Tossin' and Turnin' - Bobby Lewis

Bobby Lewis (born February 17, 1933 or 1925, Indianapolis, Indiana) is an African American rock and roll and R&B singer. Lewis learned to play the piano by age six. Adopted at age twelve, he moved to a home in Detroit, Michigan. Growing up with the influences of the pioneer blues musicians until the advent of rock and roll, Lewis began to build a musical career in the 1950s, and in 1960 appeared at the Apollo Theatre in New York City. In July 1961, his recording of "Tossin' and Turnin'" went to No.1 for seven weeks on the Billboard chart. It sold over one million copies, and was awarded a gold disc. Later that year, he had a second Top Ten song, "One Track Mind", his only other major hit record, at #9 Pop. "Tossin' And Turnin'", composed by Ritchie Adams and Malou Rene, was featured in the soundtrack for the 1978 film, Animal House. The song was also covered by Steve Goodman, The Replacements, The Guess Who, Peter Criss, and Jimmy Sturr, among others. The Ivy League's UK hit 'Tossin' And Turnin',
however, is a completely different song.

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Dark Was The Night/By and By - Catfish Keith

Cutting-edge blues singer, songwriter and bottleneck slide guitarist Catfish Keith has established himself as one of the most exciting country blues performers of our time. Catfish's innovative style of foot-stomping, deep delta blues and American roots music has spellbound audiences the world over. He has reinvented the guitar with great power and artistry, and brings a rare beauty and vitality to his music. Handing down the tradition, Catfish continues his lifelong journey as one of the brightest lights in acoustic blues and roots music. A two-time W. C. Handy Blues Award nominee for BEST ACOUSTIC BLUES ALBUM, and 2008 inductee into the BLUES HALL OF FAME, Catfish has fourteen NUMBER ONE independent radio chart-topping albums to his credit, and packs houses all over the world with his dynamic stage show. The 30-year veteran has toured the USA, UK and Europe dozens of times to wide acclaim, headlining major music festivals, and appearing with legends John Lee Hooker, Ray Charles, Robert Cray, Koko Taylor, Taj Mahal , Leo Kottke, Jessie Mae Hemphill, Johnny Shines and many, many others. Catfish Keith was born in East Chicago, Indiana on February 9th, 1962. He first heard blues as a child while living in "The Harbor," a working-class, steel mill town. When he picked up the guitar as a teenager, he was inspired to pursue the deep delta blues after being converted by Son House. Following high school in Davenport, Iowa, Catfish hit the road, embarking on a lifelong quest as a solo performer of American roots music. His travels took him to the Caribbean, where in the Virgin Islands he crewed briefly on a sailboat, soaking up a wealth of island sounds. Rhythms of Jazz, Calypso, Reggae and the music of Joseph Spence gave Catfish inspiration to reach new musical heights. Though he grew up on the Mississippi River, Catfish earned his monicker from a West Indian lobster diving partner who, after seeing him swim, dubbed him "Catfish-Swimmin'-Around," and "Catfish-Steel-Guitar-Man." In 1984, at age 22, Catfish recorded his first album (on Kicking Mule), Catfish Blues. The all-solo debut established him as a new force in acoustic blues, reaching Number One on independent worldwide radio charts. This enabled Catfish to play and tour continually, learning directly from legends such as Johnny Shines, David Honeyboy Edwards, Jesse Mae Hemphill and Henry Townsend. Since then, Catfish has made a fourteen solo albums, including his latest, Put on a Buzz (on Fish Tail). He constantly tours the world, is a major endorser for National Reso-Phonic Guitars, and his music plays on top-rated TV shows in the USA and abroad. He’s also become a respected educator as well as performer, doing guitar workshops, master classes and blues in the schools throughout the the world. 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!

