John Primer with the Rhythm Room All-Stars and special guest Barrelhouse Chuck at the Rhythm

The Rhythm Room Presents

JOHN PRIMER

& The Rhythm Room All-Stars

with special guest Barrelhouse Chuck

Friday January 11th, Saturday January 12th 2013

If you support live Blues acts, up and coming Blues talents and want to learn more about Blues news and Fathers of the Blues, -  ”LIKE” ---Bman’s Blues Report--- Facebook Page! I’m looking for great talent and trying to grow the audience for your favorite band!

Goodbye Pork Pie Hat - Charles Mingus

Charles Mingus Jr. (April 22, 1922 – January 5, 1979) was a highly-influential American jazz double bassist, composer and bandleader. Mingus's compositions retained the hot and soulful feel of hard bop and drew heavily from black gospel music while sometimes drawing on elements of Third Stream, free jazz, and classical music. Yet Mingus avoided categorization, forging his own brand of music that fused tradition with unique and unexplored realms of jazz. He once cited Duke Ellington and church as his main influences. Mingus focused on collective improvisation, similar to the old New Orleans jazz parades, paying particular attention to how each band member interacted with the group as a whole. In creating his bands, Mingus looked not only at the skills of the available musicians, but also their personalities. Many musicians passed through his bands and later went on to impressive careers. He recruited talented and sometimes little-known artists whom he assembled into unconventional and revealing configurations. As a performer, Mingus was a pioneer in double bass technique, widely recognized as one of the instrument's most proficient players. Nearly as well known as his ambitious music was Mingus' often fearsome temperament, which earned him the nickname "The Angry Man of Jazz". His refusal to compromise his musical integrity led to many on-stage eruptions, exhortations to musicians, and dismissals.Because of his brilliant writing for mid-size ensembles, and his catering to and emphasizing the strengths of the musicians in his groups, Mingus is often considered the heir of Duke Ellington, for whom he expressed great admiration. Indeed, Dizzy Gillespie had once claimed Mingus reminded him "of a young Duke", citing their shared "organizational genius". Mingus' music was once believed to be too difficult to play without Mingus' leadership. However, many musicians play Mingus compositions today, from the repertory bands Mingus Big Band, Mingus Dynasty, and Mingus Orchestra, to the high school students who play the charts and compete in the Charles Mingus High School Competition. Gunther Schuller has suggested that Mingus should be ranked among the most important American composers, jazz or otherwise. In 1988, a grant from the National Endowment for the Arts made possible the cataloging of Mingus compositions, which were then donated to the Music Division of the New York Public Library for public use. In 1993, The Library of Congress acquired Mingus's collected papers—including scores, sound recordings, correspondence and photos—in what they described as "the most important acquisition of a manuscript collection relating to jazz in the Library's history". Charles Mingus was born in Nogales, Arizona. He was raised largely in the Watts area of Los Angeles, California. His mother's paternal heritage was Chinese and English, while historical records indicate that his father was the illegitimate offspring of a black farmhand and his Swedish employer's white granddaughter. In Mingus' autobiography Beneath the Underdog he recounts a story told to him by his father, Charles Mingus Sr., according to which his white grandmother was actually a first cousin of Abraham Lincoln. Charles Mingus Sr. claims to have been raised by his mother and her husband as a white person until he was fourteen, when his mother revealed to her family that the child's true father was a black slave, after which he had to run away from his family and live on his own. The autobiography doesn't confirm whether Charles Mingus Sr. or Mingus himself believed this story to be true, or whether it was meant to be merely an embellished version of the Mingus family's lineage. His mother allowed only church-related music in their home, but Mingus developed an early love for other music, especially Duke Ellington. He studied trombone, and later cello, although he was unable to follow the cello professionally because, at the time, it was nearly impossible for a black musician to make a career of classical music, and the cello was not yet accepted as a jazz instrument. Despite this, Mingus was still attached to the cello; as he studied bass with Red Callender