I've got the pics up for the first two weeks of Blues Fest this year. I haven't linked them all up yet so you'll be the first to see. Here's the links.
Don't forget to click through to the Photo Gallery on each page. Megan took these pics.
And don't miss linking over to the CD I made on Ronnie Presley's show September 14. It came out great. In fact here's the link if you want to listen right now.
A big shout out to all my extended family from Helena. Everyone from Bunky's, Tent City, Dave Riley, everyone. As always it was a blast. Dave started hosting electric jams at Bunky's in the evening hours to compliment our acoustic jams for breakfast. I'm already getting some pics in my email and myspace. Keep them coming and I'll put up a page on Delta Boogie.
I have three new HairyLarryLand CDs up on the net now. You can download or listen here.
I'm writing a column about protest music and other topical songs including humorous material. There are three types of articles; music that changed the world, change the world with music, and Pimp Your Song! You can read them on Delta Boogie.
All you musicians promoting yourselves on the internet I've got a resource for you. The band is called Beatnik Turtle and they are songwriters from Chicago. They've got a ton of info and internet resources. Here's a link to the Pimp Your Song! article I wrote about them.
Please forward and publicize freely. If you would like to be added or removed send me an email. The Delta Boogie monthly newsletter keeps you informed of what's new on Delta Boogie. It also promotes Hairy Larry and George, The Mudcats, The Flying Hungarians, Bunky's Breakfast Emporium Orkestra, and other Delta Boogie artists including our Sunday In The Park and Blues Fest festivals at the Craighead Forest Bandshell in Jonesboro.
Too often people think they must express their own views or deliver an explicit message or moral in a political song. Once you've started your goal should be to write the best song you can wherever that leads you and whether you actually agree with what is being said or not. You probably sing some songs you don't entirely agree with. Don't be afraid to write stuff that's out there.
To make a song podsafe means you allow others to host the song and use it in their podcasts. This means they can allow others to download it from their website.
This is not the same thing at all as making it public domain. In fact the act of giving the permission reinforces your copyright. It is the copyright that enables you to give that permission.
I'm not going to address the download/streaming issue except to say I allow all of my songs to be downloaded. People can capture streams anyway so why not?
And if you have a song available for download why not let others host it too? The important thing is that people download and enjoy your song, not which site they download it from.
There are many way to make a song podsafe. Creative Commons licenses are highly recommended. Another way is to upload your song to a service like the Podsafe Music Network.
Not only can you listen to KGPL you can add songs and program your own playlists. Right now most of the songs are from the Live Music Archive, Jamendo, ccmixter, and Delta Boogie Radio.
The Delta Boogie Radio link above is the dialup version for those like me who are bandwidth deprived. There is also a hifi version.
Anyone can add songs as long as they are available on the internet as mp3 files. Then you can program your own playlists for anyone to enjoy. Widgets and embeds allow you to post these songs and playlists on your websites or myspace.
Please add your favorite music and use the comments to discuss great music on the internet.
I didn't get the title of the CD until I gave it a listen. Although John Scofield is a highly regarded Jazz guitarist all the songs on the CD are Blues and Gospel with plenty of the calling out the name of Jesus going on. Still it maintains Scofield's Jazz sensibilities, all the guitar work is very tasteful and restrained. The keyboard player Jon Cleary sings on almost every track. Great songs like "Motherless Child", "His Eye Is On The Sparrow", "Ninety Nine and a Half", and "I'll Fly Away".
I also like the instrumental, "But I Like The Message", where Scofield plays Jazz guitar over a Blues change.
Yes, it's Blues and Gospel, but not your daddy's Blues and not your momma's Gospel. Clean arrangements and fine guitar work make this CD eminently listenable. Even your momma and daddy will like it. I do and you will too.
I said deep in my heart Lord I do believe that we shall overcome some day.
A message of hope.
More ...
Does anyone know who's funeral she was singing at. Not only is the song great but the prayer at the end comes from the heart as well. She sang "Precious Lord" at Dr. Martin Luther King's funeral.
"We Shall Overcome" was one of the most powerful statements during the Civil Rights struggle. Here's some more links.
And here's Mahalia Jackson and Louis Armstrong bringing New Orleans to the Newport Jazz Festival singing "Just A Closer Walk With Thee" and "When The Saints Go Marching In".
Mahalia Jackson and Louis Armstrong
I just love this stuff. Please add links and embeds to other Gospel music that changed the world in the comments.
Amazon has a promotion on. X5 Jazz sampler. Five free recordings of Jazz Classics. I have an Amazon account already. I did my download. Everything was cool. So I passed the link on to a friend.
He thought they wanted his credit card info and declined the downloads. I'm sure it left a sour taste in his mouth. I tested the Amazon "free" giveaway as a new customer and I did have to create an account and I did have to fill out billing information on a screen that looks exactly like a credit card collection screen but I did not have to actually enter a credit card number. But still is this download Free? Is my time worth nothing? Why do I need to give out my billing address and phone number to receive a free download?
Here's my apology to my friend.
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Sorry. I didn't know. We have an Amazon account and nothing came up.
I guess it's a sales ploy after all. I mean promotional downloads are always a sales ploy but they shouldn't collect information like that. Let the songs be the promotion.
Now I don't mind bands giving away free mp3s when you sign up for their mail list. But that's an upfront transaction and you can always opt out easily if you don't like the newsletter.
I don't do that though. My free mp3s are free. As a bird. They might as well be. People will share music whether you want them to or not.
And, of course, I want them to. Sharing is the new music distribution system. Word of mouth is everything.
I started rambling but this shit is good. I'm going to turn this into a post.
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Like I said I set up a new account and got the download without entering any credit card info. They did send me to a billing address page and I did have to enter a mailing address and phone number which I feel is excessive for getting a free download. But they did not collect credit card info like they would have to if the download wasn't free.
I feel that this is far in excess of the standard practice of getting a free mp3 or pdf for putting an email address into an opt out mail list.
There is no hard rule but there is a question of motivation. Is the promotion about the music or about getting new customers? Amazon made it clear that the reason they are running this promotion is to collect new customers.
Still the mantra in internet sales is WWAD? (What Would Amazon Do?) In this case I disagree. They clearly lost one download customer with their excessive data collection. I mean life is too short.
So I'm going to put my money where my mouth is and define just what "free music on the internet" means to me.
First thing, permanent links to the mp3 file. (or flac or ogg or mov) Plain links that you can read in your status bar. Click on the link or right click and Save Target As or Save Link As. Easy to download.
If I want to play a podcast or provide a streaming experience I use plaintext .m3u or .xspf playlists. Preferably both. These playlist formats provide the listener with a link to the file so they can easily download it if they choose.
