FANNY MAE - THE ED EARLEY BAND

EDWARD J. EARLEY, JR. - Ed is the "trombone player's" trombone player. He has played with just about everybody in the blues world from Albert King to John Lee Hooker. In addition to his own band, Ed is currently performing with Elvin Bishop, as well as teaching and writing music. With his charismatic stage presence, he is a true professional...

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Bluin´ The Blues - Wilbur Sweatmans Original Jazz Band

Wilbur C. Sweatman (1882 – 1961) was an African-American ragtime and dixieland jazz composer, bandleader, and clarinetist. Sweatman was one of the first African-American musicians to develop a nationwide fan base. He was also a trailblazer in the racial integration of musical groups Wilbur Coleman Sweatman was born February 7, 1882 in Brunswick, Missouri to parents Matilda and Coleman Sweatman. Wilbur's father ran a barbershop in the riverside town to provide for his family, which also included daughters Eva and Lula. His mother was apparently of mixed racial background as she and the children were listed as mulatto on some census reports. While Wilbur was still a toddler his father abandoned the family, moving to St. Joseph, Missouri and starting a new family. His mother persevered, continuing to operate the barbershop as well as taking in boarders. Wilbur received his education at the segregated Elliott School in Brunswick and helped out around the barbershop after school. His older sister Eva was responsible for much of Wilbur Sweatman's early music training, teaching him to play piano. Later Sweatman would become a self-taught violinist, and then taking up the clarinet. Over the years he would also learn to play trombone, bass clarinet and organ. Wilbur Sweatman's professional music career began in the late 1890s when, still a teenager, he toured with circus bands, first with Professor Clark Smith's Pickaninny Band from Kansas City, then with the P.G. Lowery Band. By 1901 he had become the youngest orchestra leader in America by fronting the Forepaugh and Sells Circus band. Sweatman briefly played with the bands of W.C. Handy and Mahara's Minstrels before organizing his own dance band in Minneapolis, Minnesota by late 1902. It was there that Sweatman made his first recordings on phonograph cylinders in 1903 for the Metropolitan Music Store. These included what is reputed to have been the first recorded version of Scott Joplin's "Maple Leaf Rag";no copies of these are known to exist today. In 1908 Sweatman moved to Chicago, playing around the city in places like the Pekin Inn and the Monogram Theater before becoming the bandleader at the Grand Theater, and began to attract notice; a 1910 article referred to his nickname, "Sensational Swet." By 1911, he had moved to the vaudeville circuit full-time, developing a successful act of playing three clarinets at once. An Indianapolis account described his performance there: Though somewhat diminutive in stature, Wilbur C. Sweatman has a style and grace of manner in all of his executions that is at once convincing, and the soulfulness of expression that he blends into his tones is something wonderful. His first number was a medley of popular airs and "rags" and had everybody shuffling their pedal extremities before it was half over. He wrote a number of rags, 1911's Down Home Rag being the most commercially successful. The song was recorded by multiple bands in America and Europe. Sweatman moved to New York in 1913, touring widely. He was one of the few black solo acts to appear regularly on the major white vaudeville circuits. Around this time he became close friends with Scott Joplin; Joplin's will would name Sweatman as executor of his estate. Joplin's musical papers, including unpublished manuscripts, were willed to Sweatman, who took care of them while generously sharing access to those who inquired. However, as Joplin's music came to be considered passé, such requests were few. After Sweatman's death in 1961, the papers were last known to have gone into storage during a legal battle among Sweatman's heirs; their current location is unknown, nor even whether they still exist. In December 1916, Sweatman recorded for minor label Emerson Records, including his own "Down Home Rag". Some historians consider these recordings among the earliest examples of jazz on record. Taking note of the commercial success of the Original Dixieland Jass Band and the Original Creole Orchestra, Sweatman abruptly changed his sextet's sound and instrumentation in early 1917. Sweatman's band consisted of five saxophonists and himself on clarinet, a combo which soon signed with Pathé. They recorded rags, as well as some of the hit songs of the day. Sweatman was the first African American to make recordings labeled as "Jass" and "Jazz". Since Sweatman can be heard making melodic variations even in his 1916 recordings, it might be argued that Sweatman recorded an archaic type of jazz earlier than the Original Dixieland band. In 1917, he became one of the first blacks to join ASCAP. In 1918, Sweatman landed with major label Columbia Records, where he would enjoy a meteroic success with a wide variety of songs under his own name. His band also delivered several shorter anonymous performances for the label's "Little Wonder" line of 90-second-long budget releases. The Sweatman band's first release, "Regretful Blues"/"Everybody's Crazy" would ship 140,000 copies, in a time when a third as many sales was considered a hit. Sweatman singles shipped over a million copies in 1919 alone. Several more successful releases followed in 1918-19, Sweatman's peak of popularity. His best-selling song was 1919's "Kansas City Blues", which shipped 180,000 copies. However, by 1920, sales were on the wane, perhaps reflecting the ephemeral interest in his novelty style of jazz, and the growing popularity of syncopated big bands such as Columbia's own Ted Lewis. Sweatman continued to ply his somewhat dated style in live appearances throughout the Northeast. Several notable musicians passed through his band, including Duke Ellington, Coleman Hawkins, and Cozy Cole. Sweatman also continued to record for such labels as Gennett, Edison, Grey Gull, and Victor. Sweatman frequently played at the well known Harlem club Connie's Inn. He continued playing in New York through the 1940s and early 1950s, but increasingly concentrated his efforts on the music publishing business and talent booking. His earlier compositions provided Sweatman a steady income. In 1937 alone, ASCAP reported that "Down Home Rag" had been played on the radio over 2,000 times, with Sweatman receiving royalties for each play. Wilbur Sweatman died in New York City on March 9, 1961. His illegitimate daughter Barbara initially inherited his estate, consisting mostly of his publishing business and some personal papers. However the estate, which included the papers of Scott Joplin as well, eventually ended up with Sweatman's sister Eva