Down Behind The Rise - Guitar Pete Franklin

b. Edward Lamonte Franklin, 16 January 1928, Indianapolis, Indiana, USA, d. 31 July 1975, Indianapolis, Indiana, USA. His mother wrote many songs for her lodger Leroy Carr, and Franklin’s interest in music developed early, beginning with piano, on which he was as adept as on guitar. His guitar playing was influenced by local musicians Scrapper Blackwell and Jesse Ellery (who recorded as accompanist to Jack ‘Champion’ Dupree), but he could change his playing completely to fit with an amplified Chicago ensemble. As a pianist, Franklin was, not surprisingly, indebted to Leroy Carr, but on both instruments he was an original and remarkably accomplished musician, who was not recorded to the extent his talent merited. 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”

Muskrat Ramble - Wilbur deParis and his New New Orleans Jazz

Next to Wilber deParis on trombone there are Sidney deParis on trumpet and cornet, Omer Simeon on clarinet and Wilbert Kirk on drums. Wilbur de Paris (January 11, 1900 – January 3, 1973) was a trombone player and band leader, especially known for mixing New Orleans jazz style with Swing. De Paris was born in Crawfordsville, Indiana, where his father, Sidney G. Paris, who came from West Virginia and who was a musician (trombone, banjo, guitar), a circus barker, a ventriloquist, a minstrel, etc., had met and married his mother, Fannie Hyatt. By the autumn of 1906, when he was five, de Paris had started playing alto saxophone, and a year later was working for his father in one of his plantation shows. These shows were small travelling theatrical-musical groups of singers, dancers, actors, comedians, and musicians who mainly worked for Theatre Owners and Bookers Association in the South. They performed in small tents and theatres with a mixture of drama, musical and comedy sketches, magic, etc., which would later be incorporated into vaudeville. De Paris heard jazz first at age 16, circa 1917, as a member of a summer show that played at the Lyric Theatre. He also met Louis Armstrong whilst playing the saxophone at Tom Anderson's Cafe, and with A. J. Piron. After high school, de Paris worked for his father for a time, then worked for more travelling shows in the east, then started playing in Philadelphia in the early 1920s. His first band was Wilbur de Paris and his Cottonpickers. After the Wall Street Crash in 1929 he disbanded his second group and went to New York to play for many years with the greats of jazz and to make records. In the late 1940s, together with his brother, Sidney De Paris, he started a band called New New Orleans Jazz, featuring legendary jazzmen including the famed Jelly Roll Morton clarinetist Omer Simeon. Other band members included drummers Zutty Singleton & Freddie Moore. The banjo chair was filled first by Eddie Gibbs and later by Lee Blair also of Morton fame. Don Kirkpatrick was the band's most consistent piano player. This band became an institution in New York City during the 1950s and toured the world in the late 1950s. The band recorded extensively. 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!

I Wont Be Your Fool - Little Joe Hinton

Joe Hinton (November 15, 1929 – August 13, 1968) was an American soul singer. Hinton, who was born in Evansville, Indiana, began as a gospel singer with the Chosen Gospel Quartet and the Spirit of Memphis Quartet. Producer Don Robey asked the singer to try doing secular tunes, and Hinton began recording for Robey's record label, Peacock Records, in 1958. It was not until 1963, with his fifth single on the label, that he managed to chart with "You Know It Ain't Right"; the next single, "Better to Give Than to Receive", also hit the lower regions of the charts. His biggest hit was 1964's "Funny How Time Slips Away", written by Willie Nelson; the tune peaked at #13 on the Billboard Hot 100 that year. Cash Box magazine listed "Funny How Time Slips Away" as #1 for four weeks on their R&B chart. The track sold over one million copies, and was awarded a gold disc. "I Want a Little Girl", the next single, also charted, but it was his last hit. Hinton died of skin cancer in 1968 in Boston, Massachusetts, at the age of 38, while still in the prime of his recording career. 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!