Second song files are stored on more than one site. One site can go down. I use archive.org and many other music hosting services besides my web site for my downloads.
Third, I license the recordings for sharing so anyone who downloads them can feel free to share them if they want to. I use Creative Commons licenses but a simple statement from the songwriter is sufficient. I call this Copy Freely and the Creative Commons licenses spell it out in detail.
1. Download links available
2. Posted at many sites
3. Licensed for sharing
Please comment on this and tell me what free music means to you.
Also I have a question to throw out for comments. If your music is available for free on the internet should you also post it to iTunes and Amazon for resale? Will a customer who purchases a download be upset if he later finds it for free. Or are these channels just too big to ignore and should you have your music on them period? (note - that sentence ends, "period question mark")
Thanks,
Hairy Larry
@hairylarryland
hairylarry@deltaboogie.com
This article is available for reuse under a Creative Commons Attribution 3.0 license. Copy Freely!
What on earth does that mean? Free as in libre radio for free as a bird music. And what does it have to do with KGPL?
Free as in libre is a phrase describing open source software, also called free software. The meaning is free as in liberty or freedom as opposed to free as in beer. When someone gives you a free beer that means you don't have to pay for it. Free software means you are free to use it and modify it and even redistribute your modified version as long as you follow the rules laid out in the free software license. For KGPL I use the GPL or General Public License. More info on that here.
Free as a bird is an evocative phrase that is another way of expressing freedom. For KGPL free as a bird music means that the songs are available for free download on the internet. And I'm not talking about illegal downloads from a pirate p2p network. There are thousands and thousands of songs posted by the songwriters and others with permission. Legal downloads of free music.
Some of those songwriters take an additional step with a license that allows anyone to distribute or even modify the song. I use Creative Commons licenses to license my work. More info on that here.
For musicians free as a bird has an additional meaning. Bird aka Charlie Parker was on of the great Jazz saxophonists, a true original who not only wrote songs but had a seminal influence on Bebop, a far reaching Blues based Jazz style that uses riffing to define frameworks for improvisation. All Jazz players strive to be as free as Bird in their solos.
KGPL is two things. It is an open source internet radio software project. And it's a working station featuring free music. Besides just turning on the radio listeners can program their own shows. Anyone can add songs to the library as long as the songs are available for free download on the internet. Widgets and embeds are available so you can add songs or playlists to your websites or myspace or DailyKos.
So here's a shout out to Charlie Parker aka Bird.
Here's a widget with some Jazz on KGPL.
And finally here's some links to other sites featuring free as a bird music.
Roy Hargrove has been performing live at festivals and at the Jazz Gallery in New York with a Big Band comprised mostly of younger players who haven't had a lot of opportunity to play in this setting. They work well together with extremely tight ensemble work and the sound of a small group on solos.
Emergence mixes originals by Hargrove and others with Jazz Standards like "My Funny Valentine" and "September In The Rain". Roberta Gambarini sings two songs and Hargrove gives great vocal including call and response scat singing on "September In The Rain".
Here's the personell as listed in the press release.
The lineup solidified into the group showcased on the eleven tracks of Emergence, which features Hargrove on trumpet, flugelhorn, and a rare lead vocal (on the standard "September in the Rain") alongside four other trumpet players (Frank Greene, Greg Gisbert, Darren Barrett, Ambrose Akinmisure), four trombonists (Jason Jackson, Vincent Chandler, Saunders Sermons, and Max Seigel on bass trombone), five reedists (Bruce Williams, alto saxophone and flute; Justin Robinson, alto and flute; Norbert Stachel, tenor sax and flute; Keith Loftis, tenor and flute; and Jason Marshall, baritone sax and flute), and the rhythm section of pianist Gerald Clayton, bassist Danton Boller, guitarist Saul Rubin, drummer Montez Coleman and percussionist Roland Guerrero. Vocalist Roberta Gambarini (named "Rising Star Female Vocalist of the Year" in Downbeat's 2009 Critic's Poll) contributes two affecting performances.
I love Jazz piano and Gerald Clayton does not disappoint with his solos or rhythm section work. Also Bruce Williams plays some outstanding flute. All the players are to be commended, there's not a weak solo on the CD.
If you like Big Bands you will like this. And if you think you only like small groups you will also like this because most of the time the CD sounds like an excellent small group with only occasional loud brassy parts that lend variety rather than dominating the sound.
Every few years, I get deep into what I call my Elvis Studies; an odd preoccupation, one might say, for a dread-locked sistah like me.
When I wrote this, I had just finished the two-volume masterwork by Peter Guralnick, "Last Train to Memphis - The Rise of Elvis Presley", and "Careless Love - The Unmaking of Elvis Presley".
Together, they constitute a monumental biography, an awesomely - even absurdly - detailed account of the life of Elvis.
As an essential compliment to these works, I re-read, "Elvis" by music critic Dave Marsh, a deeply respectful, wholly intelligent treatise on Elvis and modern music and culture, masquerading as a gorgeous picture book.
Marsh's essay provides the critical, undeniable social context of the Elvis story: the significance of region and race that is obscured in all of the necessary minutiae of Guralnick's work.
Then I topped it all off with Priscilla's "Elvis and Me", a boiling confection I'd been avoiding for years.
So as I finish this course in Elvisology, here's a piece that I wrote on an Anniversary of his Death a few years ago: I've posted it a few times since.
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I think that Elvis was my first love.
I was 5 years old in the 1950s, and I sat in the sun on the living room floor with my legs criss-crossed, album cover on my lap, in a pool of light from the leaded-glass window near the fireplace.
Motes of dust bounced and drifted in the beam of sun, fairy-like.The sun shined on Elvis too on that cover, guitar strapped across his blue stripe-shirted shoulder, as he gazed upward into a faraway sun, or maybe into the light of Heaven itself.
I was besotted by such beauty in a man. The errant forehead curl, the pull of his lip that made the tiny sneer, the imperfection that rendered him more beautiful.
The sun was golden and Elvis was too. Yes, he was tawny then from a life in the Delta sun; his hair a slick, golden crown. This was years before his hair was dyed black to provide contrast for photos and film, and later, to hide the signs of time.
Oh yes, back then, as I gaze at the album cover in my living room, he is a golden boy.
He is Elvis, the light shines on him, and it shines on me.
There is a familiarity about him, a softness of speech and manner that is not unlike my own Southern father and uncles. There is none of the frantic crispness, the stiff, staccato notes of the North.
No, his way is soft, he moves more like folks move in my world. I am 5 years old, yet I know this.
