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NATCHEL’ BLUES NETWORK, INC. is a nonprofit 501(c)(3) corporation dedicated to promoting the blues as a true American art form. Your

annual contribution puts you on our mailing list for the newsletter/calendar and notices of special NBN events and meetings. As a member of NBN, you receive

discounted admissions to events and at certain area merchants.

ANNUAL TAX DEDUCTIBLE MEMBERSHIP DUES:INDIVIDUAL $20 FAMILY $30 CORPORATE $100Please return this membership application with your check or money order to: Membership, Natchel’ Blues Network, P.O. Box 1773, Norfolk, VA 23501-1773.

Dues are for the period of one calendar year, starting with your application date. Thank you for supporting the blues!

Questions? Please call Deb Malenda-Hill (757) 463-3539.

Date________Name____________________________________________________________________________________________

Address________________________________City________________State________Zip_____________________________________

Telephone (Home)__________________(Work)______________(E-Mail Address)____________________________________________

What hours are you most available by phone & where?______AM_____PM______Home/Work_________________________________

Type of Membership: ___Individual___Family___Corporate___New_____Renewal_______Band_________________________________

Please check the activities you would like to help us with:

___NBN Newsletter ___Mailings ___Festival ___Fundraising/Sponsorship____ Membership Development____________________________

___Promotion/Policy___Education Programs____Monthly/Semi-Monthly Shows___Website__________________________________________

Recipient of 1998 KBA Award for“Blues Organization of the Year”

TIDEWATER’S BLUES BANDSIf you’ve got a party happening or a club gig that needs to be filled, here is a list with theband name, contact person, and phone number of the blues bands operating in this area.

NBN is sponsored in part by The Hampton Arts Commission, Virginia Commission for the Arts, & the City of Virginia Beach through the Virginia Beach Arts & Humanities Commission.

Basket Case - John Baldwin - 735-4409Beale Street - Phil DiIorio - 286-0902Big Brewster & Blue Rocks - Bruce Brinkley - 721-2006Big Fun - Bruce Gray - 622-7235Black Rose Blues Band - JD Silvia - 523-4372Black White Blues - Carlton Newsome - 825-6729Blue Pearl - Dan Abrams - 635-6259Blues Empacts - Bill Kelly - (757) 229-9672Blues Xchange - Tommy Parker - 498-3545Bryan Dunn & Blues Revue - Bryan Dunn - 631-8790dc3 - Dave Coghill - 463-2384Eddie Level - Lloyd Jones - 418-1910Fat Tony - Sandy Martin - 460-0398Freeborn Blues Band - Dan Lubertazzi - 872-8580 Funky Blues Kings - Larry Slawson - 472-6683HammerHead Blues - Phil Branton - 483-1350H.M. Johnson Band - Carlton Lillard - 547-4506Michael Clark Band - Michael Clark - 533-3088Mojo X - Lloyd Jones - 418-1910M.S.G., the Acoustic Blues Trio - Jackie Merritt - 722-5811Nasty Phat - Mono Lee - 235-2725Old Dominion Blues - Joe Duggan - 221-6515Relic Band - Bill Linton - 538-9036Rhythm Kings - Mike Coghill - 460-6414Rhythm Pigs - Tim Fodrey - 855-8076Right Time for the Blues - L.A. Brumfield -713-2220Shelly Craig-Potter - 546-1528Sweet Papa & the Too Hot Blues Crew - Ernie Williams - 855-7461Tim Morgan & the Mojo Brothers - Tim Morgan - 875-0447If I’ve missed anybody or need to update some information, e-mail bluzq@hotmail.comwith subject as “Band List.”

Moving? Please send your new address. Bulk mail is not forwarded!

“Keepin’ the Blues Alive in Hampton Roads Since 1984”

NATCHEL’ BLUES NETWORK

The official bi-monthly publication of The Natchel’ Blues Network, Inc.: a non-profit organization dedicated to promoting the Blues. AFFILIATE OF THE BLUES FOUNDATION

IINNTTHHIISSII SS SSUU EE

Recipient of 1998 KBA Award “Blues Organization of the Year”

Volume 21 Number 2 March/April 2005 Norfolk,Virginia

NON PROFITU.S. Postage

PAIDNorfolk, VAPermit #344

Blues News March/April 2005 www.natchelblues.org

4TH ANNUAL HAMPTONACOUSTIC BLUESREVIVAL

Continued on page 8

BBLLUUEESS SSOOCCIIEETTYY ““HHOOTTLLIINNEESS””Baltimore Blues Society, Baltimore, MD - (410) 744-2291Beale Street Blues Society, Memphis, TN - (901) 527-4585Billtown Blues Association, Hughesville, PA - (570) 584-4480Black Swamp Blues Society, Toledo, OH - (419) 389-8337Blues Power Blues Society of New Jersey, Jersey City/Newark, NJ - (201) 675-3276Blues Society of Indiana, Indianapolis, IN - (317) 470-8795Boston Blues Society, Boston, MA - (617) 876-2583British Blues Connection, Reading, Berkshire, England - 44 73 459-5772Capital Area Blues Society, Okemos, MI - (517) 349-0006Cascade Blues Association, Portland, OR - (503) 223-1850Central Iowa Blues Society, Des Moines, IA - (515) 278-1246Charlotte Blues Society, Charlotte, NC - (704) 331-8871Colorado Blues Society, Lyons, CO - (303) 823-9272Columbus Blues Alliance, Columbus, OH - (614) 470-2CBAD.C. Blues Society, Washington, DC - (202) 962-0112Fort Smith Riverfront Blues Society, Fort Smith, AR - (501) 784-8216Fox Valley Blues Society, Oswego, IL - (630) 585-3955Houston Blues Society, Houston, TX - (713) 942-9427Inland Empire Blues Society, Spokane, WA - (509) 534-1081James River Blues Society, Lynchburg, VA - (434) 237-8080Kalamazoo Valley Blues Association, Kalamazoo, MI - (616) 381-6514Kansas City Blues Society, Kansas City, MO - (816) 474-4774Knoxville Blues Society, Knoxville, TN - (423) 588-5929Kyana Blues Society, Louisville, KY - (502) 491-2890Linn County Blues Society, Cedar Rapids, IA - (319) 399-5105Lizard Creek Blues Society, Fort Dodge, IA - (515) 576-8378Los Angeles, International Blues Society, CA - (805) 267-0495Lowcountry Blues Society, Mt. Pleasant, SC - (803) 762-9125Magic City Blues Society, Birmingham, AL - (205) 933-6904Mississippi Valley Blues Society, Davenport, IA - (319) 322-BLUESMusic City Blues Society, Nashville, TN - (615) 292-5222Natchel’ Blues Network, Norfolk, VA - (757) 456-1675New Orleans, Crescent City Blues Club, LA - (504) 522-5533Oklahoma Blues Society, Oklahoma City, OK - (405) 791-0110Philadelphia Blues Machine, Philadelphia, PA - (215) 849-5465Phoenix Blues Society, Phoenix, AZ - (602) 252-0599Piedmont Blues Preservation Society, Greensboro, NC - (336) 275-4944Reno B.L.U.E.S., Reno, NV - (702) 329-3423Sacramento Blues Society, Sacramento, CA - (916) 556-5007Skylands Blues Society, Hackettstown, NJ - (908) 813-2587Southern Nevada Blues Association, Las Vegas, NV - (702) 812-3088St. Louis Blues Society, St. Louis, MO - (314) 241-BLUEToronto Blues Society, Toronto, Canada - (416) 538-3885Tucson Blues Society, Tucson, AZ - (520) 887-2126United Jersey Blues Network, Clifton, NJ - (972) 340-7672Washington Blues Society, Seattle, WA - (360) 652-6371Wichita Blues Society, Wichita, KS - (316) 729-4WBS

4th AnnualHHaammppttoonn AAccoouussttiicc BBlluueess RReevviivvaall

Corey HarrisFeatured Artist in Martin Scorsese’s film,

““FFeeeell LLiikkee GGooiinngg HHoommee,,”” from The Blues, a PBS series during 2003’s

“Year of the Blues.”

TThhoommaass NNeellssoonn CCoommmmuunniittyy CCoolllleeggeeMMaarryy TT.. CChhrriissttiiaann AAuuddiittoorriiuumm

HHaammppttoonn,, VViirrggiinniiaa

SSaattuurrddaayy,, AApprriill 1166,, 22000055

Andra Faye & Chris Jones

(Andra Faye, member of “Saffire-the Uppity Blues Women”)

Gregg Kimball(Blues History Workshop

& Performance)

Tim Morgan

TThhee SSeeccoonndd,,larger than last year!

Silent Auction

LOCAL SPOTLIGHT:BLACK ROSE BLUES BAND

AT THE HEAD OFTHE PACK: ANINTERVIEW WITH DEBORAH COLEMAN

26TH ANNUALW.C. HANDY BLUESAWARD NOMINATIONS

REVIEWS AND MORE

Review

4704 Hampton Blvd. (across from ODU)

152

(757) 495-8506 (757) 495-0961Providence Square Shopping Center

Virginia Beach, VA 23464

Birdland

BIRDLANDhas the

largest selectionof BLUES in

Hampton Roads!

RECORDS, TAPES, & COMPACT DISCS

BLUES COUNTRY

ROCK ZYDECO

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AND MORE!

BIRDLAND’Sgot it or we’ll get it for you!

10% Discount to NBN Members

CAPTAIN ZIG-ZAGFull Service Salon 451-8611

$3.00 OFFAdult Hair Cuts

Not to be combined with anyother offer or coupon

1/2 OFFRevolutionaryStraightener

Not to be combined with anyother offer or coupon

$20.00Unlimited Tanning

Not to be combined with anyother offer or coupon

$5.00 OFFColor, Foil & PermsNot to be combined with any

other offer or coupon

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Blues News March/April 2005 www.natchelblues.org www.natchelblues.org March/April 2005 Blues News

Always Offering:

Hair CareNailsFacialsWaxingMakeoversEar Piercing

Reservation deadline: 6 weeks prior to publication date. Copy deadline: 5th of the month prior to publication date.

