Biglittle Records artist: Big Shoes - Step On It - New Release Review

I just had the opportunity to review the most recent release (February 23, 2018), Step On It, from Big Shoes, and it's slick. Opening with Duplex Blues, lead vocalist and guitarist, Rick Huckaby leads this easy shuffle blending vocals with Will McFarlane on guitars, Tom Szell on bass, Mark T Jordan on keys and Kenne Cramer on guitar. Andy Peake adds drums and is joined on percussion by Bryan Brock. Light, funky, jazz rocker, There You Go, has a real nice rhythm and interwoven soloing by Huckaby, Cramer, McFarlane and Jordan. One of my favorite tracks on the release is Latin flavored, Don't You Do Me That Way with nicely stylized guitar lead, a solid piano solo from Jordan and snappy percussion rhythms. Excellent! A solid radio candidate is Ain't Nobody Loves You Like Me, with nicely blended vocals, punchy horn work and a smooth slide guitar solo by McFarlane. Pop rocker, Give It To Me Now is another strong radio track with a super melody and catchy rhythm. Wrapping the release is Honey Pie with it's slinky rhythm, country blues styling and clever vocal interweaving. The vocals are the hit on this track but super piano riffs by Jordan and cool slide by McFarlane give it that extra dose of gas. Nice closer for a solid release.

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Eight O'Five Jive - Swing Set - New Release review

I just had the opportunity to review the most recent release, Swing Set, from Eight O'Five Jive and it's a swinger. Opening with Make Mine A Double, lead vocalist Lee Shropshire has the house rockin with the strong support of Andy Scheinman on guitar, Patrick Mosser on sax, Bill Bois on bass and Duane Spencer on drums. With a more casual style, Lee gets full vocal backing by the band on Ragged and Andy twists in a stylistic solo leading to a rich solo by Patrick. Get Away is a real hot footer with smoking riffs by Andy and Patrick. Very cool. Backing off a bit, Put It Back, has a smooth Louis Jordan kind of feel with warm sax work under Lee's vocals. One More Glass Of Wine has a real nice jazz club pace with smart solo's by Andy and Patrick. Very nice. Another smoker, Ridu Green's My Mumblin' Baby is a great track with hot sax work by Patrick and again hot licks by Andy...possibly my favorite track on the release. Cool swinger, A Little Bit of Bourbon, is a great closer and totally in the spirit of this music. This band really has the feel of the era and creates a sense of being in the time. Very nice set.



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ROBERT "WOLFMAN" BELFOUR September 11, 1940 - February 26, 2015

                                  

Story By Roger Stolle

 

    Sad news in the blues world today. Mr. Robert "Wolfman" Belfour — RIP. Arguably the deepest of the surviving, old-school, Mississippi bluesmen was found deceased at his home in Memphis this morning by relatives. He had been suffering from various health issues (mainly diabetes and mobility related) for over a year but had recently been doing better. He had not performed since last June but was slated to play at Juke Joint Festival in April.

 

    Mr. Belfour's family is in desperate need of money for funeral services. The Memphis Blues Society is trying to raise money to help the family with funeral costs. Those wishing to donate can do so through The Memphis Blues Society Benefit link: Click here. For now… if you knew the blues legend, tell your friends a story about him today… if you didn't know him, then stop what you're doing and spend a little time on the web exploring his life and music.

 

Read Roger Stolle's interview with Robert Belfour and watch enjoy some great video: Click Here

 

