Noticias Internacionales / International Blues News


The Blues Foundation Announces 2021 Blues Music Awards Nominees, WINNERS & Online Delivery Ceremony on 6 June

(Memphis, TN) – The Blues Foundation is announced the nominees for the 2021 Blues Music Awards. Thanks to all the nominators commitee and congratulations to all musicians, producers, engineers and record labels for making such stellar music this past year!

This event brings together Blues performers, industry representatives, and fans from all over the world to celebrate the best in Blues recordings and performances from the previous year. The BMAs are generally recognized as the highest honor given to blues musicians and are selected by a nominators commitee awarded by vote of Blues Foundation members.

The 2021 BMAs will be presented as a virtual event on Sunday, June 6, 2021. The world is invited to watch the celebration, which will be streamed on our Blues Foundation Facebook and YouTube channel. You can be part of the Blues Music Awards’ honored tradition by tuning in via Facebook or YouTube on Sunday, June 6. Winners will be announced in 25 categories highlighting the superlative talent of blues artists. As always, the best of the blues will be showcased and applauded. Tune into the 42nd Blues Music Awards presented by Global Electronic Technology – you won’t want to miss it!

And the nominees and WINNERS for the 2021 Blues Music Awards are...

B.B. King Entertainer of the Year

Rick Estrin
John Németh
Sugaray Rayford
Lil' Ed Williams

Album of the Year

100 Years of Blues, Elvin Bishop and Charlie Musselwhite (winner)
Rawer Than Raw, Bobby Rush
Rise Up, Ronnie Earl & The Broadcasters
Too Far From the Bar, Sugar Ray & The Bluetones featuring Little Charlie
Uncivil War, Shemekia Copeland

Band of the Year

Anthony Geraci & The Boston Blues Allstars
John Németh & The Blue Dreamers
Rick Estrin & The Nightcats (winner)
Southern Avenue
Sugar Ray & The Bluetones

Song of the Year

“All My Dues Are Paid”, written by Kathy Murray, Rick Estrin, Frank Bey, Kid Andersen (performed by Frank Bey)
“All Out of Tears”, written by Walter Trout, Marie Trout, and Teeny Tucker (performed by Walter Trout) (winner)
“Blues Comin' On”, written by Dion DiMucci and Mike Aquilina (performed by Dion Feat. Joe Bonamassa)
“Is It Over”, written by Don Bryant and Scott Bomar (performed by Don Bryant)
“Uncivil War”, written by John Hahn and Will Kimbrough (performed by Shemekia Copeland)

Best Emerging Artist Album

Hard Workin' Man, Andrew Alli
Harlem, King Solomon Hicks (winner)
Here I Come, Jose Ramirez
High Risk Low Reward, Ryan Perry
Peace In Pieces, Betty Fox Band

Acoustic Blues Album

Dustin Arbuckle & Matt Woods, Dustin Arbuckle & Matt Woods
Prove It On Me, Rory Block
Rawer Than Raw, Bobby Rush (winner)
Three Pints of Gin, Richard Ray Farrell
Traveling Man – Live, Watermelon Slim

Blues Rock Album

Ain't Done Yet, Savoy Brown
Ice Cream In Hell, Tinsley Ellis
Mike Zito and Friends - Rock ‘n’ Roll: A Tribute to Chuck Berry, Mike Zito (winner)
Mississippi Suitcase, Peter Parcek
Ordinary Madness, Walter Trout

Contemporary Blues Album

Cry Out, Kat Riggins
My Blues Pathway, Kirk Fletcher
Self-Made Man, Larkin Poe
Stronger Than Strong, John Németh
Uncivil War, Shemekia Copeland (winner)

Soul Blues Album

All My Dues Are Paid, Frank Bey
Found! One Soul Singer, Sonny Green
That's What I Heard, Robert Cray Band (winner)
Where Have All The Soul Men Gone, Johnny Rawls
You Make Me Feel, Don Bryant

Traditional Blues Album

100 Years of Blues, Elvin Bishop and Charlie Musselwhite (winnere)
Blueswoman, Nora Jean Wallace
Every Day of Your Life, Jimmy Johnson
Rise Up, Ronnie Earl & The Broadcasters
Too Far From the Bar, Sugar Ray & The Bluetones featuring Little Charlie

Acoustic Blues Artist

Dom Flemons
Catfish Keith
Harrison Kennedy
Doug MacLeod
Keb' Mo' (winner)

Blues Rock Artist

Tinsley Ellis
Reverend Peyton
Ana Popovic
Kenny Wayne Shepherd
Mike Zito (winner)

Contemporary Blues Female Artist

Shemekia Copeland (winner)
Samantha Fish
Sue Foley
Ruthie Foster
Shaun Murphy

Contemporary Blues Male Artist

Selwyn Birchwood
Chris Cain
Rick Estrin
Christone "Kingfish" Ingram (winner)
J.P. Soars

Soul Blues Female Artist

Annika Chambers
Thornetta Davis
Bettye LaVette (winner)
Dorothy Moore
Terrie Odabi

Soul Blues Male Artist

William Bell
Don Bryant
John Németh
Johnny Rawls
Curtis Salgado (winner)

Traditional Blues Female Artist (Koko Taylor Award)

Rory Block (winner)
Rhiannon Giddens
Diunna Greenleaf
Trudy Lynn
Teeny Tucker

Traditional Blues Male Artist

Billy Branch
Sugar Ray Norcia
John Primer (winner)
Jontavious Willis
Kim Wilson

Instrumentalist Bass

Willie J. Campbell
Larry Fulcher
Danielle Nicole (winner)
Patrick Rynn
Michael "Mudcat" Ward

Instrumentalist Drums

Tony Braunagel
June Core Derrick “D'Mar”
Martin Bernard
Purdie Kenny
Keeny"Beedy Eyes" Smith (winner)

Instrumentalist Guitar

Christoffer "Kid" Andersen
Chris Cain
Laura Chavez
Kirk Fletcher
Christone "Kingfish" Ingram (winner)

Instrumentalist Harmonica

Billy Branch
Rick Estrin
Dennis Gruenling
Jason Ricci
Kim Wilson (winner)

Instrumentalist Horn

Mindi Abair
Jimmy Carpenter (winner)
Doug James
Mark “Kaz” Kazanoff
Nancy Wright

Instrumentalist Piano (Pinetop Perkins Piano Player Award)

Mike Finnigan
Anthony Geraci (winner)
Johnny Iguana
Bruce Katz
Jim Pugh

Instrumentalist Vocals

Thornetta Davis
Ruthie Foster (winner)
John Németh
Sugar Ray Norcia
Sugaray Rayford

Congratulations to all winners and nominees!!





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It is always fascinating to see who makes the final nomination cut in the Grammy's
. The most part the nominees are seasoned blues veterans with a huge recognition in blues field



Best Traditional Blues Album:

"All My Dues Are Paid", Frank Bey
"You Make Me Feel", Don Bryant
"Thats Wht I Heard", Robert Cray Band
"Cypress Groove", Jimmy "Duck" Holmes
"Rawer Than Raw", Bobby Rush (Winner)


"Have You Lost Your Mind Yet", Fantastic Negrito (Winner)
"Live at The Paramount", Ruthie Foster Big Band
"The Juice", G. Love
"Blackbirds", Bettye LaVette
"Up and Rolling" Noth Mississippi Allstars



Siempre es algo fascinante comprobar quienes son los nominados a los premios Grammy. En la mayoría de los casos los nominados son artistas veteranos que han conseguido un enorme reconocimiento en el mundo del blues.


Best Traditional Blues Album:

"All My Dues Are Paid", Frank Bey
"You Make Me Feel", Don Bryant
"Thats Wht I Heard", Robert Cray Band
"Cypress Groove", Jimmy "Duck" Holmes
"Rawer Than Raw", Bobby Rush (Ganador)

Best Contemporary Blues Album:

"Have You Lost Your Mind Yet", Fantastic Negrito (Ganador)
"Live at The Paramount", Ruthie Foster Big Band
"The Juice", G. Love
"Blackbirds", Bettye LaVette
"Up and Rolling" Noth Mississippi Allstars







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GRAMMY Museum® Mississippi's 2020 Gala will be hosted virtually and livestreamed from the Museum in Cleveland, Miss., on Thursday, Nov. 12, 2020.

This year's Gala will honor GRAMMY®-winning blues artist Bobby Rush with the second annual Crossroads of American Music Award. Rush will appear at the Museum's virtual ceremony to accept the award and perform. Additional performers include country music singer/songwriter Steve Azar and GRAMMY-nominated blues musician Cedric Burnside.

This year's virtual Gala will also recognize Amy Killebrew, a teacher at Grenada Elementary School in Grenada, Miss., with the inaugural L.U.C.Y. Award. "We're looking forward to an incredibly inspiring night of celebrating music, those who make it and those who teach it," said Emily Havens, Executive Director of GRAMMY Museum Mississippi. "We couldn't be more thrilled to honor a legendary artist such as Bobby Rush with our second annual Crossroads of American Music Award, and we are excited to celebrate Mrs. Amy Killebrew as the first-ever recipient of our L.U.C.Y. Award. With an amazing performance lineup, it's going to be a night to remember, and one that will help us continue to provide music education experiences and opportunities for the young people of Mississippi and beyond."

“It’s such an honor to receive the Crossroads of American Music Award from the GRAMMY Museum Mississippi,” said Rush. “I can’t thank them enough and can’t find words to say how much I appreciate the recognition for me as a bluesman and a Black bluesman. I‘m so thankful to have someone recognize what I have done and am doing, and during my lifetime while I can still enjoy it, am able to go out and perform, and am still mentally and physically with it. Most of the time people get recognized when they can’t do anything. It’s not a past tense for me. I’m still doing what I do and loving what I do.”

“I am extremely honored to be this year’s recipient of the inaugural L.U.C.Y. Award,” said Killebrew. “This means so much to me. I want to thank the Janoush family for this award and for supporting music education in our schools. Music has always been a huge part of my life. I believe that every child should have access to music education. Music has been proven to increase a child’s performance in academics. It is our job as music educators to allow students to explore their creativity in music. We teach fundamentals of music such as rhythm and notation but music is also about creativity. I hope that I always instill a love of music in each of my students that I teach.”

In conjunction with the 2020 Virtual Gala, GRAMMY Museum Mississippi also kicked off its first-ever online auction on Oct. 23 at Presented by Bidding for Good, the online auction will give individuals the opportunity to bid on unique music experiences, travel opportunities, autographed items from award-winning artists and much more.

Established by the Museum’s Board of Directors, the Crossroads of American Music Award honors an artist who has made significant musical contributions influenced by the creativity born in the cradle of American music. The inaugural recipient of the Crossroads of American Music Award was three-time GRAMMY Award winner Charley Pride. Named after devoted Mississippian and community advocate, Lucy Janoush, who was instrumental in securing funding for the development of the Mississippi Museum, the L.U.C.Y. Award, which stands for Lifting Up Children And Youth, celebrates K-12 educators from the state of Mississippi who embody the educational mission of GRAMMY Museum Mississippi.







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Memphis, Tennessee

MEMPHIS, Tenn.—It will be quite the regal evening when The Blues Foundation salutes its milestone 40th class of Blues Hall of Fame inductees with a special ceremony at the Halloran Centre for the Performing Arts and Education in Memphis on May 8. This year’s lucky 13 honorees represent all five of the Blues Hall of Fame’s categories: Performers, Non-Performing Individuals, Classics of Blues Literature, Classics of Blues Recording (Song), and Classics of Blues Recording (Album). The five performers entering the Blues Hall of Fame this year reflect the breadth of the blues’ influence throughout the music world. The legendary singer Aretha Franklin has been hailed as the Queen of Soul, but the blues is very much a foundation of her music, as albums like Aretha Sings the Blues and her Dinah Washington tribute stand as a testament to. Count Basie busted out of the blues-rich Kansas City music world to become the King of Swing, and the blues certainly has proven integral to his sound. Ida Cox rose to fame in the 1920s during the classic vaudeville blues era. Dubbed “The Uncrowned Queen of Blues,” Cox might not be as well-known as her peers Ma Rainey and Bessie Smith, but she has achieved a lasting influence, particularly with her song “Wild Women Don’t Have the Blues,” which has become a feminist anthem.

Texas-born guitarist Pee Wee Crayton found his greatest success after moving to California, where he became a kingpin of the West Coast blues scene of the late ’40s. From 1948, his tune “Blues After House” represents the first and only instrumental by a guitarist to top Billboard’s R&B (then still called “Race Records) charts. Booker T. & the MG’s, a band synonymous with Memphis and Stax Records, played on a galaxy of great soul and blues albums, including all of Albert King’s Stax studio records in the 1960s. Entering the Blues Hall of Fame in its Business, Academic, Media & Production category this year is Moses “Moe” Asch. While leading Folkways Records and other labels, Asch helped to document and disseminate a remarkable range of roots music. Acoustic blues was prominent among his releases, with Lead Belly, Sonny Terry & Brownie McGhee, Elizabeth Cotten, Reverend Gary Davis, and Big Bill Broonzy among the artists whose records he released.

This year’s selections for landmark recordings spotlight works by several long-time Blues Hall of Famers. Elmore James’ 1965 album The Sky Is Crying and his song “Shake Your Moneymaker” both are entering the Blues Hall of Fame. Last year, the Blues Hall inducted B.B. King’s album Blues Is King, and this year it is recognizing King’s 1954 classic tune “Everyday I Have the Blues.” Muddy Waters adds to his Blues Hall of Fame honors with the induction of his influential 1950 tune “Rollin’ Stone.” Ray Charles’ iconic “I Got a Woman” and Bessie Smith’s signature version of “The St. Louis Blues” round out 2019’s recording honorees. Additionally, the Blues Hall’s choice for the Classic of Blues Literature is the revelatory historical work Lost Delta Found: Rediscovering the Fisk University-Library of Congress Coahoma County Study, 1941-1942, which was compiled by John W. Work, Lewis Wade Jones, and Samuel C. Adams, Jr.

Taking place during Blues Music Week, the Blues Hall of Fame Induction Ceremony will be held May 8 at the Halloran Centre (225 South Main Street, Memphis). A cocktail reception kicks off the festivities at 5:30 p.m. before the Ceremony begins at 6:30 p.m. Tickets are $75 per person. The celebrating continues the next night (May 9) when The Blues Foundation presents the 40th Annual Blues Music Awards at Memphis’ Cook Convention Center (7 p.m. start time). Individual BMA tickets are $150 per person with Tables for 10 at $1,500 each. Both events are open to the public and tickets can be purchased now at THIS LINK. Reservations can be made for The Blues Foundation’s block of rooms at the Sheraton Memphis Downtown and the reservation link can be found at

As part of the Induction Ceremony, the Blues Hall of Fame Museum is securing special items representing each of the new inductees, and those artifacts will be installed and available for viewing beginning May 8. The Museum has been a treasure for both serious blues fans and casual visitors since opening in May 2015. Through intriguing exhibits (including traveling exhibits that rotate every six months) and individualized galleries, it offers an entertaining and educating exploration into all that is blues culture. The Museum features interactive touchscreen displays along with three master databases where visitors can hear the music, watch videos, and read the stories about each of the Blues Hall of Fame’s over 400 inductees. Each gallery also displays a fascinating array of album covers, photographs, historic awards, unique art, musical instruments, costumes, and other one-of-a-kind memorabilia.

The Blues Hall of Fame Museum (421 S. Main St., Memphis) was built through the generosity and support of blues fans so that it would serve all four components of the Blues Foundation’s mission: preserving blues heritage, celebrating blues recording and performance, expanding awareness of the blues genre, and ensuring the future of the music. Its hours are 10 a.m.–5 p.m. Monday-Saturday and 1–5 p.m. on Sundays. Admission is $10 for adults and $8 for students with ID; entry is free for children 12 and younger and Blues Foundation members. You can become a member for a little as $25 per person; find out how by visiting and clicking on Join Now.



Aretha Franklin was long recognized as the Queen of Soul; however, she also was viewed as the Queen of the Blues as well as gospel royalty. Regardless of the genre, her powerful vocal range, striking intimacy, and impeccable timing made her one of the greatest singers ever. Her father, the famous preacher Reverend C.L. Franklin, was from the Mississippi Delta. He moved the family to Memphis (where Aretha was born) before settling in Detroit. He also guided Aretha to sign with John Hammond at Columbia, where her first release was “Today I Sing the Blues. At Atlantic Records she scored hits with “Respect,” “Chain of Fools,” and many others which entered the repertoires of blues and soul bands, including the flip side of “Respect,” “Dr. Feelgood.” Franklin, who died in 2018, garnered more than 20 Grammys (including the Lifetime Achievement Award), along with receiving the prestigious Kennedy Center Honors, the NAACP Vanguard and Hall of Fame awards, and induction into the Rock and Roll Hall of Fame.