Your Cousin's on COPS - Rev. Peyton and His Big Damn Band

Roaring out of the southern Indiana foothills comes Reverend Peyton’s Big Damn Band playing a brand of Americana and Blues that stands alone – Delta blues and hillbilly fervor combine with musical acuity sharp as razor wire – best know, this trio is a force to be reckoned with. The growl of a good truck engine, the fiercest passion for his country home and family and an uncanny ability to breathe new life into old forms of music give them a pedigree many Americana acts would kill for and an ironclad work ethic keeps them on the road 250 dates a year, playing for the people with hurricane force. Locked in with an audience, the band create their own community and welcome the crowd into it, transporting them away from their troubles to joyous release, the way great musicians have done for centuries. The Rev. J. Peyton, his wife Breezy and distant cousin Aaron “Cuz” Persinger are a living breathing embodiment of the traditions and hard work ethic native to their Brown County, Indiana home. Their new album Between The Ditches is a chronicle of this lifestyle. 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”

Ruby's Blues - Beat Daddys

Larry Grisham is a survivor, plain and simple. Both personally and professionally, he has overcome obstacles most people will never face. Time and again he not only met these challenges, but rose to them and came out the other side stronger for the experience. But isn't that what the Blues is all about? Larry was born in southern Indiana in 1953 and moved about much as a child, attending sixteen different schools before graduating from high school. He did, however, spend several formative years in Muhlenberg County, Kentucky living with his grandmother (whose first cousin happened to be legendary Country/Blues guitarist Merle Travis). This is where young Larry started to soak up the music. Not only was he exposed to the area's indigenous Bluegrass, Blues, Gospel and Soul Music, but like most kids his age he was taken with the new sound of Elvis, The Everly Brothers and later The Beatles, The Rolling Stones, Stax and Motown. Soon Larry learned to play drums, and enough guitar to start fooling around with trying to write his own songs. He went off to Lander University in South Carolina on a basketball scholarship but moonlighted playing drums with various Rock and Soul bands. Like a lot of young musicians in the late 1960s Larry discovered the Blues. It was a powerful force and by the time he left university the die was cast. He'd decided to pursue music as a career. He went back to his hometown of Evansville, Indiana and formed a Rock band called The Phonz in the late 1970s. Between 1980 and 1984 the group recorded two 45s and an EP for the small independent Limp Dog record label. The Phonz were a regional success but had run their course when Larry met Blues guitarist Tommy Stillwell and joined his band Stillwell in 1985, playing mostly Blues standards. By 1986 Larry and Tommy had decided to get serious about the music business and formed The Beat Daddys to showcase their original material. The band quickly became a success, toured the mid southern states and opened concerts for touring acts like Johnny Winter and Koko Taylor. In 1988 the group signed with Camelot Records and their debut album "Houserocking Rhythm & Blues" was released the following year. The record garnered substantial radio airplay and sold respectably enough to attract the attention of the most powerful Blues record company in the South. The Beat Daddys signed with Malaco Records and in 1992 released the critically acclaimed album "No, We Ain't From Clarksdale" on the Waldoxy subsidiary imprint, recorded at the legendary Muscle Shoals Sound studio. The record was an instant success and began a whirlwind of activity for the band. They toured relentlessly, sharing the stage with artists as diverse as B.B. King, Foghat, Mighty Sam McClain, Anson Funderburgh & The Rockets, Omar & The Howlers, 38 Special, Tower Of Power, Robert Cray, Elvin Bishop and James Cotton. Needless to say, The Beat Daddys had a broad appeal and a bright future ahead. They followed up with the album "South To Mississippi" in 1994, on which the group is augmented by the Muscle Shoals Rhythm Section and the Muscle Shoals Horns. The following year Tommy Stillwell decided to leave the band and was replaced by Britt Meacham, the legendary Muscle Shoals studio guitarist who played lead on Bob Seger's multi million seller "Old Time Rock & Roll". They also added original Wet Willie drummer Lewis Ross and recorded their "Live" album in 1997. Larry Grisham had a franchise to look after and was not about to let the Beat Daddys falter. By the mid 1990s Larry was firmly