Rates1/8 page $30 1/2 page $851/4 page $45 Full page $150

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For more information, contact AdvertisingBeth Jarock (757) 623-8559

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Graphic Info Jackie Merritt (757) 722-5811

FAX 722-5811

Membership and Volunteer InformationNatchel’ Blues Network

P.O. Box 1773Norfolk, VA 23501-1773

NBN HotlineFor updates, call (757) 456-1675

NBN ADVERTISING INFO

Blues BirthdaysAPRILMARCH

4 Howard ArmstrongNat Reese

5 J.B. Lenoir6 Furry Lewis10 Ronnie Earl14 Robert Pete Williams15 Bertha “Chippie” Hill

Lightnin’ Hopkins16 Yank Rachell17 Lovie Lee

Hollywood Fats18 Big Daddy Kinsey20 Sister Rosetta Tharpe

Sam LayEddie ShawMarcia BallJimmie Vaughan

21 Son HouseBig Smokey SmothersOtis SpannGaye Adegbalola

22 Juke Boy Bonner23 Louisiana Red26 Rufus Thomas27 Leroy Carr

Robert Lockwood, Jr.Sarah VaughanJohnny Clyde Copeland

28 W.C. Handy29 William Clarke

Sue Foley30 Sonny Boy Williamson 1

Eric Clapton31 Big Maceo

Etta BakerLowell Fulson

1 Charley PattonAlberta HunterLucille BoganAmos Milburn

3 Mitch WoodsAdam Gussow

4 Muddy Waters6 Big Walter Horton7 Billie Holiday8 Lil’ Ed Williams9 Mance Lipscomb10 John Brim

Rosco Gordon11 Luther “Guitar Jr.” Johnson12 Hound Dog Taylor

Shakey Jake HarrisAnn Rabson

15 Bessie SmithFrank FrostMighty Sam McClain

16 Stefan GrossmanTommy Castro

17 Sam CarrByther SmithLonnie Shields

18 Little Brother MontgomeryClarence “Gatemouth” Brown

22 George “Harmonica” Smith23 Cow Cow Davenport24 Honey Piazza25 Albert King26 Ma Rainey

Johnny ShinesJ.B. Hutto

28 Phil Guy29 Otis Rush30 Rev. Gary Davis

Homesick James

REVIEWS CCOORREEYY HHAARRRRIISSMississippi to MaliRounder 11661 3198-2www.rounder.com

Those of you familiar with Corey Harris from the opening segment of MartinScorsese’s recent documentary The Blues: A Musical Journey remember theexploration into the historical roots of African rhythms and how they influencedour early American blues. After that production, Harris felt compelled to returnand record again with the same musicians to compile his sixth CD release,Mississippi to Mali.

In Mali, West Africa, Harris is reunited with guitarists Ali Farka Touré and AliMagassa on one of several field recordings. It’s a Skip James tune, “Special RiderBlues,” which is ripe with pentatonic guitar riffs, raw harmony vocals, andclattering syncopation by percussionist Souleyman Kane. Along that same path,nearly a dozen traditional blues numbers as well as a few Harris originals blendtogether in an anthropology of African-American musical collage. Back inMississippi, Harris continues his field recordings with singer Bobby Rush,drummer Sam Carr, and the 12-year-old fife player Shardé Thomas(granddaughter/protege of the late fife and drum master, Otha Turner, who passedjust a week before he was scheduled to record on this album, and to whosememory this album is dedicated).

My favorites are the first and final tracks where Harris’s solo talents reveal him asan accomplished finger-style blues guitarist as well as a wailing slide guitarist ina Blind Willie Johnson tune, “Dark was the Night, Cold was the Ground.” Still,the album’s greatest accomplishment is the circle of friends reunited around theglobe and sharing the roots that bind us all together.

NNiicckk GGaalloottttii

TTOOMMMMYY CCAASSTTRROOSoul ShakerBlind Pig Records BPCD 5094www.blindpigrecords.com

Guitarist Tommy Castro’s Soul Shaker is an interesting blend of rock and soulwith a little bit of blues thrown in for good measure. The entire CD has a maturesound and since I recently entered the fourth decade of my own life, I couldreally appreciate his music and the message: “What You Gonna Do Now?” (titleof fourth track).

The life lessons continue in “Anytime Soon” and “The Next Right Thing.” Themessages are subtle and not at all preachy, and they all just fit together so well.Castro is a very talented and unselfish guitar player who doesn’t clutter the CDwith too many unnecessary solos. The lyrics are catchy and I caught myselfsinging along quite a few times. The title track “Soul Shaker” is pretty funky andreminds me of tight jeans and cowboy boots. I got the same feeling from “TakeMe Off The Road,” which is Castro’s tribute to the life of a touring musician. Hereally hit the mark with track #7 – “No One Left To Lie To.” The combination ofCastro’s guitar and the heart-wrenching sound of his voice made this slow bluesmy favorite cut on the album. The one instrumental piece, “The Crossanova,”highlights the exceptional talent of Keith Crossan on the flute.

Soul Shaker delivers. Overall, I loved the sound. The musicians complementedeach other perfectly and it is evident that they have experience on their side. Themusic spoke to me and it’ll speak to you, too.

MMiicchheellee RReennee MMaatttthheewwss

Cont.

Washington, D.C. favorites, The Nighthawks, showed theDecember 17th crowd at Goodfellas just why they’re thehardest working blues/rock group around. With longtimemembers Pete Ragusa (drums/lead vocals) and MarkWenner (lead vocals/harmonica) going back thirty years,and new members Johnny Castle (bass/vocals) and PaulBell (lead guitar/vocals), they gave the music-starvedaudience three sets of high energy blues classics.

Beginning with “Shade Tree Mechanic” (from ‘95’s Painand Paradise), they set the funky blues mood for theevening. The shuffle “Country Living” featured a nice basssolo from Johnny and a jazz-tinged break by guitarist PaulBell. Bell, a fine D.C. picker, has been around, havingplayed and recorded with the likes of Nils and TomLofgren, among others. Ragusa lended some gritty singingto the James Brown classic “I Go Crazy,” which also

spotlighted Wenner’s Chicago-style harp. With a smoking boogie beat and a solid guitar break byPaul, bassist Johnny Castle lended his vocals to “You Don’t Love Me.” “Honest I Do” (from ‘93’sRock This House) featured singer Wenner with an appropriate country harp break and some coolbass chording by Castle. Drummer Ragusa again masterfully belted out a slow R&B—“Cry Likea Man” (from ‘99’s Still Wild). “99 Pounds” (from ‘92’s Trouble) displayed Castle’s pulsating bassruns and some fine singing and harp work by Wenner.

Their second set opener, “I Can’t Get Next to You,” featured Wenner again with a nice harp break.“Shake and Finger Pop” (which, along with “I Can’t Get Next to You” was from their first releaseRock n’ Roll in ‘74) offered some solid singing from Ragusa and Bell; it pumped along with agreat Junior Walker (“Shotgun”) beat. Still another hot number from their initial release, “Red HotMama” brought out some soulful vocals by Wenner and a sweet slide break from Bell. From the2002 live release, Live Tonite, the band provided a soulful Ragusa on “Am I Losing You?” andWenner on “Baby Let’s Play House.” Bell, with a great rockabilly, reverb-laden guitar solo,showed us why he’s such an in-demand lead player in northern Virginia. The Muddy Watersclassic “I Can’t Be Satisfied” (from the “Live at Wolftrap” Rock This House) featured once againsome sweet country harp and stinging slide guitar work. Another moving blues standard fromRock This House, “Howlin’ For My Darlin’” had Wenner belting out the Chester Burnett/WillieDixon hit.

The encore, a blues holiday romp version of “Blue Christmas,” was a fitting end to an evening ofmost enjoyable music. Bell and Wenner again let it all loose on slide guitar and harp to finish offthis last song. All in all, Ragusa’s rock-steady drumming and singing, Wenner’s virtuoso harpstylings and gritty vocals, Bell’s on-the-mark bluesy Strat soloing, and Castle’s pumping bass andsinging show why this present Nighthawks outfit is their funkiest and most powerful yet. Be sureto catch them at a club near you.

AAllaann KKuurrzzeerr

TThhee NNiigghhtthhaawwkkss@ Goodfellas, Hampton, VA

Photos by Alan Kurzer

Show Review

NATCHEL’ BLUES NETWORK, INC.P.O. Box 1773

Norfolk, VA 23501-177324 Hour Blues Hotline:

(757) 456-1675

BLUES NEWSPublished bi-monthly by

the NBN, Inc. 2005

BLUES NEWSThe official publication of the

Natchel’ Blues Network, Inc., a 501(c) (3) non-profit organization, run by

volunteers dedicated to promoting the bluesas America’s one true musical art form.

BLUES NEWS EDITORSBeth Jarock, Editor

Cynthia Horen, Associate Editor

LAYOUT & DESIGN

CONTRIBUTING PHOTOGRAPHERSRon Parker, Alan Kurzer, Resa Gibbs

& Shonna Valeska

CONTRIBUTING WRITERSDeb Malenda-Hill, Beth Jarock,

Richie Babb, David Horen, Cynthia Horen,Jackie Merritt, Alan Kurzer, Ed Nettleton,

Nick Galotti, JD Silvia & Michele Rene Matthews

NBN BOARD Deb Malenda-Hill, Cynthia Horen, Jackie Merritt, Shelly Craig-Potter,

Ron Parker, Shar Wolff, Bruce Kincaid, Ernie Williams & Andree T. Butcher

NBN OFFICERSDeb Malenda-Hill, Pres.

Andree T. Butcher, Vice Pres.David Horen, Treasurer

Cynthia Horen, Secretary

WebmasterJohn Bright

The views & opinions expressed in this publicationby individual writers are not necessarily the opinions

of NBN or Blues News.

