Pierce Dipner - Goin' Back - New Release Review

 I just had the opportunity to review the first full length release, Goin' Back, from Pierce Dipner, and it's a solid blues entry. Opening with Fool's Gold, with it's classic blues vamp, Pierce Dipner on vocal and guitar leads the way. Backed by Arnold Stagger on bass, Blaise Lanzetta on drums and Joe Munroe on keys, were off to a strong start. Empty Bed Blues has a strong Elmore James feel with his familiar slide riff but Dipner's vocal and instrumentation is all his. On slow blues, Tore Us Apart, Dipner's guitar lead is cradled nicely in the warm keyboard work of Munroe. His vocals are solid and his solo lines are original and set the tone nicely, punched up by Stagger and Lanzetta. On Sean Costello's No Half Steppin', Dipner delivers on vocals with a more R&B feel, dressed nicely by Rick Matt on sax, JD Chaisson on trumpet and Reggie Watkins on trombone. Great radio track. Another R&B style track, Won't You Come Home has a real nice swagger. I particularly like Dipner's vocals on this track. With the thematic vamp by Dipner on guitar, he overdubs a real nice lead solo and really digs in, fired by the organ work of Munroe. Very nice.  Wrapping the release is Justin Townes Earle's Memphis In The Rain. Dipner really feels this style vocally and with horn work by Matt, Chaisson and Watkins and a cool solo of his own, this is a solid closer for a solid new release. 

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Billy The Kid & The Regulators - I Can't Change - New release review

I just received the newest release, I Can't Change from Billy The Kid & The Regulators and it's quite good! Coming out of the gate with title track, I Can't Change, Billy and the Regulators hit the funky groove with Reggie Watkins on trombone, Rick Matt on sax and JD Chasin on trumpet. Billy Evanochko, Jon Vallecorsa and James Dougherty on guitar and vocals lead the way and Yolanda Barber's complimentary backing vocals are excellent! Arnold Stagger on bass and Brian Edwards on drums really anchor the bottom and stylized guitar soloing tops this super opener! On Ain't Gotta Prove Nothing, Billy leads the way vocally and with voracious guitar work. Another track with a serious funky feel driven by Stagger, this track moves! Radio styled, R&B ballad, What Are We Fighting For has a catchy melody and warm horn work, nicely complimented by Dougherty's singing slide work. R&B styling on Story of the Blues suits this band well. This is a tight track with a clean jazzy guitar solo and nice key work from Ublai Bey. Twelve bar number, Who, opens with a nice Freddie King style guitar intro and rumbles with a southern blues rock feel. Featuring Jason Ricci on harp and Evanochko on Elmore James style riffs over Bey's key work, this track is a nice blues rocker. That Darn Cat has a funky jazz feel and a cool slinky beat. Choice harp riffs from Ricci and warm vocal injections from Barber are a perfect compliment to the lead almost rap like lead vocal. Dougherty lays down some real nice Little Feat like slide work on Edwards' funky rhythm giving this track a cool vibe. Slow blues number, Slender Man Blues, features prime lead vocal work from Billy and clean piano work from Bey. Billy steps up with some of the hottest guitar riffs on the session pushed ever higher by Watkins, Matt and Chasin. Barber's warm backing on this track is effective in a totally different way showing her absolute versatility. Very cool! On Jimmy Reed's Can't Stand To See You Go, the band maintains the standard JR feel. Ricci nicely adds with his harp work and it's vocal harmonies with Billy's solid leads that sets this track apart. Saturday Night is a high energy rocker along the lines of Radar Love. Never venturing far from the blues format, it's the driving bass line of Stagger that kicks this track and the super harp work of Ricci, the organ work of Bey and the sweet vocal blending of Barber, Evanochko, Vallecorsa, Dougherty, Edwards and Bey that make it sing. A guitar guitar shootout featuring Damon Fowler and Sean Carney is a nice treat on this track as well. Wrapping the release is Robert Johnson's Me And The Devil Blues. With a much more stripped down approach of vocal, guitar and harp on this track, it makes for a very nice closer or a real nice release!