in the late 1930s, Callender would even comment that the cello was still Mingus's main instrument. In Beneath the Underdog, Mingus states that he did not actually start learning bass until Buddy Collette accepted him into his swing band under the stipulation that he be the band's bass player. Due to a poor education (much of which was because his early teachers did not think much could come of a black student), Mingus could not read musical notation as a young musician. This had a serious impact on his early musical experiences: since he could not read music, he felt ostracized from the classical music world rather than accepted, and eventually turned from a symphonic path entirely. These early experiences were also reflected in his music, which often focused on racism, discrimination and justice. Much of the cello technique he learned was applicable to double bass when he took up the instrument in high school. He studied for five years with H. Rheinshagen, principal bassist of the New York Philharmonic, and compositional techniques with Lloyd Reese. Throughout much of his career, he played a bass made in 1927 by the German maker Ernst Heinrich Roth. Beginning in his teen years, Mingus was writing quite advanced pieces; many are similar to Third Stream because they incorporate elements of classical music. A number of them were recorded in 1960 with conductor Gunther Schuller, and released as Pre-Bird, referring to Charlie "Bird" Parker; Mingus was one of many musicians whose perspectives on music were altered by Parker into "pre- and post-Bird" eras. Mingus gained a reputation as a bass prodigy. His first major professional job was playing with former Ellington clarinetist Barney Bigard. He toured with Louis Armstrong in 1943, and by early 1945 was recording in Los Angeles in a band led by Russell Jacquet and which also included Teddy Edwards, Maurice Simon, Bill Davis and Chico Hamilton, and in May that year, in Hollywood, again with Teddy Edwards, in a band led by Howard McGhee. He then played with Lionel Hampton's band in the late 1940s; Hampton performed and recorded several of Mingus's pieces. A popular trio of Mingus, Red Norvo and Tal Farlow in 1950 and 1951 received considerable acclaim, but Mingus' mixed origin caused problems with club owners and he left the group. Mingus was briefly a member of Ellington's band in 1953, as a substitute for bassist Wendell Marshall. Mingus's notorious temper led to him being one of the few musicians personally fired by Ellington (Bubber Miley and drummer Bobby Durham are among the others), after an on-stage fight between Mingus and Juan Tizol. Also in the early 1950s, before attaining commercial recognition as a bandleader, Mingus played gigs with Charlie Parker, whose compositions and improvisations greatly inspired and influenced him. Mingus considered Parker the greatest genius and innovator in jazz history, but he had a love-hate relationship with Parker's legacy. Mingus blamed the Parker mythology for a derivative crop of pretenders to Parker's throne. He was also conflicted and sometimes disgusted by Parker's self-destructive habits and the romanticized lure of drug addiction they offered to other jazz musicians. In response to the many sax players who imitated Parker, Mingus titled a song, "If Charlie Parker were a Gunslinger, There'd be a Whole Lot of Dead Copycats" (released on Mingus Dynasty as "Gunslinging Bird"). By the mid-1970s, Mingus was suffering from amyotrophic lateral sclerosis. His once formidable bass technique suffered, until he could no longer play the instrument. He continued composing, however, and supervised a number of recordings before his death. Eminent music journalist Stephen Davis sympathetically snapshot Mingus's final years in a rare piece titled "Ten Takes on Charles Mingus" published in Zero: Contemporary Buddhist Life and Thought, Vol. 3 (Autumn, 1979). Mingus did not complete his final project of an album named after him with singer Joni Mitchell, which included lyrics added by Mitchell to Mingus compositions, including "Goodbye Pork Pie Hat", among Mitchell originals and short, spoken word duets and home recordings of Mitchell and Mingus. The album featured the talents of Wayne Shorter, Herbie Hancock, and another influential bassist and composer, Jaco Pastorius. Mingus died aged 56 in Cuernavaca, Mexico, where he had traveled for treatment and convalescence. His ashes were scattered in the Ganges River. If you support live Blues acts, up and coming Blues talents and want to learn more about Blues news and Fathers of the Blues, -  ”LIKE” ---Bman’s Blues Report--- Facebook Page! I’m looking for great talent and trying to grow the audience for your favorite band!