Rounder Records Completes Move to Nashville

ROUNDER RECORDS COMPLETES MOVE  TO NASHVILLE Concord Music Group Acquires Treasured Children's Label Music For Little People,  Imprint Will Operate Under Rounder  FOR IMMEDIATE RELEASE - MARCH 6, 2014 - Rounder Records, a division of leading independent music company Concord Music Group, today announced the completion of the company's relocation from its longtime base of Boston, Massachusetts to its new home in Nashville, Tennessee.  The region's vibrant creative community and dynamic business environment offer Rounder an enormous opportunity to build on its legacy as one of America's most revered music labels.  Located in The Gulch, Nashville's popular shopping and entertainment district, Rounder's new headquarters (1209 Pine Street, Suite 100, Nashville, TN 37203) is centered in the heart of the city's thriving metropolitan core. A major force in a broad range of musical genres including Americana, bluegrass, country, folk, rock, Cajun/Zydeco and children's music, Rounder Records has helped shape American roots music for over 40 years. Its outstanding artist roster includes Alison Krauss, Steve Martin, RUSH, Gregg Allman, Raffi, Mary Chapin Carpenter, Carlene Carter, Steep Canyon Rangers, Tony Trischka and rising stars such as J.D. McPherson, Della Mae and others. Concord Music Group and Rounder are additionally delighted about the effort to broaden their presence in children's entertainment, anchored by the recent acquisition of the beloved record label Music For Little People.  The company will operate as an imprint under Rounder, which shares a long and complementary history in children's music.  A premiere children's music showcase for 25+ years, Music For Little People releases have featured artists such as Willie Nelson, Faith Hill, Taj Mahal, Los Lobos, Laurie Berkner, AC/DC's Brian Johnson, Pete Seeger and Ladysmith Black Mambazo, to name but a few.  Music For Little People founder Leib Ostrow will continue to be an essential contributor to the label going forward.  A slate of new projects is scheduled for release in 2014 and beyond. Headed by President John Virant, Rounder's Nashville team includes Vice President of A&R Scott Billington, newly appointed Vice President of A&R Tracy Gershon and Director of Project Management Eliza Levy.  Rounder will continue to be supported by Concord's integrated national sales and marketing services. Rounder Records founders, Ken Irwin, Bill Nowlin and Marian Leighton Levy remain in the Boston area and continue to be actively engaged in the company, producing and consulting on various Rounder projects. "Rounder has always been driven by the music, and we're thrilled to have the opportunity to contribute and be part of the Music City community," said Rounder President John Virant. "In many ways, the move to Nashville feels like a natural transition," stated Concord Music Group President and CEO Glen Barros.  "The region's deeply rooted, artist friendly culture and its surrounding business community make it the ideal home for Rounder.  Additionally, Music For Little People is a great label that will strengthen Rounder's commitment to quality entertainment for children.  We couldn't be more excited about this next chapter in the company's incredible story." About Rounder Records: Rounder has been at the center of American roots music the last 40 years.  The self-titled 1975 record by J.D. Crowe and the New South (featuring future stars Ricky Skaggs, Tony Rice and Jerry Douglas) revitalized bluegrass and inspired such modern superstars as Rounder's own Alison Krauss, who is the most decorated female artist in the history of the GRAMMY® Awards and has also sold over eight million albums and DVDs.   Her collaboration with Led Zeppelin front man Robert Plant on the album Raising Sand emerged as one of 2007's major critical and word-of-mouth sales success stories. The album was RIAA-certified platinum in early 2008 and won five GRAMMY® Awards including Album and Record of the Year in 2009.  An unequaled leader in the preservation and re-release of precious historic recordings, Rounder has brought the music of Jelly Roll Morton, Woody Guthrie, Lead Belly, the Carter Family, Jimmie Rodgers and Mississippi John Hurt back to vibrant life.  In addition, their dazzling work on the epic anthologies from the Library of Congress and the Alan Lomax Collection has been universally respected and admired. About Concord Music Group: Based in Beverly Hills, CA privately held Concord Music Group, is one of the largest independent record and music publishing companies in the world and owner of a rich and historically significant catalog of recordings. A small sampling of the company's active roster includes such renowned artists as Sir Paul McCartney, Paul Simon, Alison Krauss, Chick Corea, James Taylor, Booker T. Jones, George Benson, Steve Martin, Valerie June, Christian Scott, Gregg Allman, Elbow, Ben Harper and Esperanza Spalding.  Concord's stellar catalog includes legends such as John Coltrane, John Fogerty, Creedence Clearwater Revival, Ray Charles, Miles Davis, Little Richard, Otis Redding, Thelonious Monk, Isaac Hayes, Ella Fitzgerald and Tony Bennett, among many others. The company's celebrated family of labels includes Concord Records, Concord Jazz, Hear Music, Fantasy, Stax, Milestone, Riverside, Specialty, Telarc, Heads Up, Prestige and famed American roots label Rounder Records. The group's artists and music have won over 200 GRAMMY® Awards, an affirmation of the company's mission to enrich lives by providing enduring music in creative and innovative ways. Concord Music Group's releases are distributed throughout the world by Universal Music Group and are regularly licensed for use in major motion pictures, television and advertising. In March of 2013, Wood Creek Capital Management, LLC acquired Concord Music Group in partnership with an individual investor group that includes members of Concord's senior management. As an investment manager at the forefront of intellectual property investing, the investment in Concord underscores Wood Creek's belief in the lasting and appreciating value of great music content around the globe.

Somebody Will -- Bill Griese

Nashville-based Griese writes and perfoms original music that is packed with feel and heartfelt lyrics. Bill's smooth voice and laid-back approach often lead to comparisons to the great James Taylor. His acoustic-pop style is both familiar and fresh. Bill has two original CDs, "For This Day" and "Too Long Coming," and several singles available on iTunes -- including the father-daughter song "On Three" and his fun, new release "Taylor Swift's Ex!" In a major departure from his usual sound, Bill recently released a high-energy football song called "R U Ready," featuring a guest appearance by the rapper Heathen. Get/Hear Bill's original music...

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Guitarist Steve Dawson Is Ready to Shake the "Rattlesnake Cage" on New Black Hen Music CD Coming February 18, 2014

 

Guitarist Steve Dawson Is Ready to Shake the Rattlesnake Cage on New Black Hen Music CD Coming February 18, 2014

All-Instrumental Solo Disc Showcases a Master Guitar Player

NASHVILLE, TN – Black Hen Music announces a February 18, 2014 release date for Rattlesnake Cage, the all-instrumental latest CD from master guitarist Steve Dawson. The album’s original 11 tracks showcase Dawson in a no-frills setting: just him, his guitars and a microphone to record all the beautiful tones emanating from his fingers.

Rattlesnake Cage is the album that Steve Dawson’s growing numbers of fans have been waiting for and finally gives them the opportunity to hear Steve interact with his guitar in a way that has never been captured on record before. Until now, hearing the sweet melodies and deep soul of Steve playing solo guitar has been a treat reserved for live audiences in intimate settings.  These new simple and unadorned recordings hearken back to the “American Primitive” sound that John Fahey and other artists such as Peter Lang and Leo Kottke recorded on Fahey’s iconic Takoma record label in the sixties – instrumental music informed by the deep traditions of blues, ragtime, jazz and even Hawaiian music, but taking those influences in unexpected directions.  The opening track, “Blind Thomas at the Crime Scene,” which takes its title from Fahey’s earliest nom de plume, is the recording that most clearly communicates Dawson’s respect for the American Primitive aesthetic, and gives the listener the clearest indication of what’s to come.