(757) 722-5811

GRAPHICS

c

Words from the PRESIDENT

11

14

4

BLUES BITS

COMMUNITYOUTREACH

3

Once a month we willdraw the name of a new/renewingmember for a

free CD

NBNDrawing

6, 7

NBN Membership CD Winners

AT THE HEAD OF THEPACK: AN INTERVIEW

WITH DEBORAH COLEMAN

JACKIE MERRITT

5

8, 94TH ANNUAL HAMPTON

ACOUSTIC BLUESREVIVAL

NEW MEMBERS& RENEWALS

WHERE U CAN HEARTHE BLUES

January - Wilkins & Associates

February - Richard & Kathryn Reese

Blues News March/April 2005 www.natchelblues.org www.natchelblues.org March/April 2005 Blues News

REVIEWS10, 13, 14, 15

REVIEWS First things first! To help with those winter blues and shorter days, pleasecheck out the NBN calendar on the web site. It lists calendar dates forlocal, regional and national acts playing in venues all over Virginia andis updated every Sunday! So, next time you get the blues -– get out andhear some!

This past month was spent reflecting over the past year’s financial sheets,preparing this year’s budget and writing grants. I have come to appreciatehow important all the parts of the nonprofit puzzle are and why eachpiece is needed for the organization to be successful. Yes, the NBN is abusiness, and a successful one as measured by the financials. Success forthe nonprofit is also measured by networking with city and privateorganizations to produce blues education workshops and networkingwith local musicians to bring blues music to the masses, keeping asmany blues events and festivals free to the public as possible. BByy ppiieecceessooff tthhee ppuuzzzzllee II mmeeaann,, iitt iiss iimmppoorrttaanntt tthhaatt ggrraannttss,, aadd ssaalleess,, mmeerrcchhaannddiisseessaalleess,, ssppoonnssoorrsshhiippss,, mmeemmbbeerrsshhiippss,, vvoolluunntteeeerr hhoouurrss,, sseerrvviiccee ggrroouuppffuunnddiinngg ffrroomm bbeeeerr aanndd ssooddaa ssaalleess,, iinn--kkiinndd ddoonnaattiioonnss ooff sseerrvviiccee ssuucchh aassbbooookkkkeeeeppiinngg,, nneewwssppaappeerr eeddiittiinngg aanndd ddeessiiggnn,, aanndd wweebb ddeessiiggnn aallll wwoorrkk iinnuunniissoonn ttoowwaarrdd tthhee ssuucccceessss ooff tthhee NNBBNN..

MMeemmbbeerrsshhiipp iiss tthhee bbaacckkbboonnee ffoorr tthhee ggrroouupp aass tthhee oorrggaanniizzaattiioonn iiss oonnllyy aassssttrroonngg aass iittss mmeemmbbeerrsshhiipp.. If you are a new or renewing member, Iapplaud your choice to support the NBN and blues music in HamptonRoads. If you are reading this issue of Blues News for the first time, amembership form is located on the back page. Please help the NBNmaintain their success and grow into the future by buying a membership!

So don’t forget, the best way to fight away the winter blues is to listen tothe great local blues. TTiimm MMoorrggaann && tthhee MMoojjoo BBrrootthheerrss are backspreading the blues as well as the new bands, MMoojjoo XX and SSwweeeett PPaappaa&& tthhee TToooo HHoott BBlluueess CCrreeww. From Williamsburg’s JJ..MM.. RRaannddaallll’’ss, toHampton’s own GGooooddffeellllaass and TThhee JJeewwiisshh MMootthheerr in Virginia Beach,there will be no excuses not to enjoy the blues!

As always, I welcome comments, suggestions, complaints and advice,and can be reached by snail mail at the NBN mailing address, by e-mailat Bluzq@hotmail.com, or by phone at (757) 456-1675. See you at theshows, support the local musicians sharing their talents, and rememberMMuussiicc FFeeeeddss tthhee SSoouull!!

DDeebb MMaalleennddaa--HHiillllPPrreessiiddeenntt

GGUUYY DDAAVVIISSLegacyRed House Records RHR CD175www.redhouserecords.com

The bottom line: this is a really good CD. It is also interesting with its underlyingtheme of a black man (Guy Davis) being confronted by the devil and given the taskof “reclaiming the legacy of the blues.” It comes with a comic-style bookletillustrating that only 2% of blacks listen to blues today and the devil stating, “Theblues legacy belongs to the white man now. Maybe you should take up rap?”

Consequently, the first track, “Uncle Tom’s Dead,” is a very clever merging of bluesand rap. The lyrics portray a conversation between a young man and the older man(Davis) each stating their case in favor of rap or blues. The rest of the songs showGuy running through a broad sampling of country-oriented blues, essentiallyfavoring blues over rap. Guy sings well and plays fine finger-style guitar throughout.Of the 15 tracks, 6 are Davis originals and hold up very well next to the traditionaltunes, which also have a very original feel through his interpretation.

This is one of the best albums I have heard in a few years; I have been listening toit consistently over the last couple of months. The theme makes Legacy interestinglistening, but the CD is presented without getting too heavy if you just want to listenoutside of the theme context. I think Guy Davis was very successful in “reclaimingthe legacy of the blues.” I highly recommend this CD and don’t think you will bedisappointed. It’s a winner!!

EEdd NNeettttlleettoonn

AANNNN RRAABBSSOONN In a Family Way Emit Doog Music EDM0008 www.annrabson.com

She jumps, she strides, she boogie-woogies with the Kansas City blues! On In aFamily Way, pianist Ann Rabson, one third of Saffire-The Uppity Blues Women,showcases not only her own talents on the ivories but also the musical gifts of herfamily—hence the CD’s title. Without naming everyone in this limited space,notable enrichments to the tunes include brother-in-law Dave Harris on tromboneand organ and particularly, sister Mimi Rabson on a rocking violin.

With the distinctive feel of the 1930’s and ‘40s, Rabson covers both popular andlesser-known standards as well as providing some original tunes. Starting off thecollection, “Little Red Wagon,” made famous by Bob Wills, is a snappy number thataddresses risqué living with a laissez-faire attitude. Rabson notes that her cover of“See See Rider” intends to recapture its depth—and by including the lyricalintroduction that has been largely ignored by performers after Ma Rainey’s originalversion, she succeeds in setting up the haunting aspects of this song. One tune afteranother offer an upbeat approach to living, even when heartache is the theme;“Blindsided” and “I’d Rather Be Alone,” two Rabson-penned songs, are jumpingexamples. “I Want to Hop on Your Harley” is a fun, bouncing song acknowledgingmotorcyclists’ affiliation for the blues (with sly lyrics describing “sexy zippers” and“tempting snaps”). Among the tunes that really get the feet moving are Huey “Piano”Smith’s “Little Chickee Wah Wah” and Willie Dixon’s “Three Hundred Pounds ofJoy;” a personal favorite is Roddy Barnes’ New Orleans-drenched “Go Where theBad People Go.”

With her family, Rabson has assembled a happy collage of melodies! In a FamilyWay demonstrates the great range of her piano styles; it will stay in my car’s CDplayer for quite some time.

CCyynntthhiiaa HHoorreenn

Lost-Then-Found’s New Year’s Eve gig @ Seaside Galley, VBRonny Parker, Judith Casey, Warren Seaburg, Dave Edwards &

drummer Lloyd Bohlinger

2BLUES BIRTHDAYS

15

LOCAL SPOTLIGHT: BLACK ROSE BLUES BAND

1226TH ANNUAL W.C.

HANDY BLUES AWARDNOMINATIONS

PPAAUULL RREEDDDDIICCKKVillanelleNorthern Blues Music NBM0025www.northernblues.com

Villanelle not only blew my socks off, but I watched them burst into flames as theyheaded toward the horizon. This remarkable CD is filled with wonderfully strangeand beautiful music. Reminiscent of a bluesier version of fellow Canadian FredEaglesmith, harpist Paul Reddick and string master Colin Linden (of Blackie & theRodeo Kings) have carefully crafted 15 offbeat mini-masterpieces. This mix ofhaunting prewar blues, electric voodoo Americana and simple gospel hymnsvirtually creates an exciting new blues genre.

Reddick’s lyrics and vocal delivery are poetic and literate, running the gamut fromsoothing, dreamy lullabies to truly spooky, raw hair-raisers that grab and won’t letgo. In the honky-tonk rocker “Luck in Love,” his voice seems to float up from someunderground rock & roll cavern, sounding as if it’s been filtered through themembrane that separates heaven from hell. On “Winter Birds,” Reddick becomesTom Waits’ country cousin: same growl, same offbeat vision, but the landscape hereis rural. Another growler—in the Howlin’ Wolf vein—is the scratchy, fuzz-toned“Big Not Small.” The sleepy title track has the feel of the moving gospel hymn “IShall Not Be Moved.” Gritty comic relief punctuates the second-line strut of “SoLong. Thank You. Goodbye” and the low down country blues of “Dog Catcher.” Butthe bullet is “Six Was The Six.” Channeling the gravel-voiced Captain Beefheart,Reddick confronts the listener like a menacing madman with a chip on his shoulderand a fifth of Old Crow in his belly. Barrelhouse piano, crashing cymbals, eerie,otherworldly lyrics—this hard-driving blues attack chases like a rabid dog and bitesright to bone.

Amazing sonics coupled with often spare, always perfect melodies, Villanelle is atrue classic.

DDaavviidd HHoorreenn

SHOW REVIEW: THE NIGHTHAWKS

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Cont.

134 Blues News March/April 2005 www.natchelblues.org www.natchelblues.org March/April 2005 Blues News

DVD REVIEWS LLOOSS LLOONNEELLYY BBOOYYSSTexican Style: Live From AustinEpic DVD EVD 58621

Los Lonely Boys—Willie Nelson says they’re his favorite new band! Pretty strongwords from such a legendary performer, but after seeing this video I canunderstand why. These three brothers meld elements of traditional Spanishmusic, blues and rock to form a sound that sounds familiar yet new at the sametime.