William James “Count” Basie, who was born in Red Bank, New Jersey, began his career on the East Coast but his sound was forever linked to Kansas City, a freewheeling crossroads that was a hotbed for both jazz and blues. Dubbed “The King of Swing,” Basie created music rooted in the blues. He played blues piano with an easy, economical touch; wrote or revamped an impressive cache of blues and jump tunes; and employed acclaimed vocalists who could sing the blues with a mastery that matched Basie band’s musicianship such as Jimmy Rushing, Billie Holiday, and Joe Williams. While he has been honored with too many awards to mention, it is only appropriate that the Blues Hall of Fame recognize Count Basie both for the debt he owed to the blues and for what he gave back in return.

Connie Curtis“Pee Wee” Crayton grew up in Austin, Texas and migrated to California in the mid-1930s, living first in Los Angeles and then Oakland. With tutelage from T-Bone Walker and jazz guitarist John Collins, Crayton developed his own guitar style, incorporating their sophistication but picking with a harder edge. One of West Coast blues’ brightest stars, Crayton reached No. 1 in 1948 on Billboard’s “Race Records” chart (renamed “Rhythm & Blues” in 1949) with “Blues After Hours,” which remains the only instrumental credited to a guitarist ever to top the R&B charts. After his chart success ran out in 1950, Crayton continued to display a dynamic flair on later records and delivered many memorable live performances. His periodic guitar battles with longtime friend T-Bone Walker always made headlines. Crayton, who died in 1985, also has been cited as an influence on both Elvis Presley and Chuck Berry.

Booker T. & the MG’s delineated the soulful sound of Memphis playing behind a cavalcade of stars at Stax Records, all the while making instrumental hits of their own. Their first record, 1962’s “Green Onions,” was followed by 14 more chart hits, including ”Hip-Hug-Her” and “Time Is Tight.”The original group — consisting of Booker T. Jones (organ), Steve Cropper (guitar), Lewie Steinberg (bass), and Al Jackson, Jr. (drums) — came together in 1962, with Donald “Duck” Dunn taking over on bass a few years later. They also were an integrated band, which was rare then, particularly in the South. Their Stax, Volt and Atlantic sessions included recordings with Albert King, Otis Redding, Wilson Pickett, The Staple Singers, Rufus Thomas, and Carla Thomas. The group entered the Rock and Roll Hall of Fame in 1992 and received a Recording Academy Lifetime Achievement award in 2007, while “Green Onions” was inducted into the Blues Hall of Fame in 2018.

Ida Cox was touted as the “Uncrowned Queen of the Blues” from the start of her recording career in 1923. Although Ma Rainey and Bessie Smith typically are mentioned as the top stars of the classic vaudeville blues era, Cox was every bit their rival. A high-class entertainer who dressed in the finest gowns, Cox also was a composer of note. Her tune “Wild Women Don’t Have the Blues” has become a feminist anthem, while other titles and verses of hers have resurfaced in the work of legendary bluesmen — for example, “How Long, Daddy, How Long” (Leroy Carr), “Death Letter Blues” (Son House), “Mojo Hand” (Lightnin’ Hopkins) and “I Am So Glad” (Skip James). Cox retired in 1945 following a stroke; however, she was coaxed into recording again during the 1960s blues revival and cut an LP with the Coleman Hawkins Quintet in 1961. Cox passed away in 1967.

Individual (Business, Academic, Media & Production):

Moses “Moe” Asch ranks as one of the preeminent figures in the history of folk music, thanks to his tireless work in releasing more than 2000 albums on Folkways Records along with records on Asch, Disc and his other labels. The extraordinary scope of his catalog encompasses ethnic music from around the globe in addition to spoken word, sounds of nature, and other esoteric audio documentation. Folkway’s blues roster contained such luminaries as Lead Belly, Elizabeth Cotten, Reverend Gary Davis, Champion Jack Dupree, Honeyboy Edwards, Memphis Slim, and Big Joe Williams. Important too were Folkways’ field recordings that documented traditional African-American music from the American South. The educational value of the Folkways albums was further enhanced by detailed liner note inserts, another example of Asch’s pioneering vision. He also made sure that every Folkways record stayed in print, a policy that continued after the Smithsonian acquired his catalog following Asch’s death in 1986.

Classics of Blues Literature

Lost Delta Found: Rediscovering the Fisk University-Library of Congress Coahoma County Study, 1941-1942 presents a unique and valuable perspective on the pioneering Coahoma County study that also was recounted in Alan Lomax’s Land Where the Blues Began, a prior Classics of Blues Literature honoree. Written by African-American scholars from Fisk University, Lost Delta Found documents their crucial but often overlooked work on the project. First planned for publication back in the ’40s, the original manuscript, written by John W. Work with an introduction by Lewis Wade Jones, was submitted to the Library of Congress but was reported missing or misplaced for years. This 2005 Vanderbilt University Press publication, edited by Robert Gordon and Bruce Nemerov, also includes the 1947 master’s thesis by Samuel Adams, who was part of the Fisk crew, along with additional information on the county’s black music that was documented by others during their trips there.

Classics of Blues Recording: Singles:

“Rollin’ Stone” by Muddy Waters stands as a landmark recording for several reasons. Cut in February of 1950, it was the first blues record that Chess ever issued (and the second overall, following a Gene Ammons instrumental). It also is the only classic Chess track Muddy sang and played by himself, demonstrating that he didn’t always need his stellar band in order to deliver a stirring performance. And then, of course, there was that English rock group that took its name from this song as well as a San Francisco-born music magazine whose name drew inspiration from the song title.

“Shake Your Moneymaker” by Elmore James was recorded in New Orleans in 1961, and marked an exuberant, up-tempo departure from the slide guitar master’s deep blues recordings. First issued as a 45 on Bobby Robinson’s Fire label, the single reveals a more hard-driving musical approach than that of its predecessor, “Roll Your Moneymaker,” by Shakey Jake. “Shake Your Moneymaker” has remained popular with rock bands — Black Crowes, George Thorogood, Fleetwood Mac, and Rod Stewart have all recorded it.

“I Got a Woman” by Ray Charles perfectly illustrates the way Charles transformed the sacred into the secular. He heard the Southern Tones’ gospel tune “It Must Be Jesus” (a 1954 Duke Records release) on a car radio, and when he went into the studio in Atlanta on November 18, 1954, he kept the music but changed the words, exemplifying a common assertion that the thin musical line between gospel and blues often lies only in the lyrics. “I Got a Woman” became his first No. 1 R&B hit and remains one of the iconic works in the annals of rhythm & blues.

“Everyday I Have the Blues” rates as one of the most ubiquitous blues tunes. Its late entry into the Blues Hall of Fame reflects the fact that no strong consensus emerged on which of the hundreds of recorded versions was most deserving. B.B. King is most associated with the tune, and so the first of his own many versions gets the honor. Issued as a single on the RPM label, it was recorded on March 2, 1954, and hit Billboard’s R&B charts in January 1955, just weeks before another hit rendition by Joe Williams and the Count Basie band.

“The St. Louis Blues” is one of the most recorded songs of all time, in any genre. Few versions of the W.C. Handy tune, however, can compare with Bessie Smith’s. Part of the magic of this 1925 Columbia single is its spare arrangement. “The Empress of the Blues” was accompanied by only Louis Armstrong on cornet, and Fred Longshaw on pump organ (a rare instrument on recordings during that era). The only surviving film footage of Bessie Smith is a 1929 short film St. Louis Blues, which features her singing the song again; this time backed by a larger group.

Classic of Blues Recording: Album

Elmore James: The Sky is Crying is the other James recording being honored with a Blues Hall of Fame induction this year. James, who died in 1963, did not live to see the release of this 1965 compilation, which was the first U.S. album to collect sides he recorded for Bobby Robinson from 1959-1961. Seven of the 12 tracks on this classic collection were first issued as singles on Robinson’s Fire label, with the other tunes, including a remake of his signature song, “Dust My Broom,” came out on other Robinson imprints, Sphere Sound and Enjoy.








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as every year The Blues Foundation's 35th Annual International Blues Challenge was a HUGE success and a must for all blues lovers.  Many bands compeeted and here are the winners...


HOROJO TRIO (Otawa Blues Society)


THE PITBULL OF BLUES BAND (South West Florida Blues Society)


HECTOR ANCHONDO (Blues Society Of Omaha)

Our Spanish bluesman FELIX SLIM!!! (Long island Blues Society)


Gibson Guitarist Award:

JW-JONES (Otawa Blues Society)

Best Self Produced Cd:



Congratulations to all winners and participants!!







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Scott Ellison Says Now Is His Time to Shine
Interview with Barry Kerzner

Currently, people around the world are enjoying their music at home because for the last few weeks, a great portion of the world has been homebound trying to avoid being infected with the Coronavirus. No live festivals, concerts, or shows. In fact, artists and performers of every persuasion have seen their ability to earn a living shrivel up to a mere pittance. If they’re lucky, they are able to earn some money by performing live shows on Facebook or other social media venues.
It is in this climate that Scott Ellison delivers his best album ever. In fact, he believes Skyline Drive will be the best received music of his career in spite of the dire times we are living through. And why shouldn’t he feel that way? He’s played with everyone from Clarence "Gatemouth" Brown to The Drifters, The Coasters, and Gary “US” Bonds. He’s been putting out winning solo albums for years and playing his music for fans in every corner of our blue planet.
I was privileged to speak with Ellison as he shared moments from his amazing career including being praised onstage by none other than BB King himself. He also provided his perspectives on writing, recording, and performing.

Barry Kerzner: Oklahoma has such a rich musical heritage. Leon Russell, J.J. Cale, Chet Baker, Garth Brooks, Roy Clark, Wanda Jackson, Reba McEntire, and the legendary Woody Guthrie are just some of the great artists the state has produced. How does it feel to be a part of that?

Scott Ellison: It’s the greatest thing in the world. For a guitar player, this is the greatest place in the world to grow up. I’m a baby-boomer so the guys that were my heroes were J.J. Cale, Leon Russell, Barney Kessel from Muskogee, and on and on and on! So, growing up with that is your model and there was great local talent growing up in Tulsa. The musicianship of the guitar players was so great with everybody.

B.K.: Early on you played with Jesseca James (Conway Twitty's daughter)…

S.E.: That was my first road gig back in ’77. Good experience. Did a US tour and a Canadian tour. Good way to jump into the road thing and learn early.

B.K.: …and later with Clarence "Gatemouth" Brown in 1981. He was insanely good! How did you land that?

S.E.: My friend that used to play with him, David Tanner in Tulsa, fantastic piano player, singer played bass, played everything; wiz kid! The two of them got a nightclub together called Cardo’s Cadillac and they were having Gatemouth Brown booked. So, I asked David, “Hey I got to meet him”. I got there and we just hit it off immediately. We talked about music and… just one of those things. We talked about 30 minutes before they got a sound check. He said “Why don’t you go open for me? Do a song and then the band will bring me on”. So long story short, I did it and he loved it. He said, “I want you to leave with us in the morning”. That was like (going from) playing beer joints with 20 people in ‘em to playing bigger places, festivals, theatres here and there. It was an awakening like, “Whoa; There’s a whole other world out there”.

B.K.: So what did you learn from playing for / with them, from those experiences that you were able to use later on in your own career?

S.E.: With Gatemouth Brown I learned so much… Roy Clark was a big influence. Really? How they handled a crowd. You learned so much from Gatemouth Brown, how he handled the audience. Everybody does it different. I didn’t go solo for years after that, but you always carry those things with you.

B.K.: You relocated to LA in the mid- ‘80s…

S.E.: Yeah, I moved out there in March of ’83.

B.K.: Where you played with the Shirelles, Marvalettes, JJ Jackson, The Drifters, The Coasters, Gary "US" Bonds and Peaches & Herb. A good chance to learn a different, more soul infused perspective. How did you feel about that?

S.E.: It helped me. Growing up I loved all kinds of music. Living in Tulsa, JJ Cale, the Leon (Russell) thing. We grew up with the GAP Band. There was always a mixture of blues, Gospel and country, soul, and Rhythm and Blues. I mean I love everything from George Jones to Muscle Shoals… Everything coming out of LA and New York was good. So really, all those influences, and being a sideman for all these acts. You’d get to go out with The Coasters, The Shirelles, The Marvalettes, Gary “US” Bonds and Peaches & Herb, and you just get that soul. I played nothing but rhythm guitar so that was good. I had that period I was one of the first calls to play rhythm guitar with one of those acts on the road, so that was cool. There’s deeper knowledge; I loved every minute of it.

B.K: You’ve said that your biggest thrill as a performer was when you opened for BB King at the Performing Arts Center in Tulsa, Oklahoma and he called you out to play with him and the band not once, but twice. Tell us about that.

S.E.: We were doing stuff off of Cold Hard Cash, and we did about a 50-minute set. Back stage, BB was getting around and the band really loved it and got to hang with the guys back there. So, BB goes out and gave me a real nice stroke onstage; beautiful things he’s saying. Then about 3 songs into his first set, he started “Rock Me Baby” and he called me out onstage and the horn players’ got a seat for me right next to him.
He talks to me and tells me he loves my show; “I love your tunes. It’s been a long time since I’ve seen you”. He remembered me in Las Vegas when we met in in ’88 or whenever. So, his memory is impeccable -it blew me away. He called me out again to take a bow and all that toward the end of his show. It was really cool. It was a great experience. He wanted me to play but it wasn’t set up for that; it was so off the fly that there wasn’t another rig out there.
Anyway, that was the biggest thrill of my life though to this day because, my late father was there, my late wife was there, so yeah, it was a cool thing!

B.K.: And since he’s passed it probably means even more now.

S.E.: Oh yeah; yeah! And the cool thing about that was that there was a guy that had a digital recorder and he got the whole show. Three or four days after that show, I put a thing on the internet, “If anybody has a recording of that show, I would be indebted for life”.
Then about three months later, I got a Facebook message from a guy in LA that was there at that show and recorded the whole thing. He made CD for me and sent it to me and years later he came to see us. To have the audio your favorite moment of your musical life and hear BB and relive it… If I get down, I just put that on, and it picks me right back up.

B.K.: In the mid- ‘90s you began recording solo albums, including “Chains of Love” on Quicksilver Records in 1993 and “Live At Joey’s” on Red Hot Records came in 1995. How does those experiences compare to recording your new album, “Skyline Drive”?

S.E.: That’s a great question! I was 35 when I went solo, because I was a sideman up until then. I decided I wanted to be a full-time solo guy, and I was already working on songs two or three years before I was out doing gigs in LA trying get my band oiled up, trying to get my sound. Chains of Love kind of started that, and I was still developing my live show when I made that record. Then I met my wife, who’s deceased; I met her on that Chains of Love tour when I played Tulsa.
Anyway, Chains of Love was my platform, my jump-start as a solo artist. Really, it was more R & B pop in there and then I got more into the straight-ahead blues and that morphed into my kind of soul, my kind of R & B. If you do it a lot, you’ll find yourself. That’s the whole thing. You just have to keep doing it and rehearsing it and playing it, and finally you’ll find your own stamp.

B.K.: Steve Crane joined you on “Skyline Drive”. He’s been on several of your albums.

S.E.: Yeah. Steve was my best friend in LA. I met him in ’88, and we became instant friends. He played bass with Glenn Fry on his solo tours. Great singer, great bass player, great song writer. We were on a gig together in the valley somewhere - I was subbing for some guy and he was subbing for some guy and we just hit it off. We wrote “Chains of Love” for my first CD and on this one we wrote “Coming Down from Loving You” together.
As I remember, both of our ladies left us around the same time in LA. We wrote a lot of great tunes together. He’s my touring bass player. I snatched him up as soon as I could get my hands on him! And then Robbie Armstrong, he’s been with me for 15 years. That’s the band right there.

B.K.: Also joining you on “Skyline Drive” is Chris Campbell. You said you’d been meaning to get together and write something, and when you did “the songs just started coming together”.

S.E.: They did, yeah. Chris was a hero of mine. He sang in a great regional band called The Mystery Band and my drummer Robbie Armstrong was the drummer in that band. Chris is always one of my favorite singers I’ve ever heard in my life. I ranked him up there with David Ruffin or any of those guys; I mean he was that good.
He’s a great writer; one of the best I’ve ever worked with. The magic with him is the best I’ve ever seen, and also being such a great singer, I wanted to bring him aboard and make him a part of this new album. It worked out great. It’s a great experience and I’m more excited about this record than anyone I’ve ever done. For whatever reason, it just feels… even with everything going on with the planet - you just never know when the right time is and for some reason, it’s the right time for this record.

