Barry Goldberg in BCI #13 talks about his great fortune playing with Mitch Ryder & The Detroit Wheels on “Good Golly Miss Molly/Devil With The Blue Dress” on his first session, going electric with Bob Dylan, The Electric Flag, Michael Bloomfield, Jimi Hendrix (then Jimmy James), his band with Steve Miller and how he got turned on to the blues in Chicago during the 1950’s. His blues apprenticeship with Muddy Waters and Howlin’ Wolf paved the way. Now he’s in The Rides with Stephen Stills and Kenny Wayne Shepherd. Some tasty piano licks fill in the gaps.
Jazz saxophonist Charles Lloyd and Louisianan folk-rocker Lucinda Charles have combined for a blues drenched summit, Vanished Gardens. Both artists paid their blues dues. Lucinda began her career playing deep cuts from Robert Johnson and Memphis Minnie, while Lloyd blew in Howlin’ Wolf’s band. Throw in Americana, rock, country, and shake it up to create this sonic landscape. The Marvels consist of Bill Frisell on guitar, Greg Leisz on pedal steel guitar and dobro, Reuben Rogers on bass, and Eric Harland on drums. Vanished Gardens was produced by Lloyd, Dorothy Darr, and Don Was.
Williams moaning vocals showcase her poetic gifts and the Lloyd’s soaring sax make this one of the year’s better releases.
Williams’s moaning vocals lend language to the instrumentalists’ improvisations, and their musical inventions trace the implications of her literary forays. A landmark achievement.
Here is a taste of the Jazz Fest 2018 performance on “Dust”
It’s always heartening to see a new face in the historic genre of blues. One such newcomer is 19-year-old Christone “Kingfish” Ingram. A contemporary of BCI #1’s Jontavious Willis, Kingfish brings an old school blues feel to the material. Heres’ looking forward to seeing his career evolve. In the meantime Rolling Stone profiled the Clarksdale, MS native’s rise…
Here is Kingfish playing “Hey Joe”
Otis Rush, one of Chicago blues’ leading lights, passed away on September 29th this year. His playing lives on in landmark recordings such as “All Your Love (I Miss Loving)” and “I Can’t Quit You Baby” impressed Eric Clapton, John Mayall and Jimmy Page – meaning that his sound became part of the tool box for blues rock heroes to come.
In the late 50s and early 60s he was one of Chicago’s brightest rising stars, tagged with Magic Sam and Buddy Guy as a creator of the spiky new West Side sound, but after his first record label, Cobra, went out of business he was signed by Chess, which did little for him, and Duke, which did less. “I started lagging with recordings,” he said later, “and it seemed like all I was meeting up with was crooks.”
Read the Guardian’s full story here:
Rock and Roll Hall of Famer John Oates talks and plays the blues in this recap of his Arkansas album and his dedication to roots music. Find out how the riff for “Can’t Go For That (No Can Do)” came together at Electric Lady Studios in NYC. John plays “Stack O’ Lee” (Mississippi John Hut) and “That’ll Never Happen No More” (Blind Blake) showing off the bumble bee pick. John gives a shout out to Arif Mardin for inspiring his producing style. Subscribe to catch the series.
Will Bernard in BCI #11 details his collaborations with Charlie Hunter, Stanton Moore, John Medeski and Peter Apfelbaum in this jazzy, funky story with a few twists. Indian guitarist Vishwa Mohan Bhatt provided a stimulus for Will’s singular slide guitar sound.
Will has played guitar on 43 albums as a guest artist! Compelling clips from Raw Music and Ric’s 1998 interview provide an exclusive 3 decade window into the work of a string master. Country Funk gets a mention, it’s Ric’s weekly radio show 10-noon fridays on WTUL 91.5 FM.
Nicholas Payton center stage at Satchmofest
BCI #14 woodshedding with soul drummer James Gadson
In BCI #13 find out how you get Bob Dylan and Jerry Wexler to coproduceyour solo lp? Find out from keyboardist Barry Goldberg in BCI #13 coming soon to bluescenters.com
Ivan Neville in a Sly set