Recorded using a single vintage tube microphone that had recently been rescued from decades of hanging from the ceiling rafters of an old theatre in Detroit, listeners can hear every detail and nuance of each note. The effect of hearing a recording this open and pure is quite astounding. Dawson’s gear list for the sessions included a jumbo Larrivee guitar that he’s played for over 20 years, a Weissenborn Hawaiian guitar built by Michael Dunn, a National tricone and a Taylor 12-string guitar.

After countless successes in the industry both as a performer and producer in his native Canada (including 7 Juno Awards as an artist and producer), Steve has relocated to Nashville, Tennessee to begin a new chapter in his career. Rattlesnake Cage reflects all of the places Dawson has been and everything he’s heard, resulting in some of the loveliest melodies of his career as a recording artist.  As much as these songs can be unobtrusive and listened to in the background at low volume, if a solo instrument is going to hold its own like this in the spotlight, the music being played on it has to have very good bones, and be able to stand up to some pretty intense scrutiny. For all their simplicity and deceptive moments of tranquility, a closer listen to songs such as “Lighthouse Avenue” or ‘The Flagpole Skater Laughs from Above,” brings to the forefront that this is music with fire in its belly.  Fans of Reverend Gary Davis will recognize the musical references in “The Altar at Center Raven” that evokes an imaginary scene at the pulpit where he preached.  In the same way, “The Medicine Show Comes to Avalon’ bounces along a razor’s edge between antique and future sounds with its heartfelt homage to the music of Mississippi John Hurt. Yet, for all of the influences Dawson tips his hat to, the sound that emerges on these recordings reflects a confluence of a lifetime’s listening to and collecting vintage songs that fuses with Dawson’s contemporary sensibilities and mastery of modern recording techniques.

In the same way guitar performances from Bert Jansch, Ry Cooder or Mississippi John Hurt can be recognized after hearing just a few notes, Steve Dawson has established a voice for his instrument that is as distinct as any of theirs to become one of the most identifiable sounds in modern roots music. The 11 songs on Rattlesnake Cage represent the first chance on record to hear Dawson explore the infinite possibilities offered by his pallet of acoustic guitars without any effects, or even a human voice to separate him from his audience.  It’s rare to experience such direct communication in any kind of music these days, but the songs on the record remind us that the sound of a single instrument creating patterns out of the silence is as old as music itself.

The fluidity of Dawson’s playing makes what he does sound so effortless that it’s easy to forget that it takes years of disciplined practice to achieve such an apparent simplicity. There are lots of guitar virtuosos out there who can reel off a dizzying array of notes at lightning speed, and Steve can certainly do that, but at a certain point, great players realize that sometimes less is more. Nothing on this record is superfluous.  This is music that doesn’t show off or needlessly strut its stuff.  Like a perfectly aged single malt, these compositions come to us fully seasoned and mature.

“One magazine has referred to Steve Dawson as the T-Bone Burnett of Canada. I tend to think of him more as a Canadian version of Ry Cooder… his fine slide guitar and storytelling, everything seeming to flow effortlessly.” – Toledo Blade

“Anyone who can hear Dawson play and not be moved is made of stone!”

– Penguin Eggs Magazine (Canada)

For more information, visit www.stevedawson.ca and www.blackhenmusic.com.

Russell Jackson

Russell Jackson, born in Memphis TN, 1954. Toured with the B.B. King Orchestra six and a half years. I played in some of the most prestigious venues such as Carnegie Hall,The Grand Ole Oprey, Smithsonian Institute. I also played the Moscow Theatre in the USSR in 1979. During the years in the BB King Orchestra, I had a chance to play with some of the music industries' greats. Everybody sat in, toured, and played with him. After BB King's band, I went to school to study music. LA was the place to go, so I went to Dick Grove School of Music and received an Associate Degree in Music. While living in Vancouver I joined forces with Kenny 'Blues Boss' Wayne, and recorded a Juno award winning CD.

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Guitarist Sean Chambers Steps Outside the Box to Record with First-Time Producer Reese Wynans on Upcoming "The Rock House Sessions," Due October 15

Guitarist Sean Chambers Steps Outside the Box to Record with First-Time Producer Reese Wynans on Upcoming

The Rock House Sessions, Due October 15

New Album Recorded in Nashville Using an All-Star Cast of Musicians and Songwriters

Extensive National Touring Planned to Support New Disc

NASHVILLE, TN – When Tampa Bay Area-based guitarist Sean Chambers began planning for his next album release, he decided to do things differently than he had on previous albums and looked northward to Nashville with its amazing studios, musicians and songwriting talent. The result will be released on October 15 when Sean’s new album, The Rock House Sessions, comes out on Blue Heat Records.