B.K.: The album has a very laid-back, sparse feel to it. You’ve described the recording process this way: “I’ve have known most of the musicians and engineers we worked with for quite a while, so the result is really a bunch of old friends getting together and having a good time doing what we love to do”.

S.E.: That sums it up right there. That’s it! With Chris and I writing all these tunes, we had a lot to pick from and we got the best 10 out of probably 100 demos, ‘cause Steve wrote one and I wrote one.

B.K.: It’s a really well-rounded album. The songs are well written and chock-full of great playing. The performances are good; very understated actually. It reminds me of the great early albums of Tinsley Ellis.

S.E.: Thank you, I really appreciate that compliment. Tinsley’s great and I love his older stuff — my favorite stuff is his early and middle period. Guys like that make you better. There’s great talent out there and we all got to dig in and keep this blues world alive man. He’s one of them that does it very well.
I’m glad to be having a shot with this Skyline Drive and working with Frank (Roszak). It’s a great time. It’s gonna be exciting to see what happens.

B.K.: The album drops May 8th. With the Coronavirus preventing and /or restricting live shows, there’s a lot of folks online now, especially on Facebook, because I have friends that can’t work — they’re in the same boat you are. I mean, nobody has been able to work because you can’t play live. So, what they are doing is hour-long live performances on Facebook. A lot of artists are doing this. Do you have any plans for doing something like that if we are still under lockdown as time goes on? Maybe doing a virtual, online release party?

S.E.: Yeah. You know, it’s funny you say that. If we’re still on lockdown, I’m thinking of somehow getting my trio, and I’ll probably add Hank on keyboards -  he played all over the record, and maybe do a CD release party on-air. It’s funny you said it because I’ve been thinking like “What’s my B-Plan Scott?” I mean, if we can’t get out and play it.

B.K.: So what folks are doing is playing these live shows and they put their PayPal links up as a Tip Jar and they’re not making what they would on the road but they’re making something.

S.E.: Yeah, that’s it. I’m such a workaholic: I’ve just always got to be moving and playing music. My agent said, “You’re probably like a caged animal in a puppy cage right now”. I’ve turned into my home-studio hound. Keep the energy going. I’ve got a lot of new tunes, so that’s one good thing that came out of all this downtime.

B.K.: Are you considering putting out a video single?

S.E.: I thought about doing “Breathe Underwater”.

B.K.: “Lonely In Love” is another great one for a single.

S.E.: Yeah, that’s a good one. It’s funny; I’m glad you mentioned that because I’m getting more compliments on “Lonely In Love”. I’m so excited because even though it’s track 12, it’s still one of the best tunes on there and you have to end with a bang.

B.K.: You might also consider releasing “Woman’s Got A Hold On Me” for all the acoustic guitar lovers out there. I’m sure they’ll enjoy it.

S.E.: That’s an excellent idea. I do an acoustic show anyway, but I’ve been so close to the thing, moving’ and groovin’ that I didn’t even think about that. That would get the acoustic world more involved with my music, and maybe even reach a new audience.

B.K.: And right now, every pair of ears is another pair of ears! We talked about virtual shows and I saw that you have some dates for shows in Texas in mid-May. Are you still leaving those in place and hoping for the best?

S.E.: I’ve got ‘em on the books and I try not to look at my calendar anymore because I lost some good money in April man. I had casinos (booked) that were gonna generate some money. Those were gone; three of those in April, so I was like “Oh! Ouch!” I’m fine; financially I’ve got it under control.
I’m trying to be realistic and counting on, by then, it’ll be cool; it will be contained, and I can go back to work.

B.K.: Was there anything else you would like to add that I didn’t cover?

S.E.: I just want to thank you so much. It’s been a pleasure talking to you.

B.K.: Thanks. I’ve enjoyed it as well. Take care and be well.

S.E.: Take care my man.

Scott Ellison on Facebook
Scott Ellison

Music Files:

About Barry Kerzner

Music has been an integral part of Barry’s life since discovering Buddy Guy, Miles Davis, Frank Sinatra, and the Beatles as a small child. As time marched on, music influenced his art, his writing, and his life. While serving in the military, he experienced live music around the world.
Barry served as Editor-in-Chief for the now defunct and also served in various positions at, including a stint as Editor-in-Chief. In addition to writing about music, he also writes about addiction and recovery issues.



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Backtrack Blues Band: Four Decades of Keeping The Blues Alive



If you like your blues in the Chicago style of Little Walter or Paul Butterfield, then the Backtrack Blues Band has something blues fans will enjoy. This Tampa Bay area quintet has been delivering the blues since co-founded by band leader and harmonica ace Sonny Charles and rhythm guitarist Little Johnny Walter for forty years now. As Sonny recently reflected, "We have always believed in the 'band concept'. No individual is considered the 'star' and we always promote the group concept. When you keep a band together for 40 years, you inevitably develop your unique sound. That goes beyond talent alone. It allows for a custom sound that comes from friendship, a love of the blues, and a blending of music and ideas that only come with time. Little Johnny and I met at UNC in Chapel Hill, NC back in the seventies. We have been good friends, basketball fanatics and blues lovers ever since. It’s been quite a long ride! Some folks ask “how do you keep a band together for so long?“ I think it starts with a foundation of friendship and a commitment to creating original music. If you don’t like one another and don’t dispense with the egos , it won’t work out in the long run. But when everyone is getting along and having fun, longevity takes care of itself",  Joined by Canadian Kid Royal on lead guitar providing scorching Texas style licks, Sonny and Kid have discovered a great partnership on stage and Sonny acknowledged"  I’m blessed to be playing blues with an amazing cast of musicians. But just like when Muddy played with Little Walter, there is something incredible when a harp player and guitarist support one another, play riffs together, and mix it up. In that school, our lead guitar player, Kid Royal,  is amazing . He generates tasty and creative solos in the Texas style, and also delivers amazing rhythm parts to drive the band sound we have. It’s a pleasure to stand next to him on stage and enjoy his immense talents. He’s also a student of the music and remains true to the blues traditions. I couldn’t be more fortunate than to create music with the current lineup of the Backtrack Blues Band”. The addition of Grammy award winning bassist Stick Davis and Joe Bencomo on drums  completes this stellar group of musicians. For their seventh  release in mid-2020 they are joined by a Hammond B3 master and two vocal "angels" who have created a disc that is already receiving accolades when it is performed.

Sonny is excited about the new release as you can tell: "The new studio album is one that we are really feeling proud about.  For Your Baby Has Left we chose to go as analog as possible - starting with a classic two inch tape machine. First, it consists of original songs written and arranged by the band. Then we were able to record at Big 3 studios and have access to their classic 2 inch tape machine. That was so cool to get back to tape again! I think it sounds much warmer and old school... just like how all the greatest blues albums were made. Next, our producer, George Harris, and stellar engineer, Pinky Beeman, did a great job of capturing our sound. They even let me run 4 old Tweed Fender amplifiers for harp... a ‘ 59 Bassman, two vintage Princetons, and a ‘57 Champ. Every minute was a joy! I’ve never had so much fun recording. All songs were initially played 'live in the studio' to capture the energy and collaboration of our seasoned band. Then we brought in Bruce Katz to add piano and B3, and he was awesome. Latonya Oliver and Dana Merriwether sang backup vocals (we call them the Backtrack Angels because their harmonies are heavenly) and the final piece was traveling to Fame Studios in Muscle Shoals, Alabama to cut the horn section. What a trip! Standing in the big studio where Aretha, Duane Allman and Wilson Pickett cut monster hits.... it was amazing! While the record has a live feel, and we play all the songs at our shows, it’s always fun to bring out the big band with the Angels singing backup and B3 guru Wayne Sharp on B3 organ. That’s the lineup that we’ll use at the Tampa Bay Blues Festival, on Sunday April 5, for our album release show."

After a busy summer and fall performing at large festivals such as the Notodden International Blues Festival in Norway, the Utah Blues Festival, Tremblant International Blues Festival, Trois Rivieres en Blues, headlining the Eldorado Blues Festival in Val D'Or, Canada and many more, Backtrack was recently honored by Big City Rhythm and Blues magazine to learn that one of the cuts off the new release was selected as the 'Coolest Blues Song of 2019'. What a way to celebrate the end of a successful year. The competition was keen and as Sonny explained, "Even though our new album is not officially released yet (release date in mid 2020), the editor of Big City Blues asked that we provide a song for the Big City Blues Magazine CD sampler. How could I say no to Junior? So it was included on the sampler and that led to a nomination for the publication  'Coolest Blues Song of the Year' contest. We were honored to be included with some of our favorite artists - Bobby Rush, Albert Castiglia, Terry Hanck, etc. After the public voting phase, Backtrack Blues Band made it into the finals. The last round  involved a review by a panel of blues music experts chosen by the magazine. We figured it would end there. So we were surprised and honored to learn that our tune 'Best Friend’s Grave' was selected as a winner!"

Not only does Sonny appreciate the old school quality of recording and vibe of the Chicago clubs of the 50's and 60's, he is a fan of vintage gear as well. "While I play chromatic harmonicas, my harp of choice is still the classic Horner Marine Band. I prefer the Special 20 Progressive model. I have my harps customized to improve reed response. As far as tone goes, I’m always searching for the 'perfect' harp microphone and amplifier. I’ve been using an astatic crystal mic that Rod Piazza made for me years ago, and I usually play through a 1959 Fender Bassman amp that’s slaved up with a 1957 Fender Princeton amplifier, and an old Fender reverb unit. They run together and I usually only mic the Princeton through the PA system. I just acquired a Harp King amplifier, so that may make it into the lineup soon. Choices are nice."

Carrying on the great blues traditions is important to the members of the Backtrack Band and all are scholars of the blues and eager to help keep that traditional sound alive. Sonny's love for Chicago blues goes deep. "I've been a blues music enthusiast since I was a kid. I like jazz, reggae, roots rock and soul...but nothing gets inside me like classic Chicago blues. I’m a huge fan of Chicago blues and the fabulous records put out on the Chess Record Label. For me, that style of blues, with the driving backbeat and strong bass grooves really gets me moving. I think of the electric blues from the 50’s and 60’s as the original dance music. When I’m ready to party, that’s the music I choose. There would be no soul music, R&B, rock n roll or hip-hop without those blues foundations. You just can’t beat that old style blues, in a club setting, with some booze and friends to get you moving. Most folks just can’t sit still!

As far as my favorite, that’s a tough question, with cats like Muddy Waters, Howlin’ Wolf, Sonny Boy Williamson, Etta James and more. But if you made me pick only one artist, it would have to be Little Walter Jacobs. Walter’s harp work was pure genius, and nobody innovated like Walter. Plus, I love his singing and song selection. Every album that Little Walter released was golden! So he’s my top pick. There are so many great players still around that keep it going. Bands like the Cash Box Kings, Mississippi Heat, Rod Piazza, Kim Wilson, Jimmie Vaughan, Billy Branch, Ronnie Earl and Charlie Musselwhite are still kicking butt. However, I have noticed a drift in the blues music world over the last decade towards a more rock influenced style of blues, dominated by guitar and in my personal opinion, too many lean heavily towards the sounds of rock and roll. Of course, there are exceptions to this general observation with current players like Jimmie Vaughan, Anson Funderburgh, Ronnie Earl, and Kid Royal. While I admire the aggressive guitar stylings and technical prowess, I miss the nuances of T-Bone, Albert King and BB. Who can ever fill their shoes? Masters like that just don’t seem to be emerging these days. That era of earlier blues music was simply the best, pure African American magic! I fear it may be lost among our contemporaries. I hope I’m wrong, but time will tell."

The first weekend of April at the award winning Tampa Bay Blues Festival at Vinoy Park, not only will Sonny be promoting 26 years of Blues by the Bay but celebrating 40 years of the Backtrack Blues Band, and a new release that already has a cut that has won the award of 'Coolest Blues Song of 2019'. The quintet will be joined by B3 guru Wayne Sharp and Latonya and Dana, the Backtrack Angels.


Quite a celebration is in order!


By Monte Adkison aka "The Blues Stalker"









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A Paul Orta's good friend Steve Coleridge has sent us his obituary to be published at La Hora del Blues:

"Paul Orta born in Port Arthur on September 6th 1957, son of David and Maria passed away May 16th 2019 in Texas after a struggle with cancer. 

He was first diagnosed last November. He is survived by James, Rudy, Johnny, David, Velma and his partner Vicky.  The celebration of Paul's amazing life was held in the town of Nederland TX.

Paul Orta was probably the most self-sufficiently peripatetic bluesman on the planet.  He built up a worldwide network of contacts, and, like the proverbial sailor with a woman in every port, Paul had well prepared bands in most European countries, he had at least four in Spain and a couple of Latin American ones too.

Apart from being well travelled he was discreet and extremely modest and had an almost Zen like spirit of calm which he transmitted to all those around him.  Speaking from personal experience he turned a bunch of indisciplined, squabbling fools into a professional unit in a remarkable short space of time.  This was because he had seen and experienced every sort of musical egomania and he was thus able to anticipate and eliminate it just by his good humour and his philosophical aura, he was our Mr Miyagi.

Port Arthur and Beaumont, the heart of the so called Golden Triangle, have given birth to a variety of extremely influential musicians, such as Johnny Winter and Janice Joplin.  Some of those who migrated there include Lonesome Sundown, Clifton Chewier and Phillip Walker who like Paul Orta was a musician’s musician.   In a sense Port Arthur is a sister city to Baton Rouge, both having an oil industry that attracted rural Blacks from the surrounding area, producing a vibrant Blues scene with its own identity.  Paul Orta and The Kingpins were the essence of the Port Arthur sound and scene.

Paul Orta fronted his band, The Kingpins (a.k.a. The International Playboys) and various other groups around the world. He played in the U.S.A., Spain, England, Ireland, France, Norway, Germany, Belgium, Italy, Austria, Russia, Portugal, Poland, Brazil, Argentina, Mexico, Sweden, Switzerland, Denmark & the Netherlands. He opened for B.B. King, John Lee Hooker, Stevie Ray Vaughan, Van Morrison, The Fabulous Thunderbirds, Junior Walker, James Cotton, Buckwheat Zydeco and Dennis Quaid's band with Huey Lewis to name a few.

Paul Orta was first influenced by Louis Armstrong at the age of 7. After 9 years of playing the cornet in the school band, Paul Orta quit because the band never played Blues or Jazz. Within a nine months of picking up the Harmonica he was in his first professional band (The Bayou Boogie Band) at the age of 16. They played in the Golden Triangle and Louisiana for three years.

In 1979 Paul Orta moved to Austin, Texas and he won Kerrville Folk Festival in 1980. Later he formed The Backdoor Men with Port Arthur native Bill Jones (guitar) who evolved into The Kingpins. Afterwards he entered “Antones University of the Blues”. Playing with blues greats as Jimmy Rogers, Snooky Pryor, Eddie Taylor, Sunnyland Slim, Hubert Sumlin, Luther Tucker, Ted Harvey, Matt “Guitar” Murphy, Pinetop Perkins, Wayne Benett, Willie “Big Eyes” Smith, Henry Gray and Robert Lockwood Jr.  Every time Snooky played at Antone's annual festival he invited Paul Orta to play with him.  Jimmy Rogers also employed him as harp player for the festivals. One of his favourite memories was playing a weekly gig for 3 months with Hubert Sumlin (Howlin Wolf’s guitar player).

Paul Orta has also toured and recorded with Texas Guitar Tornado U.P. Wilson (U.S.A. and Europe). He can be heard on over a dozen albums and on over 3 dozen compilations in North & South America, Europe, Japan, Africa and Australia. In addition he has performed with second generation Bluesmen like Kim Wilson, Derek O’Brian, Tommy Shannon and many others.

Past members of Paul Orta’s band have included Uncle John Turner (Johnny Winter), Keith Ferguson (The Fabulous Thunderbirds), Mike Kindred (Stevie Ray Vaughan), Wesley Starr (Delbert McClinton), Jimmy Carl Black (Frank Zappa) and Freddie Waldon (Anson Funderburg and the Rockets).

He was also nominated “Texas Harmonica Tornado” by Buddy Magazine in 1987. Paul Orta has played at the Battle of the Harmonicas in San Francisco and the Texas Harmonica Rumble in Austin, Texas.