Jojo’s guitar mixes Stevie Ray Vaughan’s gritty roadhouse style with Santana-esque fluidity while the rhythm section of Henry on bass and Ringo on drumsforms a solid foundation to build from. This video shows that these three are notjust musicians but strong visual entertainers as well. From choreographed stagemoves to brothers Jojo and Henry playing one guitar simultaneously, you neverknow what to expect. Of particular interest are the tunes “Supper Time” whichfeatures Henry playing guitar and Jojo and Ringo performing kazoo solos, and“End Of A New Beginning” with its pseudo-reverse song structure and plenty ofstage antics. What appeals to me most is the brotherly bond, playfulness andsense of humbleness displayed by the brothers Garza.

At 96 minutes with extras, superb video and audio quality, this DVD shows anew band that has enough rooted in the blues to appease all but the truly jadedblues aficionado.

JJDD SSiillvviiaa

EERRIICC CCLLAAPPTTOONNThe Crossroads Guitar FestivalReprise R2 970378

Eric Clapton has been quite a chameleon during his career. From his beginningswith John Mayall’s Bluesbreakers to Cream, Derek & the Dominos and as a soloartist, one thing has remained a constant element: American blues music.

While this DVD covers many genres and features many diverse artists, the bluesis featured heavily throughout. Recorded in Dallas, Texas in June 2004 andfeaturing a venerable list of musicians, there are almost four hours worth ofsights and sounds to be absorbed in this excellent quality release. With bluesartists such as Hubert Sumlin, Robert Cray, B.B. King, Buddy Guy, JimmieVaughan, and Robert Lockwood Jr., you know that there will be blues jams aplenty! From Lockwood’s brief snippet of “Love In Vain Blues” to the“Guitarmageddon” of “Sweet Home Chicago,” there’s some great footage here.Texas blues-rock icons ZZ Top, Joe Walsh tearing up the blues on James Taylor’s“Steamroller,” and newcomer Robert Randolph lending his pedal steel talentskeep things interesting, along with performances by artists such as Eric Johnson,Dan Tyminski, Vince Gill and John Mayer.

Clapton’s vision in hosting this event was to provide an epic event to raisemoney for his Crossroads Rehab Center and this DVD shows he did just that. I’dstill like to know why performers Sonny Landreth and Jeff Beck, who participatedin this event, weren’t in the video. Guess you can’t have it all.

JJDD SSiillvviiaa

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Deborah Coleman, despite her busyschedule and the many miles she’s rackingup on her frequent account, found the timeto perform at last year’s Blues at the BeachFestival. We finally caught up with her inearly February for an update on her verysuccessful career.

IItt’’ss bbeeeenn aa wwhhiillee ssiinnccee wwee ttaallkkeedd ttoo yyoouu.. WWhhaatt’’ss bbeeeenn ggooiinngg oonn llaatteellyy?? II kknnoowwyyoouu’’vvee bbeeeenn aallll oovveerr tthhee ppllaaccee..It has been a long time, hasn’t it? I’ve been doing quite a bit of travelingoverseas. Of course, I did an album last year for Telarc. I changed labels; I’m noton Blind Pig anymore. I’ve basically been doing a whole lot of touring andworking on some other projects, a couple of film projects. I just finished aproject for Mississippi Public Broadcasting. It’s called Blues Divas and there areeight prominent blues women on it: Denise LaSalle, Mavis Staples, IrmaThomas, Odetta, and others. I’ve been doing some stuff with that.

NNooww,, wwhhaatt’’ss yyoouurr rroollee wwiitthh tthhaatt?? AArree yyoouu pprroodduucciinngg iitt oorr aarree yyoouu iinn iitt?? I’m actually in it. Everyone has a performance and I think it’s supposed to airdown in Mississippi sometime in February. They’re trying to get some worldwidedistribution. As I understand, it’s already being prepared to be sent over toFrance. That’s a good little start.

II’’mm ssuurree yyoouu hhaadd aa bbuussyy ssuummmmeerr wwiitthh tthhee ffeessttiivvaall sseeaassoonn..Oh, yeah. Like I said, I did quite a few shows overseas. I had a chance this pastyear to go to Poland, Brazil, Portugal, and Spain. It was nice; it was really nice.

CCoommppaarree yyoouurr eexxppeerriieenncceess wwiitthh tthhee ttwwoo llaabbeellss:: BBlliinndd PPiigg aanndd TTeellaarrcc.. Being in the blues realm, which is a specialized genre anyway, I think that BlindPig has its assets and Telarc has its assets. Being that Blind Pig is strictly a blueslabel, they concentrate on that. Telarc goes into a lot of other stuff. They have ahuge classical catalog and they also have a huge jazz audience as well. They’rein more genres than Blind Pig and I would have to say that they have access tosome of the publications that I didn’t have with Blind Pig. I think they areequally great labels.

AArree yyoouu ppllaannnniinngg aannootthheerr rreelleeaassee wwiitthh TTeellaarrcc??We’re talking about it right now. I basically had a one-album deal with anoption. We’re discussing it now. We’ll see how that is going to play out.

YYoouu mmeennttiioonneedd tthhaatt yyoouu wweerree wwoorrkkiinngg oonn aa pprroojjeecctt ccaalllleedd BBlluueess DDiivvaass..SSppeeaakkiinngg ooff tthhaatt,, II ssaaww yyoouu ffrroomm aa ddiissttaannccee aatt tthhee RRuutthh BBrroowwnn sshhooww tthhee ootthheerrnniigghhtt.. WWhhaatt wwaass yyoouurr rreeaaccttiioonn ttoo tthhaatt?? TThhaatt rreeaallllyy ffeelltt lliikkee aann hhiissttoorriicc ooccccaassiioonn,,ddiiddnn’’tt iitt??Oh, yeah. I got a chance to meet Ruth Brown for the first time down inMemphis last May. We recorded together on that Pinetop Perkins Ladies Man,the one that’s up for a Grammy this year. So, we’ve got our fingers crossed onthat. She found out I was from Portsmouth and we just kind of hit it off. Ruthhasn’t been here in I don’t know how long. As a matter of fact, I think somebodysaid there was a lady there who had been waiting thirty-something years just tosee Ruth Brown come back so she could get an autograph. It was very historic

because she’s from here and there was a time when she was going through thatstuff with Atlantic Records and trying to get the Rhythm & Blues Foundation goingand she wasn’t performing that much. But, for her to come back here to Norfolkand perform and they videotaped it and recorded it—she’s a legend.

TThhee AAttttuucckkss TThheeaatteerr iiss rreeaallllyy bbeeaauuttiiffuull.. AAnndd,, ssppeeaakkiinngg ooff tthhaatt,, yyoouu’’rree ppeerrffoorrmmiinnggaatt tthhee AAttttuucckkss ssoooonn,, aarreenn’’tt yyoouu??I’m going to be there on February 19. I’m looking forward to doing that. That’sanother reason I went to the show: I wanted to see where it was and how itlooked. It is a beautiful facility.

IItt rreeaallllyy iiss.. AArree yyoouu hheeaaddeedd bbaacckk oonn tthhee rrooaadd ttoommoorrrrooww??I’m leaving today. I’m going to Memphis for three days. I’m going to be one of thejudges for the Blues Foundation’s International Blues Challenge. There’s going tobe like three hundred bands or something. I’m going to be one of the judges forthat and then probably do a little jamming with the winner.

LLeett mmee cchhaannggee ggeeaarrss aa mmiinnuuttee.. TThheerree wwaass aa ttiimmee wwhheenn yyoouu ccoouullddnn’’tt ppiicckk uupp aaLLiivviinngg BBlluueess oorr aa BBlluueess RReevvuuee tthhaatt ssoommeebbooddyy wwaassnn’’tt bbeemmooaanniinngg tthhee ssttaattee ooffbblluueess,, wwhheetthheerr iitt wwaass tthhee nnuummbbeerr ooff ppeeooppllee ccoommiinngg ttoo cclluubbss oorr ppeeooppllee nnoottbbuuyyiinngg CCDDss.. WWhhaatt,, iinn yyoouurr ooppiinniioonn,, iiss tthhee ssttaattee ooff tthhee bblluueess iinndduussttrryy rriigghhtt nnooww??Without a doubt, the number of clubs in which the artist can play has definitelygone down. There’s not as many anymore. But, that’s just in the United States. Ifyou go overseas, there are plenty of places to play. There are still lots of festivalsand stuff. Blues has always been an up-and-down type of thing. We’re just at oneof those periods where it’s leveled off from where it was tanking a few years ago.But what has happened is that it hasn’t allowed any brand new artists to breakinto the scene. And that is kind of the down side of that. I hate to say it, but when9/11 happened, all the expenses kind of went up: high airfares, high gas prices.So it’s very difficult for new acts to go on the road and pay the expenses just toget going. I remember when I first got started; I made a big investment just tojumpstart my career. It takes a lot of money to do it. You can’t just say, “I think I’mgoing to be a blues artist; I’m just going to go jump in my van and play.” It justdoesn’t work like that. There’s a lot of the blues artists my age and we just feellike we just got in (you know, I’ve been at it almost ten years now) just at the righttime. We should be okay until things pick up again.

II’’mm ssuurree tthheerree’’ss aa lloott ooff bblluueess aarrttiissttss wwhhoo wwoouulldd lliikkee ttoo hhaavvee hhaadd tthhee kkiinndd ooffssuucccceessss yyoouu’’vvee hhaadd,, aass wweellll.. II’’mm ssuurree yyoouu ffeeeell vveerryy lluucckkyy aabboouutt tthhaatt..Oh, yeah! Definitely! Who knew? I would never have thought.

II kknnooww yyoouu’’rree hheeaaddeedd ttoo MMeemmpphhiiss.. TThhaannkk yyoouu ffoorr ttaakkiinngg yyoouurr ttiimmee ttoo bbee wwiitthh uuss..II hhooppee ttoo sseeee tthhaatt BBlluueess DDiivvaass pprroojjeecctt aanndd wwee’’llll llooookk ffoorrwwaarrdd ttoo aannyy nneeww mmuussiiccyyoouu ppuutt oouutt..Yeah, the video project should be out soon. I know it’s going to DVD. I thinkthey’re working with Alligator Records to release a CD of it. So, we’ll see whathappens. I had a lot of fun with that and I really enjoyed working with all thosefemale blues legends.