The Rock House Sessions features a number of firsts: it’s the first album he’s recorded as Sean Chambers rather than the Sean Chambers Band; producing for the first time is legendary keyboard player Reese Wynans (best-known for his long tenure as a member of Stevie Ray Vaughan’s band); and it’s his first recording exclusively using studio musicians, as Sean and Reese drew from the deep talent-laden pool of Nashville musicians and songwriters. The album was recorded at the studio of another acclaimed keyboardist – Kevin McKendree (Delbert McClinton Band) – named The Rock House, hence The Rock House Sessions.

“This project was a lot of fun for me, and working with all the spectacular musicians involved was a great experience for me,” Sean says about the sessions. “We recorded at The Rock House studios in Franklin, just outside of Nashville. I was originally only talking with Reese about playing on the new album, but as the discussion began to expand and we started discussing different song ideas, song arrangements and as I got more of his input and ideas regarding this project, I quickly realized that I had the producer I was looking for. I ran the idea of producing the album by Reese, he gave it some thought and a couple days later we talked and he agreed to produce the album.”

“I had a blast making the Sean Chambers Rock House album,” added Reese Wynans. “It was a chance for Sean to try a little something different, and a chance for me to try my hand at producing. I think it worked out really well.”       

The core band on the album aside from Sean on lead vocals and lead guitar includes Reese Wynans on keyboards, Tommy MacDonald on bass and Tom Hambridge on drums. Special guests include  Rob McNelley on guitar, TJ Klay on harmonica, Chaz Trippy on percussion, Etta Britt on backing vocals, Bob Britt on guitar, Steve Herman on trumpet, and Jim Hoke on sax.

“As Reese and I spoke about the project further, we started entertaining the idea of using some heavy hitters to play on the CD with us,” Chambers says. “Before you knew it, we had an all-star lineup of musicians ready and available to record the album with us. Tom Hambridge, who produced a Grammy-winning album for Buddy Guy, played drums on the CD and also brought some really great songs to the table.”

Besides three new original Sean Chambers compositions and the Tom Hambridge contributions, The Rock House Sessions includes “Choo Choo Mama,” written by Alvin Lee; “Holding On” written by Gary Moore; and “Come To Poppa,” written by Willie Mitchell and Earl Randle but made famous by Bob Seger. Other tracks include new songs by Gary Nicholson, Kenny Greenberg and Rick Vito.

“I decided I wanted to record an Alvin Lee song on this album,” Sean says, “especially with Alvin having recently passed away, and him being one of my favorites going back to when I was a kid. I thought it would be a good way to pay my respects to him, kind of a tip of the hat by recording one of his numbers.

“Reese and I also chose to record Gary Moore’s ‘Holding On’ because we both really liked the track, and again, Gary was one of my favorite guitar players and I wanted to include a song by him if I could.”

Sean Chambers will support the release of The Rock House Sessions with his most extensive cross-country touring yet. Plans call for dates beginning in early fall through the end of the year, with a specific tour itinerary forthcoming. Sean Chambers is booked by The Jo-Ann Freda Agency (joannfredaagency@gmail.com).

“I think that people will really enjoy this album; it has a little bit of everything on it,” Sean offers. “My good friend (and Blue Heat label owner) Jeff Fischer and I have done some good work together on the last two CDs, but I believe this one is our best!”

For more information, visit www.seanchambers.com.