Hohner Harmonicas endorsed him in 1990. He helped Kendrick Amplifiers design an amplifier called the “Texas Crude”. Paul Orta also is endorsed with The Harp Depot, Shaker Mic’s, The Amp Room, Tony Ramos Harps, Jimmy Gorden Harmonicas, and Mauro Pionzio Harmonicas. In fact Paul Orta is one of the few harmonica players endorsed with both Hohner U.S.A., and Hohner Europe. He also designed his own special “slide harp” which allows one to play various positions on one harmonica.

Paul Orta also has worked as a producer for Ervin Charles “Greyhound Blues”, Wild Bill Pitre “I was raised on a farm” and Lazy Lester “Shuffle with Lester”.

He also has been an active promoter of “Blues in the Schools”. Paul Orta is also a songwriter whose songs have been covered by different groups around the world.

I really enjoyed Paul's visits, as we both liked drinking beer and listening to Slim Harpo. nPaul knew a vast amount about the music he loved - he was able to enlighten me about the many technical aspects of the harmonica - such as what position a curtain tune was played in.  He was very self contained person, and was very happy to be in the apartment on his own until he was collected to go to a gig or rehearsal. He was very punchidious, attentive and observant, probable due to his spending much time with people who were speaking a foreign language.  He never failed to call his partner Vicky several times a day".

Mr. Paul Orta, rest in peace! 











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World-renowned blues harmonica master James Cotton, whom Rolling Stone called, “One of the greats of all time, burning with brilliant virtuosity,” died on March 16, 2017 of pneumonia at St. David's Medical Center in Austin, Texas. He was 81. His overwhelmingly powerful harmonica playing was one of the iconic sounds of the blues. He toured worldwide for over 60 years.

James Henry Cotton, known as “Mr. Superharp,” recorded nearly 30 solo albums, winning one Grammy Award, six Living Blues Awards and 10 Blues Music Awards. He was inducted into the Blues Hall Of Fame in 2006. The New York Daily News called him, “The greatest blues harmonica player of all time.” NPR Weekend Edition said, “Conjure up a list of all-time great blues harmonica players, and high up on it you'll see the name James Cotton”

Born on a cotton plantation in Tunica, Mississippi on July 1, 1935, Cotton was a working musician by age nine. He learned harmonica directly from Sonny Boy Williamson II (Rice Miller), toured with Williamson and Howlin’ Wolf, and recorded for Sun Records in 1953 before spending 12 years touring and recording with Muddy Waters (starting at age 20). Cotton was featured on Muddy’s famous 1960 At Newport LP on Chess Records, including the iconic version of Got My Mojo Working, one of the classic recordings of Chicago Blues.

After his 1953 Sun sessions, Cotton didn’t record under his own name again until the mid-1960s, with tracks included in the groundbreaking Chicago/The Blues/Today! series of LPs on Vanguard. Along with Otis Spann, he cut The Blues Never Die! for Prestige.

In 1966 he formed The James Cotton Band, quickly earning a reputation as one of the most commanding and potent live blues performers in the world—a man who could literally suck the reeds out of his harmonica from the pure force of his playing. He made his initial solo albums, three for Verve and one for Vanguard, in the late 1960s. With bands featuring outstanding musicians including famed guitarists Luther Tucker, Matt “Guitar” Murphy and Hubert Sumlin, he quickly rose to the top of the blues and rock worlds. It wasn’t long before Cotton, with his gale-force sound and fearless boogie band, was adopted by the burgeoning hippie audience as one of their own. Cotton shared stages with Janis Joplin, The Grateful Dead, Led Zeppelin, B.B. King, Santana, Steve Miller, Freddie King and many others.

Cotton’s blistering talent and full-throttle energy kept him in demand at concert halls all over the country. He played the Fillmore East in New York, the Fillmore West in San Francisco and every major rock and blues venue in between. During the 1970s, he cut three albums for Buddah and one for Capitol. He rejoined his old boss Muddy Waters for a series of Muddy albums produced by Johnny Winter, starting with Hard Again in 1977. Cotton also guested on recordings by Koko Taylor, Steve Miller, Memphis Slim, Hubert Sumlin and many others. He was joined on his own albums by stars like Todd Rundgren, Steve Miller, Johnny Winter, Dr. John, David Sanborn, Charlie Haden, Michael Bloomfield and Cissy Houston.

Cotton signed with Alligator Records in 1984, releasing two solo albums and the famed Harp Attack! with Junior Wells, Carey Bell and Billy Branch. He won a Grammy Award in 1996 for his Verve album, Deep In The Blues and recorded four albums for Telarc Records before returning to Alligator in 2010. His most recent recording was 2013’s Grammy-nominated Cotton Mouth Man.

He played in Spain, the last times at Cazorla and Hondarribia Blues Festivals.

James Cotton joking with Vicente Zúmel

In June 2010, Cotton was honored by New York’s Lincoln Center, where his friends Hubert Sumlin, Pinetop Perkins, Taj Mahal, Shemekia Copeland and others paid tribute to him in an all-star concert. The Festival International de Jazz de Montréal honored Cotton with their 2015 B.B. King Award for his seven decades of contributions to the blues.

Throughout his entire career, Cotton’s blast-furnace harmonica sound and larger-than-life personality always remained a true force of nature, described by USA Today as “devastating and powerful…carrying the Chicago sound to the world.”

Cotton is survived by his wife Jacklyn Hairston Cotton, daughters Teresa Hampton of Seattle, Washington and Marshall Ann Cotton of Peoria, Illinois and son James Patrick Cotton of Chicago, Illinois, as well as numerous grandchildren and great-grandchildren.







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Blues Blast Magazine
2016 Lifetime Achievement Awards

Blues Blast Magazine is proud to have the honor of recognizing Henry Gray, Barrelhouse Chuck and Bruce Iglauer with a Lifetime Achievement Award.

Lifetime Achievement Awards recognize an individual's lifetime of contribution to blues music.
Henry Gray and Bruce Iglauer will receive their awards at the Blues Blast Music Awards Ceremonies on September 23rd at the Fluid Events Center in Champaign, Illinois.

Lifetime Achievement Award Recipient: Henry Gray
Henry Gray is one of the last standing artists that link the rural blues of the deep south with the electric blues of the Windy City of Chicago. The 91-year-old Gray was born in the small town of Kenner, Louisiana in 1925, but it was in the big city of Chicago that he would leave an indelible mark on the modern blues. He started playing the piano at the age of eight and was already under the spell of blues music at that point.
As a teen, Gray played in the Baton Rouge area with several different combos, sharpening his skills with bigger and better things on his mind. He got his first taste of the bright lights of Chicago on a brief trip up north in 1939, but a permanent move there would have to wait. In 1943, with World War II in full rage, he was drafted to the South Pacific and served in the tropics until he was discharged in 1946.
Soon Gray gravitated back to Chicago, a town he would call home for the next two-plus decades. Guitarists Big Bill Broonzy and Tampa Red were a couple of Gray's initial contacts in Chicago and it wasn't long before he struck up a friendship with another legendary piano player - Sunnyland Slim.
Sunnyland introduced Gray to one of the most renowned pianist in Chicago in the late 1940s - Big Maceo Merriweather. After meeting Merriweather, Gray's style changed considerably and his left-hand technique improved immensely as he dove head-first into the hardcore blues. Merriweather and Gray become inseparable friends and after Big Maceo was sidelined with a stroke, rendering his left hand useless, Gray didn't hesitate to help out on the bandstand. He simply played the left side of the piano, while Merriweather played the right.
In the early 1950s, Gray backed up Jimmy Rogers at Chess Records, cutting "Out On The Road Again" and '"The Last Time." He befriended harmonica ace Little Walter Jacobs (who like Gray, was born in Louisiana), and soon they could be found playing the blues together all around Chicagoland. Chess Records was he preeminent blues label in Chicago - if not the world - in the mid-50s. Gray was right in the middle of this explosion. He became Leonard Chess' go-to piano player for the label's impressive roster of blues artists. The Red Devil Trio (Little Hudson Showers - guitar; James Bannister - drums; Gray - piano) was Gray's steady performing outfit at the time, but he found the time to work with Jimmy Rogers, Muddy Waters, Magic Sam and Howlin' Wolf, as well.
It was Gray's association with Wolf that turned out to be the longest tenured, with the two playing together on and off from 1956 until 1968. Gray was a key part of what many consider to be the Wolf's penultimate group, along with guitarist Hubert Sumlin and drummer SP Leary. While he was still in the Wolf's employ, Gray also managed to often work with other artists around Chicago slide guitar king Elmore James. In the late 1960s, tired of life on the road with Howlin' Wolf, Gray headed back down south to the familiar confines of Baton Rouge.
Back home, Gray hooked up with Slim Harpo and played with him until his death in early 1970. In 1977, Gray recorded his very first solo album, They Call Me Little Henry in Germany on the Blue Beat label. In the late 1980s, Gray's career as a bluesman began to pick up a second head of steam, when he cut Lucky Man - his first solo album released in the United States on Blind Pig Records. In the early '90s, Gray met harmonica player, producer and club owner Bob Corritore. The pair struck up a fast friendship and beautiful working relationship that remains strong to this day.
Corritore and Gray's latest release - Blues Won't Let Me Take My Rest - is nominated in the Historical or Vintage Recording category in the 2016 Blues Blast Awards. (Both Henry and Bob are performing at the awards this year!) So, just how revered is Henry Gray and his piano playing? Well, in 1998 Gray was invited to fly over to Paris and play at Rolling Stones' singer Mick Jagger's birthday party. Gray played piano, while Jagger strapped on a guitar and blew the harp on a few choice songs.
Unfortunately, a lot of Gray's peers and fellow piano players from the golden age of the Chicago blues - cats like Otis Spann, Pinetop Perkins, Sunnyland Slim and Big Maceo are no longer with us. Henry is as vital a part of the blues scene today as he was back in 1956.
In recognition of his individual style and vibrant career spanning eight decades, Blues Blast Magazine is proud to present it's Lifetime Achievement Award to Henry Gray.

Lifetime Achievement Award Recipient: Barrelhouse Chuck Harvey Charles Goering
Better known in the blues world as Barrelhouse Chuck - is being honored for his lifetime service to all things blues related for the past five decades. There are others that currently play - and have played - Chicago piano blues, but few have lived it, breathed it, tasted it, experienced it and just flat-out loved it like Chuck has. He rubbed elbows with Bo Diddley, Muddy Waters, Lafayette Leake, Willie Dixon, Big Walter Horton and Jay McShann, to name just a few. He's shared the stage with luminaries and Rock-N-Roll Hall of Famers like Eric Clapton, Keith Richards and Billy Gibbons, to name just a few. He also calls James Cotton, Kim Wilson, Little Joe Berson, Billy Flynn and Erwin Helfer friends. He regularly finds his name on the roll call of nominees for the Pinetop Perkins Piano Player of the Year Award at the annual Blues Music Awards.
Chuck learned his craft first-hand by spending countless nights hanging out in the smallest of clubs in Chicago to watch and learn from his heroes up close and personal. Many of his contemporaries may have remained locked up in their basements or bedrooms in an attempt to play the blues on the 88s, but Chuck's integration came from watching the hands and the fingers of the masters - cats like Pinetop, Detroit Junior, Sunnyland Slim and Little Brother Montgomery - up on the bandstand, stealing every little lick that he possibly could.
But one of the things that set Chuck apart from many of his peers - his incredibly-active left hand aside - was the way that he treated and interacted with the legends that he learned from. Big Moose, Blind John Davis, Detroit Junior and Little Brother were more than just mentors to Chuck; they became his close friends. So in close, in fact, that they morphed into devoted members of Chuck's extended family. Neither age nor race mattered to Chuck. These men were important to him and he demonstrated just how much they meant to him by sharing bottles, food, clothing and even shelter with many of them.
They talked, laughed, swapped stories and reminisced, sometimes all night long, purely because they enjoyed each other's company so much. His abilities to tickle the ivories with the best of them is just one small part of the reason that Chuck has been a vital and integral part of the Chicago blues scene since the 1970s. Almost as important to him as playing the blues is making sure that the forefathers of the genre are never forgotten. He brings this up at every opportunity that he's afforded and as he told Blues Blast back in 2014:
“I’ve been a musician for about 50 years and have been playing blues piano for 40 and right from the get-go I’ve been trying to carry on the rich legacy of all these wonderful guys that I was fortunate enough to play with and to know . Every night on the bandstand I do “Call my Job” and say this is a Detroit Junior song and I talk about Leroy Carr and Sunnyland Slim and about all these people that were huge icons in my life. And my mission in my life has been to play the music of the people that I used to play with. So a lot of the songs that I play now, I used to play with the guys that wrote the songs and recorded them back in the day.”
In addition to being something akin to a walking Encyclopedia Britannica, with an amazing recall of dates, people and events all floating around his brain in a very impressive fashion, Chuck also has quite a physical collection of the history of the blues – a veritable blues museum full of exquisite memorabilia. He’s got the electric Wurlitzer that Sunnyland Slim played on Maxwell Street; he’s got the microphone that Big Walter Horton blew through on Maxwell Street; he’s got Little Brother Montgomery’s PA, along with autographs, pictures, posters, articles of clothing, 78s, 45s … well, you get the picture.
For his tireless work at helping to promote the Chicago blues and his lifetime of performing music, Blues Blast Magazine is proud to present it's Lifetime Achievement Award to Barrelhouse Chuck.

Lifetime Achievement Award Recipient: Bruce Iglauer
As the CEO of Alligator Records for 45 years, Bruce Iglauer has expanded the definition of blues. First bitten by the blues bug in 1966 after seeing Mississippi Fred McDowell live, Iglauer agreed to guarantee the costs of concerts by Luther Allison and Howlin’ Wolf at Lawrence College in exchange for complete control of their publicity. Both shows sold out. He co-founded Living Blues Magazine in 1970 at a time when the only English language blues magazines were Blues World and Blues Unlimited published in England.
While still a shipping clerk at Delmark Records in 1971, Iglauer turned $2500 of inheritance money into his first Alligator Records release, Hound Dog Taylor and The Houserockers and personally delivered copies to college DJs around the country planting the seed for good rockin’ boogie to became color blind among rock hounds who figured out that blues didn’t start – or end – with the Rolling Stones doing “Little Red Rooster.”
Bruce heard blues as art and later signed many other legendary artists like Johnny Winter, James Cotton, Luther Allison and Otis Rush to the Alligator label.
In 1975 he’d signed "The Queen of The Blues" Koko Taylor and released her I Got What It Takes album. The former Chess Records artist would go on to record a total of nine Alligator records, eight of which were nominated for Grammy Awards. By the time of her death in 2009, she had won 25 W. C. Handy Awards, more than any other artist.
Alligator took home its first Grammy in 1982 for Clifton Chenier’s I’m Here and cracked Billboard’s Top 200 two years later with Johnny Winter’s Guitar Slinger, a return-to-the-roots album that became the label’s 14th Grammy nomination. Iglauer teamed Albert Collins, Robert Cray and Johnny Copeland for Showdown, the 1985 Grammy winner for Best Blues Recording.
Alligator went on to become the world’s largest independent contemporary blues label. It was the first blues label to transfer from vinyl to CDs and was among the first labels to market its catalog over the internet. Today, the Alligator catalog includes almost 300 albums, 125 produced or co-produced by Iglauer.
A half a century into this game, Iglauer continues his uncanny ability of presenting vital new artists like Toronzo Cannon, Selwin Birchwood and Moreland & Arbuckle.
In recognition of an amazing career that has helped to elevate blues to its true place as a proud example of American culture, Blues Blast Magazine is proud to present it's Lifetime Achievement Award to Bruce Iglauer.









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Published a new issue of Blues News Magazine

It has just been published a new issue of Finnish BLUES NEWS Magazine. This issue 292 with seventy five pages and excellent color and black & white pictures, includes substantial in-depth articles, album and live shows and festival reviews, discographies, obituraries, interviews, historical articles and many very interesting news about blues, r&b and soul.
In this issue you will find different and varied articles devoted to Jumpin' Johnny Sansone, Twist Turner, Lenny Miles, Neil Sedaka, Lowell Fulson, New Orleans Jazz & Heritage, Copenhaguen Jazz Festival, from Barcelona (Spain) El Toro Records... and other very interesting ones, together with more than thity album reviews.
An excellent magazine that, although it is written in Finnish, deserves your attention.