Loomis Concert Is A Blast!! Rhythm Room Phoenix January 5, 2013

What gets a true pro football fanatic away from his big screen TV when the NFL Playoffs are on... almost nothing! Well, tonight Hamilton Loomis Band made their debut in Phoenix and I chose his concert set and put the DVR on record to catch the football game. I have been wanting to see this guy for a long time. (Long time friend and sometime contributor Stilladog from Westminster MD. turned me on to Loomis a number of years back but our paths had never crossed.) Excellent decision!!! The Hamilton Loomis Band may put on one of the best shows on the road today. Native Texan Hamilton Loomis is not only a great song writer but an exceptional performer. This is my first opportunity to see Loomis live and in person and I can tell you every single person at the Rhythm Room in Phoenix, Arizona tonight was blown away by the show. Loomis is literally a one man blues funk machine with an incredible voice, terrific guitar skills and a super harmonica sound but he is full of energy and his enthusiasm is contagious. Not enough to have a terrific performer leading the band but Loomis surrounds himself with three musicians who would be standouts in any band. Sax player Fabian Hernandez was absolutely incredible tonight sounding more like a band leader than a backing player. He had beautiful tone and massive chops. He also fills in on keys and backing vocals. New to the band is Armando Aussenac on drums (and vocals) and he is first rate with impeccable taste for texture. Kent Beatty holds down the bass slot (and vocals) playing lead lines under the band while keeping the bottom tight and funky. Each of the players would be a standout in any band but together this is an incredibly talented foursome. One thing that a musician notices about a band like this is each members strengths. These guys are just plain great! Each member shines while playing as a group. Playing a solo for any of these guys is icing to highlight their individual talents but they shine individually as a part of the show. I don't take written notes at a concert so I can't tell you the set list but I can tell you that the band opened with a great funky instrumental with lots of sax. The nearly 2 hour concert included songs from throughout Loomis' career such as What It Is and No No No and at least 4 or more songs from a soon to be released CD (March 2013). A few of these tracks had a bit of a rockier feel than what I am accustomed to from Loomis in his funky style and also including tracks with a soul/R&B flavor really highlighting Loomis' great voice. One of the highlights of the show was Loomis in his trademark white boots walking from chair to chair (people were clearing a path of seats) and eventually onto the bar playing guitar on Johnny Guitar Waston's Bow Wow. This track was morphed into a "rock and roll" track but back to the funky blues when Loomis concluded on the stage. I've been at a lot of concerts where the crowd was hoping that the band would continue but this crowd really wanted more! I mean it was over in an instant! A sign of a truly great show. i spoke briefly with Loomis after the show and he is not only a great performer but a genuinely nice guy. Ask me why he doesn't come to your town. My guess is because there are very few bands that are willing to go on after him! I've seen one of those concerts before and for the big name headliner...it wasn't pretty. The Hamilton Loomis Band put on a truly terrific show and if he is near your town and you miss it... YOU HAVE MISSED THE BOAT!!!!

 If you support live Blues acts, up and coming Blues talents and want to learn more about Blues news and Fathers of the Blues, -  ”LIKE” ---Bman’s Blues Report--- Facebook Page! I’m looking for great talent and trying to grow the audience for your favorite band!

THE MESSIAH WILL COME AGAIN - Carole Pellatt & BONEYARD

CAROLE PELLATT is a freelance guitarist from Montreal CANADA, currently living in Phoenix, Az. She plays all styles of guitar, from acoustic fingerstyle to rock lead guitar. She performs with many different groups, both freelancing and in bands of her own. She is available for hire in all styles of performance; in ensemble, and solo playing, as well as recording. she's worked as a musical director for awards shows, musical consultant for films, and she also teaches privately. Carole conducts "Jamming Worshops" designed to help people of all ages learn how to play in bands. She has had three musical groups associated with the Arizona commission for the arts and is also Phoenix director for the national Rock Camp, "CAMP JAM". In addition to freelancing, Carole has several musical projects that she plays with on a regular basis. On the “my projects” page you will see a link to each of her bands. there will Also be a place to either hear or see the band or project listed on that page. Please check out her YOUTUBE CHANNEL to listen to Carole's guitar playing. And be sure to go to the "contact info" page of this site if you'd like her for your next project, gig, or lesson- or if you just need someone to fill in. All the bands on this website are available for performances, public or private, personal or corporate, and Carole is available for private lessons, online lessons, band coaching, and group teaching. If you support live Blues acts, up and coming Blues talents and want to learn more about Blues news and Fathers of the Blues, Like ---Bman’s Blues Report--- Facebook Page! I’m looking for great talent and trying to grow the audience for your favorites band! -  ”LIKE”