—— RRiicchhiiee BBaabbbb,, CCoooorrddiinnaattoorr ooff BBrrooaaddccaasstt CCoommmmuunniiccaattiioonnss,, WWFFOOSS 8888..77 FFMM

At the Head of the PackDeborah Coleman Maintains Her Position in the

Upper Echelon of Blues Performers

Photo by Shonna Valeska

12 Blues News March/April 2005 www.natchelblues.org

Black Rose Blues BandI don’t get out nearly as much as I would like, but I am glad I did on January 8, 2005 tosee The Black Rose Blues Band at Goodfellas in Hampton. I have seen this band severaltimes over the last couple of years and they get better each time. The BRBB, which alsoopened for Taj Mahal at the NorVa last summer, is a five-piece band fronted by singerJJaacckkiiee SSccootttt with the rhythm section of ““BBoonneess”” on bass and MMiikkee PPeellzzeell on drums. Thelead instrument duties are handled by BBoobbbbyy ““BBllaacckk HHaatt”” WWaalltteerrss on harmonica andJJiimmmmiiee SSiillvviiaa on guitar. The BRBB plays a powerful, driving, well-rounded set of blues-oriented tunes interspersed with some rock & roll and soul. Their three sets at Goodfellasincluded “I’m Ready,” “Queen Bee,” “Key to the Highway,” “Ain’t No Sunshine,” “HoundDog,” “Little Wing” and many others. This fine variety in material was appreciated by thecrowd: the dance floor was always full and the audience was very responsive to the solos.

Jackie Scott has a great gospel-oriented voice and does an excellent job of singing thevaried material with great feeling and high energy. Jackie especially shines on the slowerballads where she has more room to stretch out, which is not to diminish her performanceon the higher-energy tunes. I am just partial to the ballads, I think. Bobby “Black Hat”Walters plays a great fluid harmonica, pushing the tunes along when in the rhythm sectionand blowing really good solos when up front. Bobby has the Chicago harmonica styledown as a firm foundation, while adding a lot to create his own personal sound. The resultis all of Bobby’s solos fit well in the context of the tune. I also enjoyed Bobby’s singing,especially on “You Ain’t Gotta Wake Up,” which is a “double entendre” self-explanatorytune. This tune got a great response from the rear of the room, which makes me wonderwhat they do in their spare time. Jimmie Silvia handles the guitar work and is well versedin the blues/rock vein. Jimmie plays real driving rhythm and cutting solos. He shows goodadaptability in playing a straight blues style and a more rock style when appropriate, asthe tunes demand. His tone was very good, phrasing and note selection worked well, andwhen the mood struck, Jimmie could turn it up and burn in a high energy blues-rock style.All this held up well with the rhythm section of “Bones” and Pelzel. Throughout the night,they did not miss a beat and were right on meter, as steady as the Long Island Railroad!

Overall, the energy level at Goodfellas was very high throughout the whole night and theaudience still wanted more encores at the very end. I would recommend you go see “TheBlack Rose Blues Band” as soon as you can; they give an excellent reason to get out andsee a highly proficient blues-oriented band that is well worth your time and money.

EEdd NNeettttlleettoonn

Musicians!Tidewater Arts Outreach

Tidewater Arts Outreach is a new, community-based organization

dedicated to providing quality music, arts and entertainment

experiences to people who are isolated from society. We rely on

volunteer artists and performers to carry out our mission. Stipends are

funding-dependent and may be available. Projects are diverse, tailored

to the needs and interests of the artists and can include: one-time

performance for delinquent youth, seniors, or people with disabilities;

weekly music lessons to girls or boys living at a group home; solo, duo,

trio (or more) musical performance at a homeless shelter, detention

center or nursing home; sing-alongs, and more.

Help us lift hearts and brighten days.

To find out more, call us at (757) 410-4010 or visit us online at

www.twartsoutreach.org

Thank you.

Local Spotlight:

BBlluueess EEnntteerrttaaiinneerr ooff tthhee YYeeaarrB.B. KingBobby RushKim WilsonPinetop PerkinsSolomon Burke

CCoonntteemmppoorraarryy BBlluueess--MMaallee AArrttiisstt ooff tthhee YYeeaarrCharlie MusselwhiteChris Thomas KingJames HarmanKim WilsonRobert Randolph

CCoonntteemmppoorraarryy BBlluueess--FFeemmaallee AArrttiisstt ooff tthhee YYeeaarrDeborah ColemanEG KightJaniva MagnessMarcia BallShemekia Copeland

SSoouull//BBlluueess--MMaallee AArrttiisstt ooff tthhee YYeeaarrBobby RushLittle MiltonSolomon BurkeTad RobinsonW.C. Clark

SSoouull//BBlluueess--FFeemmaallee AArrttiisstt ooff tthhee YYeeaarrBarbara LynnBettye LaVetteEtta JamesMavis StaplesToni Lynn Washington

TTrraaddiittiioonnaall BBlluueess--FFeemmaallee AArrttiisstt ooff tthhee YYeeaarrJessie Mae HemphillKoko TaylorMaria MuldaurNora Jean BrusoRuth Brown

TTrraaddiittiioonnaall BBlluueess--MMaallee AArrttiisstt ooff tthhee YYeeaarrHubert SumlinJody WilliamsPinetop PerkinsRobert Lockwood Jr.Sam Myers

AAccoouussttiicc BBlluueess--AArrttiisstt ooff tthhee YYeeaarrCorey HarrisDavid “Honeyboy” EdwardsEric BibbPaul OscherPaul Rishell & Annie Raines

BBeesstt NNeeww AArrttiisstt DDeebbuuttJohn Lee Hooker, Jr. - Blues With A VengenceMichael Powers - Onyx RootNora Jean Bruso - Going Back To MississippiThe Bo-Keys - The Royal SessionsWatermelon Slim - Up Close & Personal

BBlluueess BBaanndd ooff tthhee YYeeaarrAnson Funderburgh & The RocketsLittle Charlie & The NightcatsMagic Slim & The TeardropsRod Piazza & The Mighty FlyersSmokin’ Joe Kubek BandThe Holmes Brothers

2266tthh AAnnnnuuaall WW..CC.. HHaannddyy BBlluueess AAwwaarrddssBBlluueess AAllbbuumm ooff tthhee YYeeaarrGuitar Shorty - Watch Your BackMavis Staples - Have A Little FaithRod Piazza & the Mighty Flyers - Keepin’ It RealThe Holmes Brothers - Simple TruthsW.C. Clark - Deep In The Heart

CCoonntteemmppoorraarryy BBlluueess AAllbbuumm ooff tthhee YYeeaarrCharlie Musselwhite - SanctuaryGuitar Shorty - Watch Your BackMichael Powers - Onyx RootRonnie Earl & The Broadcasters - Now My SoulThe Holmes Brothers - Simple Truths

SSoouull//BBlluueess AAllbbuumm ooff tthhee YYeeaarrBobby Rush - Folk FunkCharles Wilson - If Heartaches Were NickelsMavis Staples - Have A Little FaithTad Robinson - Did You Ever Wonder?W.C. Clark - Deep In The Heart

TTrraaddiittiioonnaall BBlluueess AAllbbuumm ooff tthhee YYeeaarrDuke Robillard - Blue Mood: The Songs Of T-Bone WalkerJames Cotton - Baby Don’t You Tear My ClothesJody Williams - You Left Me In The DarkPinetop Perkins - Ladies ManSam Myers - Coming From The Old School

AAccoouussttiicc BBlluueess AAllbbuumm ooff tthhee YYeeaarrBilly Branch & Kenny Neal - Double TakeCarey & Lurrie Bell - Second NatureCorey Harris - Mississippi To MaliPaul Oscher - Alone With The BluesPaul Rishell & Annie Raines - Goin’ Home

CCoommeebbaacckk BBlluueess AAllbbuumm ooff tthhee YYeeaarrBig Joe Duskin - Big Joe Jumps Again!Gary U.S. Bonds - Back In 20

HHiissttoorriiccaall BBlluueess AAllbbuumm ooff tthhee YYeeaarrCharles Brown -A Life In The Blues (Rounder Records)

Hound Dog Taylor - Release The Hound (Alligator Records)

Johnny Winter - Second Winter (Columbia/Legacy)

Lucille Bogan - Shave ‘em Dry (Columbia/Legacy)

Muddy Waters - Hard Again (Epic/Legacy)

Muddy Waters -I’m Ready (Epic/Legacy)

BBlluueess SSoonngg ooff tthhee YYeeaarr“Alone With The Blues” - Writer Paul Oscher, Performed by Paul Oscher

“Have A Little Faith” - Writer Jim Tullio and Jim Weider, Performed by Mavis Staples

“Nothin’ Ever Hurt Me” - Writer EG Kight, Performed by EG Kight

“Piecework Politicians” - Writer James Harman, Performed by James Harman

“Run Myself Out Of Town” -Writer Wendell Holmes, Performed by The Holmes Brothers

Fresh off the success of its sold out 2004 event, The Blues Foundation announcesits nominees for the 2005 W.C. Handy Awards to be held May 5, 2005, at the CookConvention Center. The 2005 nominees include the return of blues notables Jessie MaeHemphill and Guitar Shorty, as well as some celebrated names with a chance for their firstHandy Award including Mavis Staples, Gary U.S. Bonds, and Hubert Sumlin. Many artistsracked up multiple nominations including The Holmes Brothers with three bandnominations and three individual nominations, followed by harp player Paul Oscher withfour. W.C. Clark, James Harman, Charlie Musselwhite, Pinetop Perkins, Rod Piazza, BobbyRush, Mavis Staples, and Kim Wilson each received three nominations.