Publicado el nuevo número de la revista Blues News

Acaba de aparecer el número 292 de la revista finlandesa BLUES NEWS. Esta nueva entrega con setenta y cinco páginas y excelentes fotos a color y blanco y negro, nos presenta artículos de fondo, reseñas de conciertos, festivales y discos, discografías, obituarios, entrevistas, historia y muchas noticias interesantísimas sobre el mundo del blues, del r&b y del soul.
En este número figuran entre otros diversos y variados artículos dedicados a
Jumpin' Johnny Sansone, Twist Turner, Lenny Miles, Neil Sedaka, Lowell Fulson, New Orleans Jazz & Heritage, Copenhaguen Jazz Festival, desde Barcelona (Spain) El Toro Records... y muchos otros interesantes artículos, junto a más de cuarenta reseñas de discos.
Una revista excelente y, aunque escrita en finlandés, digna de tener en cuenta.






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Here are the results where LA HORA DEL BLUES  is one of the voting members:

Critics’ Poll

Blues Artist of the Year (Male) Taj Mahal

Blues Artist of the Year (Female) Mavis Staples

Most Outstanding Blues Singer Wee Willie Walker

Most Outstanding Musician (Guitar) John Primer

Most Outstanding Musician (Harmonica) Omar Coleman

Most Outstanding Musician (Keyboard) Henry Gray

Most Outstanding Musician (Bass) Benny Turner

Most Outstanding Musician (Drums) Cedric Burnside

Most Outstanding Musician (Horns) James “Boogaloo” Bolden

Most Outstanding Musician (Other) Jerron “Blind Boy” Paxton – Banjo/Fiddle

Best Live Performer Bobby Rush

Comeback Artist of the Year Don Bryant

Artist Deserving More Attention Jontavious Willis

Best Blues Albums of 2017 Album of the Year Taj Mahal & Keb’ Mo’ – TajMo – Concord Records

New Recordings (Contemporary Blues) Mr. Sipp – Knock a Hole in It – Malaco Records

New Recordings (Southern Soul) Don Bryant – Don’t Give Up on Love – Fat Possum Records

New Recordings (Best Debut) Jontavious Willis – Blue Metamorphosis – No Label

New Recordings (Traditional & Acoustic) Rhiannon Giddens – Freedom Highway – Nonesuch Records

Historical (Pre-war) Various Artists – Blue 88s: Unreleased Piano Blues Gems 1938–1942 – Hi Horse Records

Historical (Postwar) Jimmy Reed – Mr. Luck: The Complete Vee-Jay Singles – Craft Recordings

Blues Book of the Year The Original Blues: The Emergence of the Blues in African American Vaudeville – By Lynn Abbott and Doug Seroff – University Press of Mississippi

DVD of the Year Various Artists – I am the Blues – Directed by Daniel Cross – Film Movement

Producer of the Year (New Recording) Scott Bomar and Bruce Watson Don Bryant – Don’t Give Up on Love – Fat Possum Records

Producer of the Year (Historical Recording) Robin Cohn and Larry Cohn Various Artists – Blue 88s: Unreleased Piano Blues Gems 1938–1942 – Hi Horse Records

Readers’ Poll

Blues Artist of the Year (Male) Buddy Guy

Blues Artist of the Year (Female) Samantha Fish

Most Outstanding Musician (Guitar) Buddy Guy

Most Outstanding Musician (Harmonica) Charlie Musselwhite

Most Outstanding Musician (Keyboard) Marcia Ball

Best Live Performer Buddy Guy

Most Outstanding Blues Singer Buddy Guy

Best Blues Album of 2017 (New Release) Taj Mahal & Keb’ Mo’ – TajMo – Concord Records

Best Blues Album of 2017 (Historical Recording) John Lee Hooker – King of the Boogie – Craft Recordings

Best Blues DVD of 2017 The Nighthawks – Nighthawks on the Blue Highway – Directed by Michael Streissguth – EllerSoul Records

Best Blues Book of 2017 Beyond the Crossroads: The Devil and the Blues Tradition – By Adam Gussow – University of North Carolina Press


From La Hora del Blues congratulations to all winners!!!






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Todd Leopold, CNN

The Mississippi native's reign as "king of the blues" lasted more than six decades and straddled two centuries, influencing a generation of rock and blues musicians, from Eric Clapton and Stevie Ray Vaughan, to Sheryl Crow and John Mayer.

His life was the subject of the documentary "B.B. King: The Life of Riley," and the inspiration for the The B.B. King Museum and Delta Interpretive Center, which opened in 2008.

King's enduring legacy came from his refusal to slow down even after cementing his status as an American music icon.

Even with a long list of honors to his name  -Grammy Lifetime Achievement Award, Rock and Roll Hall of Fame induction, Presidential Medal of Freedom- he maintained a relentless touring schedule well into his 80s.

Throughout his career, King evolved with the times to incorporate contemporary trends and influences without straying from his Delta blues roots. Whether he was sharing the stage with U2 on "When Loves Comes to Town" -a scene memorialized in the 1988 concert film, "Rattle and Hum"- or playing in the East Room of the White House with Buddy Guy, Mick Jagger, Jeff Beck and others, King's single-string guitar notes trilled with an unmistakable vibrato from his hollow-bodied Gibson affectionately known as Lucille.

Slowing down
King finally started showing signs of his age last year after decades of living with Type II diabetes.

A shaky show in St. Louis prompted his reps to issue an apology for "a performance that did not match Mr. King's usual standard of excellence." He fell ill in October after a show at Chicago's House of Blues due to dehydration and exhaustion, prompting a rare cancellation of the remainder of his tour.

He was hospitalized for dehydration April in Las Vegas, a long way from his modest roots as the son of a sharecropper.

King was born on September 16, 1925, on a cotton plantation between Indianola and what is now Itta Bena, Mississippi. He sang with church choirs as a child and learned basic guitar chords from his uncle, a preacher. In his youth, he played on street corners for dimes, saying he earned more in one night singing on the corner than he did in one week working in the cotton field.

Beale Street Blues Boy
He enlisted in the Army during World War II but was released because he drove a tractor, an essential homefront occupation.

In 1947, he hitchhiked to Memphis, Tennessee, home to a thriving music scene that supported aspiring black performers. He stayed with his cousin Bukka White, one of the most celebrated blues performers of his time, who schooled King further in the art of the blues.

King took the Beale Street Blues Boy, or BB for short, as a disc jockey for radio station WDIA/AM Memphis.

He got his first big break in 1948 by performing on Sonny Boy Williamson's radio program out of West Memphis, leading to steady engagements at the Sixteenth Avenue Grill in West Memphis, and a 10-minute spot on WDIA.

As "King's Spot" grew in popularity on WDIA, King shortened "Beale Street Blues Boy" to "Blues Boy King," and eventually B.B. King.

His ascent continued in 1949 with his first recordings, "Miss Martha King/Take a Swing with Me" and "How Do You Feel When Your Baby Packs Up and Goes/I've Got the Blues." His first hit record "Three O'clock Blues" was released in 1951 and stayed on the top of the charts for four months.

Beloved Lucille
It was during this era that King first named his beloved guitar Lucille. In the mid-1950s, King was performing at a dance in Twist, Arkansas, when a few fans became unruly and started a fire. King ran out, forgetting his guitar, and risked his life to go back and get it. He later found out that two men fighting over a woman named Lucille knocked over a kerosene heater that started the fire. He named the guitar Lucille, "to remind myself never to do anything that foolish."

King has used various models of Gibson guitars over the years and named them each Lucille. In the 1980s, Gibson officially dropped the model number ES-355 on the guitar King used and it became a custom-made signature model named Lucille, manufactured exclusively for the "King of the Blues."

30 Grammy nominations
In 1970, he won his first Grammy, for Best R&B Vocal Performance Male for his trademark song, "The Thrill is Gone." That same year, he debuted an all-blues show at Carnegie Hall and appeared on "The Ed Sullivan Show."

Over the years, he racked up 30 Grammy nominations and 15 wins, including two in 2000: one along with Eric Clapton for Best Traditional Blues Album for "Riding with the King," and another with Dr. John for Best Pop Collaboration with Vocals for "Is You Is, or Is You Ain't (My Baby."

His last was in February 2009 for Best Traditional Blues Album for "One Kind Favor" (2008).

Funeral and memorial service film and parade



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A2IM Honors Bruce Iglauer, Alligator Records Founder, with Libera Awards Lifetime Achievement Award.

The American Association of Independent Music (A2IM) is proud to announce that the third annual Libera Awards Lifetime Achievement Award will honor Bruce Iglauer, Founder and CEO of Alligator Records, for both his work as a leader in the music industry as well as his humanitarian efforts. Iglauer will be honored with the award on June 19 at NYC's Highline Ballroom, and in what has now become a Libera Awards tradition, 2013 Lifetime Achievement Award winner Tom Silverman, Founder of TommY BoY, will present the award.

Bruce Iglauer has always been a fierce supporter of Independent music. In 1971, he launched Alligator Records on his own, a label that would go on to become home to some of the world's foremost blues and roots rock talent. What began as the dream of a 23-year-old shipping clerk who wanted to record and release an album with his favorite band, Hound Dog Taylor & The HouseRockers, has today grown into "the leading record label for the blues" (New York Times). Alligator Records currently has a catalog of 300 critically lauded titles, over 130 produced or co-produced by Iglauer. Artists on the label have earned a total of three GRAMMY Awards, 40 GRAMMY nominations, over 100 Blues Music Awards and more than 70 Living Blues Awards.

A fixture on the Chicago blues scene, Bruce is known as a "do-everything-guy" (Chicago Tribune) and has spent his career championing blues and roots rock. Whether he's jumpstarting the careers of new talent or renewing the careers of legends, artists including Koko Taylor, Albert Collins, Lonnie Brooks, Mavis Staples and Charlie Musselwhite, among many others, have found success with the label. Alligator Records' current roster includes Marcia Ball, Selwyn Birchwood, Tommy Castro, James Cotton, Jesse Dee, Rick Estrin & the Nightcats, JJ Grey & Mofro, The Holmes Brothers, Lil' Ed & the Blues Imperials, Anders Osborne, Roomful of Blues, Curtis Salgado, The Siegel-Schwall Band, Jarekus Singleton and Joe Louis Walker.

In addition to supporting artists' musical ambitions, Bruce has always taken great pride in the deep relationships he has with the artists of Alligator. Over the years, Bruce has been known to open his home to musicians needing a place to live during times of personal trouble. He makes himself available to his artists day or night, working tirelessly to support struggling musicians. As part of his work outside the label, Bruce is the Founder and current Co-Director of the Blues Community Foundation, which is dedicated to supporting blues music education and assisting blues musicians and their families who are in need. Bruce was awarded the NARM 1996 Mickey Granberg Award for "sustained and unwavering commitment to independent music and the independent music community" and was named a Chicagoan of the Year by Chicago magazine in 2001. In 2011, Bruce was honored as a Chicagoan of the Year in the Arts by the Chicago Tribune for his contributions to the music community over the years. Bruce was also a founding member and 26-year board member of the first Independent music label organization National Association of Independent Record Distributors and Manufacturers (NAIRD), later the Association for Independent Music (AFIM), and is now on the Board and Executive Committee of the American Association of Independent Music (A2IM), representing the U.S. independent music industry.

Tom Silverman of TommY BoY Entertainment, the winner of the 2013 A2IM Libera Awards Lifetime Achievement Award and a long-time friend of Bruce's, will present Bruce with the 2014 Lifetime Achievement Award. Tom is the founder of the independent record label TommY BoY. Silverman launched the careers of such early hip hop acts as De La Soul, Digital Underground, Queen Latifah, Naughty by Nature, House of Pain and Coolio. Silverman is a founding member of A2IM, and currently serves on the board of Merlin and SoundExchange.

In 2012 the inaugural winner of the A2IM Libera Awards Lifetime Achievement Award was Martin Mills of the Beggars Group. Nominations for the 2014 Libera Awards will be announced this Friday, April 25 and voting will open immediately to the A2IM independent music community.

About A2IM:

A2IM is a not-for-profit trade organization serving the Independent music community as a unified voice representing a sector that, according to Billboard magazine, comprises 34.6% of the music industry's market share in the United States (and almost 40% of SoundScan digital album sales). The organization represents the Independents' interests in the marketplace, in the media, on Capitol Hill, and as part of the global music community.
The organization's board of directors is composed of the following: Concord Records President Glenn Barros; Daptone Records General Manager Cathy Bauer; Smithsonian Folkways Recordings Director of Marketing & Sales Richard James Burgess; Yep Roc Records Co-Owner Tor Hansen; Alligator Records Founder/CEO Bruce Iglauer; The Beggars Group Founder/CEO Martin Mills; Kill Rock Stars President Portia Sabin; Glassnote Records General Manager Chris Scully; Ole SVP Jim Selby; Dead Oceans/Jagjaguwar/Secretly Canadian Founder/Co-Owner Darius Van Arman; Razor & Tie COO Victor Zaraya.




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Each year, The Blues Foundation presents the Keeping the Blues Alive (KBA) Awards to individuals and organizations that have made significant contributions to the Blues world. Categories and past recipients can be found by clicking on Past Recipients or Search on the navigation bar on the left side of this page. Awards are not necessarily awarded in each category every year.

The Blues Foundation will present the 2016 KBA Awards during a recognition lunch at the Doubletree Hotel in downtown Memphis, Tennessee. The KBA ceremony will be part of the International Blues Challenge (IBC) weekend of events.

Unlike the Blues Music Awards, the award recognizing the past year's best in recordings and performance voted on by thousands of The Blues Foundation's members, the KBAs are awarded to non-performers strictly on the basis of merit by a select panel of Blues professionals. Noted educator, author, journalist, and KBA Chairman Art Tipaldi notes "The KBA may be awarded for the recipient's work in the past year but most often reflects a lifetime of work; we don't view the recipient as the winner of a 'best of the year' category. Consistent with this philosophy, the committee generally refrains from awarding the KBA to an individual or organization more than once. Rather, we select a new deserving winner each year, except in rare cases when a significant period of time has elapsed since the first award."

Vicente Zúmel was honoured with 2013 Keeping the Blues Alive Award in International category. He has beeb the first Spanish one who received this award!!

The 2016 Keeping the Blues Alive Awards recipients are:

A summary for each recipient follows this press release.

The Blues Foundation's Mission Statement reads, "To preserve blues heritage, celebrate blues recording and performance excellence, expand worldwide awareness of the blues, and ensure the future of this uniquely American art form." Based in Memphis, TN and founded in 1980, The Blues Foundation has 4,000 individual members and 200 affiliated local blues societies representing another 50,000 fans and professionals around the world. Its signature honors and events – the Blues Music Awards, Blues Hall of Fame, International Blues Challenge, and Keeping the Blues Alive Awards – make it the international center of blues music. Its HART Fund provides the blues community with medical assistance, while its Sound Healthcare program offers musicians health insurance access. Blues in the Schools programs and Generation Blues scholarships expose new generations to blues music. Throughout the year, the Foundation staff serves the worldwide blues community with answers, contact information, and news.

2016 Keeping the Blues Alive Award Recipients:

CHENANGO BLUES FESTIVAL The Chenango Blues Festival was first held twenty-four years ago and has been run ever since by largely the same group of committed blues fans, supplemented by some new younger members. The nonprofit group has no paid positions and takes a "by fans, for fans" approach to all of its activities. The festival features continuous music on two stages, on-site camping, and a free Friday opening night. Headlined in year one by Anson Funderburgh with Sam Myers, other artists to appear include Luther Allison, Koko Taylor, Rod Piazza, Irma Thomas, North Mississippi All-Stars, Dick Waterman, Fabulous Thunderbirds and many more. The festival is always two weekends before Labor Day at the Chenango County Fairgrounds in Norwich, NY and its many regular fans look forward to this late summer stop on the festival circuit. The Chenango Blues Association also runs a Free Thursdays concert series in July and August.

NOEL HAYES Noel Hayes has been a blues patron since he first heard Charlie Musselwhite live in 1977. As a result of his extensive blues knowledge, in 1985, Noel was asked to play music from his collection on listener-supported KPOO radio and talk about the artists. He has hosted his own live-streamed show on Wednesday mornings since 2000. Working tirelessly to bring blues to the Bay Area and beyond, Noel has brought many musicians to San Francisco, inviting them to stay at his home to ease their financial burden, getting them gigs, and helping back several recordings. Musicians Noel has interviewed include - Floyd Dixon, Gatemouth Brown, Honeyboy Edwards, Ruth Brown, Howard Tate, and Johnny Copeland, as well as Elvin Bishop, Joe Louis Walker, Mighty Sam McClain, and Denise LaSalle, among many others. He has also graciously emceed several IBC events for The Golden Gate Blues Society and was Blues DJ of the year from the Bay Area Blues Society in 2008.

