sbs v33 2 (2) apr may 2012
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Blue Notes! April-May 2012TRANSCRIPT
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The Official Publication of the Sacramento Blues Society April-May 2012 Volume 33; Issue 2
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The Sacramento Blues Society (SBS) is one of the oldest blues societies in California, founded
in1979, and is a 501 ( c ) 3 nonprofit corporation formed to
preserve and promote blues music as an art form.
SBS has kept the blues tradition alive in the Sacramento area by promoting the local
blues music scene and bringing internationally renowned artists to the region.
SBS is an affiliate member of The Blues Foundation, and provides educational opportunities
for young people with The Blues Foundation’s “Blues In The Schools” Program.
SBS produces and mails a newsletter, “Blue Notes” six times a year for our membership.
2012 Board Officers
Liz Walker—President
Dave Alcock—Vice President
Charlene Metzler–Secretary
JohnE Sandwich—Treasurer
Jan Kelley-Parliamentarian
Board Members at Large
Kristen Dahl
Kim DuVall
Tammie Madill
Skip Murphy Rick Nolan
Zane Toberer
What an honor it is to have musician friends! Like any friends, they like to share their good times, and often those good times include music and other musicians. I have had the privilege of meeting many musicians through my friends, and though they may not again recognize me, I will
always remember those musicians, and how we met.
One evening our friend Mel called. ―Come join us. We have friends in town between engagements in Fresno and Reno‖. And that is how we met The Peaches, a group that Mel‘s friend Johnny Otis was promoting. At the time, Mel had shared their record, The Wallflower. I was in awe! These young women, younger than me, seemed so worldly and witty and enjoying life. Since it was a gathering of mu-sicians and fans, the music started. The young ladies did not perform their recorded music, but sang and jammed separately with our local friends and then mingled. We sat next to a beautiful girl named Etta. I told her I was en-tranced with the way she made me feel like she was living every joy and heartache in each song she sang. She said that was how she handled her emotions. Since she had a show to do most nights, she could not dwell on her sorrows or celebrate her joys, so she did it when she was on stage. I said I was sure that others would know her music came from her heart and soul, and that we would be hearing from her for a long time, and she laughed. She said it was those ―others‖ that would determine if she would be singing
Miss Peaches—By Vj Anderson
a long time or not.
A few years later a song swept the coun-try, and I remembered the conversation. We could hear At Last from every radio station and venue that played music. I knew those ―others‖ had determined Etta James was here to stay! Etta had left The Peaches, yet the connection stuck, as she was given the nickname
―Peaches‖ or ―Miss Peaches‖.
Etta began as an R & B singer, transitioned to pop-rock, added a little gospel and then a touch of blues and jazz. She is now considered a blues singer, but she is so much more. She has received many awards, beginning in 1989, and has released many albums in the last 30 or so years, covering all genres of music. In each album we can hear her unique way of telling us a story that she has made hers. Through the years she had joy and sorrow, many challenges and many rewards. And if you listen closely to
her song, the joy and/or sorrow is there.
I will always remember the young sophisticated woman that found time to talk to this country bumpkin those many years ago. And I honor the strength that carried her through a bumpy life to give us her talent, her emotions
and the memories of her triumphs. Thank you, Etta.
Volume 33; Issue 2 April-May 2012
Board of Directors Meetings
2nd Tuesday of each month; 7:00 PM at the SMUD Building, 6301 S Street, Sacramento, CA. All SBS members in good standing are invited to attend.
2012 Committee Chairs
BITS —Cynthia Jaynes, Liz Walker, Co-Chairs
BlueNotes! —Vj Anderson, Jan Kelley, Co-Editors
Events/IBC Competition —Skip Murphy
Gene Chambers Musicians Emergency Fund (GCMEF) — Kim Duvall
Sacramento Blues Hall of Fame—Sally Katen; Board Liaison— Jan Kelley
Membership/Volunteers —Zane Toberer
Merchandise/Concessions/Graphics — Rick Nolan
Public Relations —Liz Walker
SacBlues e-News/Calendar —Willie Brown
Web —Kristen Dahl
Sacramento
Blues
Society
is a
Proud
Member
of
www.blues.org
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V o l u m e 3 3 ; I s s u e 2 April-May 2012
President’s Notes— Liz Walker
In accordance with one of our major goals for the year, SBS is collaborating on several upcoming festivals in the area. Look elsewhere in this publication for all the coming attractions. Also in the works is a trip to New Orleans in October for the annual Blues & BBQ festival in Lafayette
Park. Stay tuned for further details.