-30-

Dave Prater - Tribute To Dave

Dave Prater (May 9, 1937 – April 9, 1988) was an American Southern Soul and Rhythm & Blues (R&B) singer who was the deeper, baritone and second tenor vocalist of the soul vocal duo Sam & Dave from 1961 until his death in 1988. Dave Prater is a member of the Rock & Roll Hall of Fame (1992), the Grammy Hall of Fame (1999, for the song "Soul Man"), the Vocal Group Hall of Fame, the Georgia Music Hall Of Fame (1997), and was a Grammy Award-winning (1967) and multi-Gold Record award-winning recording artist. Sam & Dave were the most successful and critically acclaimed duo in soul music history, according to Rolling Stone magazine, and brought the sounds of the black gospel church to pop music with their string of call-and-response hit records. Primarily recorded at Stax Records in Memphis, Tennessee, from 1965 through 1968, these songs included "Soul Man", "Hold On, I'm Coming", "I Thank You", and other Southern soul classics. Other than Aretha Franklin, no other soul act during Sam & Dave's hitmaking Stax years (1966–1968) had more consistent R&B chart success, which included 10 consecutive top 20 singles and 3 consecutive top 10 LPs. "Soul Man" has been recognized as one of the best or most influential songs of the past 50 years by many organizations, including the Grammy Hall of Fame, The Rock & Roll Hall of Fame, Rolling Stone Magazine, and RIAA Songs of the Century. "Soul Man" was used as the soundtrack and title for both a 1986 film and a 1997–1998 television series. Nicknamed "Double Dynamite" for their energetic and sweaty, gospel-infused performances, Sam & Dave were also considered by critics to be one of the greatest live performing acts of the 1960s. The duo has also been cited as musical influences by numerous artists including Bruce Springsteen, Michael Jackson, Phil Collins, and Stevie Winwood. The Blues Brothers, which helped create a major resurgence of popular interest in Soul, R&B, & Blues music in the 1980s, was heavily influenced by Sam & Dave (their biggest hit was their top 20 cover of "Soul Man", and their act and stage show was patterned after Sam & Dave's). The seventh of ten children, Prater was born in Ocilla, Georgia where he grew up singing gospel music in the church choir, and was a veteran of the gospel group The Sensational Hummingbirds where he sang with his older brother, J. T. Prater. Prater met future partner Sam Moore in The King of Hearts Club in Miami in 1961, signing to Roulette Records shortly thereafter. Sam & Dave released six singles for Roulette, including two songs that Prater co-wrote with Moore. Prater was typically featured as the lead vocalist on these records, with Moore typically singing harmony and alternate verses. They were signed in late 1964 by Jerry Wexler to Atlantic Records. who structured an agreement for them to record in Memphis with Stax Records. While their first two singles failed to chart, the duo's November 1965 single, "You Don't Know Like I Know," started a series of ten straight top twenty Billboard R&B hits that included "Hold On! I'm Comin'" (1966), "You Got Me Hummin' (1966), "When Something Is Wrong with My Baby" (1967), "Soul Man" (1967), and "I Thank You" (1968). Starting with "Hold On, Im Coming", Moore was typically given the lead vocal(first verse and lead voice in chorus) on most of the future Sam & Dave singles. Prater sings the tenor lead first verse on Sam & Dave's only ballad hit single, "When Something is Wrong with My Baby", demonstrating a very impressive vocal range in the upper register. All of their biggest hits were written and produced by Isaac Hayes and David Porter. In addition to Hayes-Porter, Sam & Dave's Stax records also benefited greatly from working with the Stax house band and Rock Hall of Fame members Booker T. & The MG's, and the Stax horn section, the Mar-Keys. These highly regarded musicians co-wrote (often without credit) and contributed greatly to the recordings. Sam & Dave's Stax recordings through 1967 were engineered by Stax founder and Co-owner Jim Stewart, who created the "Memphis Sound" at Stax records by recording sessions essentially live in a single take. The combination of all of these respected talents contributed to the unique sound and commercial success of Sam & Dave's Stax recordings. When Stax and Atlantic severed their distribution agreement in 1968, Sam & Dave became Atlantic recording artists, and shortly thereafter they lost the ability to work with Hayes, Porter and the Stax musicians. The records made by Atlantic did not have the same sound and feel as the Stax recordings, and most only placed in the lower ends of the music charts if at all. The ending of their association with the Stax record label and their frequently volatile relationship contributed to their first break-up in June 1970. After the break-up with Sam, Prater went back to their early Miami Label, Alston Records, where he recorded one single, "Keep My Fingers Crossed/Love Business" (Alston A-4596), and also performed sporadically over the next year. Sam & Dave reunited in August 1971 and performed throughout most of the 1970s through 1981, and enjoyed a brief resurgence in popularity due to The Blues Brothers's 1979 recording of "Soul Man". Sam & Dave also recorded "Come On, Come Over", which appeared on the debut LP of jazz bassist Jaco Pastorius. Dave also appeared in the Paul Simon's movie One Trick Pony as part of Sam & Dave. Their last performance together was on December 31, 1981, at the Old Waldorf in San Francisco. "The New Sam & Dave Revue" and last performance (1982–1988) In 1982, Prater started touring under the Sam & Dave name with Sam Daniels, who performed with Dave from the middle of 1982 until Dave's death in 1988. Moore attempted to legally block Prater from using the group's name without his participation and permission, but was generally unsuccessful in stopping the act from performing. The Daniels/Prater incarnation of Sam & Dave played as many as 100 shows per year, including gigs in Europe, Japan and Canada. In 1985, Prater and Sam Daniels released a newly-sung medley of Sam & Dave hits recorded in Holland, which peaked at #92 R&B and was credited to "Sam & Dave". Sam Moore made the label recall the single for using the "Sam & Dave" name without permission, and the record was re-labelled and re-issued as being by as "The New Sam & Dave Revue". Dave Prater had his last performance with Sam Daniels on April 3, 1988 at a Stax Reunion show at the Atlanta Civic Center, which also featured Isaac Hayes, Eddie Floyd, and Rufus and Carla Thomas. Six days later, on April 9, 1988, Prater died in a car crash in Sycamore, Georgia, while driving to his mother's house. Prater summed up his thoughts on his career for author Jeri Hershey in her book Nowhere to Run (1984, Southbank Publishing): "I'm a workin' man. Been gettin' down so long. I don't be thinkin' about will I make it up again. Now, what's a music man like me gonna do? What's he do, 'less he entertains till he dies?" (Dave Prater Jr. of Sam & Dave) Prater was married to Annie Belle Henderson from March 1962 to November 1969, and had five children with her. On December 25, 1969, he married his second wife, Judith T. Gilbert. Prater was a resident of Paterson, New Jersey, from 1974 until he lost his life in a single-car accident in Sycamore, Georgia on April 9, 1988. He was buried in Holy Sepulchre Cemetery in Totowa, New Jersey

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Ruf Records artist: Bart Walker - Waiting On Daylight - New release review