ERIC SUHER While still in high school, in 1983, Eric Suher began working in various roles for the New Rhythm and Blues Quartet (NRBQ), launching a promoting career that has spanned four decades. In 1995, Suher purchased the Iron Horse Music Hall in downtown Northampton, MA, in order to insure its place in the community, and, shortly thereafter he also purchased and renovated the historic Calvin Theater (built in 1924) and Pearl Street Nightclub. As steward of these three venues, Suher has kept this small New England college town on the map for the live blues circuit. The walls of the 170-seat Iron Horse have many stories to tell, bearing witness to performances by a who's who of the blues, including veterans such as Willie Dixon, Honeyboy Edwards, Johnny Winter, Koko Taylor, Hubert Sumlin, Mose Allison, and the Fabulous Thunderbirds as well as newer names on the scene such as Shemekia Copeland, Albert Cummings and Samantha Fish. When the Horse can't hold 'em, the 1,300-seat Calvin Theater has accommodated larger crowds for legends like B.B. King, Buddy Guy, Taj Mahal, Keb' Mo', Warren Haynes, Kenny Wayne Shepherd, Jonny Lang, and Robert Cray. But nothing beats great live blues music up close and personal at the Iron Horse.

SHARON McCONNELL-DICKERSON Sharon McConnell-Dickerson's Life Masks of legendary blues musicians is a stunning collection that celebrates the trailblazers of the music. The 59 Blues Legends Life Masks capture every facial nuance and detail. Legends like Othar Turner, Sam Carr, Dorothy Moore, Jessie Mae Hemphill, Little Milton, R.L. Burnside, James Cotton, Robert Lockwood, Jr., Taj Mahal, Pinetop Perkins, Hubert Sumlin, Henry Townsend, Charlie Musselwhite, Bobby Rush, Bobby "Blue" Bland, Koko Taylor, and Odetta are some of the masks McConnell has lovingly created. This was all accomplished as Sharon was losing her sight. Since 2005, McConnell-Dickerson has shared her exhibit with galleries and blues festivals around the world, including the National Civil Rights Museum and the Blues Music Awards both in 2009, and a large part of her collection will be on display at the Blues Foundation's Blues Hall of Fame beginning in December of 2015.

CENTRAL IOWA BLUES SOCIETY The Central Iowa Blues Society was founded in October 1992 and has been affiliated with the Blues Foundation since 1993. During the course of its existence, the society has weathered many storms, including crises of finances, membership and leadership, and had witnessed countless partnerships, programs, venues, blues acts and members come and gone, but, standing the test of time, CIBS has remained committed to the same purposes and goals under which it was formed. Its programs include the Winter Blues Fest, which began in 1994 by bringing national and local musicians together at various indoor venues during the winter months, and the Iowa Blues Hall of Fame, which has inducted 59 deserving blues artists and industry supporters with Iowa ties since 1999. The Iowa Blues Challenge began in 1994, has been produced in cooperation with other Iowa Blues Societies since 1997, and was such a successful model that in 1999, the Blues Foundation adopted much of Iowa's challenge format to become the International Blues Challenge. Throughout its history, CIBS is very proud of its many partnerships with area charitable and community groups helping support worthy causes while spreading the news about the Blues.

FRED DELFORGE Though he's a world class photographer and writer, Fred Delforge is best known for developing his website,, 15 years ago as a portal to promote all forms of blues and other styles to his European audience. His site includes new reviews of over 750 CDs and over 400 live reports every year from volunteers around the world who attend festivals, the IBCs, BMAs, European Blues Challenge, and who report daily activity. From a modest 1,000 visitors a month when the site began, it grew to 30,000 four years later and then to 100,000 at its best. Then seven years ago he created a new team for Zicazic now with 15 persons, photographers, writers, and web engineers. In addition to writer and photographer for his site, Fred is also a four-year member of the European Blues Union Board of Directors. In 2011, Fred, with 14 persons, co-founded France Blues and with the Zicazic Team he tried to create a website as efficient as possible for this new association. After only one year, the site boasted over 20,000 visitors a month. After 4 years, it reached 65,000 a month.

TODD GLAZER Todd Glazer is not only the leader in blues music radio promotion — essentially publicizing new releases for radio airplay and exposure — he was the first in the business. Todd started promoting blues albums to radio more than 20 years ago, setting the bar for everyone who has followed. His radio campaigns include work for the Grammy-nominated music of Buddy Guy, Gregg Allman, Warren Haynes, Ruthie Foster, and others to Blues Music Award winners like Janiva Magness, John Nemeth, Ronnie Earl, Johnny Rawls, and many, many more. Todd has worked for labels like Stony Plain (14 years) and he handles individual artists with a limited budget. Ask blues musicians who promote their music to radio programmers and you will hear Todd Glazer's name over and over. In addition to making sure his clients get the proper airplay and exposure through his work with Todd Glazer Promotions, he was also the 14-year host of "The Twilight Show," a popular blues radio show in Anchorage, Alaska. Todd has also worked pro bono to promote the online pay per view "Raise The Roof" fundraising campaign and helped promote the Blue Star Connection's concert at Knuckleheads and charity CD release

CAHORS BLUES FESTIVAL The Cahors Blues Festival, founded in 1982, is the oldest blues festival in France. The founder is Gerard Tertre, who passed away in 2002. Known throughout Europe, this July festival has attracted several thousand people to each of its evening main stage concerts. It has revealed to the public many artists little known or unknown thanks to its talent competition, and pursues its quest for cultural promotion and development of Delta Blues and Blues music in general. In 2006, Robert Mauries joined the festival and became President & CEO and continued with Tertre's vision. Now, more than 20,000 people join the festival each year. Its dozen free afternoon concerts and those on the café terrasses give Cahors the look of a town in the Mississippi Delta. The main stage concerts welcome the most talented Delta bluesmen and Memphis artists. In 2014, Cahors was granted a Mississippi Trail Marker, the second in Europe. Johnny Winter's last performance was on Cahors Blues Stage in 2014 and Robert set up a street of Cahors named for Johnny Winter in July 2015 to commemorate his memory. In February 2015, the European Blues Union recognized Robert Mauries for the Cahors Blues Festival with the Behind The Stage European Award.

YELLOW DOG RECORDS Yellow Dog Records was founded in 2002 in Memphis, TN by Michael Powers with the goal of cultivating the American musical heritage. Named after the famous Delta train that W.C. Handy was waiting for in Tutwiler when he first heard the blues in 1903, the label features artists who emphasize innovative approaches to authentic American musical roots traditions — blues, jazz, soul, and Americana styles. By providing support for recording, production, promotion, and distribution, Yellow Dog Records brings this vital music to new and wider audiences. Artists like Eden Brent, Colin Linden, The Soul of John Black, Cassie Taylor, Fiona Boyes, Mary Flower, and others make up the label's extensive catalogue, nominated for over thirty Blues Music Awards. Current releases include The Claudettes and The Ragpicker String Band with Mary Flower, Rich DelGrosso, and Martin Grosswendt.

ERIK LINDAHL Erik Lindahl was born in 1952 and lives in Sweden's second largest city, Gothenburg. He is a photographer and has focused on blues musicians and their environments since the early 1970s. Erik has documented the blues in Mississippi, Texas, Louisiana, St. Louis, Jackson, Clarksdale, Holly Springs, Memphis, Los Angeles and clubs on Chicago's West Side and South Side. Erik likes the atmosphere of black and white to catch both the musicians and also the clubs and patrons where they perform. The world's oldest blues magazine, "Jefferson" (founded in 1968), has featured Erik's photos through the years. In 2008 Erik published the critically acclaimed photography book Blue Shots. It consists of 100 pictures of blues musicians, captured on both stage and at work, as well as in their everyday lives with friends and together at home with their families. The book is more than just portraits of artists; it also captures who they are and their audience.

RADIO STATION, KZUM KZUM, the oldest independent, noncommercial, listener-sponsored radio station in Nebraska, has been bringing the blues to Lincoln since 1978. The air staff consists of around 90 volunteer programmers who work hard to bring great shows to the airwaves every week. There is a variety of popular programming on KZUM, but blues content is perhaps most closely associated with the station. KZUM has consistently put the blues at the forefront of its diverse schedule, having long dedicated afternoon drive time programming to the blues. Each week includes 28 hours of blues programming along with many more hours of roots music programs that include a healthy dose of the blues. The station's commitment to the genre extends beyond the airwaves, as KZUM has served for many years as the non-profit partner for "ZooFest," the Zoo Bar's annual multi-day outdoor blues festival in the streets of downtown Lincoln, and has worked for the last two years to host a free community concert series in a local park. As the region's only outlet for regularly aired blues and roots music, KZUM continues to work hard to preserve and develop the fertile music scene in southeast Nebraska.

SCOTT CVELBAR Scott Cvelbar is an eighth grade U.S. History teacher who has been establishing a blues culture in his community through The Blues Project, a "Blues In The Schools" program at Benjamin Franklin Middle School in Valparaiso, Indiana. The Blues Project is a six-week education program that employs music instruction, history, and public performance. At the end of the program, students showcase their skills at a community-wide concert, performing alongside their peers, community members, and professional musicians. Since 2007, over 1,000 students from ages nine to 18 have passed through the project, learning about the music, personalities, geography, and cultural significance of the blues. Because there is no blues club within a 40-mile radius, Scott's Blues Project is the heartbeat for blues culture in Northwest Indiana.

DARWIN'S BURGERS AND BLUES Darwin's Burgers is not big and it is not glitzy. It's a little old house bursting with good food and fantastic blues music. Founded in 1995, it was the home of the blues in Atlanta. After an economic stumble in the early years of the 21st century, Lindsay Wine and Jonathon Akin purchased the venue in 2011, invested time and money, and brought the club back to its original juke joint popularity. Today, Darwin's hosts the best local bands and the best touring acts coming through Atlanta, and solo/duo winner at the 2013 International Blues Challenge, Little G Weevil, plays monthly. The blues jams during the week attract the best local musicians and allow new players to be heard. Because of the mix of young musicians and older established groups, the club attracts all ages. Thanks to the determination and dedication of one young couple, their friends and staff, and a lot of people who love Darwin's, the place looks set to continue to keep the blues alive in Metro Atlanta for many years to come!

ALAN GOVENAR Alan Govenar is an award-winning writer, folklorist, photographer, and filmmaker. He is a Guggenheim Fellow and is president of Documentary Arts, a non-profit organization he founded in 1985 to present new perspectives on historical issues and diverse cultures. Govenar received a B.A. from Ohio State University, a M.A. from the University of Texas at Austin, and a Ph.D. from the University of Texas at Dallas. He is the author of twenty-seven books, including Texas Blues: The Rise of a Contemporary Sound (ARSC Award for Excellence in Historical Recorded Sound Research) Deep Ellum: The Other Side of Dallas (co-authored with Jay Brakefield), Stompin' at the Savoy, The Early Years of Rhythm and Blues, Lightnin' Hopkins: His Life and Blues (ARSC Award for Best History in Music) and Osceola: Memories of a Sharecropper's Daughter (First Place, New York Book Festival for Children's Non-Fiction). Govenar's feature-length documentaries, The Beat Hotel, Master Qi and the Monkey King, and You Don't Need Feet To Dance are distributed by First Run Features. The off-Broadway premiere of Govenar's new musical Texas in Paris garnered rave reviews in The New York Times and The Huffington Post, and was nominated for a Lortel award and four Audelco awards.

GREG JOHNSON For the past 14 plus years, Greg "Slim Lively" Johnson has been the president of the Cascade Blues Association, one of the oldest (founded in 1986) and largest affiliated blues societies. He's also the principal writer and staff photographer of the society's newsletter and the co-author of the book Blues on Beale Street: Memoirs of the International Blues Challenge. He lives in Portland and helps touring artists who come through the Pacific Northwest find venues within the region while often assisting with housing and equipment needs. He has booked such acts as Hubert Sumlin, Paul Oscher, Phillip Walker, Robert Lockwood, Jr. plus many past IBC participants. He is always willing to offer fundraising assistance within his region, as well. But that's not all. Greg has been an IBC volunteer since 2003 and in recent years has been Joe Whitmer's right hand man at both the IBC and BMA. He currently manages the Club 152 stage at the IBC, and he's the back-stage manager for the Blues Music Awards where he works from before the show begins until the show is long over.





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With pride and great satisfaction, we are glad to announce Vicente Zúmel has been recipient of 2013 "Keeping the Blues Alive" Award in the International category by the Blues Foundation.

Each year,The Blues Foundation in Memphis presents the "Keeping The Blues Alive" Awards to individuals and organizations that have made significant contributions to blues music. The KBAs are awarded on the basis of merit by a select panel of blues professionals to those working to actively promote and document the music. "This year, the KBA Committee was thoroughly pleased with the quality of the nominees submitted for consideration,” notes committee chair Art Tipaldi, editor of Blues Revue. “The fifteen recipients represent an outstanding cross-section of blues boosters. We are pleased to honor these people and organizations as a tribute to the years each has given to supporting the blues."

Among recipients since 1980 you can find Rufus Thomas, David Evans, Bruce Iglauer, Paul Jones, Lucerna Blues Festival, Il Blues Magazine, Tom Mazzolini from San Francisco Blues Festival, Malaco Records, John Landis, The Chicago Tribune, Carl Perkins, Rounder Records, B.B. King, Blind Pig Records, Severn Records, Crosscut Records, B.L.U.E.S. Club in Chicago, Delta Groove Records, Jefferson Magazine, Blues Matters! Magazine, Soul Bag Magazine, New Orleans Jazz And Heritage Festival, Peter Guralnick, Bob Corritore, Ruf Records, Beale Street Music Festival, Music Maker Relief Foundation, Dick Shurman, Legendary Rhythm and Blues Cruise, Duke Robillard, Robert Santelli, Bill Wyman, Alligator Records, Johnny Parth from Document Records, Juke Blues Magazine, Yazoo Records, King Biscuit Blues Festival, Blues & Rhythm Magazine, Buddy Guy Legends, Blues Archive at University of Mississippi, Hohner Harmonicas, Art Tipaldi, Alan Lomax, Mississippi Valley Blues Society, Blues Revue Quarterly, Chris Strachwitz from Arhoolie Records, Billy Branch, Bob Koester from Delmark Records, Bill Ferris from Center For The Study Of Southern Culture of The University Of Mississippi, Jim O'Neal founder of Living Blues Magazine, Tom Pomposello, Scott Barretta, etc.

It is the first time a Spanish blues related man or institution receives this Award, so we feel doubly honoured.

Our most sincere gratitude to The Blues Foundation for this great honour.

More detailed information at Blues Foundation website





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RIP Iverson Minter AKA Louisiana Red March 23rd, 1932- to February 25, 2012

It is with a heavy heart that we report the passing of one of the greatest and most beloved traditional blues artists. Louisiana Red died this afternoon at a hospital in Germany (Note Europe is 9 hours ahead) after a few days in a coma brought on by thyroid imbalance. He was 79. Louisiana Red was a powerful downhome blues artist who could channel his teachers (among them Muddy Waters, Elmore James, Robert Nighthawk, Lightnin' Hopkins and John Lee Hooker) into his own heartfelt musical conversation, delivered with such moving passion and honesty that it would leave his audiences indelibly touched. He was fine singer with a distinctive voice, and an amazing guitarist who could play all of the traditional blues styles and excelled as one of the world's greatest slide guitarists. He could create moods and textures, both musically and spiritually, and had the ability of falling so deep into his own songs that he would go to tears, making his audience cry with him. That was the gift of this great artist. 