There is too, an oddness about him, some thing unknown. I learned later of a twin who died still born, and oh, the mystery of that child unknown. Another Elvis in the world was too much to contemplate.
But maybe the spirit of the long gone child made Elvis become more than if they had both survived.
His too lush beauty hints, to me, of long-lost secret ways, his eyes too heavy, lips too full, the nostrils spatulate. I wonder just what other blood flowed in those Delta veins, what long ago dark ancestor through him sweetly sang.
My Daddy, Joe Von Battle, was a Record Shop man. Produced, wrote, recorded, pressed, published, sold records. All of my life I've been surrounded by music; as a child I read album covers and liner notes - my earliest history class of the world and the people in it.
Our house was full of records, 45's, 78's and the new "LPs". Records were recorded even in our living room, the high ceilings made for great acoustics.
There were records all around - Stan Kenton and Oklahoma! and Bobby "Blue" Bland and Jerry Lee Lewis and Louis Jordan and Dinah Washington and Chuck Berry and Carl Perkins and Howlin' Wolf and Peter and the Wolf and Mahalia Jackson and Tennessee Ernie and Ike and Tina and, well, a whole lot of albums were in our lives.
But the Elvis album cover I will never forget.
Years later it would be said that Elvis was a thief, a robber, a usurper of the music of others. But I think not.
The men I knew, black blues loving men who lived in the North and hungered for their South, looked at him with the bemusement of affectionate elders, as if one of their own had played a trick on Jim Crow.
"Listen to that boy" they'd say, and shake their heads, "just look at him".
He was as familiar as sugar cane and red dirt. They knew just where he came from, just what kind of church he went to as a child, by the way he played a chord, or sang a note.
They knew he'd seen that Holy Ghost grap someone and make them whoop and holler, in the churches of Mother Boards and Deacons, of the gospel shout and stomp. They knew he just grew up like that.
Wasn't his fault there were others who made money off of the music of others; that society would let him bust through musical doors that barred his darker brothers.
He let rhythm music come through him, past the restraints of his upbringing and environs. He didn't turn our music white, but worked it through the channel of his own Delta life.
Though how tortuous the inner wrestling of Secular and Divine, and oh, how tragic was the price.
All the songs in the world could not bring him peace from his own carnality, his tormented mind and fevered soul sought rest from the world's idolatry.
I miss Elvis, but not the addled, bloated Elvis, not the cartoon, impersonated Elvis of later years.
He is the Elvis on that album cover, the golden Elvis; with a profile as chiseled as Michaelangelo's David, face as angelic as Gabriel, eyes raised towards Heaven.
He's the Elvis in my living room, with the sun shining on him, and shining on me.
A cult figure, that's got religious connotations. It sounds cliquish and clannish. People have different emotional levels. Especially when you're young. Back then I guess most of my influences could be thought of as eccentric. Mass media had no overwhelming reach so I was drawn to the traveling performers passing through. The side show performers - bluegrass singers, the black cowboy with chaps and a lariat doing rope tricks. Miss Europe, Quasimodo, the Bearded Lady, the half-man half-woman, the deformed and the bent, Atlas the Dwarf, the fire-eaters, the teachers and preachers, the blues singers. I remember it like it was yesterday. I got close to some of these people. I learned about dignity from them. Freedom too. Civil rights, human rights. How to stay within yourself. Most others were into the rides like the tilt-a-whirl and the rollercoaster. To me that was the nightmare. All the giddiness. The artificiality of it. The sledge hammer of life. It didn't make sense or seem real. The stuff off the main road was where force of reality was. At least it struck me that way. When I left home those feelings didn't change.
From Bob Dylan Exclusive Interview: Reveals His Favorite Songwriters, Thoughts On His Own Cult Figure Status.
When Woody Guthrie wrote "This Land Is Your Land" the sentiments expressed weren't mainstream. In fact the lyric was considered to be communist. Now the song is sung in every grade school classroom in the nation.
When Arlo Guthrie had his hit, "Alice's Restaurant", it made everybody laugh. But it was more than a funny song. It spoke truths about the draft that could not be conveyed except through music.
There are plenty of good protest songs being written and sung today. But you aren't hearing them on the radio. And they aren't singing them in the schools.
So now we have internet radio. A chance for all voices to be heard even if it's out at the end of the long tail. Add your favorite songs that changed the world in the comments. Please include links or embeds if they are available on the internet. Help me change the world with music.
Here's one of my protest songs, "You Did The Crime (Now Do The Time)". It's a little bit dated being about Alberto and Scooter who is unfortunately not doing his time. So please add more up to date lyrics and maybe I'll record it again.
This sad news just in: Blues and Rock 'N Roll pioneer Bo Diddley passed away today of heart failure at his home in Florida. He was 79. Bo had various health issues in the last year, which rendered him unable to perform live concerts. Bo was born Ellas Bates in McComb, Mississippi on December 30, 1928. He moved to Chicago at age seven, and got his musical start playing blues on the Maxwell Street market. There are many stories about his stage name, one being that he used to play a homemade instrument called the Diddley Bow, and the other that he adapted a name of a comical character that he happened upon.
He lived to say the name served him well; and his early recordings for Chess were instant hits. Songs such as “Bo Diddley”, “Bring It To Jerome”, “I’m A Man”, “Diddy Wah Diddy”, “Diddley Daddy”, "Who Do You Love", "Mona", "Before You Accuse Me", and countless others presented a new sound that was steeped in blues, yet so danceable and rhythmic that it is considered the bedrock of early Rock ‘N Roll. The “Bo Diddley Beat”, taken from the "shave and a haircut" rhythm, was so popular and influential that numerous other hits by other artists adapted this beat.
He maintained public attention through high-profile appearances such as John Lennon’s Live Peace In Toronto concert, playing an acting role in the Dan Akroyd/Eddie Murphy hit Trading Places, a memorable pool hall scene in the music video of George Thorogood’s "Bad To The Bone" (based on a Bo Diddley guitar hook), and a Rock ‘N Roll star/basketball star comparison for Nike remembered fondly by the catch phrase “Bo Knows”. He played a characteristic rectangular guitar which became his trademark. He was inducted in The Rock And Roll Hall Of Fame in 1987. Bo remained active musically his whole life until stricken by a stroke in 2007. His passing today leaves an unfillable void, as he is one of the undisputed founders of Rock ‘N Roll.
For his complete biography, discography, and wonderful website, click here; to see a photo tribute page to Bo Diddley on Bob Corritore’s website, click here; and to read the Associated Press article regarding his passing, click here. Bob feels privileged to have known, performed with, and recorded with Bo Diddley. Bo was a great man whose music brought joy to multitudes of people. May this musical icon rest in peace.