Performers, industry representatives and fans from around the globe arrive inMemphis, where W.C. Handy penned the first published blues song, to celebrate the best inblues recording and performance from the previous year. The W.C. Handy Blues Awards areuniversally recognized as the highest honor given to blues artists. Voting is restricted tomembers of The Blues Foundation only. Voting, ticket, and host hotel information can befound at www.blues.org.

The W.C. Handy Blues Awards are produced by the Memphis-based BluesFoundation, a non-profit organization established to “Preserve, Celebrate and Support”blues history, blues excellence, and blues education. The Foundation consists of aworldwide network of 140 affiliated blues societies and has individual membershipsspanning the globe. In addition to the W.C. Handy Blues Awards, the Foundation alsoproduces the Blues Hall of Fame Induction Ceremony, the International Blues Challenge,and the Keeping the Blues Alive Awards. For more information or to join The BluesFoundation, log onto www.blues.org.

CCOONNGGRRAATTUULLAATTIIOONNSS TTOO OOUURR OOWWNN DDEEBBOORRAAHH CCOOLLEEMMAANNFFOORR HHEERR NNOOMMIINNAATTIIOONN AASS CCOONNTTEEMMPPOORRAARRYY FFEEMMAALLEE AARRTTIISSTT..

WWEE AALLSSOO CCOONNGGRRAATTUULLAATTEE SSAAFFFFIIRREE’’SS AANNDDRRAA FFAAYYEE FFOORR HHEERR NNOOMMIINNAATTIIOONN AASSIINNSSTTRRUUMMEENNTTAALLIISSTT OOFF TTHHEE MMAANNDDOOLLIINN!!

IInnssttrruummeennttaalliisstt -- BBaassssBill StuveBob StrogerCalvin “Fuzz” JonesMookie BrillSherman HolmesWillie Kent

IInnssttrruummeennttaalliisstt -- DDrruummssJimi BottPopsy DixonSam CarrSam LayWillie “Big Eyes” Smith

IInnssttrruummeennttaalliisstt -- GGuuiittaarrBob MargolinDuke RobillardKirk FletcherRonnie EarlRoy Rogers

IInnssttrruummeennttaalliisstt -- HHaarrmmoonniiccaaCharlie MusselwhiteJames HarmanKim WilsonPaul OscherRod Piazza

IInnssttrruummeennttaalliisstt -- HHoorrnnssCalvin Owens - TrumpetGreg Piccolo - SaxophoneMark Kazanoff - SaxophoneRoomful of Blues HornsSax Gordon - Saxophone

IInnssttrruummeennttaalliisstt -- KKeeyybbooaarrddssDave MaxwellHenry ButlerHoney PiazzaJon ClearyMarcia Ball

IInnssttrruummeennttaalliisstt -- OOtthheerrAndra Faye - MandolinClarence “Gatemouth” Brown - FiddleOtis Taylor - BanjoRobert Randolph - Pedal Steel GuitarSonny Rhodes - Lap Steel Guitar

NominationsNominations

5www.natchelblues.org March/April 2005 Blues News

6 11Blues News March/April 2005 www.natchelblues.org www.natchelblues.org March/April 2005 Blues News

CORPORATE MEMBERS:

Stuart Burnley, Hermitage Farms NurseryWalter T. Camp, State Certified MediatorDoug Crane, American Oldies RecordsWilliam G. Sykes, Patent AttorneySteve Wilkins, Wilkins & Associates, Inc.WHRO

Many thanks to the following new members or renewals over the last couple of months. Yoursupport helps keep the Natchel’ Blues Network and blues music in Hampton Roads alive!

RRoobbeerrtt JJ.. AAllppiinnoo

DDaavviidd BBllaalloocckk JJrr..

PPeettee BBrreennnnaann

AAnnddrreeee TT.. && DDaallee BBuuttcchheerr

SStteevvee DDiicckkeennss

PPeettee DDiiPPaaoollaa

JJ.. AAllaann GGrraayy

GGeerraalldd PPoorrtteerrffiieelldd

Where U can Hear the BLUESWHRV 89.5 FM Blues Stage with Melvin Van Peebles

Thursday @ MidnightOut of the Box with Paul ShagrueMonday-Thursday 6:30-8:30 pm, Sat. 1-4 pmA Shot of the Blues with Paul ShagrueFriday 7:30-8:30 pmBlues Before Sunrise with Steve CushingSunday 1-6 am

WHOV 88.1 FM Nothin’ But the BluesWednesday 7-10 pm

WESR 103.3 FM Blues Review with Billy Sturgis (VA Eastern Shore)Wednesday 8-9 pm

WFOS 88.7 FM Who’s Got the Blues with Richie Babb3rd Sunday of month 4-7 pmBlues Traffic JamMonday-Friday 3-7 pm

NBN New Members & Renewals

DDiiaannaa PPrraatthheerr

RRiicchhaarrdd && KKaatthhrryynn RReeeessee

DDaann RRooddggeerrss

MMaarrkk SSaauueerr

WWiillkkiinnss && AAssssoocciiaatteess

GGrreegg WWiillllaarrdd

EErrnniiee WWiilllliiaammss JJrr..

KKeerrrryy WWooooddeenn

B LU E S

B i t s Compiled by Beth Jarock

TThhee 22--hhoouurr ccoommppiillaattiioonn vveerrssiioonn ooff tthhee BBLLUUEESS DDIIVVAASS series had its world premiere at theAFI Silver Theatre & Cultural Center in Silver Spring, MD (just outside D.C.) on Jan. 22ndand 23rd. MMiissssiissssiippppii PPuubblliicc BBrrooaaddccaassttiinngg will present the whole 8-part series in Mississippiduring April and May. Actor Morgan Freeman narrates/emcees in BLUES DIVAS. The serieswill eventually appear on DVD, but let’s hope WWHHRROO--TTVV (in Hampton Roads) airs theseries, since one of the featured performers is our own DDeebboorraahh CCoolleemmaann.

9911 yyeeaarr oolldd BBlluueess PPiiaannoo lleeggeenndd PPiinneettoopp PPeerrkkiinnss received The Recording Academy®Lifetime Achievement Award. Others honored included Janis Joplin, Led Zeppelin, Jerry LeeLewis, Eddy Arnold, Art Blakey, the original members of the Carter Family, Morton Gould,Jelly Roll Morton, and the Staple Singers. TThhee LLiiffeettiimmee AAcchhiieevveemmeenntt AAwwaarrdd honors lifelongartistic contributions to the recording medium.The award was decided by vote of TheRecording Academy’s National Trustees. Formal acknowledgment of these special meritawards were made at a new elite ceremony during GGRRAAMMMMYY Week on February 12th.

MMaavviiss SSttaapplleess aanndd EEllvviinn BBiisshhoopp,, Alligator Records recording artists, both performed duringthe 47th Grammy Awards, held in Los Angeles at The Staples Center on February 13.Gospel/soul legend Mavis Staples, whose current Alligator CD Have A Little Faith is widelyhailed as the best of her career, performed with multiple Grammy nominee Kanye West,John Legend and The Blind Boys of Alabama. Staples, as a member of the legendary StapleSingers, received a Lifetime Achievement Award in a ceremony on February 12. GuitaristElvin Bishop performed during the Grammy tribute to Southern rock, along with DickeyBetts (Allman Brothers), members of Lynyrd Skynyrd, and Grammy nominees Tim McGraw,Keith Urban and Gretchen Wilson.

RRiicchhaarrdd ‘‘BBiigg BBooyy’’ HHeennrryy died December 5, 2004 after several years of declining health. Hewas 83. Henry, who was born in Beaufort, was awarded a North Carolina Folk HeritageAward in 1995 for lifetime contributions to the folk culture of the state. A singer, composer,and guitar player, he recorded with Piedmont bluesmen SSoonnnnyy TTeerrrryy and BBrroowwnniiee MMccGGhheeeeat a session in 1951. He returned to North Carolina disappointed that the recordings werenever issued and gave up music for about 20 years. During that time, he worked as afisherman and operated a grocery store before returning to music in 1971.

SSoonn SSeeaallss,, a W.C. Handy Award-winning and Grammy-nominated master Chicagobluesman, died on December 20 in Chicago, Illinois from complications due to diabetes.He was 62. The critically acclaimed, younger generation guitarist, vocalist, andsongwriter—credited with redefining Chicago Blues for a new audience in the 1970’s—wasknown for his intense, razor-sharp guitar work, gruff singing style, and his charismatic stagepresence. Frank “Son” Seals was born in Osceola, Arkansas, on August 14, 1942. Hebecame an accomplished drummer by the time he was 13. By the age of 18, Son had putdown the drumsticks and was leading his own band as a guitarist. He moved to Chicago in1971 and began playing regular weekend gigs at The Expressway Lounge and other clubson Chicago’s South Side, regularly jamming with legends like Hound Dog Taylor, JuniorWells, and Buddy Guy.

RRoorryy BBlloocckk,, one of the great acoustic blues guitarists and musical preservationists, digsdeep into the blues tradition on her latest TTeellaarrcc CD, FFrroomm tthhee DDuusstt, released on February22nd.

SSttoonnyy PPllaaiinn RReeccoorrddss has announced a March 8 release date for the first-ever pairing ofmultiple W.C. Handy Award-winning guitarists DDuukkee RRoobbiillllaarrdd and RRoonnnniiee EEaarrll, entitledThe Duke Meets The Earl.

Natchel’ Blues Network Bands!!

Advertise in Blues News with a 1/4 page ad (usually $45) for only

$30 per issue.

Provide us with the info and we will DESIGN the ad for you.

One picture only. Ad must be pre-paid.

Call Beth Jarock at 623-8559.

On January the 9th, I hadthe pleasure of presenting aBlues Harmonica Workshopto GGiirrll SSccoouutt TTrroooopp 446644 at

the Indian Lakes FoundationCommunity Center in

Virginia Beach, Virginia.

I had a great timeintroducing the girls to Blues and teaching them the beginning harmonica.

The workshop helped the girls receive their music badges. I was told bytroop leader Brandi Harrison, and one of the parents, that several of the girls

continued practicing their harmonicas for several days after the workshopand one even took hers to school everyday for a week.