Kathie Lambert (the artist responsible for the artwork on the Feb newsletter) recently donated a wonderful original painting of Kaye Bohler to the BITS program. This painting has been on auction via our website and is due to close April 13th. Hope you had a chance to check it out. What a great way to help out our programs. A giant ―thank you‖ to Kathie. What do you think of this idea? Do you have
something that you‘d like to donate?
Remember that the way to sustain the Sacramento Blues Society and to continue to preserve and promote the blues in our region is for you to get involved. Come to a committee meeting, take the newsletters to the post office, send some emails to radio stations, help organize an event, get involved with fundraising, work on bringing the blues to the next generation. There‘s a lot to be done and
you can help.
See you out and about!
Spring has officially sprung and your blues Society is busy,
busy, busy.
The Board members met (along with some interested members) in February to develop a strategic plan. Though this was a new venture for many, I believe it was a valuable experience and did result in some agreements and major goals. The plan is not yet finalized but when it is, it‘ll be posted on the website for you to check out. The first three major goals for this year are to increase membership (numbers & benefits), to build good collaborations with other arts and community organizations and to increase our promotions and public relations. Each Board member is working on how they can move these goals forward. We‘re looking for interested members to help us out with these goals. We need people with expertise in the area of promotions and PR. This doesn‘t have to be a full time gig for anyone. If enough people get involved with the various committees. the work gets spread
out (you know, many hands equal a lighter load.)
The Sacramento blues family lost a member suddenly with the passing of Steve Schofer. We send our condolences to Steve‘s family. Many of you might have attended SBS‘s benefit for Steve‘s family recently at Laugh‘s Unlimited.
Thank you for your support.
It is also with sadness we acknowledge the closing of the Sierra Blues Society in its current form. SBS has extended an invitation to all Sierra Blues Society members to find a
new home with us.
Do you have any
DESIGN talent?
The blues Society‘s LOGO is in dire need of an updated look. Think you got what it takes to give us our new look? We‘re looking for a new logo design to be used on all SBS materials and merchandise.
Submit your designs to Rick Nolan [email protected] by May 3rd. The Board will choose the winning logo and you‘ll see your design soon thereafter on new tee shirts, etc. And you get a free Society membership.
So show us what you got!
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Blues In the Schools! - Cynthia Jaynes
V o l u m e 3 3 ; I s s u e 2 April-May 2012
The after school lessons for guitar, bass and drums have started up at Rosemont and West Campus High Schools. We‘re looking forward to seeing (hearing) what blues licks have been mastered and what songs have been learned during our hiatus. Big thanks to Jimmy Pailer, Rick Taylor, Lew Fratis and Joe Lev for working so well with these students every year. You have become not only teachers but mentors, role models, and friends to these fine young
people.
SAVE THE DATE!!! FRIDAY MAY 18th, 2012 BITS Benefit
Featuring students and teachers from the BITS programs.
Starring The DENNIS JONES BAND out of Los Angeles!!!
@ The Station in Roseville
These guys promise to rawk the house! You don‘t want to
miss this hot show!
We now have a page on Facebook – check it out at Sacramento Blues In The Schools. We‘re gathering videos, photos, and stories to be posted there and on the
SBS website. If you have any contributions, please let me
know!
Sacramento‘s Blues In The Schools has been fortunate to receive two generous donations from members of the region‘s blues community. I would like to thank Dave Faria for the donation of 2 drum sets. These sets have been delivered to the after school teaching programs and you can bet they‘ll be put to good use! Thanks so much Dave! If you have any instruments you no longer have a need for, please contact us, we can always find good
homes for needy instruments!
Also, thanks to the Sacramento Blues Revue (SBR) for the $250 donation, aka silver-level sponsorship, to the Blues In The Schools. We appreciate their support of our BITS program, and would like to acknowledge the SBR donations to several programs that serve youth in our region. It‘s good to know how much we all care about the
next generation.
We are holding a songwriting contest for the participants in the 2011/2012 Yolo County Court and Community Schools program which just ended. We hope to announce the
winning song in the next Blue Notes!
Be sure to check out the SBS website –
www.sacblues.com and Facebook us at Sacramento
BLUES IN THE SCHOOLS.