Bob has many great links with this release. To follow the links go here:
bobcorritore@yahoo.com Wed, May 14, 2008 at 9:45 PM
Reply-To: bobcorritore@yahoo.com
To: hairylarry@deltaboogie.com
May 14, 2008
* Gigs this weekend & Chris's Birthday: On Friday, May 16 and Saturday, May 17, 2008, Bob Corritore will appear at the Rhythm Room Phoenix, AZ with The Rhythm Room All-Stars featuring Big Pete Pearson, with Chris James, Brian Fahey, and Patrick Rynn. The All-Stars will also celebrate Chris James's birthday on Friday night. Doors open at 8pm, cover charge is $7. Rack Shack Barbeque will be available at these events. These nights will be patio smoking only events; no indoor smoking will be permitted.
* Mojo Buford Hospitalized: Mojo Buford's Manager Doug McMinn reports that Mojo Buford has been hospitalized in Minneapolis, and has had to postpone a European tour that would have started today. "It is with a sad heart that I inform you that Mojo Buford had to be rushed to the hospital last night (May 12, 2008). He was in diabetic shock, and was having trouble breathing. It turns out that he is suffering from congestive heart failure, and that’s why he was having trouble breathing. Because of some new medicine he was prescribed, he was forgetting to take other medicines, like his insulin; and that’s what threw him into diabetic shock. Mojo is doing better today, as the hospital balances his medications." Mojo Buford is best known to blues fans as the long time harmonica player in the Muddy Waters Band, but Mojo is a great blues artist in his own right with a beautiful voice, great harmonica sound, and a wonderful repertoire. Thanks to Michel Hofkens from Belgium, who first made us aware of this.
* BMA/Delta Groove Recap: As I begin to catch up after three days of non-stop blues activity, my reflections turn to the Blues Music Awards gathering, which included a pre-party, the big night of the Blues Music Awards, and the 3rd Annual Delta Groove Showcase at Ground Zero. At this point, many lists of the winners have been posted and emailed, but for the full list of 2008 BMA winners, click here. Big congratulations to all the winners and nominees! Please note that this recap will cover only my tiny perspective of this huge event, in which every attendee had their own great moments filled with interactions unique to their experience. When you put together an event that draws all aspects of the blues community/industry, there is a tremendous amount of mutual interest, camaraderie, and just plain love going around. Unique combinations of people, introductions, networking, and acknowledgment of both veteran masters and new talent abounded. Each year we all feel a special joy and privilege to a part of this big family of the blues. This year was very special for me, because I was a nominee for the first time for my collaboration with Dave Riley; Travelin' The Dirt Road on Blue Witch Records was up for Best Acoustic Blues Album. A number of CDs that I have played on or produced were up for awards before, but this was the first time that my name specifically was on the ballot. This was a great thrill for me to be recognized this way, and it was a dream come true to be asked to perform at the event.
Our journey began on Wednesday morning as Kim and I caught our plane from Phoenix to Memphis. Big Pete Pearson, who landed a little before us on a different airline, greeted us upon arrival. We ran into Paul Benjamin (Blues Foundation president) and his wife at the airport, and so it began: the wonderful non-stop greetings of blues friends that would not cease until we would board our flight home three days later. We rented a car, and Kim, Big Pete, and I drove down Highway 61 to the Grand Casino in Tunica, Mississippi, where the BMAs were being held for the first time away from Memphis. The scenic ride was filled with Big Pete's great stories of touring the south during the 50s, and the memories jogged by various landmarks. When we arrived at the Grand Casino's Veranda Hotel, we said hello to Sam Lay, Nick and Kate Moss, Gaye Adegbalola, Andra Farr, and many others.
Kim and I had just enough time to check in and freshen up for a moment before the 5:30 bus left for a riverboat pre-party before the Hall of Fame Dinner. Before catching the bus, we met up in the lobby with Dave Riley and his wife Tanja, and Dale Baich and Beth Lipham of Blue Witch Records, as well as a large crowd headed to the event. Getting on the bus, I realized that it was filled with friends: Hubert Sumlin in the front row, followed by Nappy Brown, followed by Magic Slim, Scott Cable, and the list goes on. When Kim and I arrived at the Tunica River Park to board the Tunica Queen Riverboat, everyone took a photo next to a life preserver bearing the boat's name. Great appetizers were served below deck, and the socializing began as we talked with Bob Koester, Art Tipaldi (who I had last seen in Lucerne), Jimmy McCracklin (my first time meeting this legendary blues singer), Blues Foundation Director Jay Sieleman and his lovely wife Priscilla Hernandez, Willie "Big Eyes" Smith (who introduced me to the young Kenny Wayne Shepherd), Janiva Magness, Bruce Iglauer of Alligator Records, Mark Hoffman and James Segrest (co-authors of the Howlin' Wolf bio, Moanin' At Midnight), Bill Wax of XM Satellite Radio and his lovely wife Sheila, Bob Porter of WBGO and Music Choice and his lovely wife Linda, Big George Brock, Fruteland Jackson, Gina Sicilia, Dave Gross, Richard Rosenblatt of Vizztone, and many others. The scenic view of the "Big Muddy" and its river banks was spectacular.
Upon landing, we headed to the adjacent meeting area at the Tunica River Park where the dinner and awards would take place. There we said hello to Bob Stroger, David Maxwell, Bobby Rush, Denise LaSalle, Diunna Greenleaf, Nora Jean Bruso, Pinetop Perkins, Jumpin' Johnny Sansone, John Németh, Pat Morgan, Duke Robillard, Bob and Pamela Margolin, Hugh Southard of Blue Mountain Artists, Joe Whitmer from The Blues Foundation, Michael Cloeren, Sharrie Williams, Steve Simon, and many others. The dinner and company were great, and set the stage for the Hall of Fame Awards, which inducted great recordings, literature, producers, and musicians in the blues. For a complete list of this year's Hall of Fame inductees, click here. Bill Wax and Bob Porter were excellent hosts as they alternated in presenting the awards. When Big Joe Williams' Piney Woods Blues was announced, it was accepted by the great Bob Koester of Delmark Records, who told heartwarming stories of Big Joe and the recording session. Bob Koester noted how the blues LP album was a relatively new and unique thing at that time. When Moanin' At Midnight: The Life And Times Of Howlin' Wolf was announced, authors James Segrest and Mark Hoffman related their passion for this project, and told stories of their years of research. An inspiring reflection of the life of record producer icon John Hammond, Sr. was told by Sony/BMG Senior Vice President/A&R Man Steve Berkowitz. The Legendary Hubert Sumlin was enthusiastically cheered as they announced his induction into the Hall of Fame. Hubert was escorted to the podium by the youthful rock guitarist Kenny Wayne Shepherd, who awkwardly gave the majority of Hubert's acceptance speech for him. The legendary blues hit maker Jimmy McCracklin also was inducted, and gave a riveting acceptance speech. On the bus ride home, Big George Brock started playing gospel classics on harmonica, which lead to a beautifully enthusiastic chorus of numerous singers switching off on the lead vocal and support roles. We arrived at the hotel to see Evan Caleb (Candye Kane's son and fine drummer) as well as Jerry Del Giudice and Edward Chmelewski from Blind Pig Records and Scott Allen and Jen Taylor of Vivid Pix. Mark Hoffman then introduced me to Vera L. Johnson-Collins, the niece of Mississippi Blues legend Tommy Johnson (how cool is that!). She has started a foundation in her uncle's name; the website can be accessed by clicking here. The day was completed with a conversation by my dear friend Sam Lay before retiring to the room.