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Where Do You Go - Bobby Foster

Bobby Foster’s first records were cut under the direction of Ike Turner when he was based in St Louis in the late 50s for Bill and eponymous Stevens label. Although Turner’s time with them is perhaps most famous for his “Icky Renrut” disguise he produced product on several other artist of whom I’d say Bobby Foster was the most talented singer. In my view his high tenor voice and thrilling falsetto were hear to best effect on the slow doo-wop ballad “Angel Of Love” although the rock n roll freaks go for the rockabilly styled “Star Of Love” for Turner’s unmistakeable wild “Slash and burn” guitar solo. I would place Foster’s superb - and rare - Rahall 45 as his next release after the Stevens sessions. “True Love” is a strong upbeat number on which he sounds like Ted Taylor thanks to his concentration on his falsetto range, but the flip is the one to go for. ListenSoothe Me Baby has nothing to do with The Sims Twins but is a classically formed deep soul number, complete with a screaming vocal, good horn support and an arpeggio guitar. Love the way it ebbs and flows. Soothe me baby - RAHALL 1000By the mid 60s Foster was in Memphis cutting at Sam Phillips studio. Both the Souncot and Select-O-Hit 45s come from these sessions. Foster is relatively restrained here, concentrating mostly on his tenor range, but still capable of generating considerable emotional effects with a more sparing use of his stratospheric falsetto. All four cuts are fine southern soul, with ListenThis Time I’m Really Leaving, a really nice country soul slowie my personal choice. Foster’s final sessions were again held in Memphis and the results leased out to John R. The dancers have a fondness for the thumping “If You Really Need A Friend” but my taste is much more towards the better melody of ListenBuilding Up (For A Let Down), another fine piece of country soul. Foster’s gentle, rather breathy delivery was very suited to this sort of material.

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Secretly Famous - The Rev Jimmie Bratcher - New Release Review

Got another new one here for ya! Just received the new release, Secretly Famous, from The Rev Jimmie Bratcher. The release opens with Jupiter and Mars a cool laid back Texas style blues number. I like the drone note blues style used on rhythm and the slide work is just a taste of what's to come on later. 57, a tribute track to the Shure SM57 microphone is a great sticky funk number. I like Bratcher's voice and Craig Kew brings a nice bass line on this track shoring up strong guitar work by the Rev. This track has the light funk attack that I've seen used by my friend Hamilton Loomis as well as others and it's a lot of fun. Feels Like Friday is a driving jazzy blues track with rhythm sounding a bit like Golden Earring. This is a much cooler track. I hope that the Rev gets as much mileage out of it. The Rev stretches a sweet solo on this track showing his super taste. Check Your Blues At The Door is a blues rock shuffle with just north of a Texas lope. Never over the top guitar soloing nicely compliments The Rev's fine vocals. JD Loudermilk's Tobacco Road gets a total makeover and certainly almost a different from the first cover of it that I head by Edgar Winter. This is done as a straight out rocker and to cool result. Nowhere To Go But Down has a bit of what to me sounds like a British blues feel ... reminds me of early Savoy Brown but with a definite twist. Kew plays some real nice bass lead on this track with The Rev keeping it contained and Lester Estelle keeping the drums solid. Bratcher plays a real nice jazz influenced solo as a sweet diversion to this tack giving it an entire different texture. When I Fall Apart is another track that gets a cool rock funk to it and a I think that the band does a real nice job on it as well as adds some interesting vocal harmonies to an already cool track. Rick Steff adds some keys on this track rounding out the mix. The Rev pulls out a real unexpected number with the Association's Never My Love. This is a real clean version of the original track but with a little soul added to the mix. Nice job! I Can't Shake That Thing is another cool funky blues rock track and you all know what a sucker I am for this stuff. The Rev has a super voice for this music and Estelle does a nice job of driving this train. Bratcher plays some cool blues riffs on this track and all of a sudden the dance floor is full...sit the hell down...I can't see! The looser Bologna Sandwich Man is a little 2 step kind of track with a slick little slide guitar work. Overall this is a really cool release and one I think anyone liking their blues funky style served up with some cool guitar isn't gonna wanna miss!

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 Sorry that I could not find an appropriate video... this one is cool but not from the cd.