Giant Giant Sand

Giant Giant Sand  November 8 with The Old Ceremony Listen to a track from their new album Tucson! Giant Giant Sand - The Sun Belongs to You Just when you thought Giant Sand couldn't get any bigger, Howe Gelb has done just that by regrouping, expanding and magnifying his vision with the newest version of Giant Sand, calling it (appropriately enough) GIANT GIANT SAND. As a sort of homage, he's named the album "Tucson" after the town he's called home for forty years.     In GIANT GIANT SAND you will recognize the members all hailing from Denmark who have been a part of Giant Sand for the last 10 years, plus the new string section now added and also the inclusion of stunning pedal steel player Maggie Bjorklund.  In addition, you'll be introduced to the new musicians from Howe Gelb's native Tucson making their Giant Sand debuts along with long time collaborator Lonna Kelley lending her smoldering warble from Phoenix.   The GIANT GIANT SAND lineup includes Brian Lopez, Gabriel Sullivan and Jon Villa who bring their Mex-Amer-i-can zing to the album with a permeating cumbia style of playing, drawing on South American traditional music. Joining them is a string section from Aarhus, Denmark introduced to the band by Señor Lopez (where coincidentally the rest of Giant Sand are from) including violinist Iris Jakobsen, who, ironically, was born in Tucson. No man could've planned it better here when Fate is the founding father. Tickets Here! Giant Giant Sand - We Don't Play Tonight (Live)

1328 W Morse Avenue | Just steps from Morse Red Line Stop! Tickets and full schedule at www.maynestage.com

Rock Band HEADROOM Announce Video Documentary About Phoenix Live Music Scene

HEADROOM (pictured) is damn proud to hail from Phoenix, AZ, and of all the music and artists, past and present, that have come out of Phoenix. So proud, in fact, they're making a documentary about it.

HEADROOM

Announces Video Documentary Dedicated To Chronicling

The Diverse Music Scene in Phoenix, Both Past And Present

(PHOENIX, AZ) - What do Meat Puppets, Gin Blossoms, George Lynch, Soulfly, Flotsam And Jetsam, Megadeth, Jimmy Eat World, The Refreshments, and Local H have in common? These are some of the storied music acts to emerge from Phoenix through the years; Phoenix rock band HEADROOM is on a mission to interview each and every one of them for a documentary about the enduring Phoenix music scene to be released before year's end. Also being interviewed are numerous area club owners and bookers, as well as Phoenix Music Awards founder, Al Bowman.

"Phoenix has produced a lot of solid music talent through the years, but it's generally overshadowed by L.A. or Seattle, so we decided to tell the story about the music scene here - to remember the past and spotlight the future the best way possible - in the words of the musicians themselves," explains HEADROOM drummer, Gavin Washburn. Adds guitarist Dan Buitron, "the project is full steam ahead...a lot of people we have interviewed thus far are excited!"

Bands, promoters, deejays, bookers, and others involved in the Phoenix/Tempe/Scottsdale/Glendale/Yuma live music scene wishing to be considered for an interview should email the band at: headroommusic@hotmail.com.

HEADROOM released a debut album "Radio Cries" last Fall to solid media response.

"Strong rhythmic guitar chords and incredibly executed drum beats...much like a good book, Radio Cries utilizes introductions and conclusions and keeps excessive wording to a minimum. Many surprises lie within this eccentric album." ARIZONA STATE PRESS

"A quirky (and I mean that in the most positive, complimentary way) band, they have taken the musical influences of all the band members, added their own creativity to the amalgam, creating a signature Headroom sound. The result is a Cd that is a lot of fun to listen to while making the listener a devout headroom fan." BOOMEROCITY

"Local alternative rockers sound like their music sensibilities were formed at a Lollapalooza concert in the early '90's...back up the grunge-era snarling with with arrangement that occasionally introduce a hint of prog to the equation." ARIZONA REPUBLIC

"Radio Cries has killer hooks and dynamic hard rock arrangements...musicianship is cohesively tight and mind-expanding...far-reaching melody lines and cool alt-rock arrangements. A force to be reckoned with." GUITARZ FOREVER

"The basic concepts in order for a band to capture an audience requires the ability to demonstrate a dominating stage presence, have the look to attract all walks of life and of course, have the ability to produce a mind-blowing musical product that draws your full attention. These basic concepts seem to come easy to Phoenix band, Headroom."
NO COVER/PHOENIX

"Radio Cries is wonderful...each song has a little vignette that goes along with it to help tell the story contained in each of the songs...musicianship is stellar and they have gone above and beyond what many may expect of a rock album. Has instant classic written all over it."
ROCK OVER AMERICA

"Interesting collection of songs....title track reminds me somewhat of Rush, with hard-hitting drums and vocals. A CD worth purchasing." ROCK THIZ MAGAZINE
"Headroom is an intoxicating rock 'n' roll elixir where mingling swanky Southern blues rock with sophisticated modern rock grooves is the name of the game."
ROCKWIRED

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Living Blues Awards voting closes Sunday

Living Blues Music Awards voting closes on Sunday!