IN MEMORIAM—STEVE SCHOFER—1947-2012
by Jan Kelley, Photo by Bruce Pressley
performing at clubs, festivals and benefits until his untimely passing. They toured Europe three times,
creating some of his best memories.
Steve had a truly remarkable experience while walking with his son in the American River Parkway in 1997. He thought he was hit with a rock and suffered a bloody nose. Three days later when he went to the hospital, he discovered he was shot, and the bullet had entered his head behind his ear and left through
a nostril. What a lucky man!
His close friend and band mate, Bruce Pressley, said ―I‘ve been sitting next to Steve on stage for 10 years, and he was a strong force on bass. Off-stage, he was the most
humble guy I ever met.‖
Amen to that…he will be greatly missed!.
The Sacramento Blues community has again lost one of its own. Steve Schofer, bass player for Mick Martin and the Blues Rockers, died February 27 from
complications of lung cancer.
Only recently diagnosed, the announcement was extremely shocking to the majority who hadn‘t heard of his illness. The suddenness stunned the entire region of blues lovers. Steve was well-liked and highly regarded by many, evidenced by the large turnout at his services on March 9th
in Placerville.
Steve met Mick Martin in 1975 when he joined The Orion Express and played with them for six years. He went on to join the Blue Flames and The Fabulous Blue Flames,. In 1992 he again partnered with Mick and his band, Mick Martin and the Blues Rockers. He was
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Skip Murphy here, your new Events chair for this year. We've got a very enthusiastic committee working together to bring you new types of events. There are collaborations going on with other promoters in town that will benefit our members. The Kenny Neal, Friends & Family Po’ Boy'z Festival is at the Horsemen's Association on April 15th..
We've all come to love this venue from the Heritage Festi-val days and are excited to be part of this new venture.
SBS members will receive a $2 discount at the door.
Joining in with all the Second Saturday fun, SBS will be hosting “Arts-n-the Blues” on April 14th and May 12th at Laugh's Unlimited. If you're an SBS member and have some visual art that you'd like to share/sell, please contact me at [email protected]. There will be a display area and a rocking blues jam, all starting @ 2pm. If you join the Society at the jam you'll receive free passes to the comedy
show (can't beat that deal!)
Coming up May 18th is the annual benefit for our Blues in the Schools (BITS) program. This is always a really fun and popular event. Along with a headliner, our BITS stu-dents and teachers will be performing. The Dennis Jones
Band will be headlining this year and is sure to be a hit.
SBS is proud to be a co-sponsor of the May 25th show fraturing the great Tab Benoit on May 25th
at 3 Stages in Folsom. Don't forget that a portion of the proceeds benefits our BITS program, teach-ing young students about the blues. Right after that show, SBS members will enjoy a $5 discount on the Coloma Live show, June 9th. When you or-
der your tickets on line just type in the discount
code ―sacblues‖.
Plans are under way for a chili cook-off this summer.
Doesn't that sound like fun? Mmmm, chili & blues – what a combo! As you can see, there are lots going on with much more in the planning stage. Check out our website,
sacblues.com for further details on all these events.
If you are interested in being part of the SBS Events Com-
mittee, contact me at: [email protected].
What’s Happening - Skip Murphy
An
INVITATION to
SIERRA BLUES SOCIETY
MEMBERS
If you are a current member of the
Sierra Blues Society, or know someone who is,
you're invited to bring your membership
over to the Sacramento Blues Society.
With the hiatus of the Sierra Society,
we in the Sacramento Society would like to
offer you a blues home.
SBS will honor your current Sierra
membership until it's expiration date as an
active and current member of the
Sacramento Blues Society.
Just contact our membership chair
for details, and
welcome aboard!
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EARLY BLUES WOMEN Continued from last issue—As Adapted By Jan Kelley
Calliope Film Resources. "The Classic Blues and the Women Who Sang Them." Copyright 2000 CFR. http://
www.calliope.org/blues/blues1.html . January 2012
1900-1920s -- Ma Rainey, Bessie Smith, Ida Cox and the
Southern Circuit
First among the Classic Blues singers was "Ma" Rainey.
Tagged as the Mother of the Blues (probably by a record promoter), she was "the earliest link between the male country blues artists that roamed the back roads of the South and their female counterparts... the 'classic blues'
singers.‖
Like many of her contemporaries, Ma Rainey began her career young and moved up quickly. She made her profes-sional debut in 1900 (age l4) at the Springer Opera House in Columbus, Georgia. She was one of the first to feature the blues, as such, on stage -- around l902. By 1904, with her husband "Pa" Rainey, she was barnstorming across the South with such traveling entertainment extravaganzas as the Rabbit Foot Minstrels, Tolliver's Circus, and the Florida
Cotton Blossoms.