The next day started with a 12:15pm sound check for Dave Riley and I, who would perform later that night as a duo. Dave's son, Dave Riley, Jr., and I drove to the casino, and we met up with Big Pete Pearson and Patrick Rynn there. The room at the venue was very nice, and had a good sound to it. They were running a little late, which allowed conversations with Bob Margolin, Dale Baich, Michael Cloeren, and others. We got to hear the sound checks of Sharrie Williams, Gina Sicilia (with Dave Gross and David Maxwell) and the John Németh Band (with Junior Watson) before Dave and I breezed through our stage settings. Then back to the hotel, where I had plans to meet Charlie Hussey, host of the Dublin, Ireland blues radio show Blues Train, who did a 45 minute interview with me, and will edit it, combine it with songs, and broadcast it at a later date. We then went looking for Tomcat Courtney, who had arrived the night before with Chris James and Patrick Rynn. Upon finding Tomcat he and Charlie went off to do a second interview as I stayed in the lobby, saying hello to Chris James, Ronnie James, Debbie Davies, German Blues DJ and photographer Horst-Dieter Fischer, Steve Hecht of Piedmont Talent who introduced me to his new artist signing Samuel James, Lurrie Bell, Scott Dirks, and others. Then it was time to catch a moment in the room before Kim and I would get ready for the awards night. My beautiful Kim looked stunning, as always, as we headed down to the lobby where the next 10 hours would be wonderfully filled with well-dressed blues musicians and fans, greetings, introductions, photo ops, and of course, the Blues Music Awards! As we arrived at the venue, we gathered at an outdoor pre-party where we heard Lionel Young followed by Trampled Under Foot (both were IBC winners this year). To see some photos from this pre-party and to get a second account of the event, check out Lew Jetton's blog recap by clicking here.
We walked into the venue, and were greeted by the spellbinding Mississippi blues of Jimmy “Duck” Holmes, whose brilliant CD on Broke & Hungry Records was up for an award. We sat at a table with Charles and Lori Ragsdell, with Dale Baich and Beth Lipham sitting next to us and Dave, Tanja, and Dave Riley, Jr. as well as photographer Donovan Allen (some great company). Koko Taylor was at the next table, and our other table was also close by, and included Big Pete Pearson, Tomcat Courtney, Chris James, Patrick Rynn, and Judy Marut of Blue Witch Records. Also in attendance were Robert Jr. Whitall and Shirley Mae Owens of Big City Blues Magazine, Chip Eagle, Dar, Randy Chortkoff and his lovely girlfriend Kelly, Michael Frank of Earwig Music, Frank Roszak and Josh Tempkin of Delta Groove, Arnie Goodman, Don Crow, Rick Booth and Jake Lankheit from Intrepid Artists, Onnie Heaney, Patricia Morgan, Derek O'Brien, Pamela Taylor, Fred Litwin of Northern Blues, David Earl of Severn Records, David Berntson of Crossroads Learning Experience, Mr. and Mrs. "V", who host of Houston's Blues On The Move on 90.1FM KPFT, Amanda Gresham, Dave Wright of Champaign, Illinois' Dave's Blues on 90.1FM WEFT, Carol Marble of Mississippi Delta Blues, Inc, any many other blues VIPs. The night proceeded with numerous awards and performances, and included a greeting by Mississippi Governor Haley Barbour. Some highlights for us included watching our dear friends and musical associates Sam Lay, Bob Stroger, Koko Taylor, Diunna Greenleaf, and Bob Margolin receive BMAs, and great performances by Lurrie Bell, Big George Brock, Diunna Greenleaf, The Holmes Brothers, and more. The unquestionable performance highlight was Nappy Brown's explosive version of "Night Time Is The Right Time". Nappy had recorded this song before Ray Charles, and Ray's version closely mimics Nappy's original. Nappy's performance was complete with whoops and hollers, rolling around on the stage, waving his legs in the air, and stalking the crowd in search of woman to sing to (Nappy appeared to have a special attraction to Jen Taylor of Vivid Pix!). Nappy combined his show stopping stage antics with his amazingly rich and versatile voice, and the audience was beside themselves with his performance. It was so great to perform at this event, and Dave and I felt good about our duet performances of "Travelin' The Dirt Road" (a Dave Riley composition), "Jelly Roll King" (written by Frank Frost) and "Sharecropper's Blues" (written by John Weston), which were aired live on XM Satellite Radio’s Bluesville Station, along with all performances and acceptance speeches of the night. Though none of the four CDs I played on won, I felt very privileged to be nominated and belong to this great musical family of the blues. We heard that the event went on until 3am, so we missed the last hour, as Kim and I visited with friends in the lobby before heading back to the room to get a little rest before the next day's activity. We enjoyed seeing Tommy Castro, photographer Aigars Lapsa from Latvia (who presented me with beautiful photos that he took at the Lucerne Blues Festival), Mookie Brill, and Nappy Brown. We went back to the hotel with Nappy Brown, as he and I caught up on some of our mutual friends. Nappy and Tomcat Courtney settled in the hotel lobby and stayed up till the early morning swapping stories, while Dale and Beth of Blue Witch and Chris and Patrick of The Rhythm Room All-Stars watched on.