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Minnie The Moocher - The Fabulous Booze Brothers Show Band and Revue

Ted (Bundy) and Andy (Shack) have been talking about doing a Blues Brothers tribute for the past 20 years or so. Finally, one night over a couple of beers they decided to move forward with the project. They called their old "bandmates" from previous projects: Brian Solomon, David Schroeder (Schro) and Kurt Fleckenstein (Jorge) who were instantly on board and excited. After two years of changes in the horn section due to folks moving for jobs or leaving for Afghanistan (and thankfully returning home safe and sound), the Booze Brothers are happy to present Brian Dahm, Jeremy Ketter, Marty Herchko, Greg Sloan and Dan Rusnak as the horn line up for this project. The band rounded it out and added Rich Risnear on keys in February of 2014. Our love of the music the Blues Brothers band has produced (or reproduced) has brought us together. We hope you share our love for this timeless music and enjoy our shows as much as we enjoy performing for you. EVERYBODY GET RIPPED!!!!!!  

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Old Love - Nik C and The BlueTops

Nik C & The BlueTops are a musical group excelling at a soulful style of blues and funk that will move you and make you move. Nik Callahan - Vocals / Guitar Keith Gamble - Bass Jules Coulson - Drums








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Dan Bubien - Empty Roads - New Release Review

I just received a new release, Empty Roads, from Dan Bubien. It's not often that I get to review an artist from my original hometown, Pittsburgh Pa. but it's a solid pleasure when I do...and the music is great! Bubien presents not only a pleasant rack of tunes but a strong voice and great instrumentation. This release is a bit more "popular" sounding than I typically listen to but it's always cool when musical strength, catchy tunes and vibrant grooves collide. Opening with the title track, Empty Roads, a funky, Little Featesque, track with strong vocals and cool guitar. Excellent start. The guitar work on this track is straight forward and interesting exhibiting solid chops. Fight Club pulls even more funk with Andy Taravella on drums, Gary Ripper on bass, Timmy Mabin on keys, Jonathan Vallecorsa on guitar, and especially Eric DeFade on sax. Crazy Days really has a strong Philly sound (the other side of the state) and I really like it. If you don't know the Philly sound, it's also called blue eyed soul. Excellent! Andre Marocco adds backing vocals to this track, a key component to the authentic sound. Exile Blues is a nice light 12 bar number and includes the addition of Chris Nacy on harp and a nice clean piano solo by Mabin. Slide work by Bubien adds a vocal warmth to the easy going track. To Youngstown has a distinctive Little Feat feel to it and a touch of Traveling Riverside Blues. Really cool track. Dizzy Eyes is an uptempo R&B style track with a load of horns by Steve McKnight (trumpet) and Eric De Fade and backing vocal by Jimmie Ross, Morgan Maybray and Marocco. Joe Monroe lays down a nice organ solo on this track and the push is all JB's. Irony is another strong R&B style track and a solid hit coming. Bubien has a definite knack for melody and DeFade and McKnight add warmth to the bottom. A super stinging guitar solo by Bubien is a terrific compliment to his excellent vocals. keep Love In Mind is another sweet Philly love song (straight out of Pittsburgh). Bubien is just waiting for the ear because the music is absolutely here. Do you even kind of like Daryl Hall? How about Smokey Robinson? You'll love this guy! Sniper is an easy going blues track with a country feel. Marocco adding vocal backing and Justin Stagg adding banjo along with Bubien's slide work make this a smart ending to a really cool release.

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I'm Here To Stay - Miss Freddye and Blue Faze

Been on the music for 14 years. Started with blues band BMW-"Blues Music Works". Currently lead singer of "Miss Freddye and the Blue Faze Band". also duo acouistic act "Miss Freddye & Mike Huston on acoustic sounds. Starting singing at the age of 15, mostly in church. Became winner of the West Virginia Blues Society's 2008 Appalachian Blues Competition. Went on to compete in Memphis, TN Feb. 2009, at Club 152. Had the honor and pleasure of having Greg "Fingers" Taylor play some mean, down home harp at CC's Cafe, Sharpsburg, Pa. Opened for Kellie Ricthie at Moondog's, Blawnox, Pa. Jammed with DeWayne Burnside a Moondog's. Had the the honor of singing with the blues band Mississppi Heat in Morgantown, Wv! Recording artist for Bonedog Records, located in McKeesport, Pa