The 2012 Living Blues Awards voting closes in just a few days (on July 15th). Bob Corritore is nominated in the category of Best Harmonica Player! Also Bob's close associate Tail Dragger is up for both Best Vocalist and Best Entertainer!
Voting is availble to everyone online at www.livingblues.com. Just go to this website and press the "Vote" Icon! Many great people are nominated so make your choices carefully. Please vote!!!

If you like what I’m doing, Like ---Bman’s Blues Report--- Facebook Page! I’m looking for great talent and trying to grow the audience for your favorites band! - ”LIKE”

Stormy Monday - Common Ground Blues

Common Ground Blues stands out from the pack with tone-filled vibrant guitar work, killer keyboards, a tight rhythm section and compelling vocals, all delivered with style.

Glen Russell met Brian Eddie in 1998, each looking for the right band to play in. Together they co-founded Common Ground Blues. And then quickly became an palpable force on the Blues scene.

The sound is primarily Blues guitar and B3 driven, while Glen sings it out for the crowd.

Earl Abbott started piano lessons at the tender age of nine, and adds touches of jazz and blues to give CGB tons of flavor, and enough color to fill any artists pallet. Timothy Kinsey on Bass is a road warrior, and he can give a song whatever it needs to move you. Guy Mazzo started drum lessons at the age of 11, and formed his first band by the age of 13. Together Guy and Tim lay down the groove for CGB’s Big Blues sound!

Common Ground Blues always serves up something tasty..
If you like what I’m doing, Like ---Bman’s Blues Report--- Facebook Page! I’m looking for great talent and trying to grow the audience for your favorites band! - ”LIKE”

Nadine - Buddy Reed

To long time blues fans throughout the Southwest, Buddy Reed remains one of the area's most fluid and powerful practioners of the blues guitar, a man in confident possession of the blues "mojo", fronting a band that keeps the dance floors in a state of manic rhythmic chaos. Reed is no late comer to the most original of all American music. Growing up in Rialto, CA, he picked up a guitar in the early sixties when the blues revival of that era began. He started his professional career with Bacon Fat, one of the landmark blues bands of the 60's and 70's. Featuring harmonica great George Smith and a young Rod Piazza, with Buddy on lead guitar and vocals, the band quickly became one of the hottest blues acts in the Los Angeles area. Bacon Fat eventually came under the tutelage of producer Mike Vernon, who at the time was making records with Fleetwood Mac, Otis Spann, Johnny Young, and Eddie Boyd. After embarking on a successful tour of England, Vernon and the band entered the studio and cut material for five LP's on the British labels Blue Horizon and London. From 1969 to 1972, Buddy and the band toured the U.S. with George Smith and Big Mama Thornton. When not on the road, the band worked regularly throughout Southern California playing with Muddy Waters, John Lee Hooker, J B Hutto, John Mayall, Jimmy Reed, John Hammond Jr., Jimmy Rogers, Margie Evans, Howlin Wolf, T-Bone Walker, Pee Wee Crayton, and Johnny Otis. Buddy left Bacon Fat in the early seventies to join Little Richard's touring band. From the seventies onward, Buddy began creating his ideal sound; the singeing hot blues trio. One of the rarest of ensembles, Reed's trio evokes a solid, guitar based sound that fills the room with a powerful and heartfelt sound. It's blues the way it's taught in the old school: straight to the heart, deep into the soul. If you like what I’m doing, Like ---Bman’s Blues Report--- Facebook Page! I’m looking for great talent and trying to grow the audience for your favorites band! -  ”LIKE”