WANG DANG DOODLE - MS. SILKY SO L

WHO IS “MS. SILKY SOL” If you love Etta James, Tina Turner, Chaka Kahn, Jill Scott, Aretha Franklin and Koko Taylor, “You’ve got to experience” Ms. Silky Sol the RED AFRO QUEEN After serving as a PROFESSIONAL BACKGROUND SINGER for major recording labels, artist and producers for over 27 years, sharing the stage Head Lining with or as a Background Singer to name a few such artists as: The O Jays The Whispers Chrisette Michele Frankie Beverly & Maze, Tina Marie R-Kelly Narda Michael Walden India Arie, Pebo Bryson Jeffery Osborn The Mighty Clouds of Joy Andrea Couch Gladys Knight Barbara Mandrel Mary j Blige Death Row Records Epic Records Warner Brothers Records As an Independent Solo artist, her quest is to “Bridge the Gap” between traditional and new generational SOULFUL BLUES listeners with her “Bluesy/Gospel tones and Neo- Soul Funky Style that captures the ears and sights of both Young and Old while “KEEPING SOULFUL BLUES ALIVE”! TESTIMONIALS: • THE LATE GREAT SOLOMON BURK: (opening act 2009 New Orleans Jazz Festival) “That lil lady brings the “ HOT SAUCE TO THE STAGE” • JAZZ GREAT AND MR. NEW ORLEANS ALLEN TOUSSAINT: “POWERHOUSE – ELECTRIC – SOULFUL BLUES DIVA” I look forward to her performance every year! • KEVIN JOHNSON Music Critic St. Louis Post Dispatch: Ms. Silky Sol is “REFRESHING”, “ HOT”; “ HER MUSIC AND DELEVERY TELLS IT LIKE IT IS” Ms. Silky Sol’s musical roots run extremely deep beginning with the love of gospel music. Born as Felicia Summerville, daughter of the late great gospel artist, promoter and radio announcer Ruby Summerville Dickson & her late father & quartet singer Deacon Elmer Jones; her uncle Deacon Willie T. Summerville, music professor at the University of Illinois & and the minister of music for 43 years of the National Baptist Convention her grand- father, the late Deacon Moses Summerville, Silky spread her wings early at the age of three in her church choir. 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 Ain't Got Nobody - Red McKenzie & His Mound City Blue Blowers

Red McKenzie (William McKenzie) (Oct. 14, 1899, St. Louis, Missouri - Feb. 7, 1948, New York City) was an American jazz musician. He was the best-known, and one of the only, comb players in jazz history. McKenzie played the comb by placing tissue paper over the tines and blowing on it, which produced a sound similar to a kazoo. McKenzie also played the kazoo proper, and occasionally sang. He was a co-founder, with Jack Bland, of the Mound City Blue Blowers, who released a number of titles between 1924 and 1925 and were, for a time, a sensation. At the same time, McKenzie also recorded solo as Red McKenzie & the Candy Kids. In 1928, he fronted a group called McKenzie and Condon's Chicagoans for a few sides on Okeh Records. He returned to the Mound City name again in 1929, 1931, and 1935-36. Beginning in 1931 (no doubt due to the popularity of crooners like Bing Crosby and Russ Columbo), he started recording as a singer, processing a very warm crooner style as a solo for Columbia and with Paul Whiteman in 1932. He sang again with the Spirits of Rhythm in 1934 and the Farley-Riley group in 1935. He made two swinging vocal records for Variety in 1937. Between 1939 and 1943 he went into retirement, moving back to his birthplace of St. Louis and working in a brewery, but appeared with Eddie Condon between 1944 to 1947 as a vocalist. Known as heavy drinker, he died of liver cirrhosis in 1948. 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!

My Heart Is Crying - Cash McCall

Guitarist Cash McCall has segued from gospel to soul to blues over a distinguished career spanning more than three decades. Born Morris Dollison, Jr. in 1941 in Missouri, he found that the best way to exit his rural existence was to enlist in the Army. After completing his hitch, he relocated in Chicago (where his family lived for a time when he was a child). Gospel was Dollison's initial passion -- he sang with the Gospel Songbirds (he also played guitar with the group, recording with them for Excello in 1964 with fellow future R&B hitmaker Otis Clay singing lead) and the Pilgrim Jubilee Singers. By age 20, he was working as a songwriter for Chess Recording Company in Chicago, writing for such artists as Muddy Waters, Howlin' Wolf, Little Johnny Taylor and Little Milton. His list of published songs number over 360. As a guitarist, he developed a style and stage presence he best put to use with his long time friend Minnie Ripperton, as well as with Natalie Cole, Etta James, Willie Dixon, The Temptations, The Drifters, The Coasters and Rotary Connection. McCall was a valuable session guitarist and composer at Chess, learning the business end of his trade from Chess in-house legend Willie Dixon. McCall's blues learnings grew more prominent during the next decade. He cut an LP for Paula in 1973 called Omega Man before relocating to L.A. in 1976. In 1983 McCall released his first solo record in ten years, No More Doggin', and followed it up with Cash Up Front in 1987. McCall's ties to Willie Dixon remained strong; he co-produced Dixon's Grammy-winning Hidden Charms in 1988 and worked as a sideman with Dixon's band, the Chicago All-Stars. McCall has since toured frequently as a solo blues artist and has often appeared on stage with the Chicago Rythym and Blues Kings (who were formerly known as the Mellow Fellows), backed singer Big Twist, and performed in the Chicago Blues Review. Now, after 20 years, Cash was picked by Alex Dixon (grandson of the legendary Willie Dixon) and has come back strong with his new CD titled The Vintage Room. The songs have a true Chicago Blues feel, and were written, arranged and produced by Alex Dixon. His raspy vocals and amazing guitar solos capture a sound unlike many today. If you are a fan of Willie Dixon, Muddy Waters and Howlin’ Wolf…..you will soon be a fan of Cash McCall! 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!