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Sugar - Stanley Turrentine

Stanley William Turrentine, also known as "Mr. T" or "The Sugar Man", (April 5, 1934 – September 12, 2000) was an American jazz tenor saxophonist Turrentine was born in Pittsburgh's Hill District into a musical family. His father, Thomas Turrentine, Sr., was a saxophonist with Al Cooper's Savoy Sultans, his mother played stride piano, and his older brother Tommy Turrentine also became a professional trumpet player. He began his prolific career with blues and rhythm and blues bands, and was at first greatly influenced by Illinois Jacquet. In the 1950s, he went on to play with the groups of Lowell Fulson, Earl Bostic, and at the turn of the decade, Max Roach. Turrentine received his only formal musical training during his military stint in the mid-'50s. In 1959, he jumped from the frying pan into the fire when he left the military and went straight into the band of the great drummer Max Roach. He married the organist Shirley Scott in 1960 and the two frequently played and recorded together. In the 1960s, he started working with organist Jimmy Smith, and made many soul jazz recordings both with Smith and as a leader. In the 1970s, after his professional split and divorce from Scott, Turrentine turned to jazz fusion and signed for Creed Taylor's CTI label. His first album for CTI, Sugar proved one of his biggest successes and a seminal recording for the label. He worked with Freddie Hubbard, Milt Jackson, George Benson, Bob James, Richard Tee, Idris Muhammad, Ron Carter, Grant Green and Eric Gale, to name a few. He returned to soul jazz in the 1980s and into the 1990s. Turrentine lived in Fort Washington, Maryland from the early 90s until his death. He died of a stroke in New York City on September 12, 2000 and is buried in Pittsburgh's Allegheny Cemetery  

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

Vision From Heaven - Ronnie "Byrd" Foster - New Release Review

I just received Vision From Heaven, the recent release by Ronnie 'Byrd' Foster. This is a posthumous release as Foster passed 2 years ago. Mr. Foster was born on September 16, 1949 in Pittsburgh, Pennsylvania. He was a member of the Pittsburgh Music Hall of Fame and voted Best Drummer in Pittsburgh four years in a row. Over the years, he was a member of the following bands in the Pittsburgh area: Michael G & The Eruptions, Jimmy Mac & The Music Factory (who then became the Igniters), Sweet Lightning, Roy Buchanan, The Silencers, Red Hot & Blue, The Hell Hounds, Mystic Knights of the Sea, Bon Ton Roulet and Iron City House Rockers. In Florida, he was also a member of the following bands: Midnight Creepers, Blues (4) Soul, Daytona Blues Society All Stars, Victor Wainwright and he was a session drummer for Kings Snake Records.
 A former Pittsburgh resident myself, I had a chance to see Foster a number of times with Sweet Lightning and of course Roy Buchanan. This is a terrific tribute release. This recording opens with Gimme Gimme, a New Orleans style blues track. Foster has a solid blues rock party voice which is great to carry this style of track. His march drumming on this track and harp work by Mike Galloway, backed by sax man Charlie Dechant and piano man Billy Delk make this a perfect opener. Stop Draggin That Chain is a loping swing blues. Just a little bit of delay giving the track a great syncopation and his vocal blend with guitarist, Tim Kelliher is really cool and Galloway is back on harp for a cool run. Kelliher plays some really styling riffs on this track and keeps the groove going throughout. Vision Of Heaven has a strong R&B style taking more of a ballad stance and featuring quite a bit of nice sax work from Dechant. New Orleans Blues is a great slow blues track and Foster comes out sounding vocally like Gregg Allman. Stinging guitar riffs pepper this track and Galloway gets a great opportunity to show his harp chops. This is a great track! Foster takes another R&B track, Twistin The Knife, and shows that he can easily carry his weight as a lead vocalist on a featured track. Rattlesnake has a bit of country on the rock edge for a dance paced track. Blending slide guitar and harp work this is a track that would easily command radio play. Another R&B style track, Tony Joe White's Rainy Night In Georgia, shows how deeply Foster felt in his music and shows guitar work in the light jazzy chord mode. Finishing with Backporch Crying, a stripped down 12 bar number, Foster sings along with simple drum and acoustic guitar. Almost like the humble ending to a complex composition, This is really an enjoyable release and if you like blues and R&B you may want to give it a try...available on cdbaby.

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

This track does not appear on the cd but is a good representation of the quality of work. 

