advertising Special!

 

Order and pay for your ad before January 15, 2011 and receive a 15% discount! (Ad/artwork isn't due until end of March).

 

 Featured Festival Section
      Full Page    $1,390    you pay $1,180    you save $210
      Half Page   $725    you pay $615    you save $110

 

  General Magazine
      Full Page   $1,735   you pay $1,475    you save $260
      Half Page   $875    you pay $745    you save $130
      1/3 Page   $640    you pay $545    you save $95
      1/4 Page    $520    you pay $440    you save $80
      1/6 Page   $360    you pay $305    you save $55
      1/8 Page   $290    you pay $245   you save $45

 

      Color add $375 for full-1/2 page ads   $375   

      you pay $320  save  $55
      Color add $225 for 1/3-1/8 page ads   $225   

      you pay $190   save $35

 

Don't miss out on a once-a-year marketing opportunity to reach blues fans around the world. Order your ad in the 9th annual BLUES FESTIVAL GUIDE magazine today.

 

100,000 copies distributed free throughout U.S. And Canada in April 2011!

Plus thousands of more blues fans will see your ad in the digital edition.

 

Contact us today:
775-337-8626
advertising@bluesfestivalguide.com

 

P. S. Festival Promoters, post your festival for free by going to
www.BluesFestivalGuide.com and click on Submit Festival and fill in the fields. Easy and free. Our site gets over a million hits per month and will drive traffic to your site.

 

ROBERT JOHNSON SA SESSIONS CELEBRATION
MARCIA BALL / JOHNNY "GUITAR" COCKERELL @ SAM'S BURGER JOINT
   • Celebrating the Nov. 1936 Robert Johnson Sessions recorded at the Gunter Hotel in San Antonio
   • The Queen of Piano Boogie shines as the Star of this year's event !
   • SABS Director of Education Johnny Cockerell opens the show with his tribute to Robert Johnson
   • Show starts at 8:00pm • Doors open at 7:30
   • All ages welcome! • Admission $20 / Blues Society Members $15
   • Advance Tickets / Table Reservations Available ticketStore
   • MARCIA BALL  website  myspace
   • JOHNNY COCKERELL  (210) 344-2094  myspace
   • SAM'S BURGER JOINT  330 E. Grayson  (210) 223-2830 

 

 

 

Mac Rebenack aka Dr John turns seventy this week. Elwood strolls us through his sterling career as solo artist and sideman. We will hear his hits, plus sessions with The Band, Eric Clapton, BB King, and the Stones. And a little something from the Doctor’s 2010 CD, Tribal. We will also hear his New Orleans mentor, Professor Longhair. And new music from young harmonica ace Jay Gaunt. While you are here, don’t forget to cast your vote for the top ten CDs of 2010. One listener will win all ten. And there is still a Fender Stratocaster guitar with somebody’s name on it. It might be yours! Enter here to win.

 

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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