Who says the good old days of the blues are over? "This music isn't long gone; it's alive and happening right here and now in Northern California! " says blues guitar virtuoso Kid Andersen. He's talking about Tip of the Top, the San Francisco Bay Area band that has taken the blues scene by storm since 2009.

The band's musical style is reminiscent of the 1950's. Their live show delivers all the primitive pulsating rhythms, repetitive chord changes and gritty amplification that defines early American Rock 'n' Roll. But these bluesmen are no mere imitators. They feel this music to their core. They represent it with 100% authentic personal expression and deliver it with emotionally charged energy.

Tip of the Top's debut CD, Depot Street Blues, and their second release, Rock Tonight, received rave reviews from fans and blues critics alike. Their latest release From Memphis To Greaseland features some of the band's finest original work and their unique, spontaneous take on blues classics. Engineered and produced at the world-famous Greaseland Studios in Campbell, California, this album is a MUST HAVE for any serious blues afficionado!

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Bluesland, is an intense collection of rock, folk and country, soaked with an electric blues sound that gets deep into your pores. It was recorded 'live off the floor' in 3 days in April 2010 at Beta Sound Recorders in Edmonton, and marks a milestone in Bourne's career, collaborating with his son Pat Bourne, who plays electric lead guitar, and his daughter Emily Bourne, who painted some of the original artwork for the album. In addition to Bill's acoustic guitar and vocals, and his son's lead, The Free Radio Band features Pa Joe on electric smooth jazz guitar (African Guitar Summit), Moses Gregg on bass (The Swiftys) and Miguel Ferrer on drums (Santiago, Chile).

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KNOLOGY CLEARWATER SEA-BLUES FESTIVAL 

6^th Annual Knology Clearwater Sea-Blues Festival

The City of Clearwater is excited to welcome the 6^th Annual Knology Clearwater Sea-Blues Festival back to the month of February on the 18^th & 19^th at Coachman Park, 301 Drew St. Clearwater, FL. This annual festival has brought the perfect combination of waterfront views, delectable seafood, and award winning blues artists since 2007, with more than 75,000 visitors. Previous artists include, Jonny Lang, Taj Mahal, Coco Montoya, Johnny Winter, and The Robert Cray Band.  

The Festival is a unique forum for satisfying your seafood cravings while enjoying some of the best blues music around. It provides an annual rendezvous for admirers of both food and music. With more than 25 food vendors, our festival offers the best Gulf Coast delights such as jumbo shrimp, crab cakes, oysters, crawfish, gumbo and more.

On Saturday, the gates open at 12pm. Performers include 5-time Grammy Award Winner Buddy Guy, 2010 Soul Blues Male Artist of the Year Curtis Salgado, Rich DelGrosso, Michael Williams Band, and more.

Buddy Guy

Curtis Salgado

On Sunday, the gates open at 1pm. Performers include Award-Winning Vocalist Janiva Magness, Ronnie Baker Brooks, Beverly McClellan (seen on NBC’s The Voice), Eden Brent, and more.

Janiva Magness

Ronnie Baker Brooks 

Beverly McClellan

General admission is free. Reserved seats located immediately in front of the stage are available at Ticketmaster.com. The schedule is subject to change. For more information, call (727) 562-4700 or visit ClearwaterSeaBlues.com.

Saturday, February 18^th

Gates open at 12PM

Buddy Guy

Curtis Salgado

Rich DelGrosso

Michael Williams Band

And More

Sunday, February 19^th

Gates open at 1PM

Janiva Magness

Ronnie Baker Brooks

Beverly McClellan

Eden Brent

And More

Best of Blues Gather For Show

(Rich Freedman/timesheraldonline.com) Vallejo,Ca -There are some shows musicians do for money. And some shows for the glory Then there are shows like the "Vallejo Blues Stars" concert at the Empress Theatre Feb. 11 that's all about community pride and that rare moment of inner circle fellowship.