The harmonicas were donated by the Natchel’ Blues Network.

JJaacckkiiee ““SSuuggaarrlliippss”” MMeerrrriitttt

Community OutReach

Photos by Resa Gibbs

The Jewish MotherThe Jewish MotherHome of the East Coast Blues Is Back!

B

710 Blues News March/April 2005 www.natchelblues.org www.natchelblues.org March/April 2005 Blues News

BBuuddddyy GGuuyy will be inducted into the RRoocckk aanndd RRoollll HHaallll ooff FFaammee during the foundation’s 20thannual induction ceremony on March 14 at the Waldorf Astoria Hotel in Manhattan.

TThhee FFaabbuulloouuss TThhuunnddeerrbbiirrddss recently signed with Tone-Cool Records. The current T-Birds lineupfeatures original co-founder Kim Wilson on harmonica and vocals, Kirk Fletcher and NickCurran on guitars, Jimi Bott on drums, Ronnie James on bass, and Gene Taylor on piano. Theband has been recording the new CD in Austin and Los Angeles with producer Steve Berlin.Look for an early spring release.

BBlliinndd PPiigg RReeccoorrddss has announced the signing of its first international artist, Australianharmonica virtuoso/didgeridoo performer/singer HHaarrppeerr. The first CD under the three recordpact is scheduled to be released in May.

SSaawwyyeerr BBrroowwnn will release KKeeeepp YYoouurr HHaannddss ttoo YYoouurrsseellff, its first album of new material in fouryears, on May 17. The title track is a remake of the 1986 Georgia Satellites’ hit. The band’scurrent single, “Mission Temple Fireworks Stand,” features Robert Randolph on steel guitar.

AAlllliiggaattoorr RReeccoorrddss announced the return of guitarist/vocalist/songwriter TTiinnsslleeyy EElllliiss to thelabel. Ellis first recorded for Alligator in 1988. He recorded five albums for the label beforerecording for the Capricorn and Telarc labels. The new relationship will kick off with Ellisrreeccoorrddiinngg ttwwoo nniigghhttss ooff lliivvee ppeerrffoorrmmaanncceess (March 25 and 26, 2005) at CChhoorrdd OOnn BBlluueess in St.Charles, IL, a suburb of Chicago, for his new Alligator CD. Due out in early summer, this willbe Ellis’ first live album, and is one, according to Ellis, that his fans have long been waiting for.

CCoonnssttrruuccttiioonn oonn NNeeww JJeerrsseeyy’’ss ffiirrsstt HHoouussee ooff BBlluueess nightclub is underway on the boardwalkside of the SShhoowwbbooaatt CCaassiinnoo--HHootteell. It is expected to open in July. The $65.5 million projectwill include 26 suites, a two-story music hall, restaurant and club, and an outdoor seating areafor the summer. Harrah’s Entertainment, which owns the Showboat, officially announced theproject on January 6, with actor DDaann AAyykkrrooyydd, one of the club’s owners and founder, betterknown to blues fans as Blues Brother Elwood Blues. A grand opening celebration will runthroughout the summer.

CCllaarreennccee ““GGaatteemmoouutthh”” BBrroowwnn,, the eighty-year-old, Grammy-winning, cancer-fighting pioneerof a musician, is hard at work on his next major project: the story of his life. Written incollaboration with Mr. Brown’s biographer, Colin Walters, his book, tentatively entitled PPllaayy IIttLLiikkee YYoouu LLiivvee:: TThhee LLiiffee SSttoorryy ooff CCllaarreennccee ““GGaatteemmoouutthh”” BBrroowwnn,, will recount Gatemouth’schildhood, his musical influences and rise to fame, stories from the road, the origin of the“Gatemouth” nickname, and his recent battle with terminal lung cancer. The book is expectedto be published within the next two years. For more information, please write toppllaayyiittlliikkeeyyoouulliivvee@@ggaatteemmoouutthh..ccoomm.

IInntteerrnnaattiioonnaall BBlluueess CChhaalllleennggee ((IIBBCC)) was held by The Blues Foundation in Memphis during Feb.3-5, 2005. JJiimmii HHoocckkiinngg from Melbourne Blues Appreciation Society took 1st Place in theSolo/Duo Finals.— JJooeeyy GGiillmmoorree from Blues Society of Taiwan was awarded 1st Place in theBand Finals. The first ever Best-Self Produced CD resulted in a tie—CCrraazzyy CCrryyiinn’’ BBlluueess bbyyRRoobbiinn RRooggeerrss (Charlotte Blues Society) and SSiillvveerr BBiirrdd bbyy CCoollllaarrdd GGrreeeennss && GGrraavvyy (MelbourneBlues Appreciation Society).

TThhee ggrreeaatt oorrggaann ppllaayyeerr JJiimmmmyy SSmmiitthh passed away February 8, 2005 at the age of 76, apparentlyhaving died in his sleep during an afternoon nap. The legendary musician was a hugelyinfluential figure in music, whose style of play affected not only his own genre but others.Smith played piano before switching to the organ in the early 1950’s, and his innovative styleof playing the Hammond B-3 organ helped revolutionize the sound of Jazz while he wasrecording for influential record labels like Blue Note and Verve.

BBlliinndd PPiigg RReeccoorrddss will release a live album by noted R&B vocalist OOttiiss CCllaayy. Entitled RReessppeeccttYYoouurrsseellff, the CD will be released March 15.

3366tthh AAnnnnuuaall NNeeww OOrrlleeaannss JJaazzzz && HHeerriittaaggee FFeessttiivvaall is set for New Orleans April 22-May 1 withthe newly formed co-producers Festival Productions Inc—New Orleans and AEG-Live. Thelineup is characterized as the deepest and most dynamic in the history of the festival, with TheOriginal Meters Reunion; B.B. King; The Neville Brothers; Isaac Hayes; Buddy Guy; IrmaThomas; Evangelist Shirley Caesar; Ike Turner; Madeleine Peyroux; Los Lonely Boys; andthousands more artists set to appear.

LUE SB i t s Compiled by Beth Jarock

cont. from page 6 22000055 BBlluueess && BBlluueess--RReellaatteedd GGrraammmmyy WWiinnnneerrss:: BBeesstt TTrraaddiittiioonnaall BBlluueess AAllbbuumm((VVooccaall oorr IInnssttrruummeennttaall))—Blues To The Bone by Etta James [RCA Victor]; BBeessttCCoonntteemmppoorraarryy BBlluueess AAllbbuumm ((VVooccaall oorr IInnssttrruummeennttaall))—Keep It Simple by Keb’Mo’ [Epic/Okeh]; RReeccoorrdd OOff TThhee YYeeaarr—“Here We Go Again” by Ray Charles& Norah Jones; John Burk, producer; Terry Howard & Al Schmitt,engineers/mixers; Track from: Genius Loves Company [Concord Records/HearMusic]; AAllbbuumm OOff TThhee YYeeaarr—Genius Loves Company by Ray Charles &Various Artists; John Burk, Terry Howard, Don Mizell, Phil Ramone & HerbertWaltl, producers; Robert Fernandez, John Harris, Terry Howard, Pete Karam,Joel Moss, Seth Presant, Al Schmitt & Ed Thacker, engineers/mixers; RobertHadley & Doug Sax, mastering engineers [Concord Records/Hear Music]; BBeessttPPoopp CCoollllaabboorraattiioonn WWiitthh VVooccaallss—“Here We Go Again” by Ray Charles &Norah Jones; Track from: Genius Loves Company [Concord Records/HearMusic]; BBeesstt PPoopp VVooccaall AAllbbuumm—Genius Loves Company by Ray Charles &Various Artists [Concord Records/Hear Music]; BBeesstt GGoossppeell PPeerrffoorrmmaannccee—“Heaven Help Us All” by Ray Charles & Gladys Knight; Track from: GeniusLoves Company [Concord Records/Hear Music]; BBeesstt HHiissttoorriiccaall AAllbbuumm—NightTrain To Nashville: Music City Rhythm & Blues, 1945-1970; Daniel Cooper &Michael Gray, compilation producers; Joseph M. Palmaccio & Alan Stoker,mastering engineers (Various Artists) [CMF/Lost Highway Records]

SSaattuurrddaayy NNiigghhtt BBlluueess JJaamm 99ppmm

3108 Pacific Ave., Virginia Beach, Virginia ((775577))442222--55443300

WWeedd.. MMaarrcchh 22 Jon Cleary & the Absolute Monster Gentlemen$10.00 advance; $12.50 day of show

SSaatt.. MMaarrcchh 55 Carey Bell$12.00 advance; $15.00 day of show

TThhuurrss.. MMaarrcchh 2244 Coco Montoya$12.50 advance; $15.00 day of show

TThhuurrss.. AApprriill 77 Glenn Tilbrook$15.00 advance & day of show

TTuueess.. AApprriill 1122 Mofro$10.00 advance; $12.50 day of show

FFrrii.. AApprriill 1155 Nighthawks$15.00 advance & day of show

[[TTIICCKKEETTSS AAVVAAIILLAABBLLEE AATT JJEEWWIISSHH MMOOTTHHEERR]]

January 9th

Harmonica MasterClass Workshop with

Jumpin’ Johnny Sansone

Johnny flew in from New Orleans to host this workshop.He booked a sold out gig in Richmond the night before with his old

bandmate Ivan Applerouth

Tommy Parker’s guitar backup was made courtesy of the Natchel’ Blues Network.

Sandy makes the best Chili on the planet.Another very successful workshop, held at Sandy Martin’s home.

TThhee NNeexxtt SSeessssiioonn TTBBAA

Please contact Jackie Merritt or Sandy Martin(757) 722-5811 or (757) 460-0398

DDAAVVEE MMaaccKKEENNZZIIEESoloHey Baby Music HBCD1006www.heybabymusic.com

Dave MacKenzie, the Nashville-based bluesman, provides an old-timeymood with his latest release, Solo. As he explains it, “Just about any ofthese songs, even the ragtime tunes, could’ve been cut with a band, butlately I’ve been re-listening to a lot of Lightnin’ Hopkins and LonnieJohnson. There’s something about that one-guy-and-his-guitar approachthat still appeals to a lot of people; you get the chance to really hear thesong and let it do its share of the work.” MacKenzie shines on thesesongs, accompanied only by a metal-bodied Dobro and 6- and 12-stringguitars.