The stage effects were designed to impress the crowds. Dazzling with her ostrich feather fans and glitter head-bands, Ma would appear on stage blowing kisses from an enormous box made to look like a phonograph, set against
a huge eagle backdrop.
Bessie Smith -- future Empress of the Blues -- entered the
entertainment circuit when she was nine years old, making her debut at the Ivory Theatre in her home town, Chatta-
nooga, Tennessee.
Between 1913 and 1916, Bessie and Ma Rainey met while
both were working for the Rabbit Foot Minstrels, when Ma was just short of 30 and Bessie was still in her teens. Leg-end has it that Ma Rainey kidnapped Bessie, acted as a mother figure to her, and taught her to sing the blues. What is true is that Ma Rainey's influence would be heard in Bessie's early recordings, and certainly in learning the new formalities of performance. Rainey must have been a
formidable model.
As these pioneering women changed the presentation, they also changed the blues themselves --in the content of their songs, in the style of their singing, in their musical accom-
paniment.
Classic Blues singers like Ma Rainey and Bessie Smith retained much of the country blues: in their twelve-bar, three-line structure, in their use of antiphonal accompani-ments, and (especially in the case of Ma) in their rough-
voiced moans, slurs, and blue notes.
But they combined the country blues elements with non-blues minstrel and vaudeville qualities that had audience appeal. Their songs, narrative and more universal in their
appeal; were popular music rather than folk music.
Some women vocalists (most notably Ma Rainey, Bessie Smith and Ida Cox) composed their own songs. But as music historian Jeff Todd Titon points out, most lyrics were "composed by professional black tunesmiths who wrote
sophisticated songs and skits for stage revues."
Folk or country blues singers, on the other hand, "obtained their lyrics by borrowing or trying to memorize traditional stanzas from other singers which they mixed with impro-
vised stanzas" of their own.
There were still country elements of struggle and sorrow particular to black circumstances, but the central subject was now more often love, usually gone wrong, between men and women, dramatically acted out by the perform-ers. And there were elements of hokum, lightheartedness,
fun and parody, as well as topical songs and "ballits."
The blues women rarely accompanied themselves. In-stead of singing to a lone guitar or banjo as the folk sing-ers did, women were accompanied by jazz bands that now were becoming popular, music hall professionals like
themselves who were veterans of the theatrical circuit.
They incorporated popular ragtime stanzas and tunes into their material, and their style was more instrumental, ac-companying as it did the brass and reed instruments of the bands. Improvisation remained to a degree too, but their songs were almost always composed, polished, and pre-
sented in a calculated manner.
The effect of the blues women's ability to combine country blues elements with performance-oriented styles and themes was significant. It transformed the blues tradition from a personal, largely local expression of the singularly black experience into a public form of entertainment that
could speak to a broad audience.
Traveling from Tallahassee to New Orleans to Memphis, the blues women carried local songs or verses throughout an entire region, popularizing and standardizing them as they went and introducing them to white as well as black
audiences.
Equally important -- and one reason why these performers are considered "classic" -- is the influence they had on
other blues singers.
In the pre-vaudeville era, a singer like Ida Cox, who sang with the distinctive nasal sound of St. Louis, would only
have influenced people in her immediate vicinity.
Once she began to work with the traveling shows, her style and her songs were heard and copied by many more people. Traveling and working together, individual per-formers adapted each other's styles and songs and collec-
tively created the "classic" blues.