I just received the new release, Waiting On Daylight from Bart Walker and it's really strong! Walker, a new artist with Ruf has put together a package of great material that really nicely displays his skills and a performer. Opening with It's All Good, Walker wastes no time getting on the slide. This track reminds me a lot in rhythm to Stealin' Watermelons, a great Elvin Bishop track with a bit of funk and a bit of country in the rock. Walker is a modern slide player with southern influences sounding a lot more like Derek Trucks than Elmore James but really playing with his own guitar voice. Cool track. Black Clouds opens with a swampy bass riff by Dave Smith and then followed by grinding guitar riffs along the lines of Mule.Steve Potts has a good had with the drums and this blues rocker sets a firm footing. Walker is certainly no stranger to the guitar ripping gret guitar riffs throughout the track and his voice is well suited for the band. Took It Like A Man is a rock track with a funky back beat.. Walker has great fat tone on this track with super grind. On Girl You Bad, Walker is using what sounds like a loaded P90 with tone that blasts the paint off of the wall. This is great stuff. Waitin On Daylight is a honest ballad with twin guitar leads. This could easily be that track with the hook that gets all the radio play. Happy is an aggressive blues rocker with grinding guitar rhythm guitar and breaking into a full blown "Call Me The Breeze" crap kicker. Hipshake It is a modern take on JB Hutto's track but done really as an uptempo rocker with voracious slide. This is a another great track. 99% is a solid blues rock track giving Walker a productive space in which to really unleash the dog. he is relentless on his guitar and I'm certain blues rock fans everywhere are gonna really dig this. The release completes with an obtuse but very nice version of the Allman's Whippin Post. This is more quiet track done in a more bluesy melancholy manner. I like this version of it better than than most covers that I've hear (Frank Zappa's was pretty cool). It shows real thought and feeling. Walker doesn't allow the opportunity to rip a hole in it get away from him and his guitar is likely bleeding after this track. Very nice job!

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Calvin Newborn

Calvin Newborn (born April 27, 1933, Whiteville, Tennessee, United States) is an American jazz guitarist. He is the brother of pianist Phineas Newborn Jr. (1931–89), with whom he recorded between 1953 and 1958. They also formed an R&B band, with their father Phineas Newborn Sr. on drums and Tuff Green on bass. The group also included Willie Mitchell and Ben Branch. The group was the house band in West Memphis, Arkansas, from 1947 until 1951 at the Plantation Inn Club. The group recorded as B. B. King's band on his first recordings in 1949, and also the Sun Records sessions in 1950. On the 1950 recording of "B. B.'s Boogie", recorded at the Sun Studios, it was Newborn playing the lead guitar. Newborn also gave guitars lessons to Howlin' Wolf and is credited as being a big influence on Elvis Presley, who frequented the Plantation Inn Club twice a week to watch Newborn. "Elvis got swiveling his hips and wiggling his legs from me," said Newborn. Presley also used to eat at the Newborns' house and browse their music store for gospel records. The group left West Memphis in 1951 to tour with Jackie Brenston as the "Delta Cats" in support of the record "Rocket 88". It was considered by many to be the first rock and roll record ever recorded, and was the first Billboard number one record for Chess Records. Following this he played with Earl Hines starting in 1959. In the early 1960s, he toured with Lionel Hampton, Jimmy Forrest, Wild Bill Davis, Al Grey, and Freddie Roach, along with fellow Memphis jazz luminaries including Booker Little, George Coleman. Frank Strozier, and Louis Smith. Newborn also worked with Ray Charles, Count Basie, Hank Crawford, David "Fathead" Newman. Newborn Since the 1970s Newborn has remained mostly in Memphis, Tennessee, where he played regularly in local clubs well into the 1990s. His 1980 album Centerpiece hit No. 35 on the U.S. Billboard jazz albums chart, but much of his earlier material was not reissued on CD until 2005. He currently lives in Jacksonville, FL and continues to perform throughout Northeast Florida.  
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Swing Suit Records artist: Brandon Santini - This Time Another Year - New Release Review

I just received the new release, This Time Another Year, from Brandon Santini and it's a cooker! Opening with Got Good Lovin', harpist Santini wastes no time taking a shot at contemporary harp champs like Magic Dick. A hot blues rocker, Santini has a cool voice and can really get the harp flaming. Bill Ruffino on bass and James Cunningham on drums hold down the bottom and Jeff Jensen flys through with some slick riffs of his own on guitar. This Time Another Year, along the lines of Help Me, is a great track with roots deep in the blues with really great harp tone. Santini holds the band back to a simmer as he builds the pressure vocally and then drop in on harp for the swat. Really masterful. Jensen coaxes some nice riffs from the strings and Santini has the control of Jim Morrison just waiting to unleash the dogs. What You Doing To Me, is a great New Orleans tempo track on chromatic harp. Santini has a real great sensitivity for when and how to reel in the track. Interesting guitar work backed by Victor Wainwright on vocal and piano makes this a particularly strong track. Late In The Evening, a slow blues track, really highlights Santini's vocal work and really makes you wonder how this guy isn't hugely successful already... or if you're living under a rock. (Maybe I am!) This is a terrific track and Wainwright plays as nice a blues piano solo as you've heard in years. I mean this is terrific. Jensen has a nice sensitivity to this track and plays a strong but sensitive guitar passage. Up pops Santini to take it home. All I can say is wow! This is really really strong! Dig Me A Grave moves into the R&B style and Santini shows his versatility and style. Jensen opens with a really nice solo and Santini has such a strong voice... instrumentation overall.. and particularly intermittent riffs by Jensen (great tone by the way) and ongoing lead harp work from Santini make this a particularly airplay worthy track... and I like it too! Bye Bye Bird, an old Williamson/Dixon track gets a light acoustic guitar, drums and harp treatment. This release is just consistently really super. Things You Putting Down is a great New Orleans blues style track and again Santini shows that he has a really super voice. A really strong harp player, Santini shows that you don't always have to be fast or high to get your point across. Jensen plays another solid solo on this track and the band remains contained. Been So Blue gets Santini out front right away and Jensen plays some really jazzy chords under the melody taking the blues to a richer spot. Santini gets his harp singing, showing a nice compatibility between the blues and it's jazz brother partner. Help Me With The Blues is a really hot track. This is the kind of harp track that even people who aren't hot on harp love. (Think Hoy Hoy Hoy or Wammer Jammer). This is a fast paced jump track and Jensen does his share of crankin the spring, followed by the superb Wainwright. Santini steps in and throws on the gas... ouch... that is hot!! Williamson track Raise Your Window (One Way Out) gets a Latin kind of beat and Santini again shines on vocal and harp. Taking it down low, Santini shows some real pyrotechnics. The final track on this outrageously cool recording is Fish is Bitin', a cross between Cajun and Rock a Billy. Showing a nod to Ledbelly, this track is a cool wrap up for a really enjoyable and remarkable release. Excellent!