Friday was the 3rd Annual Delta Groove Showcase at Ground Zero Blues Club in Clarksdale, which for the last three years has been the prime after-party for the BMAs. Label chief Randy Chortkoff is legendary in his ability to throw some of the most elaborate musical events in the blues. Many of us in the Southwest fondly remember Randy's amazing annual Little Walter festivals of the 90s. Randy's gracious hosting and star-packed lineups were certainly part of this year’s event. In addition to being a stunning showcase for his Delta Groove label, Randy included a number of artists from other labels on the bill, including a Blue Witch Showcase. When we arrived at around 1:30pm, the place was already packed with a who's who of blues people. After sets by Lionel Young and Bill Sims (with Mark LaVoie on harmonica), it was time for our showcase. Randy gave a great introduction, and then turned it over to me to announce the set and call all the featured artists to the spotlight. The core band for our set was The Rhythm Room All-Stars with Chris James (guitar), Patrick Rynn (bass), and myself on harmonica, and we switched drummers between Tony Braunagel of the Phantom Blues Band and Evan Caleb, Candye Kane's son and drummer (both are great drummers). We began the set with Italian harmonica great Marco Pandolfi, who did a jumpin' instrumental. Then I took over on harmonica as the All-Stars spotlighted singers Chris James, Dave Riley, Tomcat Courtney, and Big Pete Pearson (in that order). We felt great about the set, and everyone shined. From there, Kid Ramos's side project Los Fabulocos did a great set of Tex-Mex and roots-rock songs. In the parking lot, there was a stage set up with the great Cedric Burnside and Lightnin’ Malcolm, who served as core band and kept a spontaneous jam going all through the day with many special guests. To the side of the jam stage was Deak Harp, who, in between jam sets, played great amplified harp and foot-driven drums for a wild and wonderful sound. The Insomniacs did an inspired set, as did the amazing Jackie Payne/Steve Edmondson Band, before the West Coast's pride The Mannish Boys hit the stage and brought the night to new level of energy. With The Mannish Boys' great lineup of talent, they alternated singers, harp players, and guitarists to the stationary solid rhythm section of Richard Innes and Ronnie James. We were treated to features by Franck Goldwasser, Randy Chortkoff, Kirk Fletcher, Kid Ramos, Junior Watson, Bobby Jones, Johnny Dyer, and Finis Tasby, as well as special guest appearances by Phillip Walker, Debbie Davies, and Mikey Junior. The entire set was stunning, but the true highlight for me was Johnny Dyer's spectacular take on Little Walter's "Everything's Gonna Be Alright". After The Mannish Boys set, we heard a few by Mike Zito before calling it a long, great day. A few of the many high points of that day:
-Art Tipaldi's expressed enthusiasm after hearing Tomcat Courtney's CD Downsville Blues for the first time on his car ride that day to Clarksdale
-Hanging out with cinema movers and shakers Mars Callahan and David Hughes on the front porch of Ground Zero
-Meeting Holger Peterson of Stony Plain Records and hearing stories of Robert Nighthawk's performances and recording session in Canada
-Connecting with Cam Hayden and his wife Carrol Deen of the Edmonton Labatt Blues Festival in Canada; Cam also hosts the Friday Night Blues Party radio show on CKUA
-Eating spectacular catfish with Kim, Big Pete Pearson, and Judy Marut at the Delta Amusement Cafe
-Stopping by the Gimme Gumbo Gallery and having artists John M. Fekes and Ilse Jouette personally show Kim and I their blues art
-Spending time in the backstage green room with my dear friend and harp mentor Johnny Dyer
-Taking a break from the showcase and going to the upstairs hotel at Ground Zero to Kid Ramos and his wife Linda's room while Kid and members of Los Fabulocos casually played beautiful Mexican songs on accordion and guitar
-Playing a great set of blues with my favorite musicians on the stage as part of an amazing lineup of talent, while people I admire in the blues listened with approval to our performance. In attendance during our set were Bruce Iglauer, Duke Robillard, Doug James (a fine harmonica player as well as a legendary saxophonist), Bob and Linda Porter, DJ Gary Miller, Bill Wax, Steve Simon (who had never heard me play live before), Roger Naber of The Legendary Blues Cruise, Randy Chortkoff, and many others
Thanks, Randy, for allowing us to be a part of your great event!
All in all, an amazing three days of nonstop activity. If you have never been to the BMAs, I would encourage you to make plans for next year. Simply the greatest blues gathering around! It's an event that brings together encouragement, friendship, reflection, and recognition in the blues!
-Bob Corritore
Bob has many great links with this release. To follow the links go here:
Tomcat Courtney CD Release Party this Friday at the Rhythm Room: Tomcat Courtney, though relatively unknown to the mainstream, is one of the great national treasures of traditional blues. At 79 years young, Tomcat is a contemporary of Lightnin' Hopkins, Lil' Son Jackson, and Smokey Hogg, and he carries forth the blues tradition of his native home of Texas. Tomcat possesses one of he greatest voices in country blues around today, and has a stirring, down-home guitar style. He will be appearing Friday, May 30, 2008 at the Rhythm Room for a CD release party. His new CD, Downsville Blues on Blue Witch Records, is his first national release. The CD came out on May 20, 2008, and is already receiving worldwide radio airplay and critical applause from reviewers (click here to see some of these reviews). Backing Tomcat Courtney will be Chris James, Patrick Rynn, Brian Fahey, and Bob Corritore, who are Tomcat's band on the CD. The Rhythm Room is located at 1019 E. Indian School Road, Phoenix, AZ 85014. Doors open at 8pm, cover charge is $8. Rack Shack Barbeque will be available at this event. This night will be a patio smoking only event; no indoor smoking will be permitted.
Blueswax to feature a Bob Corritore interview this Thursday: Perhaps the greatest online blues magazine, Blueswax is a brilliant source for a wide overview of blues news. Their weekly news email comes out each Thursday to a huge list of subscribers from around the world. This week, Blueswax will feature an interview with Bob Corritore by New York Blues kingpin Bob Putignano. To sign up for the email blast and to see the Blueswax website, click here. Thank you, Blueswax!
Janiva Magness Interview this Sunday on Bob's Radio Show: Janiva Magness will appear on Bob's radio show this Sunday for an interview and a preview of her forthcoming CD on Alligator Records. Janiva is simply a great blues singer, and we cheered her on over the years as she has risen to stardom in the blues world. She is now a 2-time Blues Music Award winner in the Contemporary Blues Female Artist of the Year category, and is a national spokesperson for Casey Family Programs for Foster Care children. Janiva will be in Phoenix to sing the National Anthem at the Arizona Diamondbacks game on May 31, 2008 (May is National Foster Care Month), and will be able to stop in at Bob's radio show. Look for an hour (or so) interview starting around 6:30pm. Janiva is scheduled for a Rhythm Room appearance on Friday, June 13, 2008. Listeners may hear Bob Corritore’s KBA-Award-winning radio show, Those Lowdown Blues, anywhere in the world (real time Sunday nights from 6pm-11pm Phoenix time) via web streaming by clicking here, or on KJZZ in Phoenix at 91.5 FM in Phoenix, Arizona, 89.5 in Cottonwood, 98.9 in Tucson, and 99.1 in Kingman.