Due to space limitations, this article can be read in its en-
tirety at. www.sacblues.com/bluenotes
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New CD Releases by the SBS CD Review Committee
Back Porch
Dogma
Contino
Blind Pig Records
The sound of Contino, with accordion and keyboard as focal instruments would tell you immediately that there is Louisiana-based music in play here. And for a rela-
tively new band with vintage players versed in rich roots music—zydeco, blues, Americana, it is a smart contextual choice—think of the sonic textures of the Subdudes and Big Shoulders. These five guys are real songwriters as well as players---nine of the tracks are originals and many hold up very nicely against well-chosen tunes-- one by Tom Waits (a slinky― Temptation ―), and another, ― Three Cool Cats‖, a 1958 Coasters hit (Lieber and Stoller.) Highlights in this debut album for me—―Monkey‖ with some sweet melodic harp playing reminiscent of Chicago‘s Ron Sorin or Mickey Raphael (Willie Nelson); a churning zy-deco-gospel burner ―Big Tent‖ with guest star testifier Maria Muldaur, and both ―Dog Days‖ and ―Ain‘t Nothing You Can Do,‖ evocative ballads with Randy Newman/SouthsideJohnny/Van Morrison soul. The Las-Vegas-based band is led by Pete Contino (accordion/vocals--and son of legendary accordionist, Dick Contino who was on ―Ed Sullivan‖ 48 times!), Al Ek (slide and fingerpicking guitars/harmonica/vocals), Billy Truitt (keyboards), Rob Edwards (upright bass), and Jim Lovgren (drums), with excellent Bay Area producer Joel Jaffee (percussion), Lickette-worthy backing harmony vocals pro-vided by Omega Rae and Suzan Z make for delicious pre-cision fullness in this body of memorable songs. They played the Torch on March 1st, and will be at the Sacra-mento Music Festival on May 27th.
-Mindy Giles
The Big Payback
Big James and The Chicago Playboys, Blind Pig Records Live from Paris‘ legendary Lionel Hampton Jazz Club (recorded in 2010), trom-bonist Big James Montgom-
ery leads his funky, intensive big horn band with James Brown-esque showmanship and shoutin.‘ Big James and the Playboys are winners of the Grand Prix du Disques Blues Award and five-time winners of the ―Outstanding Horns‖ Category in the Living Blues Critics Poll. They got their strong ensemble chops as the back-up band for Chicago blues and soul singer Little Johnny Chris-tian beginning in 1990, and have carried the band forward after his passing in 1993, with stints as tour sections for both Buddy Guy and Otis Clay. The CD leads with ‗All Your Love‖ the great Magic Sam song, but the more powerful Sam song is their version of ―That‘s Why I‘m Crying.‖ The defiant horn section, Mike ―Money‖ Wheeler on soaring guitar and Montgomery‘s ee-rily uncanny vocals reminiscent of Koko Taylor (who re-corded this in her 1975 Alligator Records debut) make this a show stopper. Another well-chosen cover is the title track from James Brown, and also ‗Tryin‘ to Live My Life Without You‖, the Otis Clay/Bob Seger rave-up.The set ends with a surpris-ing, rousing version of Deep Purple‘s anthem, ‗Smoke on the Water.‖ If you can‘t find a club to be at 4 am, fire up this CD. Your neighbors will thank you, really. With New Orleans‘ Trombone Shorty leading a whole young generation into the power of the ‗bone, these vet-eran Chicago players, (in their second CD for Blind Pig Records) are sure to pick up on some of that new audience who might not be as Chicago blues savvy as they should be.
What Does the Sacramento Blues Society Do? - by Vj & Zane Toberer
We support a weekly e-news/calendar; fund local musicians to present music education through our Blues in the Schools (BITS) program; bring blues artists to the city for shows, fundraisers and other events; write and distribute a newsletter to keep you aware of items of interest in the blues community; maintain a website for the community with updated calendars and recent events; spon-sor local bands for competition at the Blues Foundation’s Interna-tional Blues Competition in Memphis; honor individuals for their outstanding contributions to blues music with our Blues Hall of
Fame; partner with other organizations to increase our blues audience and increase our (and their) visibility; support local member musicians in need with an emergency fund; and thank our members with a year-end party featuring local bands. Whew! How do we do it all? With the help of our members like you. And the more members we have, the more we can accom-plish. Won’t you help us by recruiting a member today? You will be glad you did.
Mindy Giles
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Votes Are In For 33rd Annual Blues Music Awards in Memphis—by Anonymous
Memphis! We Came, We Saw, We Wanna Go Back!