Wikipedia lists Louisiana Red as being born in Bessemer, Alabama but his own reports have fluctuated from various Southern towns and cities. Red lost his mother at birth and his father was killed in a Ku Klux Klan lynching when Red was just 5 years old. He lived in an orphanage in New Orleans for a few a his childhood years until his grandmother took him to Pittsburgh to live. A few years later she bought him his first guitar, a $12 Kay. Red would play along with records and the radio and begged some guitar lessons from his first mentor, Crit Walters. It was early in life that Red made the decision to become a blues musician. In the late 1940s Red would follow his passion to Detroit where he would become friends with Eddie Burns and John Lee Hooker. He would make his first recordings in Detroit for producer Joe Von Battle under the moniker of Rocky Fuller, a pair of these recordings were leased to Chess records. He would accompany John Lee Hooker on a session for Modern Records and you can hear Red shouting "Lord Have Mercy" in the middle of JLH's "Down Child". Red would also land a 1953 recording session in Chicago for Chess in which he is accompanied by Little Walter on the brilliant "Funeral Hearse At My Door" which remained in the vaults unreleased for decades. Red's next stop would be New York where he would record for producer Bobby Robinson and for Atlas Records. But it was Louisiana Red's 1962 Roulette label recordings that garnered him national recognition as a bluesman. His single "Red's Dream" with its humorous political commentary became a major hit and was followed by the Roulette album The Lowdown Back Porch Blues. This was followed by the 1965 release of Louisiana Red Sings The Blues on Atco. In the mid 70s he became the cornerstone of the Blue Labor label cutting two excellent solo acoustic albums; Sweet Blood Call and Dead Stray Dog and also appearing on that label as a featured sideman on albums by Johnny Shines, Roosevelt Sykes, Brownie McGhee, and Peg Leg Sam. He was romantically involved with folk legend Odetta for a small period of time in the 1970s. European promoters and booking agents took an interest, and Red found a new audience with his annual overseas tours. Labels such as L+R from Germany and JSP from England began recording Red, the latter debuting their catalog with Red, Funk and Blue, a duet album with Sugar Blue. Red appeared as himself in the movie Come Back featuring Eric Burdon of Animals fame. Red lived in Chicago for awhile in the early 1980s where he worked at the Delta Fish Market. He would then move to Phoenix in late 1981 where he lived and played with Bob Corritore for about a year.

Red left Phoenix for an Euiropean tour in late 1982 and in was there that he met his true love, Dora, who he married and spent the resto fo his life with. Dora gave Red an uncompromised love and the constant companioship and protective looking-out-for that Red needed. Dora also provided the family situation that Red yearned for in his life as Red took great pride in his love and adoption of Dora's sons. The positive impact and dedication that Dora provided Red was simply amazing. Red would live in Hanover Germany for the rest of his life with Dora and each year in January, the two would vacation in Ghana, Africa, Dora's country of origin. He found work so plentiful in Europe that for a period of time he rarely would come to the USA. In 1995 Earwig Records would release Sittin' Here Wondering. which had been recorded by Bob Corritore in 1982 and sat on the shelf for over a decade. This CD created a relationship between Red and Earwig label chief Michael Frank who would record 2 more records by Red and book annual US tours. Releases followed on High Tone and Severn as well as a documentary DVD released only in Europe. In 2009 Little Victor struck gold with his production of Red's Back To The Black Bayou CD released first on the Bluestown Label and then picked up by Ruf Records. Victor had idolized and studied under Red for years and lovingly coaxed this brilliant album from his mentor. Back To The Black Bayou swept Europe and the US with awards and nominations. Simultaneously, Red's collaboration with pianist David Maxwell produced You Got To Move, and in 2010 Red would go to the Blues Music Awards with 5 nominations and receive 2 wins! Little Victor also produced Red's final critically acclaimed CD Memphis Mojo.

It is sad to say goodbye to the loving persona of this great bluesman who's music warmed our hearts  Louisiana Red's vulnerability became his strength and he filled his heart with an unstoppable passion for music and acceptance. His legacy is great and his friendships are many. He can now rest in peace after a lifetime of giving us everything he had through his amazing blues. God bless you Red. (Reported by Bob Corritore)

It is interesting now to read the last interview he did in Spain done by Alex Maria Franquet. Se puede leer la última entrevista concedida por Red en España a nuestro buen amigo Alex Maria Framquet







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Chicago Tribune names Alligator president and founder Bruce Iglauer A "Chicagoan of the year"

he Chicago Tribune has named Alligator Records president and founder Bruce Iglauer one of nine 2011 Chicagoans Of The Year. Iglauer's selection, made by longtime Tribune music critic Greg Kot, is the icing on the cake of Alligator's 40th anniversary celebration. The celebration kicked off in February, 2011 with the release of the 2-CD set The Alligator Records 40th Anniversary Collection. The album received rave reviews from Rolling Stone, NPR’s Weekend Edition and many more national and international outlets. In addition, Iglauer was featured in a two-part, four-hour interview on XM/Sirius B.B. King's Bluesville

Among the many other highlights of the label's 40th anniversary, one of the most significant came in June during the Chicago Blues Festival, when Iglauer received a proclamation from Chicago Mayor Rahm Emanuel. Mayor Emanuel honored Iglauer's contribution to the city's musical heritage on a night dedicated to the label's anniversary, featuring performances by blues icons Lonnie Brooks, Eddy "The Chief" Clearwater, Michael "Iron Man" Burks, Rick Estrin and Shemekia Copeland.

In October, Poland's Rawa Blues Festival hosted a 40th anniversary celebration, inviting Iglauer along with stars Lil' Ed & The Blues Imperials, Marcia Ball, C.J. Chenier and Corey Harris. Closer to home, SPACE in Evanston, IL, hosted a six-part concert series featuring Tinsley Ellis, The Siegel-Schwall Band, The Tommy Castro Band, Lonnie Brooks, Charlie Musselwhite, Michael "Iron Man" Burks and hometown favorites Lil' Ed & The Blues Imperials.

Congratulations Bruce from La Hora del Blues!!





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Bluesman Hubert Sumlin, guitarist for Howlin’ Wolf, dies at 80
BY DAVE HOESKA, Staff reporter of the suntimes

Picture: Hubert Sumlin for the fist time in Spain brought by Vicente Zumel. From left to right: Hubert Sumlin, Lolo Ortega, Louisiana Red, Vicente Zúmel and Mingo Balaguer (picture from Mingo Balaguer's collection)

Hubert Sumlin put the bite behind Howlin’ Wolf. And he then influenced a new pack of electric blues and rock guitarists.

Mr. Sumlin died Sunday in a hospital in Wayne, N.J., reportedly of heart failure. He had turned 80 on Nov. 16. Mr. Sumlin was best known as lead guitarist for Howlin’ Wolf (Chester Burnett) from 1953 until Wolf’s death in 1976.
This was no small feat. The combustible guitar parts in Wolf’s big-voiced tracks — “Smokestack Lightning,” “Spoonful,” “Ain’t Superstitious” — set Wolf on fire at Sun Records in Memphis and later at Chess Records in Chicago.
The 1953 summit of Mr. Sumlin and Wolf was to blues what the meeting of Scotty Moore and Elvis Presley was to rock just a year later.
In the current issue of Rolling Stone, Mr. Sumlin is ranked 43rd on the magazine’s list of the 100 greatest guitarists of all time. Led Zeppelin’s Jimmy Page told the magazine, “I love Hubert Sumlin. He always played the right thing at the right time.”

Stevie Ray Vaughan was a fan. In the early 1980s Vaughan gave Mr. Sumlin a vintage Rickenbacker guitar, one that Mr. Sumlin loved so much he was afraid to take out of his house.

Born in Greenwood, Miss., Mr. Sumlin was part of the great blues migration to Chicago. He and Burnett arrived in Chicago in 1953. Mr. Sumlin had been playing with James Cotton in West Memphis, and Burnett hired him in Chicago.
“We were playing Silvio’s [at Lake and Oakley], and he said, ‘You go home when you find out you’ve got my courage, then you can come back and play my songs,’ ” Mr. Sumlin told me in a 1988 interview from his South Side home. “Man, I got home and cried all night. I slept with my guitar by my head. Then about 4 o’clock in the morning something said, ‘Hey man, why don’t you put the [guitar] picks down. You ain’t got no business using picks!’ ”
At that moment, Mr. Sumliln said, he discovered his own style, which evolved into an individualistic mix of African syncopation and itemized structure that forced the notes to stand alone. Clapton once called Mr. Sumlin’s style “just the weirdest.”

Chicago blues guitarist Dave Specter began playing with Mr. Sumlin in 1985. Wolf and Paul Butterfield drummer Sam Lay had hired Specter to join him and Mr. Sumlin on a three-week tour of Canada. Specter was 22 years old. “Hubert was just the sweetest guy and very encouraging and supportive of younger players,” Specter said on Sunday. “I wouldn’t use ‘tough’ as an adjective for his playing. He had a totally unique sound. When you listen to his famous solos on [Wolf’s] ‘Hidden Charms’ or ‘300 Pounds of Heavenly Joy’ [later a hit for Chicago’s Big Twist and the Mellow Fellows], there is so much style to it. A lot of it had to do with his touch and playing with his fingers. There are lot of guitar players who played with their fingers and had a more aggressive approach, like Albert Collins. Your sound and your tone is a reflection of your personality.

“And Hubert had larger-than-life charm and devilishness.”

In recent years Mr. Sumlin relocated from Chicago and then Milwaukee to Totowa, N.J. Specter last saw Mr. Sumlin in 2009, when he was touring with the Nighthawks and they appeared at S.P.A.C.E., the popular Evanston music room that Specter co-owns.

In 2010 young guitarist Kenny Wayne Shepherd and Mr. Sumlin received a best contemporary blues album Grammy nomination for “Live! in Chicago.” Mr. Sumlin was also nominated for Grammys in 1998, 1999 and 2005 in best traditional blues album categories. He never won.

Mr. Sumlin’s patience likely came from his years of traveling with Burnett.
“Once we were on the road for three months and I had to drive because Eddie Shaw [the saxophonist who became Wolf’s bandleader] wasn’t with us,” Mr. Sumlin said in 1988. “I had to set up the instruments, load the instruments. And nobody would help with nothin’. We were at Silvio’s and we were beat. I was sitting up at a table and the folks hadn’t even walked in yet. Wolf was tired and just hauled off and hit me. I hit him back. We both knocked each other’s teeth out. And the whiskey went upside the wall. I figure we tore down about $1,800 or $1,900 worth of whiskey displays.

“Yes sir.”

Mr. Sumlin had been scheduled to appear at last summer’s Chicago Blues Festival with David “Honeyboy” Edwards in a tribute to Robert Johnson. They canceled their appearances because of health issues. Edwards died at age 95 on Aug. 29.

Mr. Sumlin had a lung removed in 2004 and last year appeared at the Crossroads Guitar Festival with his oxygen tank. Earlier this year the New York Times reported that Keith Richards was assisting Mr. Sumlin with his medical bills. Richards was a guest on Mr. Sumlin’s 2005 Grammy-nominated “About Them Shoes.”

The Rolling Stones’ Mick Jagger and Keith Richards will pay for the funeral of blues great Hubert Sumlin.
Sumlin’s partner Toni Ann has posted, “I just wanted to share with you, Hubert’s loving fans, that Mick Jagger and Keith Richards have insisted on picking up the full expenses for Hubert’s funeral. God Bless the Rolling Stones”.
A private service will be held in Homewood, Illinois on December 13. A public service for fans will be held on December 12 at 10am at the Festa Memorial Funeral Home in Totowa, New Jersey. There will also be a public viewing at the funeral home on December 11 between 2 and 4pm and 7 and 9pm.
Mick Jagger said today, “Hubert was an incisive yet delicate blues player. He had a really distinctive and original tone and was a wonderful foil for Howlin’ Wolf’s growling vocal style. On a song like “Goin’ Down Slow” he could produce heart-rending emotion, and on a piece like “Wang Dang Doodle” an almost playful femininity. He was an inspiration to us all.”
In announcing his death, Toni Ann said in a statement, “It is with a heavy heart that the worse has come to fruition. My little Hubert is living the life of a real angel. I’m overwhelmed with grief and so I really need to pull myself together. I’d really appreciate it if you would kindly respect our privacy during this most difficult time.“I love you Hubert. You are eternally etched in my heart. And my life is not only richer and blessed for who you’ve been to me, but the world over. And I will never be the same because of you. May you be forever in God’s beautiful grace.
“I’ll spend the rest of my days loving and cherishing all you are and were to me”.

Vicente Zúmel brought Hubert Sumlin for the first time to play in Spain together with Louisina Red at the Cerdanyola Blues Festival. Rest in Peace






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RIP Willie "Big Eyes" Smith - January 19, 1936 to Sept 16th, 2011.
It is with great sadness that we report the unexpected passing of one the true greats of the blues. Willie "Big Eyes" Smith. Willie passed away this morning of a stroke. He was 75 and was musically active until the very end. A brilliant drummer, harmonica player and vocalist, he represented the true essence of Chicago Blues, and was highly regarded by all as an undisputed master. He was an alumni of the Muddy Waters band and wore those stripes with honor. 

Willie "Big Eyes" Smith was born in Helena, Arkansas in 1936, and started playing harmonica at age 17, shortly after moving to Chicago. His harmonica first appeared on record in the 1950s gracing recordings by Arthur "Big Boy" Spires, and Bo Diddley (Willie played the harmonica on the Diddley classic "Diddy Wah Diddy").
At some point in the mid to late 1950s he started playing drums and in 1959 began his long association with Muddy Waters. Smith's drumming first appeared on record on
Muddy Waters' 1960 album release of Sings Big Bill Broonzy. Smith had a real gift for drumming and his playing would help to define the later Muddy Waters Band sound. Many of us remember the classic Muddy Waters lineup of Muddy, Willie, Pinetop Perkins, Bob Margolin, Luther "Guitar Junior" Johnson, and Calvin "Fuzz" Jones.

In June of 1980 members of Muddy's band struck out on there own, and formed the Legendary Blues Band which eventually found Willie as the lead vocalist, showcasing his stellar, down-home vocals. Willie released his first solo album, Bag Full of Blues in 1995, which firmly established him as an artist in his own right.

Willie would revive his first instrument in later years, and in 1996 he would release Way Back, which debuted his new direction, and showed him to be a solid harmonicist. His final recording, Joined At The Hip was a collaboration with the now deceased Pinetop Perkins, and it it earned the two a
Grammy in the Traditional Blues category. We have just touched upon a few of the many recordings of Willie "Big Eyes" Smith who's discography as both a frontman, and a sideman represents the highest of heights in the blues. Willie had a strong work ethic and was a consummate professional, and as a result he worked relentlessly. He won numerous BMAs (Blues Music Awards) as "Best Blues Drummer", and he always carried great bands with him. Of note is the wonderful management of Patricia Morgan, who helped guide the later part of Willie's amazing career, and the impressive booking of Blue Mountain Artists. Also thanks to Willie for bringing out the wonderful talent in his band with Jimmy Mayes, Bob Stroger, "Little" Frank Krakowski, and for his wonderful collaborations with other Muddy alums. Willie leaves his greatest legacy with his son Kenny "Beedy Eyes" Smith, who has become one of the world's greatest blues drummers and carries on his father's sound and tradition. Prayers for all of Willie's family, friends, fellow musicians, and fans as we say goodbye to one of the greatest blessings of the blues. We love you "Big Eyes". To visit Willie "Big Eyes" Smith's website click

Willie "Big Eyes' Smith funeral services announced. This just in from the Smith family about Willie "Big Eyes" Smith's services:
Sunday, September 25, 2011. Visitation 10 AM to 10 PM. Leaks & Sons Funeral Home 7838 South Cottage Grove,  Chicago, IL 60619  Ph:773-846-6567
Monday, Sept 26, 2011. Wake 10am until 11am
Funeral services 11am until noon. South Park Baptist Church 3720 S. King Drive, Chicago, IL 60653 Ph. 773) 548-6566 (source Bob Corritore)

Our condolences to all his family and relatives (Vicente & Roser Zúmel)

Willie "Big Eyes" Smith & Vicente Zúmel
Willie "Big Eyes" Smith, Roser Zúmel & Kenny Smith





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New documentary about the Mississippi Juke Joint Tradition
A new DVD celebrating the Delta’s down-home blues tradition called We Juke Up In Here: Mississippi’s Juke Joint Culture at the Crossroads, is now available. Producers Jeff Konkel of Broken & Hungry Records and Roger Stolle of Cat Head Delta Blues & Folk Art reunite for a second adventure, after the success of their prior film "M For Mississippi". This time around they explore what remains of Mississippi’s once-thriving juke joint culture with interviews, live club performances and an intimate look at Mississippi blues. For more information, a promotional trailer, and to order this film, please visit the website at

Nuevo documental sobre los Juke Joints del Mississippi
Acaba de publicarse un nuevo DVD titulado "We Juke Up In Here: Mississippi's Juke Joint Culture At The Crossroads". Este DVD en forma de documntal, recoge una nueva parte de la tradición 'down-home' del delta del Mississippi. Producido por Jeff Konkel, de roken & Hungry Records y Roger Stolle de Cat Head Delta Blues & Folk Art, y animados por el éxito de su primer documental titulado "M For Mississipi", se han vuelto a reunir de nuevo para explorar e indagar lo que queda de la cultura de los en otra época florecientes juke-joints del Mississippi. La película ofrece entrevistas, actuaciones en directo en diversos clubs y una mirada íntimista al blues del Mississippi. Para más información, solicitud de material promocional, o compra dirigirse a






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Good and welcomed news for all music lovers. MVD Entertainment announces just released new material which is now getting distribution.