entrenched in the Malaco family. He co-wrote with George Jackson ("Down Home Blues", "One Bad Apple", "Old Time Rock & Roll") and A.D. Prestage ("Shade Tree Mechanic", "I'm A Blues Man") and Larry's songs were recorded by Little Milton ("Love Of A Woman"), Dorothy Moore ("I'll Always Love You" and "Blues In The Night" which was used as the theme song of a television show of the same name in Sweden) and One Eyed Cat ("Train In The Distance", "Ruby's Blues"). He also played harmonica on recording sessions at Malaco, most notably on Bobby "Blue" Bland's Grammy nominated hit record "I'm A Blues Man". The Beat Daddys recordings were also featured on several Malaco compilations, including the incredible box set "The Last Soul Company". By the late 1990s Larry was living in Pass Christian, Mississippi and the band was going strong. At the turn of the century The Beat Daddys recorded "Delta Vision" at Kingsnake Studio in Florida with the aid of Allman Brothers Band keyboard player Johnny Neel (the album also featured a guest vocal by Sonny Rhodes). The record was released in 2001 and the band continued its relentless working schedule. It seemed there was nowhere to go but up for the Beat Daddys. Then, in 2005, tragedy struck. Hurricane Katrina devastated New Orleans, but it completely wiped out the coast of Mississippi. Larry Grisham lost everything. Everything, that is, but his will to survive. Survive? Hell no! He found the strength to rise again even stronger. He lived in a FEMA trailer for the next eight months, trying to regroup and decide his next move. Out of all this turmoil came one of Larry's finest works. The album "Five Moons" was recorded in Nashville and released in 2006. It contains some of Larry Grisham's finest, most heartfelt songwriting. Wanting to put the Katrina nightmare behind him, Larry decided to relocate to the Nashville area, settling on a small farm outside of the city. The group continued to tour and released their second live album "Live At The Quincy Blues Fest" in 2007. Logistics were becoming an increasing problem for the group, however, as Larry was now living hundreds of miles from his Gulf Coast based musicians. Something had to give. In early 2009 The Beat Daddys rhythm section quit en masse. Larry and Britt soldiered on for a few months using pickup musicians, when Larry contacted his old friend, bass player Jeff "Stick" Davis. Davis had played with the group for a while in the late 1980s and was happy to help out. Jeff had been a founding member of the Amazing Rhythm Aces as well as a veteran sideman with artists like B.B. King, Al Green, John Mayall's Bluesbreakers, Ron Wood, Memphis Slim, Otis Rush and Jesse Winchester to name but a few. When Larry laid out his concerns for the future of The Beat Daddys, Jeff suggested a couple of his Nashville pals. Guitarist/songwriter/producer (and a recording artist in his own right) Fred James soon came on board as Britt Meacham bowed out. Fred had also played with the Amazing Rhythm Aces and handled guitar chores for artists as diverse as The Sam Lay Blues Band, Tommy Tutone, Frank Frost & The Jelly Roll Kings, Dr. Hook and Billy Joe Shaver. His songs have been recorded by Johnny Winter, Koko Taylor, Charlie Musslewhite, Son Seals and Junior Wells & Bonnie Raitt. He's produced albums for Homesick James, Roscoe Shelton, The Delta Jukes, David Olney, Johnny Jones and many others. To complete his "wish list" rhythm section, Davis chose drummer Waldo LaTowsky. Waldo had played with Clarence "Gatemouth" Brown (appearing on his Grammy nominated Alligator Records release "No Looking Back") and Bo Diddley, as well as recording with Frank Frost, Homesick James, Al Garner, The Roadrunners, Johnny Neel, and Mary-Ann Brandon. He had also toured and recorded with Chet Atkins and Country Music chanteuse Suzy Bogguss. The Beat Daddys suddenly had a powerhouse, all-star lineup. The newly revamped band is hard at work touring and writing songs for their next Malaco release. You've really got to hand it to Larry Grisham. Thanks to his unwavering dedication, The Beat Daddys have risen up yet again just when it seemed the odds were irretrievably against them. The future looks mighty bright for the group, but one thing you can be sure of......no matter where or when you encounter The Beat Daddys.......Larry Grisham will be at that drivin' wheel. 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” Video

Walkin' The Dog - Kinsey Report

The Kinsey Report is a Gary, Indiana based band, established in 1984 by the brothers Donald, Ralph, and Kenneth Kinsey, plus a family friend, Ron Prince. As Big Daddy Kinsey and the Kinsey Report, they effectively backed their father, Big Daddy Kinsey. Lester Davenport played harmonica with the group.