 

IF I COULD SEE MY BABY- LITTLE CAESAR

Blues/R&B vocalist/actor. Born in Pittsburgh and migrating to California in 1949, Harry Caesar scored an R&B hit in 1952 for Los Angeles entrepreneur John Dolphin's Recorded in Hollywood label with the violent "Goodbye Baby." He was also involved in the L.A. doo wop scene. Caesar has worked more recently as an actor in movies and TV. ~ Bill Dahl, Rovi If you support live Blues acts, up and coming Blues talents and want to learn more about Blues news and Fathers of the Blues, Like ---Bman’s Blues Report--- Facebook Page! I’m looking for great talent and trying to grow the audience for your favorites band! -  ”LIKE”

Big Time Bass - Edgar Meyer, Ray Brown and Victor Wooten

Raymond Matthews Brown (October 13, 1926 – July 2, 2002) was an influential American jazz double bassist, known for extensive work with Oscar Peterson among many others. Ray Brown was born in Pittsburgh, Pennsylvania, and had piano lessons from the age of eight. After noticing how many pianists attended his high school, he thought of taking up the trombone, but was unable to afford one. With a vacancy in the high school jazz orchestra, he took up the upright bass A major early influence on Brown's bass playing was the bassist in the Duke Ellington band, Jimmy Blanton. As a young man Ray Brown became steadily more well known in the Pittsburgh jazz scene, with his first experiences playing in bands with the Jimmy Hinsley Sextet and the Snookum Russell band. After graduating from high school, hearing stories about the burgeoning jazz scene on 52nd Street, in New York City, he bought a one way ticket to New York. Arriving in New York at the age of twenty, he met up with Hank Jones, with whom he had previously worked, and was introduced to Dizzy Gillespie, who was looking for a bass player. Gillespie hired Brown on the spot and he soon played with such established musicians as Art Tatum and Charlie Parker. From 1946 to 1951 he played in Gillespie's band. Brown, along with the vibraphonist Milt Jackson, drummer Kenny Clarke, and the pianist John Lewis formed the rhythm section of the Gillespie band. Lewis, Clarke and Jackson eventually formed the Modern Jazz Quartet. Brown became acquainted with singer Ella Fitzgerald when she joined the Gillespie band as a special attraction for a tour of the southern United States in 1947. The two married that year, and together they adopted a child born to Fitzgerald's half-sister Frances, whom they christened Ray Brown, Jr. Fitzgerald and Brown divorced in 1952. Around this time Brown was also appearing in Jazz at the Philharmonic concerts, organised by Norman Granz. It was at a Jazz at the Philharmonic concert in 1949 that Brown first worked with the jazz pianist Oscar Peterson, in whose trio Brown would play from 1951 to 1966. Between 1957 and 1959, he appeared on Blossom Dearie's first five recordings for Verve Records. After leaving the Trio he became a manager and promoter as well as a performer. In 1966, he settled in Los Angeles where he was in high demand working for various television show orchestras. He also accompanied some of the leading artists of the day, including Frank Sinatra, Billy Eckstine, Tony Bennett, Sarah Vaughan, and Nancy Wilson. He also managed his former musical partners, the Modern Jazz Quartet, as well as a young Quincy Jones, produced some shows for the Hollywood Bowl, wrote jazz bass instruction books, and developed a jazz cello. In Los Angeles he composed music for films and television shows. From 1974 to 1982, Brown performed and recorded a series of albums with guitarist Laurindo Almeida, saxophonist and flutist Bud Shank, and drummer Shelly Manne (replaced by Jeff Hamilton after 1977) under the name The L.A. Four. He also joined up with Milt Jackson again to record the classic Jackson, Johnson, Brown & Company (1983), featuring Jackson and Brown with J. J. Johnson on trombone, Tom Ranier on piano, guitarist John Collins, and drummer Roy McCurdy. In the 1980s and 1990s he led his own trios and continued to refine his bass playing style. In his later years he recorded and toured extensively with pianist Gene Harris. In the early 1980s, Ray Brown met Diana Krall in a restaurant in Nanaimo, British Columbia. According to Jeff Hamilton, in an interview recorded on the "Diana Krall Live in Rio" DVD, he first heard Diana Krall play at a workshop and, impressed with her piano skills (she was not yet singing) introduced her to bassist John Clayton. Hamilton and Clayton both encouraged Krall to move to Los Angeles to study under Ray Brown and others. In 1990, he teamed up with pianist Bobby Enriquez and drummer Al Foster, for Enriquez's album, The Wildman Returns. During 1990 - 1993 the "Legendary Oscar Peterson Trio" reunited, with Oscar Peterson, Herb Ellis and Ray Brown, with either Bobby Durham or Jeff Hamilton added on drums. Albums of this group earned no less than 4 Grammy Awards. In May 1993 this group ended, while Oscar Peterson suffered a severe stroke. Ray played for a time with the "Quartet" with Monty Alexander, Milt Jackson and Mickey Roker. After that he toured again with his own trio, with several young pianists like Benny Green, Geoff Keeezer and Larry Fuller. The last edition of the Ray Brown Trio was that with pianist Larry Fuller and drummer Karriem Riggins. With that trio he continued to perform until his death in 2002; he died in his sleep, after having played golf, before a show in Indianapolis. Probably his last recorded show was in Europe, during the Bern Jazz Festival, on May 4, 2002, with Larry Fuller and Karriem Riggins. “To laugh often and much; to win the respect of intelligent people and the affection of children; to earn the appreciation of honest critics and endure the betrayal of false friends; to appreciate beauty; to find the best in others; to leave the world a bit better, whether by a healthy child, a garden patch or a redeemed social condition; to know even one life has breathed easier because you have lived. This is to have succeeded.” - Ralph Waldo Emerson If you support live Blues acts, up and coming Blues talents and want to learn more about Blues news and Fathers of the Blues, Like ---Bman’s Blues Report--- Facebook Page! I’m looking for great talent and trying to grow the audience for your favorites band! -  ”LIKE”