"Many of us are long-time friends who aren't able to see each other in a musical setting very often," said bass player Don Bassey. "We're all out working on our respective projects. I know that I can expect superb musicianship, improvisation, warm camaraderie, great road stories, and good humor from all involved."

"All involved" includes a plethora of performers, including: Alvon Johnson, Bob Simmons, Catlin Small, Danny Click, Dave Aguilar, Diane Dutra, Guy Arrostuto, Kevin Hayes, Pierre Lecorre, Jimmy Smith, Kevin Hayes, Raymond Victor, Steve Trovao, Tim Cuny, and Wolf Wein. Bassey, a lifetime Vallejo who rarely gets to play here, can't wait.

"We'll bring a high-octane blues rave-up with personalized arrangements of the classics and the obscure," he said. "I have the honor of performing with some of my best long-time Vallejo friends as well as some artists new to Vallejo and the Empress who will undoubtedly leave a lasting impression on those who attend this show."

"This is a great chance for all of us to get together, play together and share our music with each other and the community," said keyboardist Smith. "It's almost impossible to get all the Vallejo blues guys under one room. I said 'yes' as soon as I wasasked just to get to hear and see the other guys." When a musician plays the same instrument, it's rarely does he see the other, said Arrostuto.

For those unaware of the blues talent in Vallejo and surrounding communities, it's an ideal concert, said Johnson.

"I think a lot of people in this area aren't really familiar with a lot of the artists," Johnson said "And it's a great opportunity for the blues artists to do something together."

Johnson agreed.

"We all work so much, we don't get a chance to see one another," he said. "And you never know what kind of collaboration can come about as a result."

Wein said it's the perfect chance for locals "to get a taste of the talent living in our town."

As a musician in the event, it's a time for Wein to meet "lots of other musicians I have not met yet."

"But, more seriously, I remind myself that I'm there to serve the music, not to impress my fellow musicians in the other bands," Wein said. Good venues are hard to come by these days, the musicians agreed.

"Keeping the Empress Theatre alive and thriving is essential to the growth and vitality of our community," Bassey said. "Live music, comedy, dance, Theatre, community events, and movies enrich lives and bring people together."

"The Empress is a unique and beautiful place to play and to hear some great music," Smith said. "There's a real connection between the past and the present in the place."

"It's a great venue," he said. "I love the Empress. And this is an opportunity to see the art form performed in a great venue as opposed to a club.

It's a chance for young people who can't get into a club to be exposed to the blues."

Best of all, said Johnson, is that the Empress is here.

"It's local. That's the great thing about it," he said. "It's a beautiful venue that's local and the only one big venue like it in town. You're in front of your hometown, which is exciting."

"It's a beautiful theater and has been renovated beautifully," Wein said. "It's great for Vallejo to have cultural events and places to go within Vallejo rather than leaving town for entertainment. A thriving theater will attract other businesses and will be a major factor in reviving downtown."

What: Vallejo Blues Stars celebrating the Empress Theatre's 100th anniversary Who: Don Bassey, Alvon Johnson, Bob Simmons, Catlin Small, Danny Click, Dave Aguilar, Diane Dutra, Guy Arrostuto, Kevin Hayes, Pierre Lecorre, jimmy Smith, Kevin Hayes, Raymond Victor, Steve Trovao, Tim Cuny, and Wolf Wein. Hosted by comic Myles Weber.

When: Saturday, Feb. 11, 8 p.m.

Where: Empress Theatre, 330 Virginia St., Vallejo

Tickets: $15-$25 Info: empresstheatre.org

Elementary Students Play The Blues

(keyt.com)Santa Barbara - Students at Santa Barbara's Monroe Elementary School were feeling the blues today and came away with a smile on their face.

They had a special lesson from an award-winning blues harmonica performer and teacher Gary Alegretto.Each student received a harmonica, a lesson on how to play a basic song and some music history about the blues.

"We are propagating the blues as an American art form into the future, so what I ask you guys is to listen to the blues," Alegretto said. 