Me And The Devil - Rainer Ptacek

Rainer Ptacek (June 7, 1951 – November 12, 1997) was a Tucson, Arizona based guitarist and singer-songwriter. His guitar technique, which incorporated slide, finger-picking, tape loops and electronic manipulation, earned him admiration of some notable musicians such as Robert Plant and Billy Gibbons. A tribute album to Ptacek, The Inner Flame, included contributions by Plant, Jimmy Page, PJ Harvey, Emmylou Harris and others, and was indicative of his reputation as a "musician's musician". He was diagnosed with a brain tumor in early 1996 and died nearly two years later after the illness recurred
Ptacek was born in East Berlin to a family of Czech and German descent. His family fled East Germany for the United States when he was five years old. They eventually settled in Chicago, where young Ptacek was first exposed to blues music. He moved to Tucson in the early 1970s, where he began his own musical career, most often solo, but sometimes he plugged in and led a trio as Rainer & Das Combo. He co-founded Giant Sandworms with Howe Gelb in the late 1970s. When the band decided to move to New York, he opted to stay in Tucson to make sure that he would not disrupt his then-new family. Although he never became well known in the United States, he became more and more recognized in Europe. Billy Gibbons was so impressed with the singer-guitarist that he arranged to have Kurt Loder review Ptacek's "Mush Mind Blues" cassette in Rolling Stone. Robert Plant, similarly impressed, flew Ptacek to England for the sessions for B-sides to supplement the singles from Fate of Nations
He was diagnosed with a brain tumor and lymphoma in February 1996. He did not have medical insurance and his bills were mounting. Howe Gelb and Robert Plant organized sessions for a charity album. The resulting record, The Inner Flame: Rainer Ptacek Tribute, featured Ptacek-penned songs performed by Gelb (with Giant Sand), Plant, Jimmy Page, Emmylou Harris, Evan Dando, Victoria Williams, Vic Chesnutt, PJ Harvey, The Drovers, Madeleine Peyroux, Kris McKay, Jonathan Richman and Bill Janovitz. Ptacek is a participant on most of the tracks.

Intense chemotherapy sessions put his tumor into remission and Ptacek resumed his concert activity vigorously, beginning with a guest performance at Greg Brown's show in November 1996. By this time, media attention was more focused on him than ever before. Just when it seemed as though he had beaten his disease, it recurred in October 1997, and he died three weeks later at age 46.
If you like what I’m doing, Like ---Bman’s Blues Report--- Facebook Page! I’m looking for great talent and trying to grow the audience for your favorites band! -  ”LIKE”

No Such Thing - J R Fibonacci Hunn

"I could care less what puppet sits on the throne of this empire. The one who controls the money supply controls the empire and I control the money supply!" Mayer Von Rothschild, paraphrased from what he apparently said back in the late 1700s

"Money- like US Dollar paper currency units- represent access to the actual energy to perform work. Oil IS a very concentrated form of the actual energy to perform work. Which do you really think is most important: the actual fuel itself or the paper contract financial instrument promise coupon that is possibly redeemable eventually for the actual fuel itself?" paraphrasing of Richard Heinberg
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This Friday and Saturday a Chicago Blues celebration at the Rhythm Room in Phoenix with John Primer!

The Rhythm Room proudly presents John Primer with the Rhythm Room All-Stars (Bob Corritore, Chris James, Patrick Rynn, Brian Fahey) and special guest Barrelhouse Chuck on Friday and Saturday, February 10 and 11. Expect a very special two nights of pure Chicago Blues! Also of note is Saturday's pre-show featuring jazz guitar great Bobby Broom & The Deep Blue Organ Trio who will appear for a 6pm set before John Primer's 9pm show. The Rhythm Room is located at 1019 E. Indian School Rd., Phoenix, AZ 85014. Please also note that John Primer and Barrelhouse Chuck will also be guests on Bob Corritore's radio show on Sunday February 12. The radio show, Those Lowdown Blues, can be heard online at www.kjzz.org or in Phoenix at 91.5FM, 6pm to 11pm (Arizona time) each Sunday night.
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Shirley - Bob Log III

Bob Log III is an American slide guitar one-man band. During performances, he plays old Silvertone archtop guitars, wears a full body human cannonball suit, and a pilot's helmet wired to a telephone receiver, which allows him to devote his hands and feet to guitar and drums. The spectacle has been described as a guitar dance party.