The Kinsey Report's father was instrumental in steering his offspring towards the blues. The older brothers, Donald and Ralph, formed a blues/rock trio called White Lightnin', before the younger children also ended up in the group. Albert King, Bob Marley, Middle Walter and Big Daddy Kinsey have all toured with the groupIf 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”

West Coast Blues - Wes Montgomery

John Leslie "Wes" Montgomery (March 6, 1923 – June 15, 1968) was an American jazz guitarist. He is widely considered one of the major jazz guitarists, emerging after such seminal figures as Django Reinhardt and Charlie Christian and influencing countless others, including Pat Martino, George Benson, Russell Malone, Emily Remler, Kenny Burrell, Pat Metheny, Steve Howe, and Jimi Hendrix.
Montgomery was born in Indianapolis, Indiana. According to NPR Jazz Profiles "The Life and Music Of Wes Montgomery," the nickname "Wes" was a child's abbreviation of his middle name, Leslie. He came from a musical family; his brothers, Monk (string bass and electric bass) and Buddy (vibraphone and piano), were jazz performers. The brothers released a number of albums together as the Montgomery Brothers. Although he was not skilled at reading music, he could learn complex melodies and riffs by ear. Montgomery started learning the six string guitar at the relatively late age of 20 by listening to and learning the recordings of his idol, guitarist Charlie Christian, however he had played a four string tenor guitar since age twelve. He was known for his ability to play Christian's solos note for note and was hired by Lionel Hampton for this ability.

Many fellow jazz guitarists consider Montgomery the greatest influence among modern jazz guitarists. Pat Metheny has praised him greatly, saying "I learned to play listening to Wes Montgomery's Smokin' at the Half Note." In addition, Metheny stated to The New York Times in 2005 that the solo on "If You Could See Me Now," from this album is his favorite of all time. Joe Pass said, "To me, there have been only three real innovators on the guitar—Wes Montgomery, Charlie Christian, and Django Reinhardt," as cited in James Sallis's The Guitar Players and in his Hot Licks instructional video. Kenny Burrell states, "It was an honor that he called me as his second guitarist for a session." In addition, Stevie Ray Vaughan, Eric Johnson, Joe Satriani, Jimi Hendrix, David Becker, Joe Diorio, Steve Lukather and Pat Martino have pointed to him numerous times as a great influence. Lee Ritenour, who recorded the 1992 album Wes Bound named after him, cites him as his most notable influence; he also named his son Wesley.

Following the early work of swing/pre-bop guitarist Charlie Christian and gypsy-jazz guitarist Django Reinhardt, Wes joined Tal Farlow, Johnny Smith, Jimmy Raney, and Barney Kessell to put guitar on the map as a bebop / post-bop instrument. While these men generally curtailed their own output in the 1960s, Montgomery recorded prolifically during this period, lending guitar to the same tunes contemporaries like John Coltrane and Miles Davis were recording. While many jazz players are regarded as virtuosos, Montgomery had a very wide influence on other virtuosos who followed him, and in the respect he earned from his contemporaries. To many, Montgomery's playing defines jazz guitar and the sound that learners try to emulate.

Dave Miele and Dan Bielowsky claim, "Wes Montgomery was certainly one of the most influential and most musical guitarists to ever pick up the instrument... He took the use of octaves and chord melodies to a greater level than any other guitarist, before or since... Montgomery is undoubtedly one of the most important voices in Jazz guitar that has ever lived-or most likely ever will live. A discussion of Jazz guitar is simply not thorough if it does not touch upon Wes Montgomery."