Any Day Now - Chuck Jackson

Possessing one of the most elegant baritone voices in the annals of recorded music, Grammy Award-nominated Chuck Jackson has set a benchmark for aspiring vocalists of all genres. In turn, he's engendered deep respect from contemporaries and aficionados around the globe.

His seductive rasp is emblematic of his inimitable style and is underscored on all levels of his monumental recordings.

Consistent with this, Chuck's rhythmic compositions are truly prolific and speak volumes to his extraordinarily poetic histrionics, coupling evocative lyrics and eclectic instruments with posh studio arrangements.

From his early days at Scepter Records to his Motown Records' productions, Chuck's discography consists of some of the most memorable popular and R&B hits ever arranged: "Any Day Now," his 1962 chart-stopping signature song, is one of the most recognizable crossover tunes in popular music vaults and has been covered by countless artists since.

By contrast, "I Don't Want To Cry," an alluring and rapturous piece that he co-wrote and recorded in 1961, was his first hit single and forever etched his imprint onto the record industry's shifting landscape.

Raised in Pittsburgh, PA, Chuck spent his formative years honing the craft that would launch him into the international spotlight and expose his talent to national television audiences such as The Tonight Show, Soul Train and American Bandstand.

Along with this, his extraordinary gifts can be witnessed at live concerts in select venues planet-wide, where he often shares the stage with other superlative vocalists like songstress Dionne Warwick and the soulful Smokey Robinson. Other well-known productions have included Michael McDonald, Boyz II Men, Ben E. King and a plethora of other household names.

Ms. Warwick was Chuck's partner in the 1997 Grammy-nominated duet "If I Let Myself Go" (Grammy nominated for Best Duet) from his well-orchestrated CD I'll Never Get Over You. Thus far he has 23 charted songs to his credit.

He appreciates the value of the creative aspect of the business, but he also realizes the importance of the business side of the music industry: Financing the production of concerts and special events requires an intricate knowledge of contracts and budgets.

In addition to his professional commitments, he organizes and produces events for New York's world-famous Apollo Theatre. Inclusive in these productions are exemplary performers like Smokey Robinson, Dionne Warwick, Tom Jones, Paul Shaffer (The Late Show) and Ashford & Simpson, to name a few.

Chuck knows the struggles new artists face and therefore has donated time and personal resources to the development of the careers of many of our top stage performers in music, theater and comedy: Flip Wilson, at one time the most popular comedian in the world, got his big break when Chuck took him on the road to open shows for him.

The superlative Dionne Warwick sang backup for Chuck on many of his stellar recordings, and Britain's Tom Jones was heavily influenced by Chuck when he touched down on American soil with the smash that was originally written for Chuck, "It's Not Unusual."

Chuck's versatile background permits him to vocalize in different styles: from R&B and pop to gospel and blues. And his trademark adlibbing is second to none as he continues to release new material with potent lyrics sporting dynamic arrangements.