He tours over 150 shows a year in more than 30 countries. Bob Log's version of quick Delta blues is a continuation of the sound that Bob Log and Thermos pioneered in the duo Doo Rag. The major differences are: greater emphasis on guitar showmanship, fingerpicking, and one-man-band-style drumming with his feet. Based in Tucson, Arizona, and Melbourne, Australia, he has made tours of North America, Europe, Japan and Australia, Mexico, and Iceland.
Bob Log III was born in Chicago, Illinois and raised in Arizona. Growing up, Log listened to musical artists such as AC/DC, Screaming Jay Hawkins, Bo Diddley, Hasil Adkins and Chuck Berry, later commenting that "That's what rock'n'roll is to me. You take a guitar, turn it up, make the ladies dance, and have a good time." Bob Log got his first guitar at the age of 11, and by the age of 16 he had moved to slide guitar, playing Delta blues, modeling his slide guitar style on that of Mississippi Fred McDowell. Log began his music career recording and touring with
Mondo Guano, a four-piece slide guitar, blues, home-made percussion band based in Tucson, Arizona. Upon leaving Mondo Guano, Log went on to perform as one half of the Delta blues rock duo, Doo Rag, with bandmate Thermos Malling.

After six years of making music with Doo Rag, Bob began a solo career, warming up audiences for R. L. Burnside, Blues Explosion, Ween, Franz Ferdinand, and Ani Difranco among others.

Over time, Log acquired a kick-drum and a homemade foot cymbal which he custom-outfitted with a kick pedal of its own. These instruments, combined with his slide guitar work, telephone microphone vocals, and drum machine accompaniment, form the framework on which Bob Log constructs his songs. Log describes his on-stage setup in the song "One Man Band Boom", introducing himself to the audience as, "Bob Log the third, one-man band, Tucson, Arizona. Heyeeeh! Lemme introduce the band to ya. On cymbals, left foot. Over here on the bass drum we got right foot. Shut up! This is my left hand that does all the slide work, right hand does the pickin'. My mouth hole does most of the talkin'. And you're looking at my finger. My finger is an asshole."
An early press release from record label Fat Possum claimed Log had a monkey paw grafted on to his wrist after a boating accident as a child. According to Bob Log's artist page at Fat Possum Records: "When Bob Log III was a child, he lost his left hand in a boating accident. It was soon replaced with a monkey paw, and a new guitar style was born. 'It's my own personal style, see,' Log says, 'the paw moves much quicker than a normal hand, so my real hand has to flop around a lot to compensate.'" When asked to explain Fat Possum's insistence that his right hand is a monkey’s paw, Log replied to an interviewer that, "My hand is just hairy. Very, very hairy. It is NOT a paw. Fat Possum was drunk." Log further clarified the monkey paw myth in an interview with Bizarre Magazine: "I've got all my limbs. It's just that when I'm playing my guitar my hand moves so fast it looks like a monkey paw, a hairy paw. My hand moves really fast. Faster than a normal human hand."
During performances Bob Log will often call audience members (both male and female) on stage to sit on his knee while he plays. Log credits years of drumming with his feet for his ability to simultaneously drum and support the weight of multiple people: "My legs are huge now. Sometimes I can get a girl on each knee and bounce 'em along." Log has distinctively used breasts as a theme in his performance and hired two "professional women" to use their breasts as percussion instruments on his song "Clap Your Tits". Log is quick to point out that all of these acts are carried out between consenting adults and individuals familiar with his brand of humor, stating, "First of all, if you come to my show knowing I've got a song called "Boob Scotch" and you get offended, I'm sorry but I've got to say just get out."

Eventually, Bob Log added a wireless set-up to his guitar in order to allow him to take part in more active antics about the venues in which he is playing. On a number of occasions, Bob has set sail atop his audience in an inflatable dingy or played portions of his set from the women's washroom. During various shows on his September 2009 UK tour Bob Log would enter/exit the stage whilst playing guitar sitting on top of the shoulders of Russell Gray, lead singer of Russell and The Wolves.
One of Bob Log III's more controversial antics is 'Boob Scotch', that is, scotch which has been stirred by a female (or male) breast.[8] This practice was integrated into the song "Boob Scotch" from the album Log Bomb, in which Bob Log sings "I think we need to sit down and talk, put your boob in my scotch. Come on dip your tit in my drink, stir my scotch with something that's pink."