These visits by blues performers to the schools is coordinated by the Santa Barbara Blues Society and the Santa Barbara Bowl's Outreach Program. The outreach program is funded in part through ticket sales, who provided the initial funding to this program.

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Teaser/Video Watch: "T'Ain't Nobody's Bizness: Queer Blues Divas of the 1920s"

Directed by Robert Philpson, the short documentary T'Ain't Nobody's Bizness: Queer Blues Divas of the 1920s, will be featured next month at the Pan African Film Festival. The doc explores the private sexual lives of lesbian and bisexual "blues divas" in the 1920's, a time when the subject was even more taboo than it is today, and how these women created "a space for themselves", as they struggled with the alienation faced from society.

Here's the full synopsis:

“T’Ain’t Nobody’s Bizness” excavates the hidden sexualities of Black female entertainers who reigned over the nascent blues recording industry of the 1920s. Unlike the male-dominated jazz scene, early blues provided a space for women to take the lead and model an autonomy that was remarkable for women of any color or sexual orientation. The fact that some of these women, still famous 90 years later, successfully conducted same-sex relations with friends and working partners is a tribute to their independent spirit and a marker of the relaxed mores that shaped the world of Black entertainment.

Ma Rainey, “Mother of the Blues,” recruited a devoted following touring the vaudeville circuit in the deep South and along the Mississippi River. Jazz historian Chris Albertson reveals the result of her partying with her chorines in Chicago, where she also recorded almost 100 sides. A true original, Ma Rainey wrote and recorded several songs about sissy men and mannish women—not all of them derogatory.

The most famous blues artist of her day, Bessie Smith, was a sexual predator to both men and women. Her affair with Lillian Simpson, a dancer in her show, triggered one of the greatest fights in Smith’s violence- soaked marriage to Jack Gee. Renowned Bay Area vocalist, Linda Tillery, talks about the inspiration Bessie provided for her life and music.

Chris Albertson confirms the lesbianism of Alberta Hunter and Ethel Waters, an early blues singer who later earned stardom as a headliner on Broadway and as a Hollywood actor. And, finally, “T’Ain’t Nobody’s Bizness,” resurrects the reputation of Gladys Bentley, a Harlem nightclub singer famous in her day for wearing a tuxedo and boasting of her affairs with other women.

Cultural historian Brian Keizer puts the early blues scene in its social context, pointing out that these women, alienated from mainstream society by race and cultural practice (the blues being regarded as the devil’s music), created a space for themselves that presaged the freedom later claimed by the civil rights movement and, by example, gay liberation.

Taking its title from a popular song of the day (written by gay musician Porter Grainger), “T’Ain’t Nobody’s Bizness” introduces contemporary audiences to the transgressive practices of the distaff side of the early blues. It wasn’t all about cheatin’ men and low times. To quote from the song, “If I go to church on Sunday/Then shimmy down on Monday/T’ain’t nobody’s bizness if I do.”

Click on the picture to watch the trailer and the opening sequence.

World's First Blues Music Comic Book Hits iPhones, iPods, And iPads,Celebrates Black History Month With Discounted Downloads.

The full-color, richly-illustrated comic book — and the new multimedia mobile version — tells the story of America's foundational music, the blues, and how the African-American culture created it to survive hard times.

EUGENE, OREGON, USA — For the first time ever, the blues has come to life in a comic book. The full-color, 24-page glossy comic book called The Blues: A midnight adventure from the grueling cotton fields to the roots of rock 'n' roll, tells the story of a young boy from the Mississippi Delta in the 1930s as he discovers the blues and follows it throughout his life, from juke joints to the Great Migration north to electric blues and the beginnings of rock 'n' roll. Along the way, the story offers a glimpse of Southern geography, slavery and back history in the South, blues culture, significant blues and early rock musicians, instrument-making, songwriting, and more.