Night Train - Jimmy Forrest with Count Basie

Jimmy Forrest (January 24, 1920 – August 26, 1980) was an African American jazz musician, who played tenor saxophone throughout his career. Forrest is famous for his first solo recording of "Night Train". It reached No. 1 on the Billboard R&B chart in March 1952, and stayed at the top for seven weeks. "Hey Mrs. Jones" (#3 R&B) and "Bolo Blues" were his other major hits. All were made for United Records, which recorded Forrest between 1951 and 1953. He recorded frequently as both a sideman and a bandleader. Born Jimmy Robert Forrest Jr., in St. Louis, Missouri, United States, he played alongside Fate Marable as a young man. He was with Jay McShann in 1940-42 and with Andy Kirk from 1942–48, when he joined Duke Ellington. During the early 1950s, he led his own combos. He also played with Miles Davis, in early 1952 at The Barrel Club. After his solo career, he played in small combos with Harry "Sweets" Edison and Al Grey, as well as appearing with Count Basie. Late in life Forrest married Betty Tardy, and settled in Grand Rapids, Michigan, where he died in August 1980, aged 60. 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”

Hello Harvelle's (Long Beach)!: Blowin' Smoke Rhythm & Blues Band In Concert

Hotter Than St. Louis BBQ!
Larry "Fuzzy" Knight Presents... 

Blowin' Smoke  - St. Louis-Style Rhythm & Blues Revue
Saturday, February 2@Harvelle's/Long Beach  

            

Larry "Fuzzy" Knight (pictured above, second from left; and below) fronts high-energy eleven-piece ensemble, Blowin' Smoke Rhythm & Blues Band, with hot, sultry and sassy, female singing trio, The Fabulous Smokettes. They're in concert Saturday, February 2 at Harvelle's in Long Beach.   

                       

  (LONG BEACH) - The Blowin Smoke Rhythm & Blues Band is hotter than St. Louis BBQ and twice as tasty! Catch the acclaimed longtime eleven-piece R&B/Blues/Soul ensemble in concert at Harvelle's Downtown Long Beach, 201 E. Broadway, Saturday, February 2. 9 p.m.-1 a.m. $10. Info: (562) 239-3700 or http://longbeach.harvelles.com/.  

 

   For nearly two decades, Blues/R&B/Soul group Blowin' Smoke has been one of the most in-demand, successful bands on the Southern California live music circuit. Front and center in Blowin' Smoke is its creator, bandleader/bassist/vocalist, Larry "Fuzzy" Knight - whose impressive musical resume' includes a decade-plus stint as bassist for one of the great SoCal bands to emerge from the psychedelic era of the Sixties, Spirit.  Knight has also recently launched a new band project, Sky King, featuring some top-name musicians, all the while keeping Blowin' Smoke going strong. 

    In a recent review of the band's Beyond the Blues Horizon CD, BMans Blues Report writes, 'lead vocalist and bass player Larry 'Fuzzy' Knight delivers the goods..."C.O.D." is a hot R&B track featuring Michael Murphy on Hammond and Jimmy Delgado rippin' a great lead guitar...this is the kind of recording you can put on while you're working and driving and it will make the day fly...great tracks, great instrumentation, great vocals and great energy." In another review of the same album, the L.A. Music Examiner states, "this eleven-person act emphasizes electric rhythm and blues with a touch of funk, rock, and Southern soul...the Fabulous Smokettes are a tuneful trio of ladies."  

   Here's the Blowin' Smoke Rhythm And Blues Band performing Aretha Franklin's "Won't Be Long" recently at Harvelle's/Santa Monica. 

               

 

                                            www.blowinsmokeband.com 

                    https://www.facebook.com/blowinsmokeband?ref=ts&fref=ts  

Beyond The Blues Horizon - CD Review - BMans Blues Report     

Larry "Fuzzy" Knight - All Access Magazine -  Interview

Beyond The Blues Horizon - CD Review - L.A. Music Examiner 

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You Know I Love You Baby - The Soulard Blues Band