MDV Entertainment Group, previously known as Music Video Distributors, was founded in 1986 by Tom Seaman. It acted primarily as a one-stop, buying all labels’ music-related VHS releases and reselling to music and video stores. Getting involved with DVD early, MVD called its strong relationship with content holders, labels, artists and management to become a world leader in music DVD.

In 2008, MVD expanded further and launched three major divisions: MVD Audio, MVD Visual and MVD Distribution.

MVD Audio handles exclusive distribution for audio content on CD. It has content agreements with several record labels as well as many independent artists.

MVD Visual specializes in producing, releasing, marketing and distributing music-related DVDs for worldwide. Thanks to an agressive marketing publicity, this division has released over 500 tittles and is currently one of the largest producers on music DVD all over the world. It also includes eclectic DVD, which features unusual, sometimes cult non-music DVD products.

Finally, MVD Distribution carries the best selection of the format in the world and further offers a very large selection of non-music DVDs.

MVD Distribution serves major chains, distributors, one-stops, online retail and independent retail.

Some of the latest new releases we have just received, now available on stores, are the following ones:


The Michael Schenker Group “The 30th. Anniversary Concert-Live In Tokyo” Inakustik
Five high quality very professional musicians celebrating in a magnificent rock festival of rock the thirty years of their career with legendary songs and energetic wild guitar solos.

The Superbees “Top Of The Rocks” Acetate Records
As irresistible as ever, these rock monsters appear in this album that. Altough it includes a few songs, they shine at a very high level.

The Factory “The Factory” Acetate Records
Coming from Washington, The Factory ruthlessly shelled roll down ten songs in the most pure and orthodox punk-rock style, in the path of The New York Dolls and other similar bands.

Phil Manzanera “The Music 1972 – 2008” Expression Records (3 Cd’s)
In this triple cd you will find the best Phil Manzanera recordings he did between 1972 and 2008. It becomes an essential album for reluctant fans of Manzanera, John Cale, Brian Eno and other similar musicians.

Fred Shafer “Resistor” NorthView
Guitarist Fred Shafer surprises us with a balanced effective and good matched work, which becomes evident in every one of the twelve songs included in this exquisite "Resistor".


Eric Clapton “The 1960’s Review” Sexy Intellectual Production
Impressive document of Eric Clapton’s early years, with the Yardbirds, John Mayall, Cream and Blind Faith.

Pearl Jam “Under Review” Sexy Intellectual Production
Historical document of this amazing band, that will make your hair stand on end by the accurate content of the interviews included.

America’s Music Legacy “Country & Western” Quantum Leap / MVD Visual
One of the DVD volumes of America's Music Legacy collection gives us a glimpse into the most genuine and, at the same time, contemporary Country & Western, with different performances by Razzy Bailey, Eddie Dean, Patti Page, Moe Bandy, Terry Gregory or Jerry Lee Lewis among others.

Cactus “Live, Loud & Proud” MVD Visual
The DVD shows this great and historical band performing live in different cities, on tour between 2006 and 2007 with Carmine Appice, Tim Bogert and Jim McCarty, together with Savoy Brown’s singer Jimmy Kunes.

Eric Sardinas & Big Motor “Live” MVD Visual
Those who are familiar with guitarist and singer Eric Sardinas perfectly know whay you will find on this DVD. Pure dynamite of Delta rock-blues. Everything played with his electrifying, roaring, frenetic guitar and The powerful rhythm section of The Big Motor Band.

The Michael Schenker Group “The 30th. Anniversary Concert – Live In Tokyo” Inakustik
As just said, as the same thing as included on the double cd but, this time, in images. Impressive and overpowering guitar riffs and solos, those ones that leave a deep mark.

John Scofield “New Morning. The Paris Concert” Inakustik
One of the most influential important modern conceptual jazz song-writers and guitar players who successfully combines post-bop, funk edged jazz and r&b. A DVD specially devoted to the generation who are sons of Miles Davis.

America’s Music Legacy “Gospel” Quantum Leap / MVD Visual
From rhumba to jazz or ju-ju music, that to come out into Gospel. All can be found in this wonderful DVD, with different performances by The Winans, The Archers, Mahalia Jackson, The Chambers Family, Linda Hopkins and many more.

Brian Wilson “Songwriter 1962 – 1969” Sexy Intellectual Production
This DVD discovers the music and dreams of The Beach Boys and their leader Brian Wilson golden period. The DVD also includes different interviews with friends, managers, producers, musicians and other family.

Leonard Cohen’s “Lonesome Heroes” Pride Production
Fascinating microscopic vision of life, music and inspiration of one of the most attractive 'folk songsters' and poets of contemporary popular music, particularly influenced by the Beat Generation.

The Sacred Triangle “Bowie, Iggy & Lou 1971 – 1973” Sexy Intellectual Production.
This fascinating documentary film investigates the bright, artistic and productive era of these three pop music monsters who are David Bowie, Iggy Pop and Lou Red. The DVD also includes contributions from Angie Bowie, Billy Name of Andy Warhol’s Factory and many other people who had a close relationship with them during the early seventies.

As you may have noticed, the variety and quality of bands, musicians and genres that MVD publishes both in CD and DVD, is really impressive. Pop, rock, psychodelia, blues, gospel, jazz, glam rock, punk... A large and eclectic catalog that makes you be in real state and a terrific amazing showcase for all music consumers.

I invite you to visit their website, click on different catalogs and begin a surprising journey, without return.

MVD Entertainment is a reputed company with affordable prices for all budgets. Follow my advice and visit its site, buy their items and if your are not satisfied, complain!

Vicente Zúmel 

Buenas y gratas noticias para todos los melómanos. MVD Entertainment Group nos anuncia nuevo material que acaba de editar y que ya está distribuyendo.

MVD Entertainment Group, previamente conocida como Music Video Distributors, fue fundada en 1986 por Tom Seaman. Inicialmente esta empresa se dedicaba a comprar videos en formato VHS que después revendía a las tiendas de discos. Con la aparición de los DVD’s la compañía creció sobremanera y se convirtió en una de las empresas lideres en música de todos los estilos.

En el año 2006 MVD realizó una ampliación de su negocio y formó tres divisiones de la misma empresa: MVD Audio, MVD Visual y MVD Distribución.

MVD Audio realiza la distribución exclusiva de música grabada en cd y tiene acuerdos con algunas de las compañías de discos más importantes y artistas independientes.

MVD Visual está especializada en producir, publicar y distribuir en cualquier rincón del mundo videos musicales. Gracias a una campaña muy agresiva, lleva ya publicados mas de 500 dvd’s que se distribuyen en los cinco continentes. También ha editado algunos dvd de música no comercial o de culto.

Finalmente MVD Distribution lleva todos estos productos a cualquier rincón del globo y ofrece asimismo una amplia selección de dvd’s no musicales.

Entre los clientes de MVD Entertainment se encuentran las mayores cadenas comerciales, algunas multinacionales y empresas independientes.

Algunas de las últimas novedades que acabamos de recibir de la firma y que ya están disponibles para todos vosotros, son las que a continuación se detallan:


The Michael Schenker Group “The 30th. Anniversary Concert-Live In Tokyo” Inakustik (2 cd’s)
Cinco músicos de una enorme calidad musical y profesional celebrando en un magnifico festival de rock sus treinta años de carrera con legendarias canciones y furiosos y enérgicos solos de guitarra

The Superbees “Top Of The Rocks” Acetate Records
Tan irresistibles como siempre se nos muestran estos monstruos rockeros en este álbum con pocas canciones pero de inigualable talla

The Factory “The Factory” Acetate Records
Originales de Washington los Factory desgranan sin contemplaciones diez canciones en su más puro y ortodoxo estilo punk/rock en la línea de los New York Dolls y otras bandas similares

Phil Manzanera “The Music 1972 – 2008” Expression Records (3 Cd’s)
En este triple compacto encontrareis lo mejor de lo mejor que Phil Manzanera grabó entre 1972 y el 2008. Un álbum imprescindible para los fans de Manzanera, John Cale, Brian Eno y compañía.

Fred Shafer “Resistor” NorthView
El guitarrista Fred Shafer nos sorprende con un trabajo equilibrado, efectivo y bien trenzado en todas y cada una de las doce composiciones que nos brinda en este exquisito “Resistor”.


Eric Clapton “The 1960’s Review” Sexy Intellectual Production
Impresionante documento de los primeros años de Eric Clapton con los Yardbirds, John Mayall, Cream y Blind Faith.

Pearl Jam “Under Review” Sexy Intellectual Production
Histórico documento de esta extraordinaria banda que pone los pelos de punta por la veracidad de sus entrevistas.

America’s Music Legacy “Country & Western” Quantum Leap / MVD Visual
Dentro de la colección America’s Music Legacy este dvd nos muestra una pincelada del más genuino y al mismo tiempo moderno Country & Western, con actuaciones de Razzy Bailey, Eddie Dean, Patti Page, Moe Bandy, Terry Gregory o Jerry Lee Lewis entre otros

Cactus “Live, Loud & Proud” MVD Visual
El dvd nos muestra a esta formidable e histórica banda actuando de gira por diferentes ciudades, en un tour realizado en 2006 y 2007 con Carmine Appice, Tim Bogert y Jim McCarty y en colaboración con el cantante de Savoy Brown Jimmy Kunes.

Eric Sardinas & Big Motor “Live” MVD Visual
Los que conocéis la trayectoria del guitarrista y cantante Eric Sardinas ya sabéis a lo que os atenéis. Pura dinamita de rock/blues del Delta. Todo ello servido por su electrizante, rugiente y frenética guitarra y la poderosa sección de ritmo de los Big Motor.

The Michael Schenker Group “The 30th. Anniversary Concert – Live In Tokyo” Inakustik
Lo hemos comentado anteriormente, lo mismo que el doble cd pero, esta vez, en imágenes. Impresionantes y apabullantes riffs y solos de guitarra, de aquellos que dejan huella.

John Scofield “New Morning. The Paris Concert” Inakustik
Uno de los más influyentes e importantes compositores y guitarristas de jazz moderno y conceptual, que combina con acierto post-bop, funk edged jazz y r&b. Un dvd dedicado a la generación de los hijos de Miles Davis.

America’s Music Legacy “Gospel” Quantum Leap / MVD Visual
Desde la rumba, al jazz, pasando por la música ju-ju, hasta desembocar en el Gospel. Todo ello expresado en este magnifico dvd, con actuaciones de The Winans, The Archers, Mahalia Jackson, The Chambers Family, Linda Hopkins y muchos otros

Brian Wilson “Songwriter 1962 – 1969” Sexy Intellectual Production
Este dvd explora la música y los sueños de aquella época dorada de los Beach Boys y de su líder Brian Wilson. Asimismo el dvd contiene entrevistas con amigos, managers, productores, músicos y familia.

Leonard Cohen’s “Lonesome Heroes” Pride Production
Fascinante y microscópica visión de la vida, música e inspiración de uno de los más atractivos ‘folk songsters’ y poetas de la música contemporánea y popular, particularmente influenciado por la generación beat.

The Sacred Triangle “Bowie, Iggy & Lou 1971 – 1973” Sexy Intellectual Production
Este fascinante documental investiga la era brillante, artística y productiva de estos tres monstruos del pop que son David Bowie, Iggy Pop y Lou Red. El dvd contiene también contribuciones de Angie Bowie, Billy Name de la Factoría de Andy Warhol y muchos otros personajes relacionados con ellos durante los primeros años setenta.

Como podréis observar, la variedad y la calidad de las bandas, los músicos y los géneros que MVD va editando tanto en cd como en dvd, es francamente impresionante. Pop, rock, psicodelia, blues, gospel, jazz, glam rock, punk… Un catálogo amplio y ecléctico que pone los pelos de punta y un brutal y espeluznante escaparate para el consumidor de música.

Os invito a visitar su web, pinchar en sus catálogos y empezar un sorprendente viaje de ida, sin retorno.

 MVD Entertainment Group es una empresa seria, con unos precios muy asequibles para todos los bolsillos. Hacedme caso, decidíros a entrar en la web, comprar sus productos y si no quedáis satisfechos, ¡protestar!

Vicente Zúmel





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Son House Bio To Be Published In 2010.
Guitarist/vocalist Son House was a powerful, impassioned performer and a pivotal figure in Delta Blues. University of Rochester professor Dan Beaumont has announced his forthcoming book, Preachin’ the Blues: The Life And Music Of Son House. This is the first full-length biography of Son House, and will be published by Oxford University Press in 2010. (September 2009)

Fecha prevista de publicación en 2010
El cantante y guitarrista Son House fue un apasionado y poderoso intérprete y una figura central del blues del Delta. Dan Beaumont, profesor de la Universidad de Rochester ha anunciado la publicación de su próximo libro
Preachin' the Blues : The Life And Music Of Son House. Esta es la primera biografía completa de Son House, y será publicado por Oxford University Press en 2010. (Septiembre 2009)




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Barrelhouse Blues: Location Recording and the Early Traditions of the Blues
From Amazon Summary
Amazon summary
In the 1920s, Southern record companies ventured to cities like Dallas, Atlanta, and New Orleans, where they set up primitive recording equipment in makeshift studios. They brought in street singers, medicine show performers, pianists from the juke joints and barrelhouses. The music that circulated through Southern work camps, prison farms, and vaudeville shows would be lost to us if it hadn't been captured on location by these performers and recorders.
Eminent blues historian Paul Oliver uncovers these folk traditions and the circumstances under which they were recorded, rescuing the forefathers of the blues who were lost before they even had a chance to be heard. A careful excavation of the earliest recordings of the blues by one of its foremost experts, Barrelhouse Blues expands our definition of that most American style of music.
Product Details
* Hardcover: 240 pages
* Publisher: Basic Civitas Books (August 25, 2009)
* Language: English
* ISBN-10: 046500881X
* ISBN-13: 978-0465008810
* Product Dimensions: 8.4 x 5.6 x 1.1 inches
(September 2009)

NUEVO LIBRO de Paul Oliver
Barrelhouse Blues: Location Recording and the Early Traditions of the Blues Blues Barrelhouse.
Resumen de Amazon
En la década de 1920, las compañías discográficas del Sur se atrevieron a acercarse a ciudades como Dallas, Atlanta y Nueva Orleans, donde instalaron equipos portátiles de grabación en improvisados estudios de grabación. Desde allí grabaron a cantantes callejeros, a artistas y vendedores ambulantes de los 'minstrel shows' muestran la medicina, a pianistas de los 'juke-joints' y 'barrelhouses'. La música que se escuchaba y se interpretaba en los campos de trabajo del Sur, las granjas de prisión, y espectáculos de variedades, se hubiera perdido para todos nosotros de no haber sido registrada en estos lugares por los artistas y las personas que los grabaron.
Paul Oliver, eminente historiador de blues. nos descubre toda esa música tradicional, las circunstancias y condiciones en que fueron grabadas, rescatando a los antepasados del blues que desgraciadamente a menudo se perdieron antes de tener la oportunidad de ser escuchadas. Una cuidadosa exploracion de las primeras grabaciones de blues a cargo de uno de los mayores expertos en el tema. Barrelhouse Blues amplía la información sobre el estilo más genuino de la música americana

Detalles del producto
* Paperback: 240 páginas
* Editor: Basic Books Civitas (25 de agosto de 2009)
* Idioma: Inglés
* ISBN-10: 046500881X
* ISBN-13: 978-0465008810
* Medidas: 8,4 x 5,6 x 1,1 pulgadas
(Septiembre 2009)


Pagina Principal/Home

El Programa de Radio/The Blues Radio Show - La Programación/Playlist - Novedades Cds/Cds Received - Criticas de Discos/Actual Cd Reviews - Criticas Discos Antiguas/Old Cds Reviews - Reconocimientos/Show Aknowledgements - L
inks de Interés/Logo Links - Posters Blueseros/Blues Posters

Quien es Zúmel/Who is Zumel - Las Fotos/Blues Gallery - La "Harmonica Zúmel Blues Band"/The late "Harmonica Zúmel Blues Band" - La Sociedad de Blues de Barcelona S.B.B/Barcelona Blues Society SBB

Agenda de Conciertos/Blues Gigs Calendar - Las Noticias Nacionales/Spanish Blues News - Los Artículos/Articles  - Colaboraciones/Contributions - Las Entrevistas/National Interviews - Fotos Conciertos Blues/Blues Gigs Pictures - El Diccionario de Blues - El Vídeo del Mes/Monthly Recommended Video

Articulos Internacionales/International Articles
- Entrevistas desde USA/USA Interviews