Taste Makers Grand Rapids

Interview with Anders Osborne

2012-01-21T18:38:00.011-05:00

Photo credit: John McCusker/The Times-Picayune

For Anders Osborne the sun never sets. Fresh off a jam band cruise of the past week he continued to soak up the musical sunshine.

"They had this boat going in the Caribbean with a bunch of people playing and another big slew of people dancing," Anders said with a laugh. To know Osborne is to know that it must have been a spectacle of styles. That's because Osborne's view of the jam band scene includes includes funk, roots rock, singer-songwriter, and electronica. "It's a hodge-podge of styles," Osborne said recently from his home in New Orleans. "But mostly it's the after-life of the Grateful Dead following but now the new generation is jumping on board. I got into playing those crowds in the early 90s with folks like Joan Osborn, Rusted Root, and The Radiators."

For artists like Anders Osborne defining oneself in the open range jam band landscape can be tricky. When you talk about stylistic presentation, Osborne points out the combination of improvisational music skills and a dollop of showmanship. "People respond to my improvisation when I do my full band," Osborne said. "We rock and create on the spot. I grew up around a lot of jazz. But at the same time I came up with Neil Young and the hard driving rock and roll shows of the day." Aboard his recent jam band cruise Osborne was featured as an artist at large. "People get to invite me to be a special guest on their shows," Osborne said. "This time I played with Toots & the Maytals and Bruce Hornsby. I was featured in George Porter's band (original bassist with the Meters). I also got up there with Bill Kreutzmann's (drummer with the Grateful Dead) band called 7 Walkers." Not to be content in just that musical scene, Osborne is also a know for his original compositions. "I've always tried to spend a little time on the songs and craft them to the best of my ability. From time to time you get a little recognition for what you do and that's cool." One form of respect he wakes up to everyday is the diversity of artists who record his songs: Tim McGraw, Tab Benoit, Kim Carnes. What is it about Osborne's compositions that make them so worthy? "I have never directly heard any comments from these people who have cut them," Anders said. "The decision to record is a very personal one. It varies. If you're not a songwriter you receive a bunch of songs and you go through it with your producer. The timing of everything just has to work out. You have to be in a certain place, maybe going through a divorce or something. Songs relating to that are more natural to sing. I don't think there's a method to this madness. Sometimes as a writer I get lucky."

Originally from Sweden, Anders Osborne was sixteen when he left home. "I was young, full of energy, and displeased with my position in life," he said. Osborne started to hitchhike and--over the course of about three years--ended up in Northern Africa and Egypt. "I met someone from New Orleans on the way and eventually made it down here," Osborne said from his home of twenty-seven years on The Ridge (original high point above sea level) in New Orleans."It felt like home so I decided to stay."

On this current tour with Keb' Mo' which makes a stop in Grand Rapids on Jan 21 at the Intersection, Osborne plans on playing an acoustic guitar set. "I haven't done it in a while but hopefully I'll be up to speed with it," Osborne said with a chuckle. "I think I'm going to try to stick with an acoustic. Other times I'll sit down with my amp and play an electric (guitar). What I'm trying to do this time is to find a specific tone for my performance and stick with that. The idea for me is more of a complete show. It starts with me and goes into Keb' so that there's no fuzzy lines. I want the audience to go from one thing to the next and feel that it was a nice transition for their entertainment."

Keb' Mo' and his band with Anders Osborne at the Intersection on Saturday. 7:00pm doors.

More information at sectionlive.com

Interview with JD McPherson

2011-12-08T15:57:00.005-05:00

Roots rock performer JD McPherson was pretty sure a cold which had dogged him for a week was turning the corner. But even a few sniffles couldn’t undermine his enthusiasm about playing a sold out show in nearby Tulsa OK just a couple of miles from hometown in Broken Arrow.

“It will be kind of a reunion because I haven’t played in Tulsa in a couple of years,” McPherson said. “I haven’t played in Tulsa with his new outfit yet. It’s going to be interesting to see who comes out.”
And if the sold out show that night wasn’t enough to get McPherson stoked, he could get just as excited about his first US tour which makes a stop in Grand Rapids on Dec 9 at the Tip Top Deluxe Bar & Grill.
When we talked guitarist/singer McPherson and his band had been enjoying the comforts of home at his house in the Tulsa area by sleeping in, making a homemade breakfast, and watching Sponge Bob.
“We were in Spain for two weeks, then home for a week, and now were starting this tour,” McPherson said. “This is the first proper US tour of getting in the van and being gone for a week or two. We’ve played a couple of shows in Chicago, a couple in New York City and Boston but that’s about it. I love playing in the states. We are going from Chicago down to Austin and back. The middle of the country is our neck of the woods so we’re starting here.”
If that weren't enough to keep McPherson beaming there was also a recent tour with Nick Lowe. "Nick was playing a short solo tour up the west coast," McPherson said. "We wanted to take the whole band. The only condition was that it had to be one person. It wasn't quite right according to etiquette to have a band open up for somebody who's performing with an acoustic guitar. So I just brought my electric and a small amp. We played LA, San Fransisco and Portland. It was one of the best experiences of my life." (Click here to see JD and Nick Lowe perform together)
What the crowds across the Midwest have amassed for is McPherson’s own brand of early R&B and high octane rockabilly blues. Not bad for a kid who grew up listening to punk music.
“I’ve always been consumed with music,” McPherson said. “I was interested in the ethnomusicology side of things and the tribal cultures that develop within popular music. The most tribal music of all was the punk stuff. Every band had their own thing. Minor Threat were these (Washington) DC clean living guys who were straight edgers. They played really intense music but were clean living type of individuals. Bad Brains were all black guys, Rastafarian’s, and they used to be jazz musicians. Now they play hardcore music because it’s the new form. Plus when you’re a teenager you’re looking for something to be involved in and this is something to be angry about. Punk rock is the music for those type of people. It’s fun and energetic; the Ramones are great and super catchy.”
McPherson says this independent fiery spirit was evident in the early R&B they incorporate into their sound.
“The old rock and roll had a lot in common with that stuff: it’s very enthusiastic and high energy especially the Little Richard, Larry Williams, and the New Orleans rhythm and blues,” McPherson said. “It has a lot of style and joie de vivre (joy of life). And that what’s we try to do each night.”