ART DWYER Born in 1946 and raised in St. Louis, Art Dwyer grew up on the city's north side. "Rufus, the Dells, T-Bone Walker, Otis Redding, and of course, Albert and B.B. King were my music. It fit in with everything my friends and me did. "Art drifted around for quite some time, working as a union organizer, a Maritime employee and a ditch digger, but he never lost the music. "There was always a dance party or jam session going on somewhere. That's how the Soulard Blues Band came together."Art has performed with the great Henry Townsend, J.B. Hutto, Little Johnny Taylor, Fernest Arceneaux and the Thunders, the Zydeco Farmers, Larry Davis, the legendary Billy Gayles, Chuck Berry, Doc Terry, Tommy Bankhead, Albert Collins and many others. In 1978, Art organized the Soulard Blues Band. Since 1987 Art has been a disc jockey on St. Louis' number one community radio station, KDHX 88.1 FM, hosting the weekly blues program, "Blues in the Night". MARTY ABDULLAH Bio coming soon TOM MALONEY Tom Maloney has been playin’ the blues for a long time. During that time he has entertained blues lovers all over these United States, Europe, (Germany w/the Soulard Blues Band) and South America. Tom is a musician’s musician. In his younger days he was known to get out on the highway with his guitar and his amp and his thumb, sometimes hitchhiking 150 miles just to get to the “gig”. Being a session man in St. Louis may not garner great riches but it brings a special honor to those who get the call to play with the venerable world class musicians that have made St. Louis, Missouri their home. Men like piano player Johnnie Johnson, who is in the Rock and Roll Hall of Fame and Oliver Sain, and Benny Smith, who gave guitar lessons to Ike Turner . These days you could count Tom Maloney among that esteemed group. Tom first joined the SBB for four years back in the early 80’s and has always been there to help out over the years. He has done stints in the Johnny Johnson Band and The Benny Smith Band and has been the musical director for groups in Las Vegas and Arizona. Look for a re-release of the 1982 SBB album “ Nothing to Lose” with Tom on guitar. BRIAN CASSERLY Bio coming soon KIRK “Dr. Drum” GRICE Kirk Grice, a native St. Louisan, played with Soulard Blues Band from’81 to ’95 and rejoined the band in the 21st century. During an eight year hiatus Kirk pursued a career as a professional boxing referee while performing with a number of local and national artists. Performances with national touring acts include Fred Wesley, Chuck Berry, WyntonMarsalis, Maceo Parker, Little Johnny Taylor and Jimmy Smith. Recordings with local artists include Soulard Blues Band, C. Felton, The Unity ArtEnsemble, and the Nuclear Percussion Ensemble. With many early years under the tutelage of the great Sonny Hamp, Kirk has never stopped growing as a drummer and percussionist. Thirty-five years worth of playing has taken him to a variety of ensembles and musically- related work, including twenty years as a percussion accompanist for dance schools and professional dance organizations among which are Washington University dance department, Dance St. Louis, COCA and Parkway School District’s Dance Discovery Project. The title “Dr.Drum” was affectionately given to Kirk by devoted students and dancers.Recent performances with Mojo Syndrome, Bob Case and the Wild Accusations, Bennie Smith and Urban Blues Express, and hometown jazz groups like the Bosman Twins, Ptah Williams, Mae Wheeler, and Bill Tucker keep Kirk current and in demand on the St. Louis Blues and Jazz scene in St. Louis.Kirk continues to referee professional and amateur boxing in his spare time while continuing his education. “I got a calling to return toschool.”Kirk is a dedicated musician and is always in pursuit of knowledge and development as a person. “I believe in the healing power of music” is a favorite quote of Dr. Drum’s. 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!

Cheating and Lying Blues - Doctor Clayton

Doctor Clayton (April 19, 1898 - January 7, 1947) was an American blues singer and songwriter. Peter Joe Clayton was born in Georgia, though he later claimed he had been born in

Africa, and moved to St. Louis as a child with his family. He had four children and worked in a factory in St. Louis, where he started his career as a singer (he could also play piano and ukelele, though he never did so on record). Clayton recorded six sides for Bluebird Records in 1935, but only two were ever issued. Clayton's entire family died in a house fire in 1937; following this Clayton became an alcoholic and began wearing outsized hats and glasses. Moving to Chicago with Robert Lockwood, he received attention from Decca Records but ultimately returned to Bluebird, recording with them again in 1941-42. He also recorded for Okeh Records at this time. Among the songs he wrote were "Cheating and Lying Blues", frequently covered by other blues artists; "Pearl Harbor Blues", written after the Pearl Harbor bombing of 1941; and "Moonshine Woman Blues", which became a chart hit for B. B. King under the name "The Woman I Love" in 1968. He recorded again in 1946, recording the tunes "Hold That Train, Conductor" and "I Need My Baby" which were also both covered by King.[1] Most of his later recordings featured Blind John Davis on piano. He was a regional sales success and played regularly in Chicago nightclubs with Lockwood and Sunnyland Slim. Clayton died of tuberculosis in January 1947, in Chicago, shortly after his second recording session. Big Bill Broonzy and Tampa Red attended his funeral. Document Records has released all of Clayton's output recorded between 1935 and 1942 on one CD; Old Tramp Records released the remaining 1946 recordings. 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 Rev Jimmie Bratcher Is "Secretly Famous" on New Blues-Rock CD Coming March 5

The Rev Jimmie Bratcher Is Secretly Famous on New Blues-Rock CD Coming March 5 on Ain’t Skeert Tunes

Latest Album from Singer/Guitarist Was Produced by Multi-Grammy-Winner Jim Gaines

KANSAS CITY, MO – The Rev Jimmie Bratcher announces a March 5 release date for Secretly Famous, the latest CD from the blues-rock singer/guitarist, coming from Ain’t Skeert Tunes. Produced by multi-Grammy-winner Jim Gaines and recorded at his Bessie Blue Studio in Stantonville, Tennessee, Secretly Famous marks the second time the two have collaborated on an album project; Gaines also produced Bratcher’s 2006 release, RED.

“Secretly Famous is my seventh album but I really feel like it’s my first,” says Bratcher. “This album is different for me because I went further back into my roots than on any of my other albums, back to a time before I became “The Rev.” Back to the blues-rock root that I learned playing that old guitar.”

“That old guitar” Bratcher refers to is a classic white 1964 Gibson SG Jr., which he played on the new CD. And there’s a story behind how he got the guitar and how it set him on the path to become a musician as a youngster growing up in Kansas City.

“In the driveway was a 1958 Desoto; in the house were a 12-year-old boy and his dad with a plan,” recalls Bratcher. “‘Will trade 1958 Desoto for electric guitar and amplifier,’ was how the ad read in the Kansas City Star newspaper. One call came and I went home with a beautiful white Gibson SG Jr. and a Gibson amplifier. That’s where it all started and I still have both the guitar and amp to this day.”