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I'M MAD! - Willie Mabon

Willie Mabon (October 24, 1925 – April 19, 1985) was an American R&B singer, songwriter and pianist. Born Willie James Mabon, and brought up in Hollywood, Memphis, Tennessee, he had become known as a singer and pianist by the time he moved to Chicago in 1942. He formed a group, the Blues Rockers, and in 1949 began recording for the Aristocrat label, and then Chess. His style contrasted with many Chess artistes – it was cool and jazzy, emphasising piano and saxophone rather than guitar and harmonica. His biggest success came in 1952 when his debut solo release, "I Don't Know", topped the Billboard R&B chart for eight weeks. He picked it up from the older boogie-woogie pianist, Cripple Clarence Lofton. It was one of the most popular releases of its era, becoming Chess's biggest hit in the period before Chuck Berry's and Bo Diddley's success. It also became one of the first R&B hit records to be covered by a leading white artist, Tennessee Ernie Ford. Mabon's original was played on Alan Freed's early radio shows and also sold well to white audiences, crossing over markets at the start of the rock and roll era. Mabon returned to the top R&B slot in 1953 with "I'm Mad", and had another hit with the Mel London penned "Poison Ivy" in 1954. However, his career failed to maintain its momentum, and record releases in the late 1950s on a variety of record labels were largely unsuccessful. After a lull he repeated the process more modestly in the early 1960s with "Got To Have Some" and "I'm The Fixer". After moving to Paris in 1972, Mabon toured and recorded in Europe as part of promoter Jim Simpson's American Blues Legends tour, recording The Comeback for Simpson's Big Bear Records label, and his 1977 album on Ornament Records. He also performed at the Montreux Jazz Festival. In April 1985, after a long illness, Mabon died in Paris

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Memphis Piano Red

John Williams Born : April 16, 1905 in Germantown, Tennessee. Died : February 5, 1982 in Memphis, Tennessee. American barrelhouse style pianist who played only in the Memphis area and made his recording debut as late as 1969. 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”

Light Up - Buster Bailey and his Rythm Busters

William C. "Buster" Bailey (July 19, 1902 – April 12, 1967) was a jazz musician specializing in the clarinet, but also well versed on saxophone. Originally from Memphis, Tennessee, Bailey was one of the most respected session players of his era.

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Nashville-Based Singer-Songwriter Rian Greene Set to Debut His New CD, "Drown the Miller," June 4 on Post Oak Records

Nashville-Based Singer-Songwriter Rian Greene Set to Debut His New CD, Drown the Miller, June 4 on

Post Oak Records

Latest Album Produced by Brian Harrison and Features Nashville All-Star Backing Musicians

NASHVILLE, TN – Singer-songwriter Rian Greene announces a June 4 release date for his new album, Drown the Miller, on Post Oak Records, which showcases his keen eye for a lyric and rootsy Americana take on country music. Produced by Brian Harrison (Shelby Lynne) and recorded primarily at The Rendering Plant in Nashville, Drown the Miller features Rian Greene’s unique blend of Americana music and traditional country sounds backed by a cadre of Nashville all-stars with pedigrees from work with such stars as Emmylou Harris, Waylon Jennings and Buddy Miller. The recording sessions feature Bryan Owings on drums, Phil Senseny on bass, John Jackson on guitar, Phil Madeira on keyboards, Robby Turner on steel guitar and Tom Littlefield on harmony vocals.

Drown the Miller spotlights Rian Greene’s attention to detail and carefully crafted compositions.  For the new CD, Rian brought in 19 demos to producer Brian “Brain” Harrison and drummer Bryan Owings, who helped him narrow it down to the 11 album tracks.

“I was living in Knoxville and spoke with a few great musicians, like bassist Phil Senseny, about wanting to make a new record,” he recalls. After a couple of weeks and a trip to Nashville, things came together indeed for Drown the Miller. “I’m very proud of the songs and all the performances from everyone involved,” Rian notes. “Brian’s production worked great in complementing and bringing out the best in the songs. There’s not a whole lot of fat on it—if a song didn’t need a bridge, there wasn’t one; if it didn’t need a third verse, it didn’t get one.” Subsequently, Drown the Miller is a succinct, easy album to listen to, with depth and subtleties that reveal themselves through multiple listens. That is the mark of a good album.