"Listening to [Wes Montgomery's] solos is like teetering at the edge of a brink," composer-conductor Gunther Schuller asserted, as quoted by Jazz & Pop critic Will Smith. "His playing at its peak becomes unbearably exciting, to the point where one feels unable to muster sufficient physical endurance to outlast it." Wes received many awards and accolades: Nominated for two Grammy Awards for Bumpin', 1965; received Grammy Award for Goin' Out of My Head as Best Instrumental Jazz Performance by Large Group or Soloist with Large Group, 1966; nominated for Grammy Awards for "Eleanor Rigby" and "Down Here on the Ground", 1968; nominated for Grammy Award for Willow, Weep for Me, 1969. Wes' second album, The Incredible Jazz Guitar of Wes Montgomery, earned him Down Beat magazine's "New Star" award in 1960. In addition, he won the Down Beat Critic's Poll award for best Jazz guitarist in 1960, '61, '62,'63, '66, and 1967.

Montgomery toured with Lionel Hampton early in his career, however the combined stress of touring and being away from family brought him back home to Indianapolis. To support his family of eight, Montgomery worked in a factory from 7:00 am to 3:00 pm, then performed in local clubs from 9:00 pm to 2:00 am. Cannonball Adderley heard Montgomery in an Indianapolis club and was floored. The next morning, he called record producer Orrin Keepnews, who signed Montgomery to a recording contract with Riverside Records. Adderley later recorded with Montgomery on his Pollwinners album. Montgomery recorded with his brothers and various other group members, including the Wynton Kelly Trio which previously backed up Miles Davis.

John Coltrane asked Montgomery to join his band after a jam session, but Montgomery continued to lead his own band. Boss Guitar seems to refer to his status as a guitar-playing bandleader. He also made contributions to recordings by Jimmy Smith. Jazz purists relish Montgomery's recordings up through 1965, and sometimes complain that he abandoned hard-bop for pop jazz towards the end of his career, although it is arguable that he gained a wider audience for his earlier work with his soft jazz from 1965–1968. During this late period he would occasionally turn out original material alongside jazzy orchestral arrangements of pop songs. In sum, this late period earned him considerable wealth and created a platform for a new audience to hear his earlier recordings.

He didn't have very long to enjoy his commercial success, however; on June 15, 1968, while at home in Indianapolis, Indiana, U.S., he woke one morning, remarked to his wife that he "Didn't feel very well," and minutes later collapsed, dying of a heart attack within minutes. Montgomery's home town of Indianapolis has named a park in his honor. He is the grandfather of actor Anthony Montgomery.
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Jimmie Vaughan, Siegel-Schwall, Bernard Allison Anchor 2nd Annual South Bend Blues and Ribs Line-up

South Bend Parks And Recreation Presents:

South Bend Blues & Ribs Festival Join us for some of the BEST blues, ribs, and good times, all to raise money and awareness for special needs facilities and programming. The South Bend Blues & Ribs Festival begins with gates opening 11:00 a.m. E.D.T., on Saturday, June 23rd, at Coveleski Regional Stadium. This year's headline act is Jimmie Vaughan & the Tilt-A-Whirl Band, featuring Lou Ann Barton. For more than four decades, Vaughan, the guitar slinging Texan has been earning his living rockin' the blues. Vaughan's love affair with blues and rock'n' roll goes back to his childhood in Dallas. While home from school recuperating from a broken collarbone, he began to play the guitar. He began playing around Texas with a series of bands, most notably the Chessman, who opened for Jimi Hendrix. In 1974, Vaughan played with vocalist and harmonica player Kim Wilson and formed the group The Fabulous Thunderbirds. In 1979, the band released their debut album and a fan base grew from there. The Fabulous thunderbirds reached their peak of popularity with the 1986 release Tuff Enuff. Vaughan stayed with the group another four years after that, and his first move following his exit from the band was to cut an album with his kid brother, Stevie Ray Vaughan. Their album Family Style was a hit upon its release in the fall of 1990. Vaughan launched his solo career in 1994 and released Strange Pleasure produced by Nile Rodgers. Vaughan newest release is titled: Blues, Ballads and Favorites. Other acts include the Siegel-Schwall Band, Bernard Allison, Special Guest: Randy Scott, Blue Lunch (an 8 piece horn-based 50's swing band from Clevelend), and Elwood Splinter's Blues Band opening. Funds raised from this event will support the design and construction of Miracle Park, a uniquely designed facility for special needs individuals, and special needs programming within the South Bend Parks & Recreation Department. www.sbpark.org Ticket Information Tickets are $20 in advance, $24 day of event You can purchase tickets at: The Morris Performing Arts Center Box Office Hours: Monday-Friday, 10:00am-6:00pm Saturday, 10:00am-2:00pm Phone: 574.235.9190 Toll Free: 800.537.6415 Online: www.MorrisCenter.org Morris Ticket Outlets: Hammes Bookstore Eddy Street Commons South Bend O'Brien Center 321 East Walter Street South Bend Hours: Monday-Friday 8:00am-4:30pm Super Sounds 123 South Main Street Goshen Tickets can also be purchased at: Coveleski Ticket Office 501 West South Street, South Bend