On that day was not only a musician born, but also a self-confessed “guitar freak,” who plays several different vintage guitars and amps on Secretly Famous. “I never understood the attraction to vintage guitars till one day it hit me,” says Bratcher. “There’s something very special about playing a guitar that has had a lifetime of music played through it. I consider playing guitar as a gift. Throughout my life I’ve received many guitars as gifts. In fact most of the guitars that I own were given to me as gifts.  They are constant reminders to me that music is a gift to us all and it’s my honor to play it for you. Oh yeah, the songs I played the SG on are the solos of “I Can’t Shake That Thing” & “Starting All Over Again.”

And if you didn’t already know it, Jimmie Bratcher is a bona fide preacher, who regularly spends his time when not performing at clubs and festivals around the world, visiting souls who need a lifeline, including frequent performances for prison inmates all over the country. 

Backing The Rev Jimmie Bratcher on Secretly Famous  are Craig Kew on bass, known for his work with the group Proto Kaw, which features guitarist Kerry Livgren from the legendary band Kansas; Lester Estelle Jr. on drums, a Nashville-based skin-slammer who is currently touring with Big and Rich and also co-owns Off the Wall Studios on Music Row; and keyboardist Rick Steff,  a mainstay at Jim Gaines’ recording sessions who’s based in Memphis and also plays in the acclaimed band Lucero.

Secretly Famous features an even-dozen tracks including 10 originals and two scintillating covers: The Rev’s boogie-in’ take on John D. Loudermilk’s classic “Tobacco Road;” and a beautiful reading of the Association’s ‘60s hit, “Never My Love,” that brings s new depth of feeling and emotion to the song. Another track of note is “Check Your Blues at the Door,” an original blues shuffle destined to become a fan favorite and blues lover’s anthem. 

   

“I wrote most of the songs on Secretly Famous and had the honor of co-writing the opening track, ‘Jupiter & Mars,’ with my son Jason,” says Bratcher. “The song was Jason’s idea and once I read the first line – ‘Blinding light, flash of chrome, hot-head blonde in a tricked out Ford’ - I was hooked. There’s also something about my playing on this song that is just wrong enough to be right and the groove drags you into the song so you can’t help but feel it. All the songs I wrote on Secretly Famous are for people like me.  People that hurt, that love, that laugh, people that need to forget about their troubles and enjoy life.”

For more information on the artist, visit www.therevjb.com.

What Kind Of Fool - The Mojo Roots - New Release Review

I just received the newest release (January 18, 2013), What Kind Of Fool, from the Mojo Roots and it's a barn burner. First I'm going to say that I will of course draw parallels to other bands and songs but these guys are all original and have put together a really sweet recording. The recording opens with What Kind Of Fool, the title track, which is written loosely over ABB's arrangement of Statesboro Blues. This is a cool track and the familiarity of the slide riffs and basic arrangement adds rather than detracts from the whole. I like it. Trevor 'TJ' Judkins rips through Mr. Allman like riffs adding his own style and originality. The second track, I Got The Blues, is a morphing of the Thrill Is Gone and a Savoy Brown arrangement of a classic R&B track with a new melody and a new spin again sounding very fresh. (If you don't know, I love classic Savoy Brown). Jordan Thomas has strong control over the vocals and is a perfect match for this type of blues rock band. TJ has just the right touch on guitar playing soulful blues solos without going over the top as some guys tend to do. Green-Eyed Baby, featuring Thomas on vocals and harp is up next. This track has a Key To The Highway style but again with a new song built aver a spectacular foundation is a certain winner. With Jim Rush (bass) and Andy Naugle (drums) the stage is set for TJ to play a very crisp guitar solo on this track. That Kind Of Girl has a Robert Cray style riff line but the track again takes a new turn with a a beat and hook line which will likely bee fairly popular on the airwaves. Otis Redding's I've Been Loving You Too Long is a nice soulful ballad smack in the middle of the set. This track is hard to compete with head to head but The Mojo Roots do a nice job at it with TJ stepping in with some hot riffs as the track builds. This is certain to be a crowd pleaser live. White Chicken Chili is a cool modern blues rocker with the poise of the Butterfield Blues Band playing the Work Song during the East West days with some Willie Dixon stirred in. The track has great balance between hot guitar riffs and lush harp riffs. This may be the best track on the release. Deaf, Dumb and Blind has a simple R&B theme and is set up as a simple ballad. The melody and performance are first class. TMR put up a really interesting arrangement of the traditional Hush (Somebody's Calling My Name). I have heard this track done many times but TMR have taken it to a new place and it is really done well. The melody is broadened and further explored. To a passive listener I believe it is not recognizable as an old spiritual. Excellent. John Mayall's, It's Over, is up next and The Mojo Roots really have it swingin'. TJ and Thomas play a tandem harp/guitar solo and then complimentary and it is well fit into another really well constructed and executed track. Not Loving You is heavily R&B influenced and has that warm familiar sound. TJ plays some really cool arpeggios on guitar throughout the track and closes with a single hot guitar riff. The recording is closed with one of my favorite harp tracks, Hoy Hoy Hoy. I was first introduced to this by King Biscuit Boy and from that time on I was hooked. In this case, TJ gets the opportunity to take a great few guitar treks and then of course the hot harp work by Thomas. This is a great new release and one that I think anyone who like modern blues tracks will really enjoy. I can see my pal Blues Ace whistling at near ear piercing levels and stompin' his foot as this track blows through.
  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”