With a sound rooted in traditional country music, Drown the Miller correspondingly offers Rian’s uniquely fresh perspective. A mature, well-crafted work, this highly anticipated second album proves that his honest, no-frills lyrics and melodies stand up perfectly alongside the best Americana music of today. Lead single “The Best I’ve Ever Had” recalls some of the finer moments of  Tom Petty and The Jayhawks, while tracks like “Stranger in My Arms” and the title track reveal a poignantly honest talent. On the new album, Rian Greene wisely surrounds himself with some of the more well-respected pros in music. “I didn’t know who the other players would be, but I knew they’d be good. Once John Jackson came in to play guitar, it was a dream come true. If someone would have told me as a 16-year-old concert-goer that the guitarist I saw on stage with Bob Dylan (John Jackson) would play with me someday, I would never have believed it,” Rian adds. “Making a record with such great musicians was an honor, and it made the whole process an absolute pleasure. I can’t wait to do it again.”

In the wake of his refreshingly straight-forward debut album—the Dusty Wakeman produced See Things Like You—Nashville singer-songwriter Rian Greene quickly earned the reputation of being a “songwriter’s songwriter.” While the album received world-wide airplay and heavy VH1-Country rotation for the single, “The Shotgun Side,” Rian was really just getting started. As both a solo performer and a member of the award-winning San Diego band The Hideaways, Rian put years of touring experience under his belt, as his live show mixed in solid, original songs with his encyclopedic knowledge of country standards and classics. He has worked with artists ranging from Lucinda Williams and The Flatlanders, to Asleep at the Wheel and The Beat Farmers; and, as a band leader he has played with Gordon Waller of Peter & Gordon, and early Beatles collaborator, Tony Sheridan.

Americana radio promotion for Drown the Miller is being handled by Bill Wence Promotions (billwencepro@earthlink.net).

For more information, visit www.riangreene.com.

Ain't Nobody's Business - The Billy Crawford Band

One of East Tennesse's Premiere Blues Guitarist, joined by Jay Corder on Saxaphone and Rex Boggs on Vocals and Guitar. 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!

CALL ME ANYTHING / BABY NO, No - BIG MEMPHIS MARAINEY

Born 1906 in Columbia, TN Died 1985 in Memphis, TN Aliases Baby Ma Rainey Lille Mae Hardison 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!

Swan Blues - King Pleasure

King Pleasure (March 24, 1922 - March 21, 1981) was a jazz vocalist and an early master of vocalese, where a singer sings words to a famous instrumental solo. Born as Clarence Beeks in Oakdale, Tennessee, he moved to New York City in the mid-1940s and became a fan of bebop music. King Pleasure first achieved popularity by singing the Eddie Jefferson vocalese classic "Moody's Mood for Love," based on a James Moody saxophone solo to "I'm in the Mood for Love" in 1949. Pleasure's recording in 1952 is considered a jazz classic. The female vocalist is Blossom Dearie. He and Betty Carter also recorded a famous vocalese version of "Red Top," a jazz classic penned by Kansas Citian Ben Kynard and recorded by Gene Ammons and others. Other notable recordings include a presciently elegiac version of "Parker's Mood", the year before Charlie Parker died in 1955, and Pleasure's take on Ammons's "Hittin' the Jug", retitled as "Swan Blues". Pleasure has been cited as a significant influence by Van Morrison, especially on his album Astral Weeks. Genya Ravan, drawing big inspiration for her singing from King Pleasure, recorded "Moody's Mood For Love" with James Moody on her 1972 CBS album Genya Ravan.

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Kansas City - Lovie Lee

Lovie Lee (March 17, 1909 – May 23, 1997) was an American electric blues pianist and singer. He is best known for his work accompanying Muddy Waters, although he did record a solo album in 1992. He was the 'adoptive stepfather' of fellow bluesman, Carey Bell, and thus 'grandfather' to Lurrie Bell. He was born Edward Lee Watson in Chattanooga, Tennessee, United States. Lee grew up in Meridian, Mississippi, and was self taught on the piano, utilising his skills in various churches, and playing at rodeos and vaudeville. He had already acquired his nickname, 'Lovie', from a doting aunt. He found part time employment playing with the Swinging Cats in the early 1950s. The outfit included Carey Bell, who Lee took under his 'fatherly' protection, and they jointly relocated to Chicago, Illinois in September 1956. Lee worked during the day in a woodworking factory, and for many years played in the evening in numerous Chicago blues nightclubs, including Porter's Lounge. He was well known around Chicago for his blues piano playing. Lee later worked as an upholsterer, but kept together his backing band, known as the Sensationals. After he retired from full-time day work, Lee joined Muddy Waters band in 1979, replacing Pinetop Perkins on the piano stool. He was recommended to Muddy Waters by George "Mojo" Buford, after Lee had worked with Buford in North Dakota. Lee stayed in situ until Muddy's death in 1983, and then returned to playing in Chicago clubs. Lee made some private recordings in both 1984 and 1989, and this work plus later contemporary tracks, were released as the album Good Candy (1992). His recording utilised musicians such as Eddie Taylor, Odie Payne, plus both Carey and Lurrie Bell. Lee died in Chicago in May 1997  

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