His latest project, Chuck Jackson: The Motown Anthology, is a United Kingdom release (available on-line), and it will be distributed domestically in the future. This disc contains 48 tracks of incredible ballads interspersed with up-tempo grooves, which chronicle his fascinating career from some of his earlier studio recordings till now.

Chuck has received so many awards that it would take a book to list them all. However, a noteworthy one is the Apollo Theatre's Hall of Fame Award and tribute for headlining more shows there than any artist in the history of the historical Manhattan venue.

He's received additional commendation from the following: Anheuser Busch, Ringling Brothers and Barnum & Bailey, Motown Heroes & Legends and The Harlem Jazz & Music Festival, etc. Chuck is also a permanent member of New York's famous Friars Club.

Working closely with civic leaders such as key political figures, including Representative Charles B. Rangel, enables Chuck to network a collective to achieve some of his many community goals.

As a humanitarian, Chuck continues to donate time and revenue to further creativity in the inner-city, performing in concerts and organizing events that impact the lives of millions of citizens, junior and senior.

From his first major success with Bacharach and David to his present studio enterprises, Chuck Jackson continues to create wonderful music. And with new gospel and secular projects on the horizon, this is just the beginning of the next phase in the career of Smithsonian Institute's certified 'national treasure' and one of the most exciting entertainers of our time.

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

Jimmy Thackery - Live in Phoenix, AZ

Jimmy Thackery played live in Phoenix, AZ last night at Bob Corritore's Rhythm Room. First, as most of you know, I think that this is a terrific place to see a band (with Rolling Rock in stock) and it was standing room only. Jimmy and the Drivers, Mark "Bumpy Rhodes" Bumgarner (bass) and George "Bam Bam" Sheppard (drums) put on an absolutely excellent show. Now I'm not the kind of guy who takes a pencil to a concert so don't ask me what the track list was. I did talk with Sheppard between sets to see if they had a written set list and he indicated that Jimmy cues them for each and every song. I just gotta tell you, Jimmy knew exactly what to play to keep the crowd on it's heels. Jimmy opened the show with a barn burner blues rocker and the crowd reacted likewise. I think that it really pumped Thackery up because as many times as I've seen them, this was the most consistently excellent performance that I have seen. Tunes that I remember for sure that they played include Apache, Cool Guitars, Land Locked, Blind Man In The Night, T-Bome Shuffle, Bullfrog Blues and a ripping version of the Star Spangled Banner. he did play two full sets and I'm guessing over 3 hours. First I want to make a couple of comments about the surf tune selections like Apache and Land Locked. I think that Jimmy handles these tunes masterfully and I'm glad that he does them. They are written for great guitar players and I'm glad when a guitar virtuoso takes one on and pushes it out. Jimmy has some of the most lush, fat, shimmering tones you'd ever want to hear and that coupled with his subtle use of the trem bar makes for a great combination. Jimmy has about every guitar trick in his bag and he doesn't appear to feel the need to jam every one into every song but pulls them out sparingly at just the right moment to give the track the texture that it needs. Each of the band members was right on and I found myself watching Bumgarner a bit of the time. He really put me in mind of Leo Lyons of Ten Years After. Similar stature as well as style. He played really well and understated but actually played quite a bit of fill. Conversely, Sheppard almost stayed out of the way of the band, laying back with a minimal touch but did have a fairly long drum interlude which included his adopting a civil war style marching drum and leaving the trap set for a short while as he marched around the stage. Most impressive was his handling of the cymbals both during the routine performance as well as his solo work. Really nice job. But back to Jimmy. I saw some things in Jimmy last night that I hadn't seen before in that he looked to have his guitar by the throat. There are very few guitar players that I feel have a mastery of their instrument where they can actually take their guitar by the throat. Jimmy was sticking his fingers in places that the guitar really didn't like (up it's backside) and it was squealing like a baby. He was using the trem bar like "the master" and really pulled some terrific harmonics... and this is all during the contained part of the show. Jimmy did have one unconstrained part of the show where he did a rendition of the National Anthem... and he didn't copy Jimi... he played his own version of what can this guitar do, how can it do it, how bad can I make it hurt and can I taunt it till it screams. He had the guitar by the throat and it was gasping to keep up. He shows excellent fingering technique,beautiful chord control and selection, a fluttering picking style at the fretboard and some strange harmonic bends that had everyone watching in awe. I will also mention that I sat with 4 people that I didn't know and all 4 ended up being musicians. This was a show for musicians and everyone went home really satisfied. i did shoot a bit of film with my phone (in process of upload) but due to hard use during the day, I only got a short bit of footage . I spoke with the bandmembers and Jimmy briefly and they were all very gracious and gentlemanly. I thoroughly enjoyed the show and hope that you get the chance to see him when he comes your way. See the tour schedule below.