To celebrate Black History Month (February 2012), the comic book has now come to life with music and sound effects as a mobile app for iPhone, iPad, and iPod (Android coming soon). The app will be available at a special, discounted price of $1.99 for the month of February.

"We originally designed the comic book to support blues education programs, such as those put on by blues societies, blues festivals, and other Blues in the Schools programs around the world," says Josh Coen of Blues Comix, publisher of the comic book. "But the story is so unique and entertaining, that we have released a consumer version for sale on Amazon , and now the mobile app version available at the App Store.

Educational organizations purchasing the printed version in bulk get special pricing as well as free customization that allows them to include sponsor logos, information about their organization, and a listing of local resources. Also included with each bulk order is a full 20-page curriculum and How To, taking organizations step-by-step through how to start a successfulblues education program using local resources and musicians and how to run any of three different proven program formats.

To view pricing, more information, or the entire comic book, visit www.BluesComix.com or call 800-373-1960.

"This comic book and curriculum is designed to enable blues societies to quickly and easily fulfill their missions of blues education in the community," says Coen. "We realize that many blues societies and educational institutions are short on volunteers, money, and experience running a successful music education program. We give blues societies everything they need to finally get started."

About Blues Comix

Blues Comix, based in Eugene, Oregon, promotes the healing power of blues and music through its groundbreaking comic book, mobile app, and curriculum. These teaching and entertainment tools are designed to showcase the importance and contributions of black culture and music in American history, and introduce this legacy to a new generation of kids who are searching foridentity, self-worth, and ways to express their feelings — all of which blues was created to do.

Company founder, Josh Coen, a writer by trade and a long-time blues education innovator, has built one of the strongest Blues in the Schools programs in the United States in midwestern Oregon, where he runs blues programs twice monthly for 5,000 school kids each year, as well as Oregon's only under 21 blues jam. Blues Comix is a member of The Blues Foundation.

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Blues Slinger’s Ball

(Corona CA/inlandsocal.com) Bill Randolph is hoping the Blues Slinger’s Ball in Corona follows in the steps of the Monterrey Pop Festival and later Woodstock.

“The concept was to get all of this undiscovered talent in the limelight,” he said.

Randolph and his wife, Judi, along with friend Steve Artea, are the organizers for the two-day festival-style show which makes its debut at Marquee 15 in Corona Feb. 11 and 12.

The Feb. 11 lineup includes Eric Gales, Darrell Mansfield, The 7th Sons, Big Papa and the TCB, Kim Martin, Brothers N Blues and the Rebellious Blues Dogs.

After the show there will be an all-star jam hosted by Mansfield.

On Feb. 12, the headliners are The 44’s and Kid Ramos, with appearances by The Delgado Brothers, Gino Matteo, Shari Puorto Band and Ricky Lewis. Another all-star jam will happen after that show, hosted by Johnny Main. Also, expect some special guests throughout the weekend.

The Blues Slinger’s Ball is the latest project showing off the Inland region’s rich blues talent, spawned by music fans who want to give the blues a local venue.“These guys are at the top of the game,” Bill Randolph said. Eric Gales is coming into the show between tour dates with Lauryn Hill.“He’s fabulous — he’s like Jimi Hendrix,” Judi Randolph said. Mansfield, a harmonica player and vocalist who has played alongside artists such as Billy Idol and Ted Nugent, also tops the bill for the first night.

For the second night, highlights include Kid Ramos, a former member of the Fabulous Thunderbirds, and Riverside artist Gino Matteo, who is celebrating the release of his new album.

With groups like the LA Blues Society supporting the music in the Southland, the Randolphs are hoping to foster an outlet for local musicians and local blues fans. The headliners will play 90 minutes each and the other artists get an hour-long set before the jam at the end of the night. The artists also encompass a wide variety of subgenres of the blues, from Texas blues to Memphis blues to jump blues to more rock ‘n’ roll-based blues. “It’s not all ‘Hoochie Coochie Man,’” Judi Randolph said, referring to the blues standard. The festival is kid-friendly and if things go well, the organizers hope to make the Blues Slinger’s Ball more than just a one-time event for blues musicians and fans. “They deserve the recognition,” Judi Randolph said.  