Can't Make Another Day - Edith North Johnson

Edith North Johnson (January 2, 1903 – February 28, 1988) was an American classic female blues singer, pianist and songwriter. Her most noted tracks were "Honey Dripper Blues", "Can't Make Another Day" and "Eight Hour Woman". She wrote another of her songs, "Nickel's Worth of Liver Blues". Born Edith North, in 1928 she married a local record producer, Jesse Johnson. She originally worked at her husband's Deluxe Music Store as a sales person. Although not a professional singer, between 1928 and 1929 Johnson recorded eighteen sides. She started on QRS Records in 1928, later switching to Paramount. Her output tally included those from a recording session in Grafton, Wisconsin, for the Paramount label with Charley Patton. Oddly, it is now reckoned that Patton did not play on any of her recordings. During World War II, Johnson managed a taxicab operation in St. Louis, as well as later running Johnson's Deluxe Cafė after her husband's death in 1946. By 1961, she had returned to recording when Samuel Charters tracked her down. She was accompanied by Henry Brown on Charters' set entitled, The Blues in St. Louis. It was released by Folkways. Using pseudonyms such as Hattie North (on Vocalion) and Maybelle Allen, Johnson also earlier waxed additional tracks for other small labels. Under the Hattie North name, she recorded "Lovin' That Man Blues" with Count Basie. Her recording of "Honey Dripper Blues" was the inspiration for the nickname used by Roosevelt Sykes. In her later life, Johnson spent time undertaking social work in her hometown. Johnson died in St. Louis in February 1988, at the age of 85. Four of her songs appeared as part of the boxed set, Screamin' and Hollerin' the Blues: The Worlds of Charley Patton (2001). 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”

Don't You Ever Leave Me All Alone - Andrew "Voice" Odom

Eminently capable of serving up spot-on imitations of both Bobby "Blue" Bland and B.B. King, Andrew Odom was also a man of many interrelated nicknames: Voice, Big Voice, B.B., Little B.B., B.B. Junior. Perhaps his chameleonic talents held him back; Odom was a journeyman Chicago singer who recorded relatively sparingly. Like the majority of his peers, Odom started out singing spirituals but fell in with Albert King and Johnny O'Neal on the St. Louis blues scene of the mid-'50s and began plying his trade there. He made an unobtrusive recording debut in 1961, singing "East St. Louis" with the band of one Little Aaron for the highly obscure Marlo imprint. He arrived in Chicago around 1960, hooking up with Earl Hooker as the slide guitar wizard's vocalist. A single for Nation Records in 1967 (as Andre Odom) preceded his debut album for ABC-BluesWay (cut in 1969, it remained in the can for quite a while before the label finally issued it). A guest spot on Jimmy Dawkins' encore Delmark LP, All for Business, was a highlight of the '70s for the singer. He cut his own album for the French Isabel label in 1982 in the company of Magic Slim & the Teardrops (reissued by Evidence in 1993), but it was a 1992 set for Flying Fish, Goin' to California (co-produced by guitarist Steve Freund), that probably captured his considerable vocal charms the best. Odom was a popular attraction on the Windy City circuit right up until the fateful night when he suffered a heart attack while driving from Buddy Guy's Legends to another local blues mecca, the Checkerboard Lounge. He's been missed ever since. 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!

Top R&B/Blues Ensemble Blowin' Smoke Return To Harvelle's For Pre-Christmas Concert/Dance Party

Hotter Than St. Louis BBQ!
Larry "Fuzzy" Knight Presents... 

Blowin' Smoke  - St. Louis-Style Rhythm & Blues Revue
Saturday, December 22@Harvelle's   

            

 Larry "Fuzzy" Knight (pictured below) fronts high-energy eleven-piece ensemble, Blowin' Smoke, along with the hot, sultry and sassy, Fabulous Smokettes. They're in concert this Saturday night, December 22 at long-renowned blues club Harvelle's in Santa Monica.   

                      

    (Santa Monica) -   Blowin' Smoke is hotter than St. Louis BBQ and twice as tasty! Catch the acclaimed eleven-piece R&B/Blues/Soul ensemble in concert this Saturday, December 22 at Harvelle's, 1432 4th St., Santa Monica. 9 p.m.-till? Info: (310) 395-1676 or https://www.facebook.com/harvelles?ref=ts&fref=t

    For nearly two decades, Blues/R&B/Soul group Blowin' Smoke has been one of the most in-demand, successful bands on the Southern California live music circuit. Front and center in Blowin' Smoke is its creator, bandleader/bassist/vocalist, Larry "Fuzzy" Knight - whose impressive musical resume' includes a decade-plus stint as bassist for one of the great SoCal bands to emerge from the psychedelic era of the Sixties, Spirit.  Knight has also recently launched a new band project, Sky King, featuring some top-name musicians, all the while keeping Blowin' Smoke going strong. 

    In a recent review of the band's Beyond the Blues Horizon CD,  BMans Blues Report writes, 'lead vocalist and bass player Larry 'Fuzzy' Knight delivers the goods..."C.O.D." is a hot R&B track featuring Michael Murphy on Hammond and Jimmy Delgado rippin' a great lead guitar...this is the kind of recording you can put on while you're working and driving and it will make the day fly...great tracks, great instrumentation, great vocals and great energy," the review concludes. 