Chicago Blues Festival, Bob's Gigs in Chicago: Next week, Bob will make his annual visit to his hometown of Chicago during the Chicago Blues Festival. This festival always presents some of the city's greatest talent, combined with great national acts. Appearing at the fest this year will be B.B. King, James Cotton, Little Willie Littlefield, Pinetop Perkins, Louisiana Red, Lurrie Bell, Lil' Ed & The Blues Imperials, Magic Slim & The Teardrops, Barbara Lynn, and many others. For a complete list of the fest lineup, click here. While in Chicago, Bob Corritore will have two scheduled performances and likely a few impromptu sit-ins. Bob's scheduled appearances will be:
Thursday, June 5, 2008 - Louisiana Red at Buddy Guy's Legends. Bob Corritore will appear with Louisiana Red from 7:30pm to 9:00pm at Buddy Guy's Legends, 754 S. Wabash Avenue, Chicago IL 60605. Louisiana Red's backup band will include Bob Corritore, Chris James, Patrick Rynn, and Eddie Kobek.
Saturday, June 7, 2008 - American Blues Legends Management Showcase at Reggie's, This great showcase will include Elmore James, Jr. (who will celebrate his new release Daddy Gave Me The Blues on JSP Records), Byther Smith, Eddie C. Campbell, Tail Dragger, The Hayes Brothers, Cadillac Zack, Rick Kreher, Scott Dirks, Bob Corritore, and Donna Oxford. Bob will be making a guest appearance backing his old boss Tail Dragger on this show; Bob's set will be at approximately 11:15pm. Show time is 9pm; cover charge is $15. Party alert: there will be a free shuttle service to the show leaving from the corner of Columbus and Monroe at the following times: 8pm, 9pm, and 10pm. American Blues Legends Management is a booking and management organization founded by guitarist/producer Cadillac Zack, and its primary focus is advancing the cause of traditional blues. Reggie's is located at 2105 S. State Street, Chicago, Illinois 60616. To see a flier for this event, click here. For more information about this show, call (323)377-5291.
As always, Chicago is a real blues treat, and the festival serves as a great center point for a spectacular gathering of blues people. Also, while in town, check out Honeyboy Edwards' annual birthday bash on Wednesday, June 4, 2008 at a new venue (managed by Dave Specter) called Society for the Preservation of Arts and Culture in Evanston (S.P.A.C.E.). This event is being called Blues On The North Shore, and is produced by Lynn Orman. Also included in the show's lineup are Eddie Clearwater, Barrelhouse Chuck, and Katherine Davis. For more information, click here.
Little Arthur Health Update: Here is the latest information about Chicago Blues harmonica ace Little Arthur Duncan, who was hospitalized on April 11, 2008 and had surgery for a brain tumor. This news from Rick Kreher, his guitar player:
"I stopped by to check on Little Arthur yesterday at his new hospital, Advocate Bethany Specialty Hospital, at 3435 W. Van Buren. The hospital is very nice and easy to get to, off the Eisenhower Expressway. That is about the only good news. Arthur is once again hooked up to a battery of machines, and the nurse that was attending to him said that he 'had a lot going on'. I think he knew who I was, and tried to talk, but he would then fade away for a few minutes. His main problem (among many others) is still his breathing, which is still assisted by a ventilator. It's sad, because if he does know what's going on, it has to be very depressing at this point. If any of you are in the area, stop by; because if he does know what's happening, a visit might help his spirits. The hospital is on Van Buren just west of Homan (Kimball); enter from those directions as the streets run weird around there. There is parking right in front. I wish there was better news to report."
Mojo Buford Heath Update: As reported in the newsletter of May 14, 2008, longtime Muddy Waters harmonica player Mojo Buford was hospitalized on May 12, 2008 with diabetic shock and heart complications. Good news came our way via Mojo's drummer and manager, Doug McMinn, who reports: "Mojo is doing great. He is back home. His strength is almost back up. He is planning a November tour to replace the one he had to cancel." Thank you, Doug, for this good news!
Bob has many great links with this release. To follow the links go here:
As you can probably guess by the band name they're from France. I found them on Jamendo and I like them.
Everybody loves the Memphis Sound as played by Booker T. and the MGs and other Stax artists back in the sixties. I have had the great good fortune to work with Joe Lee, a Memphis Sound originator. Ever since the Booker T hits there has been something that grabbed me about this sparse instrumental Blues style.
So was I expecting the Memphis Sound from a group from France? Not really. Was I pleasantly surprised? More than that. This stuff is great. Give it a listen.
All of the albums on Jamendo are available for free, legal, download. Here's a link where you can download, listen, and share.
If you're going to release a CD with nine of the ten tracks being covers of the blues standards, and you hope it will get some recognition, then you - and the rest of the musicians on the disc - better be very good. On "FOLLOW ME TO THE BLUES", PETER McGRAW, and the rest of the musicians, are exactly that.
On his first solo album, vocalist PETER McGRAW is joined by: DONNIE "MR. DOWNCHILD" WALSH on harp; HANS McMINAMIN on guitar; ROY "THE MAESTRO" POWERS on keyboards, RICHARD LOVE on drums; LARRY "O" MAYO on bass.
The disc opens with the title, and sole original track (written by ROY) - "FOLLOW ME TO THE BLUES". The song does exactly what an opening track should do - impress and expose the listener to a taste of what they're in for. In barely over 2 minutes, everyone gets in some impressive highlights and PETER establishes himself as a singer I want to hear a lot more of. My immediate thought was that if this was the type of stuff I'd hear, I'd follow these guys anywhere.
By the next track, "SWEET HOME CHICAGO", the guys are locked into a groove they never lose. RICHARD, LARRY and ROY, old band mates in THE VAGRANTZ, are obviously still in tune with each other after all these years. Their outstanding rhythm on this, and the rest of the disc, are evidence of that. With repeated harp highlights by DONNY, great guitar riffs from HANS and gruff, yet melodic, vocals from a voice that was made to sing the blues, by PETER, this one's a winner.
In the first sixty seconds of "THE SKY IS CRYING", the little pieces you'll hear from everyone in the band will make you happy that there is eight more minutes of it still ahead. I don't care how many times you've heard this track and how many bands you've heard do it - this version will knock your socks off. With everyone at discs best, this one's unquestionably the discs best.