2 p.m. Feb. 11 and 12, Marquee 15, 9022 Pulsar Court, Suite H, Corona, 951-200-4465, $20 per day in advance or $35 for a two-day pass. Single day passes are $25 per day at the door, all ages.

Visit www.marquee15.com for tickets.

Video of the Week

We Be Kings

A Narrative Film project in Chicago, IL by Toby Hubner, that you can be a part of.  

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Chantel McGregor Interviewed: The Unconventional Blues Guitarist You’ll Fall In Love With

Chantel McGregor

(JohnAnthonyLake/sabotagetimes.com)Yesterday, if Vernon Kay had asked me, as a representative of the Great British Public, to name Five Blues Guitarists, I’d probably have trotted out John Lee Hooker, B.B. King, Muddy Waters, Jimi Hendrix and maybe Eric Clapton. In fact, with the exception of the token white bloke, they all would’ve been black and either old or dead, and they would all have been male.

Today that list is blown apart, and it’s all down to Chantel McGregor. Young, white, female and very much alive, Chantel first picked up a guitar at the age of three. Since then accolades and prizes have followed her like dolphins follow a bow wave.  Youngest person ever to pass a Rockschool exam grade. First to score 100% in a BTEC at Leeds Music College. Winner of a 2006-7 Outstanding Musician prize. A First Class Honours degree in popular music. Voted Young Artist of the Year at 2011’s British Blues Awards.

Still in her mid-twenties, it’s as if her professional career is just beginning. In fact she’s already sold out prestigious venues, played coast to coast – Morecambe to Grimsby in two days straight – gigged as far afield as Poland and is a regular feature at blues festivals up and down the land. She’s even appeared in a documentary on the history of the Telecaster, along with fellow aficionados Keith Richards, Albert Lee and Jeff Beck.

Chantel first picked up a guitar at the age of three. Since then accolades and prizes have followed her like dolphins follow a bow wave.

From the cover shot of her 2011 album, Like No Other, which sees Chantel reclining on a pillow with her soul mate, a purple Fender ‘Bonnie Raitt’ Stratocaster, it’s hard to square the hint of rock chick glamour with the modest life of domestic normalcy that she still shares with her parents in the cosy provincial bosom of West Yorkshire. But it also signifies what I liked about her from the start, which is an unwillingness to be pigeonholed: the petite dolly in a party dress who thrives on real ale and takeaway curries; the smart young businesswoman who grew up in the ’90s but maintains links to musicians from the ’70s that most of her peers will never have heard of; the unreconstructed Bradford accent behind the star talent that anyone who watches five minutes of her on YouTube can see she possesses in spades.

She’s the brassy lass from the north ‘where we do what we want’, an Alice from Wonderland set down in the middle of a double-headed axe massacre. Somewhere in her past, some fool told her she should pack in the guitar because boys would be intimidated. Well so they damn well should be. Once she gets her dainty hands round the neck of a fret-board, she’s not afraid to take anybody on – Hendrix, Led Zep, Steve Vai, you name it – and look good doing it.

Chantel’s heritage, handed down from her musical father, reaches back to the pre-punk era, so if your idea of music begins and ends with the three-chord three-minute philosophy of The Pistols and The Fall, it’s probably best to look away now. The album is a reflection of this, with covers of songs by Sonny Boy Williamson, Fleetwood Mac and Robin Trower, but it also reaches forward to the present through her own compositions, which boast a beefed-up modern production courtesy of Livingstone Brown – who has worked with the likes of Nina Hagen, Maxi Priest and Kylie Minogue – and Chantel’s own vocals striking an impression somewhere between Kylie and Shania Twain. But it’s the astounding lead guitar work that stands out above all else, not least on her 14-minute rendition of Robin Trower’s ‘Daydream’.

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Click for video of Chantel