Bob Log III often invites audience members to 'make' a Boob Scotch, asking them onstage to dip their breast in his scotch (usually ordered for him by a fan) after which he lifts his helmet slightly and downs the drink. Log has been known to dip his own breast in his scotch, especially in Japan, a modest nation and usually not willing to expose their 'boob'.
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Rhythm Room 20th Anniversary Celebration announced! - Bob Corritore correspondent

It is quite a milestone for any music venue to make it for 20 years, and the Rhythm Room can boast that after all these years it remains a thriving and symbolic institution. The Rhythm Room opened on Sept 18th, 1991 and has since been Phoenix's standard bearer for presenting live music (with a special focus on the blues). To celebrate it's two decade anniversary, the Rhythm Room plans a weekend of blues parties with 3 full days of pure fun and music. Here is the lineup:



Friday, Sept 16th (early) 5pm doors 6-8pm early show with Tommy Castro.



Friday, Sept 16th (late show) starting at 9pm Soul Music Party with host band Cold Shott & The Hurricane Horns, plus featured artists Jerry Lawson (of Persuasions fame) Stan Devereaux, Gloria Bailey, George Bowman, Lucious Parr, Kenneth Williams, Rochelle Whitehead, Andy Gonzales, Paris James and more! Phoenix's rich soul music legacy will be on display this night!







Saturday, Sept 17th Bob Corritore & His Blues Friends 7pm doors 8pm show with Mud Morganfield, Bob Margolin, Diunna Greenleaf, Dave Riley, Billy Flynn, Barrelhouse Chuck, Mookie Brill, Johnny Rapp, Brian Fahey and more!







Sunday Sept 18th (the actual day of the 20th anniversary) All Day Blues and Rhythm Festival featuring 11 of the greatest Phoenix based blues and soul bands. Doors at 11am and music kicks at noon. Free Big Pete Pearson CDs will be given to the first 75 people. Acts in order of appearance include



Hans Olson



Chico Chism Tribute with George Thomas & The Flamekeepers (Chico's last band) with guest appearance by Gypsy!



Hoodoo Kings Tribute with Mario Moreno, Jim Dorholt, Paul Thomas and other alumni of this historic Phoenix band



Rocket 88s with special guest Johnny Rapp



Big Nick & The Gila Monsters



Dave Riley / Bob Corritore Juke Joint Blues Band



Bad News Blues Band with Long John Hunter



Tommy Dukes Blues Band



George Bowman & Badness featuring Lucious Parr



Cold Shott & The Hurricane Horns



Discount hotel room rates of $69.00 plus tax are available for out of town attendees from the Residence Inn Black Canyon. To make reservations call 602-864-1900 and ask for the Rhythm Room rate. The Rhythm Room thanks it's loyal clientele and looks forward to this forthcoming celebration.
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Medley - Chris Duarte

Duarte was first inspired by music at age 8 after seeing Fiddler On The Roof on television. Duarte began playing his brother's guitar, and got his first electric guitar at the age of 14 and played with bands in San Antonio. In 1979, Duarte moved to Austin, Texas and purchased a 1963 Fender Stratocaster guitar for $500. Duarte began exploring the jazz music of John Coltrane and Miles Davis.

Duarte won a label recording contract with Silvertone Records and released Texas Sugar/Strat Magik in 1994, and was named "Best New Talent" in Guitar Player’s 1995 Reader's Poll.[citation needed] He finished fourth in the magazine’s "Best Blues Guitarist" category behind Eric Clapton, Buddy Guy and B.B. King.

Though Duarte has played a limited number of U.S. dates in recent years with the Japanese band Bluestone Company backing him, he performs primarily as a power trio, the 'Chris Duarte Group'. Originally formed with long-time friends and collaborators John Jordan on bass and Jeff Hodges on drums, the current incarnation features Matt Stallard on bass and Chris Burroughs on drums. Apart from his band, Duarte has performed with Julie Burrell, Diana Cantu, Bobby Mack, Tracy Conover, Indigenous, and Omar & the Howlers.

Duarte's concert dates in Asheville, Charlotte and Greenville were filmed for "The PBS Project". This side-project featured Steve Bailey on bass and Jeff Sipe on drums.

Chuck Hall Band

Chuck Hall Band is one you're possibly never heard of. Unless you are from Arizona or are really in tune with the scene, this is a gem that you could have missed. I have seen CHB a number of times and he never fails to amaze. Chuck has a definite Texas style but doesn't sound like anyone's clone. You gotta check him out!
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