By Sean McGroaty, Used Blues Duo
The Used Blues Duo represented the Sacramento Blues Society at the 2012 International Blues Challenge in Memphis this year. It was an eye opening experience for me for sev-eral reasons. We competed in the SBS local Blues Challenge twice in the last couple years (tying for first place in the band category and taking 2nd place in the solo/duo category), so I was no stranger to competition. However, going to Memphis and listening to some of the nearly 300 acts from all over the country and around the world gave me a different perspective and broadened my musical scope tremendously. I was able to see and hear styles, riffs, stage moves and instrumentation I had never even thought of before. All the acts were tal-ented at a level you don‘t see every day, and also ex-tremely nice, caring people. Walking down Beale Street packed with blues fans and musicians renews your faith in the blues. Every club was full every night. Everyone was digging the music. The open mic blues jams after the competition had insane tal-ent that you would choose to see over any touring acts, hands down. The townspeople were so friendly, and the
food and the beverages flowed. It was great There is no healthy food in that town but none was bad. I‘ll always remember the ribs at Blues City Café, chicken fried steak at Miss Polly‘s, Gus‘ Fried Chicken - all so good! And I won‘t forget the many different whiskies at Kings Palace. My observation is that California is not thought of as a blues area de-spite the fact that we were able to get to the semi-finals for the
solo/duo category and that the Golden Gate Blues Society was able to take 3rd place in the band category in the fi-nals. The judges and even some of the participants and fans were surprised that California did well. It seems areas like Mississippi, Arkansas, Alabama, etc. are all regarded as blues ovens cooking up the best blues food around. I would love to see more people from California show up at this event every year to help change that culture. I know the economy is tough and it makes it hard to travel to Memphis for a week but I am hooked now. Whether I compete or not, I will be in Memphis next year to enjoy the full strength of the blues! Thank you, Sacramento Blues Society!
March 1 was the official deadline for Blues Foundation members to cast their votes for the 33rd Blues Music Awards. The awards are universally recognized as the highest honor bestowed upon blues artists. But how do they come about? We recently were enlightened by sources that know… ―The 33rd annual event takes place in Memphis on May 10th, at which time the winners are announced and receive their coveted statuette. In addition to the awards presentation, the evening‘s festivities include dinner and entertainment from an impressive array of blues artists, nominees and otherwise, who perform throughout the evening. These performances are often the stuff of legend, with many musicians taking the stage with other artists for once in a lifetime unions that are magic to behold. ―Determining the Blues Music Award nominees and ultimately their worthy recipients is a lengthy process that begins soon after the awards ceremony of the previous year. Music labels are advised to send a list of their eligible blues recordings and dvds to the Blues Foundation to be included in a master list provided to the nominating committee in October. It is a list in progress, since the nomination eligibility period extends from the previous
November 1st and covers bodies of work that are released until the upcoming October 31st, and is revised periodically. The Nominating Committee is comprised of approximately 100 non-aligned industry professionals, media, disc jockeys and Blues fans that participate in the two rounds of the nomination process. ―The Committee is given a specific time frame of about 2 weeks in early November to submit preliminary nominations. Members can choose any artist and recording that meets the eligibility requirements set forth by the Foundation. During the week after the deadline, the nominees are tallied and the top 10 to 12 proposed nominees advance to Round 2. Committee members are given two weeks to select up to 3 nominees in each category. These results are tallied and determine the final ballot, which is announced in mid-December, when all active Blues Foundation members may cast their votes. ―Any blues fan can and SHOULD become a member of the Blues Foundation. One of the many benefits is being able to vote for the Blues Music Award nominees that you feel deserve the honor. The annual awards ceremony is considered the premier blues music event for blues professionals, musicians and fans from around the world. If
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V o l u m e 3 3 ; I s s u e 2 April-May 2012