May 03, 2012
Highway 99 - Seattle, WA
Jimmy Thackery & The Drivers
May 04, 2012
Jazzbones - Tacoma, WA
Jimmy Thackery & The Drivers
May 05, 2012
Upstage - Port Townsend, WA
Jimmy Thackery & The Drivers
May 10, 2012
Rhythm Room - Phoenix, AZ
Jimmy Thackery & The Drivers
May 11, 2012
Café Boogaloo - Hermosa Beach, CA
Jimmy Thackery & The Drivers
May 12, 2012
Boulder Station Casino - Las Vegas, NV
Jimmy Thackery & The Drivers
May 13, 2012
Anthology - San Diego, CA
Jimmy Thackery & The Drivers
May 27, 2012
Santa Cruz Blues Festival - Santa Cruz, CA
*Jimmy Thackery SOLO with Coco Montoya

June 01, 2012
George's Majestic - Fayetteville, AR
June 02,2012
Knucklehead's - Kansas City, MO
June 09, 2012
Dauphin County Wine & Jazz Festival - Harrisburg, PA
* With special guest JP Soars!

August 04, 2012
Blues for the Zoo - Big Bear Lake, CA
August 05, 2012
High Street Theatre - Moore Park, CA
August 07, 2012
Bluesdays Concert Series - Olympic Valley, CA

Sept 01, 2012
Illinois State Blues Festiva'l - Peoria, IL
If you like what I’m doing, Like ---Bman’s Blues Report--- Facebook Page! I’m looking for great talent and trying to grow the audience for your favorites band! - ”LIKE”

Instrumental - Jimmy Ponder

Jimmy Ponder (born May 10, 1946 in Pittsburgh, Pennsylvania) is an American jazz guitarist.

Ponder started playing guitar at age 14, and was heavily influenced by Wes Montgomery and Kenny Burrell. He began playing with Charles Earland at 17, and in the following years played with Lou Donaldson, Houston Person, Donald Byrd, Stanley Turrentine, and Jimmy McGriff. He moved to Philadelphia and later New York City in the 1970s, and recorded extensively as a leader for a number of jazz labels. Since the late 1980's Jimmy has frequently returned to his hometown to perform with his popular trio alongside two of Pittsburgh's other Jazz greats; Roger Humphries and Gene Ludwig. Ponder's most commercially successful releases were his 1978 Muse Records set All Things Beautiful (U.S. Billboard Jazz Albums #38) and 2000's Ain't Misbehavin', for HighNote (U.S. Jazz #16)
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I Just Wanna Make Love To You - The Nancy McKeen Bluz Machine

Nancy McKeen is a freckle-faced, off the wall crazy Irish girl who belts out the blues like someone who's lived them.

A fiery red-head with powerful pipes, her musical influences include; Susan Tedeschi, Janis Joplin, Shannon Curfman & Etta James, as well as Al Green & Grace Slick.

Formed in 2009, the other members of The Bluz Machine include three veterans of the area music scene:
Mark McFeely on guitar, Bob Giacometti on bass and Pat Rush on drums.

Known for their live performances, The Nancy McKeen Bluz Machine has opened for Johnny Winter, Chicago, Kenny Wayne Shepherd, Ana Popovic, Eddie Money, The Nighthawks, Taj Mahal, The Blasters, Gary Hoey, Rory Block, Matt Schofield, Roger Clyne & The Peacemakers, The Jamie McLean Band, The Dirty Pearls and Shannon Curfman, who invited Nancy to join her on stage to share vocals on "The Weight".

The Nancy McKeen Bluz Machine has appeared at The Wheeling Heritage BluesFest, The Westmoreland Arts & Heritage Festival and Snowshoe Mountain Blues, Brews & BBQ.

Nancy has also performed the National Anthem for the Wheeling Nailers ECHL “AA” hockey team as well as for the Washington Wild Things Frontier League baseball team.

The group’s first CD, “Three Jacks and a Jill”, was released in November 2010. They are currently preparing their second CD for a 2012 release.
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