   Check out Blowin' Smoke's terrific live rendition of 2013 Rock 'N' Roll Hall Of Fame inductee Albert King's song, "Let's Have A Natural Ball."

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!

Feel So Good - Andrew 'Big Voice' Odom

Eminently capable of serving up spot-on imitations of both Bobby "Blue" Bland and B.B. King, Andrew Odom was also a man of many interrelated nicknames: Voice, Big Voice, B.B., Little B.B., B.B. Junior. Perhaps his chameleonic talents held him back; Odom was a journeyman Chicago singer who recorded relatively sparingly. Like the majority of his peers, Odom started out singing spirituals but fell in with Albert King and Johnny O'Neal on the St. Louis blues scene of the mid-'50s and began plying his trade there. He made an unobtrusive recording debut in 1961, singing "East St. Louis" with the band of one Little Aaron for the highly obscure Marlo imprint. He arrived in Chicago around 1960, hooking up with Earl Hooker as the slide guitar wizard's vocalist. A single for Nation Records in 1967 (as Andre Odom) preceded his debut album for ABC-BluesWay (cut in 1969, it remained in the can for quite a while before the label finally issued it). All for Business A guest spot on Jimmy Dawkins' encore Delmark LP, All for Business, was a highlight of the '70s for the singer. He cut his own album for the French Isabel label in 1982 in the company of Magic Slim & the Teardrops (reissued by Evidence in 1993), but it was a 1992 set for Flying Fish, Goin' to California (co-produced by guitarist Steve Freund), that probably captured his considerable vocal charms the best. Odom was a popular attraction on the Windy City circuit right up until the fateful night when he suffered a heart attack while driving from Buddy Guy's Legends to another local blues mecca, the Checkerboard Lounge. He's been missed ever since. 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 Jeremiah Johnson Band w/The Sliders

Don’t be fooled by the baby boy good looks. With lyrics like “I was born in a tavern on the banks of the Mississippi” and a horn section that hammers the groove, Jeremiah Johnson is the new face of Mississippi River blues. Walk into a gin joint in St. Louis and you’ll likely hear the familiar “blues” sound that made the area famous. It’s lyrics about the struggles of daily living with the hallmark blues style guitar that rips at your soul and soothes the spirit.Johnson takes that rich heritage but also blends influences that shaped his rugged youth like Eric Clapton, Jimmy Hendrix, BB King, Albert Collins, Albert King, Johnny Winter, Alvin Lee from Ten Years After, Les Paul, Chet Atkins, and Hank Williams Sr. and Jr., to name just a few. On top of a rich gumbo of solid songwriting, Johnson kicks it up a notch with The Sliders, Jim Rosse (trumpet) and Stuart Williams (sax). In their 25-year tenure together, The Sliders have toured with Little Feat, Johnnie Johnson, Bob Weir of Rat Dog, and have played with too many great players to mention them all. Paired together with The Jeremiah Johnson Band, you get an energized entertainment experience that will put the honky tonk in major venues to come. 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!

JULIA'S BLUES - Julia Lee

Julia Lee (October 31, 1902 – December 8, 1958) was an American blues and dirty blues musician. Born in Boonville, Missouri, United States, Lee was raised in Kansas City, and began her musical career around 1920, singing and playing piano in her brother George Lee's band, which for a time also included Charlie Parker. She first recorded on the Merritt record label in 1927 with Jesse Stone as pianist and arranger, and launched a solo career in 1935. In 1944 she secured a recording contract with Capitol Records,[1] and a string of R&B hits followed, including "Gotta Gimme Whatcha Got" (#3 R&B, 1946), "Snatch and Grab It" (#1 R&B for 12 weeks, 1947, selling over 500,000 copies), "King Size Papa" (#1 R&B for 9 weeks, 1948), "I Didn't Like It The First Time (The Spinach Song)" (#4 R&B, 1949), and "My Man Stands Out". As these titles suggest, she became best known for her trademark double entendre songs, or, as she once said, "the songs my mother taught me not to sing". The records were credited to 'Julia Lee and Her Boy Friends', her session musicians including Jay McShann, Vic Dickenson, Benny Carter, Red Norvo, Nappy Lamare, and Red Nichols. She was married to Frank Duncan, a star catcher and manager of the Negro National League's Kansas City Monarchs. He, like Julia, was a native of Kansas City. Although her hits dried up after 1949, she continued as one of the most popular performers in Kansas City until her death in San Diego, California, at the age of 56, from a heart attack 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!

Mary Had A Little Lamb/Texas Flood - Aaron Griffin

Only 16 years of age, he's already been a professional musician since the age of 13, and possesses a guitar style far beyond his years! His dad is a 35-year veteran of the Blues bands in St. Louis, and Aaron grew around all the great St. Louis Blues musicians, names like Arthur Williams, Boo Boo Davis and Tommy Bankhead. As he's developed his own style, he’s channeled all the Blues guitar greats into his playing. Albert Collins, Robert Cray, and the 3 Kings - Albert King, Freddy King and B.B. King - are just a few he pays tribute to. Currently a senior at Webster High School, it's no surprise he plays guitar AND also plays drums. Come witness the next generation of St. Louis Blues, as Aaron Griffin and the Mojo Risin band take the stage at the Saint Louis Art Fair presented by Sterling Bank! Aaron Griffin - Guitar, Vocals Larry Griffin - Guitar Eric McSpadden - Harmonica 15 year old Stephen Cole - Drums Derek Morgan - Bass 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!