Acoustic Album: Conversations in Blue - David Maxwell & Otis Spann; Brand New Eyes - Doug MacLeod; Troubadour Live - Eric Bibb; Misery Loves Company - Mary Flower; Shake „Em on Down - Rory Block Acoustic Artist: David Maxwell; Doug MacLeod; Eric Bibb; Guy Davis; Mary Flower; Rory Block Album of the Year: Chicago Blues A Living History The (R)evolution Continues - Billy Boy Arnold, John Primer, Billy Branch, Lurrie Bell, Car-los Johnson; Rock and a Hard Place - Eugene Hideaway Bridges; The Lord is Waiting and the Devil is Too - Johnny San-sone; Evening - Sugar Ray & the Blue-tones; Medicine - Tab Benoit; Revelator - Tedeschi Trucks Band B.B. King Entertainer: Candye Kane; Lil‘ Ed; Ruthie Foster; Tab Benoit; Tommy Castro Band Bo-Keys; Lil‘ Ed & the Blues Imperials; Sugar Ray & the Bluetones; Tedeschi Trucks Band; Tommy Castro Band; Tram-pled Under Foot Best New Artist Debut Choice Cuts - Big Pete; Bad Girl - De-metria Taylor; Runaway - Samantha Fish; Leave the Light On - Sena Ehrhardt; The Mighty Mojo Prophets - The Mighty Mojo Prophets Contemporary Blues Album Unconditional - Ana Popovic; Don‟t Explain - Beth Hart & Joe Bonamassa; The Skinny - Ian Siegal & the Youngest Sons; The Lord is Waiting and the Devil is Too - Johnny Sansone; Medicine - Tab Benoit; Tommy Castro Presents The Legendary Rhythm & Blues Revue--Live! - Various Artists Contemporary Blues Female Artist Ana Popovic; Bettye LaVette; Candye Kane; Janiva Magness; Susan Tedeschi Contemporary Blues Male Artist Joe Louis Walker; Johnny Sansone; JP Soars; Tab Benoit; Tommy Castro
DVD An Evening at Trasimeno Lake - Ana Pop-ovic (ArtisteXclusive); Live at Montreux 2010 - Gary Moore (Eagle Rock); Live At Antone‘s - Ruthie Foster (Blue Corn); The Emporium to the Orpheum - Trampled Un-der Foot (Redwood); All Jams on Deck - Various Artists (Legendary Rhythm & Blues Cruise & Mug-Shot Productions); Play the Blues - Wynton Marsalis & Eric Clapton (Rhino) Gibson Guitar Award Derek Trucks; Duke Robillard; Kirk Fletcher; Lurrie Bell; Michael Burks Historical Album Bear Family - Texas Flyer 1974-76 (Freddie King); Chess - Smokestack Light-ning/The Complete Chess Masters 1951-1960 (Howlin' Wolf); Delmark - Hoodoo Man Blues (Junior Wells Chicago Blues Band with Buddy Guy); Electro-Fi - Tear-drops Are Falling - Live in 1983 (George ―Harmonica‖ Smith); Virgin - The Essential Modern Records Collection (Etta James) Instrumentalist-Bass Biscuit Miller; Danielle Schnebelenl Larry Taylor; Michael ―Mudcat‖ Ward; Patrick Rynn Instrumentalist-Drums Chris Layton; Jimi Bott; Kenny Smith; Robb Stupka; Stanton Moore; Tony Braunagel Instrumentalist-Harmonica Charlie Musselwhite; Kim Wilson; Lazy Lester; Rick Estrin; Sugar Ray Norcia Instrumentalist-Horn Al Basile; Doug James; Keith Crossan; Sax Gordon; Terry Hanck Instrumentalist-Other Ben Prestage, diddley bow; Lionel Young, violin; Otis Taylor, banjo; Rich Del Grosso, mandolin; Sonny Rhodes, lap steel guitar Koko Taylor Award (Traditional Blues Female) Diunna Greenleaf; Maria Muldaur; Nora Jean; Ruthie Foster; Tracy Nelson Pinetop Perkins Piano Player David Maxwell; Eden Brent; Jon Cleary; Kenny ―Blues Boss‖ Wayne; Marcia Ball; Victor Wainwright
Rock Blues Album 2120 South Michigan Avenue - George Thorogood & the Destroyers; Dust Bowl - Joe Bonamassa; Greyhound - Mike Zito; Shiver - Too Slim and the Taildraggers; Man in Motion - Warren Haynes Song “Appreciate What You Got” - Terry Hanck (Look Out! - Terry Hanck); “Back to the Blues” - Hadden Sayers (Hard Dollar- Had-den Sayers); “Memphis Still Got Soul” - Bob Trenchard & Johnny Rawls (Memphis Still Got Soul - Johnny Rawls); “Thank You for Giving Me the Blues” - Grady Cham-pion, Zac Harmon & Chris Troy (Dreamin‘ - Grady Champion); “The Lord is Waiting the Devil is Too” - Johnny Sansone (The Lord is Waiting and the Devil is Too - Johnny Sansone) ―The Older I Get the Better I Was” - Joe Shelton (The Older I Get the Better I Was - Big Joe Shelton) Soul Blues Album Got to Get Back! - Bo-Keys; Show You a Good Time - Bobby Rush; Rock and a Hard Place - Eugene Hideaway Bridges; Dreamin‟ - Grady Champion; Memphis Still Got Soul - Johnny Rawls Soul Blues Female Artist Alexis P. Suter; Denise LaSalle; Jackie Johnson; Sharrie Williams; Sista Monica Parker Soul Blues Male Artist Bobby Rush; Curtis Salgadol Eugene Hideaway Bridges; Johnny Rawls; Otis Clay Traditional Blues Album Chicago Blues A Living History The (R)evolution Continues - Billy Boy Arnold, John Primer, Billy Branch, Lurrie Bell, Car-los Johnson; Trying To Hold On - Diunna Greenleaf; You Better Listen - Lazy Lester; Evening - Sugar Ray & the Bluetones Victim of the Blues - Tracy Nelson Traditional Blues Male Artist Charlie Musselwhite; John Primer; Lazy Lester; Mac Arnold; Magic Slim
you have yet to attend, you owe it to yourself to be part of this monumental event. Not only is it immensely entertaining, it can be personally gratifying if you enjoy rubbing elbows with your favorite blues artists. Anyone can attend the BMA‘s; however you‘d feel much more like part of the family as a Blues Foundation member. The basic
membership is only $25, so affordable that there‘s no excuse not to join! Go to blues.org join today and vote
next year!‖
So there you have it, straight from our sources. Below are the nominees for 2012, and if you were a Blues Foundation
member, you voted—if not, how would you vote?