The CD begins with “That Rainy Day’s Comin’,” a moody tune which wasmodeled after Henry Townsend. The sly humor kicks in with two funsongs, one a sing-along in praise of “Big Ol’ Girls” (“with their sweetround faces”) and the other a finger-picking bit of religious speculation,“If Jesus Comes Back (as a Mexican Man).” MacKenzie’s jazzy side isnicely displayed in “She Ain’t No Southern Girl.” Another interestingtune is the “pro-reefer anthem” “Two Drags,” and “Jumpin’ on Jefferson”is swinging enough to make anyone want to move to Nashville.Rounding out the collection is “A Better Way,” a country blues gospelsong inspired by Blind Willie Johnson.

Anyone who appreciates acoustic blues will welcome this CD. Its soundis crisp and clean, its attitude a laid-back, softly cloudy day. Enjoy—andwhile you’re at it, check out MacKenzie’s other records: Old, New,Borrowed & Blue; All New Slender Man Blues; and Rats in My Bedroom.

CCyynntthhiiaa HHoorreenn

REVIEWS

Corey HarrisCCoorreeyy HHaarrrriiss was born in Denver in 1969,and always knew that Africa lay behind themusic he grew up loving—R&B, funk,reggae, blues—the whole ball of wax hethought of as “black music.” He went on tostudy anthropology at Bates College, and inthe early ‘90s, made two extended trips toCameroon. In Africa, Harris exploredlanguage, social reality and music in acomplex, post-colonial setting, but as muchas he loved looking outward, he came homedetermined to make his way as a bluesmusician. “Blues was what I understooddeepest in myself because I grew up withthat. My mom was of that generation. Shelived in the depression in northeast Texasnear Louisiana, so I always heard storiesabout it. It wasn’t a stretch for me to

understand what was going on, even though it took me a while to be able to play it.”Harris shook up the blues scene with his 1995 debut release, Between

Midnight and Day, a masterpiece of rural blues exploration. He has performed andrecorded solo and acoustic, also with his electric 5x5 Band, and with New Orleanspianist Henry Butler (on the album Vü Dü Menz in 2000). Harris’s Rounder Recordsdebut, Downhome Sophisticate (2002), found him stretching out as a songwriter,merging blues, African pop, rock and electronica. On Mississippi to Mali, his sixthalbum, Harris returned to his roots, but with a whole new spin. “I really approached thisas a student. I was going to go out and learn something, and deepen my understandingof what it is I do, and why I’m doing it.” Harris had been planning to do an album ofduets with blues elders. But after he accepted an invitation to visit Mali, and played a

4th Annual Hampton Acoustic Blues Revival

98 www.natchelblues.org March/April 2005 Blues NewsBlues News March/April 2005 www.natchelblues.org

Tim MorganTTiimm MMoorrggaann was born in Newport News, Virginia andgrew up in a neighborhood of Hampton that is justacross the Interstate from the Thomas NelsonCommunity College campus. He took up the guitar incollege and immediately began writing songs. Hisearliest musical influence was Johnny Cash, andthrough Cash’s music developed a love for allAmerican roots music. In the mid 1980’s, Morganbegan to experiment with open guitar tunings andslide playing, and over the next several years hedeveloped his own slide style that fuses elements ofcountry pedal steel and Piedmont blues finger picking.

Morgan has been a regular on the regional music scene for more than a decade—he performs regularly as a solo act and with his band, the Mojo Brothers. In 2001, he wonthe right to represent the James River Blues Society at the International Blues Challenge inMemphis, TN and was one of six finalists at the event. He takes the music to thecommunity through interactive workshops and his Blues in Schools presentations.

44::0000 -- 44::4455 ppmm GGrreegggg KKiimmbbaallll (Blues History Workshop/Performance)

55::0000 -- 66::0000 ppmm TTiimm MMoorrggaann

66::1155 -- 77::3300 ppmm AAnnddrraa FFaayyee && CChhrriiss JJoonneess

77::4455 -- 99::1155 ppmm CCoorreeyy HHaarrrriiss (90 minute set)

Andra Faye & Chris JonesAAnnddrraa FFaayyee, a member of Saffire-The Uppity Blues Women since 1992, has played music her entire life. She was raised inIndianapolis by southern-born parents and was heavily influenced by their love of classic country music, her brother’s rock & roll,and the R&B she learned to dance to in school. She learned classical violin as a child, as well as mandolin & guitar. She becameentranced with the blues as a teenager when she was introduced to the music of B.B. King and Bonnie Raitt, and searched formore. She was introduced to blues mandolin master Yank Rachell in the early ‘80s by a mutual friend in Indianapolis. Andradiscovered Augusta Blues Week in 1984, and her life has never been the same! She was able to learn blues first-hand from HowardArmstrong, Rich DelGrosso, John Cephas and John Jackson. And, in 1987, she met Gaye & Ann of Saffire, becoming instantmusical friends. Andra Faye teaches blues mandolin & fiddle and vocal repertoire at Augusta Blues Week, and has taught atCentrum in Port Townsend, WA.

CChhrriiss JJoonneess, born in the foothills of North Carolina and raised in a musical family, started playing music as a teenager. Hisparents gave him his first guitar, case and chord book for his 16th birthday, and he started playing folk & bluegrass. He later fell inlove with the music of Pinetop Perkins and wanted to learn to play blues. He went to Augusta Blues Week in 1997 & becameenchanted by the Piedmont Blues of John Jackson and John Cephas. Chris has become adept at the Piedmont style and now mixes

his love of folk, country & blues into his own unique sound. He currently serves as co-coordinator of the Augusta Blues Week Program.Chris & Andra have played music together for fun since they met in 1996. They married in 2000 and have been playing professionally as Andra Faye & The Mighty

Good Men since 2003. They made their performance debut as a duo at the 25th W.C. Handy Blues Awards in Memphis, TN in 2004 when Andra Faye was nominated inthe “Instrument-Other” category for Blues Mandolin & Violin. She is again nominated in 2005 in the same category.

GreggKimball

DDrr.. GGrreegggg KKiimmbbaallll combines skills asa musician, historian, and published

writer to develop compelling programs and presentations onAmerica’s greatest traditional musical forms—gospel, old-timemusic, and especially the blues. Longtime guitarist with acousticblues trio Sheryl Warner & the Southside Homewreckers, he hasperformed at many festivals and concert venues including theTheater at Lime Kiln, the Washington D.C. Blues Festival, and theInternational Blues Challenge in Memphis.

Currently the Director of Publications and EducationalServices at the Library of Virginia, he has developed numerousmajor musical projects including the exhibition Old DominionSongsters: Traditional Blues in Virginia, which is currentlytouring public libraries across the state until 2008. He hasauthored books and articles on a variety of subjects includingtraditional musicians such as Jimmie Strother, Tarter and Gay, andHorton Barker.

He currently serves on the program committee for theNational Folk Festival, is a board member and Blues in theSchools coordinator for Richmond’s River City Blues Society, andruns the historical marker program honoring Virginia’s bluesgreats for the James River Blues Society. Dr. Kimball will reprisehis multimedia concert Old Dominion Songsters, integrating adramatic narrative with images, period music, and liveperformance to tell the story of Virginia’s blues men and women.

show with the great guitarist and troubadour Boubacar Traoré, he got tothinking about collaborating with musicians over there.

Then the Scorsese film came along, and Harris saw a way to bring thetwo ideas together. “The record was an outgrowth of my desire to collaboratewith someone, and actually learn, and then to bring something that they couldvalue as well. That was nice because the styles are so different in so manyways, but then there’s this kernel of similarity at the core.” In Martin Scorsese’sfilm, “Feel Like Going Home,” Harris visits Niafunke, the Sahara Deserthometown of Malian master musician Ali Farka Touré, known around the worldas the king of African blues. The encounter between Harris, a young Americanblues revivalist, and Touré, a musician with a vast sense of cultural history, is asclose as any of the films in Scorsese’s series, The Blues, comes to grapplingwith the African roots of blues music. But for Harris, that was just thebeginning. A few months later, Harris went back to Niafunke. “I wanted to goback because I felt like it was important to get with the music from over there,and to bring what little I know from our short tradition here as black people inAmerica, and to put it back together and make a document of it.

Harris’s new album, Mississippi to Mali, backs up this bold idea withinspirational new takes on classic songs. While Harris digs into Skip James’s“Special Rider Blues,” Touré gracefully weaves his way through, playing anancient one-string fiddle (njarka), and Souleymane Kane adds what Harris calls“the funk,” literally the slap and clop of West African calabash percussion. Eightof the fifteen tracks on Mississippi to Mali come from those sessions with Touréand two of his musicians in Niafunke. Four more tracks were recorded inMississippi, where Harris worked with harmonica legend Bobby Rush andveteran blues drummer Sam Carr, and also with Otha Turner’s Rising Star Fifeand Drum Band. Turner himself had died just a week before the sessions, so his12-year old granddaughter, musical prodigy Shardé Thomas, played the fife andsang in his place on two tracks, adding a cross-generational element to thisalbum’s ambitious cross-continental dialogue. These far-flung musicalencounters share a feeling of easy informality, by now a trademark of Harris’swork. Call this a set of new millennium field recordings. Also call it the mostresonant unpacking of the mysterious, ancient history of African Americanmusic we’ve heard yet.

SSaattuurrddaayy,, AApprriill 1166,, 22000055

Thomas Nelson Community College Mary T. Christian Auditorium, HHaammppttoonn,, VViirrggiinniiaa

DDoonn’’tt mmiissss tthhiiss yyeeaarr’’ssSSiilleenntt AAuuccttiioonn