Another track that will have you comparing it to the original is "I GOT A WOMAN". With RICHARD absolutely relentless on the drums behind him, this one has PETER sounding as soulful as Ray Charles sounded.
Anyone that's ever read my reviews of a CD containing the song "I'D RATHER GO BLIND" already know that the song is my all time favorite. As a matter of fact, I've been known to bring the KOKO TAYLOR version of it to clubs with me, so that I could lend it to the band to learn it. The results were always good - I've never heard a version of the track I did not like. PETER'S version allows me to keep that thought in tact. This song is meant to be sung by a strong, soulful and raspy voiced vocalist and ya don't get any stronger, more soulful and raspier than PETER McGRAW. Of course, you also need an incredible guitar lead to make this one work and HANS is all over it. Great stuff!
Another track that had me shaking my head in awe was "AS THE YEARS GO PASSING BY". This ballad is, of course, one of the slower and more low down blues tracks....the kind that always make me smile. With the rhythm section so softly locked in just the right spot, PETER, HANS and ROY excel on the vocals, guitar and keyboards. Another highlight amongst highlights.
Other tracks on "FOLLOW ME TO THE BLUES" include: "HOOCHIE COOCHIE MAN", "BRING IT ON HOME TO ME", "UNCHAIN MY HEART" and "LET THE GOOD TIMES ROLL".
For more on PETER McGRAW, go to www.bluesdestinyrecords.com. There you'll be able to pick up a copy of this disc and read about his pending new release "MORE McGRAW". After what I've just heard, I'm certainly ready for more McGRAW. By the way, ya know ya gotta tell him the Blewzzman sent ya.
This review has been complimentary written for your newsletter by Peter "Blewzzman" Lauro, a contributing writer for BLUESWAX and the Blues Editor at www.Mary4Music.com where you can read many more CD and live show reviews, view lots of blues photographs and find an abundance of blues material. I can be reached at Blewzzman@aol.com
It's a message song about prejudice and racism. He delivers it with just guitar and vocals. Reminds me of early Dylan which coming from me is the ultimate compliment. The lyrics are great and speak to denial of racism and prejudice by refusing to participate. As Nancy Reagan said, "Just say no. I ain't riding with your KKK." Or something like that.
Give it a listen by clicking on the title above. If it doesn't play in your browser try a right click and choose a Play With or Save As option.
I'm very sorry to have to report that Billy Lee died last night. At the end, he refused treatment that could keep him alive a little longer. He said he was tired of hurting, and he was ready to die. I knew it would be soon, but I wasn't expecting it quite this soon.
His last recording was done on 20 February at the Swifton, Arkansas Community Center with my band.
LD
Billy Lee Riley has been a part of Delta Boogie since we began in 1995. We have several chapters from his unfinished autobiography posted here.
Billy Lee Riley on Delta Musicians
He gave me permission to post some of his original songs from his Blues CDs on Delta Boogie. Here's a playlist with some of his music.
Blues Fest starts on Sunday, September 13 and continues on September 20 and 27. With only one band left to confirm here's the schedule.
Sept 13
1:00 Jams
2:00 Higher Ground (members of the T Horn Carnival band)
3:00 Uncle Fred Wilson
4:00 The Mudcats
5:00 Suzanne Michell
6:00 John Shepherd
Sept 20
1:00 Jams
2:00 Rob Alley Trio
3:00 Mike McLeod
4:00 Shugga Shane
5:00 Snap Crow Leg
Sept 27
1:00 Jams
3:00 Chris Harper
4:00 Even Break
5:00 Jamm Sammich
Thanks to Robin and Jerry Gasaway, Mike McLeod, Snap Crow Leg, and Jamm Sammich for helping us put on these shows. And thanks to all the musicians who donate their time and talents so we can all have a good time at the park. There's a lot of great music at Blues Fest but it's really all about friends getting together to enjoy themselves.
September 13 is also a CD release party for John Shepherd's new CD, "So Low". I will also be giving away copies of The Mudcats CD, "Blues Fest House Band". And we have the return of Blues Fest regulars, Higher Ground, formerly known as T Horn Carnival. Suzanne and Fred will be traveling in from Little Rock and I imagine they will bring their CDs too. And the Blues Fest jam band is past ready and set on go. It's going to be a great day. Don't miss it. If you play or sing come out at 1:00 and join in on the jam session. Everyone is welcome and Blues Fest is Free
John has also been helping me record my new Blues CD, "Lil Sonny Boy Hisself". We have seven tracks recorded with John Shepherd, guitar, Larry Donn, piano, George Hinds, bass, and Luke Reed, drums. I hope to have the CD finished and posted at the HairyLarryLand website this month.
George and Glenda carried Robin and Jerry and I down to Newport to hear the Billy Lee Riley Tribute show in Newport, Arkansas, August 30, 2009. I wrote about it here and posted a ton of pics.
Thanks to Sonny Burgess and Jeannie and The Guys for all their hard work putting on this great show in memory of a great musician, Billy Lee Riley.
I am getting more of the Blue Monday shows posted at the Live Music Archive so I can play them on my Something Blue podcast. Here's the Essie the Blues Lady show from Newport.
And don't forget to listen to Something Blue every Saturday night at 10:00 on KASU, 91.9 FM. If you're not in the KASU listening area you can still listen on the website and everyone can join the liveblog discussions where we chat about the show and about music in general.
The Mudcats will also be playing at the CRDC fortieth anniversary picnic to be held at the Joe Mack Campbell Park on Saturday, September 19. We will be playing from noon to 2:00. The public is invited and everything is free. We're going to have a great time and I hope to see you there.
I want to congratulate Charlotte Taylor and Gypsy Rain for winning the Sonny Boy Blues Society battle of the bands. They will be opening The Biscuit in Helena, Arkansas, this year so go early to hear their great music. I recorded them, Jeannie and The Guys, and The Cruize Brothers at Blue Monday shows at Paragould and I will send out links to these shows when I get them posted. I'll be recording Grant Garland at Newport on Monday, September 14 and then Bluesberry Jam will be playing at the Red Goose Deli in Paragould on September 21.
This is the busiest time of the year for me. Besides all of this fun stuff I'm a hard working student taking Marimbas, Jazz Improv, Composition, and Abstract Algebra. It's been great so far. I just hope I survive.
Please let me know what you've been doing. If you play music I want to promote your act on Delta Boogie and in this newsletter. If you have original songs I can post them on Delta Boogie Radio and use them in my podcast. And if you don't play music but you just love to listen then you're the most important people in the world to musicians. The audience.