Votes Are In … Continued
10
Please Patronize the following Businesses and venues
that Support your Blues Society with their membership
11
V o l u m e 3 3 ; I s s u e 2
313 Laurence Ave.
Kansas City, Mo
64111
1-888-BLUESIN’
www.bluescruise.com
New Member Bands receive a Free Business card Ad copy in the first Blue Notes Following your
membership date and follow-up listings while a Band Member, a link from our website to yours
Al Zaid & Classic Soul 916-627-8627 www.gigsalad.com/al_zaid_classic_soul_band_ sacramento Andy Keene & Kinda Blue 916-799-1544 [email protected] Bobby “Blues” Ray www.bobbybluesray.com Chicken & Dumpling
www.chickenanddumpling.net 530-753-5265 or 530-902-7209
Coyote Slim
408-838-0456
www.coyoteslim.com
Delta Wires Prima Management 510-814-0872 [email protected]
Gail Jo & the Criminals of Love Gail Bischo—916-729-4238
Gary Mendoza Band 916-599-9947 www.garymendozaband.com Johnny “Guitar” Knox Dave Croall & the Soothers
916-455-6349 [email protected] Midnight Mind-Katie Knipp
Solo singer/songwriter http://www.katieknipp.com/ (415) 272-7581 [email protected]
O Street Jumps
Dan 916 -944-7292
Cari 916-725-4889 Packard Slim www.packardslim.com Russell Blues Band Clint Marrs, Vocals/Guitar 530-307-1709
April-May 2012
[email protected] Snake Alley
Tommy Ing—707-495-4779 [email protected] www.snakealleyband.com Spotted Dog Rockin’ Blues Revue
Greg Gartrell—916-332-5417 [email protected] www,spotteddogmusic.com Steve Foster Band 916-276-9170 Stevefosterband @comcast.net The Blues Vandals 916-384-7457 bluesvandals.com Used Blues Band Sean McGroarty
12
NONPROFIT ORGANIZATION U. S. POSTAGE PAID SACRAMENTO, CA PERMIT NO. 2149
Blue Notes! is
The official bi-monthly
Newsletter of the
Sacramento Blues Society.
Co-editors
Vj Anderson & Jan Kelley
Send information for the
newsletter to
or mail to
Editor,
P. O. Box 60580
Sacramento, CA 95860-0580
Not a Member?
Join on our website
www.sacblues.com Current calendar, news, past
newsletters and more!
This outstanding photo of Etta James was taken by Bob Cosman on the October, 2008 Legendary Rhythm and Blues Cruise. It was one of her final performances before this legend was lost on January 20, 2012. Bob has been photographing what interests him for more than 40 years as a non-professional. For the past dozen-plus years, he has focused on music. He is a recognized
photographer at local shows
and festivals, and his lens is usually trained on a blues artist. Below, he has captured legends Hubert Sumlin, Keb‘ Mo‘ and David ―Honeyboy‖ Edwards with Sam Lay. Many of his photos have been featured in this newsletter and on the SBS website. You can find even more of his photos in other Blues-oriented publications. Bob hopes to expand his photographic activity upon retire-
ment. He can be reached at [email protected].
P. O. Box 60580
Sacramento, CA 95860-0580
Our Cover Artist—Bob Cosman