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Stormy Monday - Lefty Bates

Leroy Clyde Bates
Born: May 7 , 1924
Died: March 2, 1991
Leroy was a session bass player for Chess and Vee Jay records in Chicago. He worked for many of the great Blues players of the day.
Biography
Leroy Clyde Bates was a session bass player in Chicago for Vee Jay records and the Chess label. He played the guitar also. Most of the recordings that Lefty played on list the bass player as "unknown". He worked with Howlin' Wolf, Elmore James, Muddy Waters, Pinetop Perkins, Eddie Taylor, and his personal favorite and good friend, Sunny Land Slim. You can hear him on "Big Boss Man" and "Bright Lights, Big City" by Jimmy Reed. He moved to Indianapolis in the 1950's to work as a truck driver as a better means for supporting his family. He continued through out the 1960's to do session work and helped lead the Ink Spots in the early 1970's.
Leroy is buried at Washington Park North Cemetery located on the north side of Indianapolis. Sadly, he has no grave marker. It is our hope that enough funds will be raised to purchase a proper monument befitting to his memory. Lefty was not only a superb bassist and guitarist, but was also a friend and mentor to a countless number of young musicians in the Chicago and Indianapolis areas.
Please note: There are actually 2 (two) Lefty Bates' of the same era. The "other" Lefty Bates is William Bates. He was also a musician and incredibly he also played guitar (not bass) with Jimmy Reed. It is difficult at times when researching Lefty Bates because of the similarities in not only nickname but also style of music and the fact that both men lived in Chicago at the same time. Leroy was all too aware of these strange coincidences but he never seemed bitter that he was not as well recognized as is the "other" Lefty Bates.
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Policy Dream Blues - BUMBLE BEE SLIM

Amos Easton (May 7, 1905 – June 8, 1968), better known by the stage name Bumble Bee Slim, was an American Piedmont blues musician.
Easton was born in Brunswick, Georgia, United States. Around 1920 he left home to join the Ringling Brothers' circus before returning to Georgia, marrying briefly, and then heading north on a freight train to Indianapolis where he settled in 1928. There, he met and was influenced by pianist Leroy Carr and guitarist Scrapper Blackwell.

By 1931 he had moved to Chicago, where he first recorded as Bumble Bee Slim for Paramount Records. The following year his song, "B&O Blues", was a hit for Vocalion Records, inspiring a number of other railroad blues and eventually becoming a popular folk song. Over the next five years he recorded over 150 songs for the Decca, Bluebird and Vocalion labels, often accompanied by other musicians such as Big Bill Broonzy, Peetie Wheatstraw, Tampa Red, Memphis Minnie, and Washboard Sam.

In 1937, he returned to Georgia, then relocated to Los Angeles, California, in the early 1940s, apparently hoping to break into motion pictures as a songwriter and comedian. During the 1950s he recorded several albums, but these had little impact. He recorded his last album in 1962 for the Pacific Jazz label.

He continued to perform in clubs around Los Angeles until his death in 1968.
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