JD McPherson and band featuring Jimmy Sutton and Jason Smay at the Tip Top Deluxe Bar & Grill Dec 9, doors at 8p.

Interview with Tara Nevins of Donna the Buffalo

2011-12-06T12:59:00.007-05:00

To better understand the popularity of Donna the Buffalo's hybrid of rock, country, and zydeco music we look at the Appalachian fiddle aspect of their sound. This begins with the musical origins of founding member Tara Nevins. Nevins was studying classical violin at the Crane School of Music (SUNY) in Potsdam NY when the old-timey fiddle bug took hold. "I was in high school when I got the 'Will the Circle Be Unbroken' record," Nevins said while getting ready for a Donna tour which will stop in Grand Rapids on Dec 9 at the Intersection. "So I knew about fiddle music, loved it, and wanted to learn it. Then when I went off to college I actually met people who were playing this old time mountain music and I dove very heavily into that." Nevins furthered her learning with a field study of the instrument at the roots music festivals of the south. "By attending the Mount Airy and Galax fiddlers conventions I was lucky enough to become part of this community of folks who were playing this old time music," Nevins said. During this period she was able to witness legendary fiddlers like Benton Flippen and Fred Cockerham whose old time styles would leave a lasting impression. Once she was steeped in the old time music she was asked to play in an all-female string band. "Once I was already part of that community of fiddle players I then hooked up with three other women and we formed our band called the Heartbeats." Come to find out Nevins still keeps in contact with the girls from the Heartbeats to the extent that a couple of them played on Nevin's new solo record Wood and Stone (Sugar Hill). "We've been playing together a little bit again lately," Nevins said of the Heartbeats. "They've been helping me with a few support dates for the new record." On Wood and Stone Nevins addresses the vulnerable aspect of the human condition in detail. "This record is pretty personal," said Nevins. "The majority of the songs are of the relationship journey nature but they're very upbeat sounding. The whole notion of people staying together forever is becoming more and more iffy to me the more I look around and experience. It's really painful and really hard but every time you come out of these relationships you definitely grow and learn something about yourself." Of the 12 songs on Wood and Stone two are covers; included is a Van Morrison song ("Beauty of Days Gone By") and a new version of the jazz standard "Stars Fell on Alabama." "I was asked to adapt "Stars" for a movie a couple of years ago in the fiddle/old time mountain style. I used the same lyrics but rewrote the music; completely rewrote the melody and added fiddle and banjo." (Click here to see a video of this song) Wood and Stone was recorded at the studio of Levon Helm (The Band) in Woodstock NY; Helm is featured on drums on two tracks. One characteristic of the songs of Donna the Buffalo are the positive, sometimes socially political, nature of the lyrics. Nevins would have it no other way. "I'd rather write a positive song than a negative one," Nevins said. "I think it speaks to my general life attitude. There's something to be learned in everything."

Donna the Buffalo wsg Big Dudee Roo, 7 pm, Dec 9 at the Intersection.

Interview with David Nelson of the New Riders of the Purple Sage

2011-10-30T16:26:00.003-04:00

Jerry Garcia. The Byrds. Zane Grey. These are just a few of the names associated in some way with the fabled California band New Riders of the Purple Sage. The band's name alone could be the subject of an entire chapter. The story goes that founding member of NRPS David Nelson and Robert Hunter (noted lyricist with the Grateful Dead) were sitting around trying to come up with a name for the new country-rock band when Hunter suggested Riders of the Purple Sage. Not wanting to be confused with a 1930s band of the same name-also the title of a 1912 book by western adventure novelist Zane Grey-Nelson decided to add the New moniker at the beginning. The band member lineage of The Riders is indeed rife with history. At one time founding member Jerry Garcia was trying hard to split time between the Riders and his brand new band called the Grateful Dead. By then Garcia was playing pedal steel guitar almost exclusively. But then again he wasn't getting any more proficient on the instrument. So he left the Riders to focus on playing the guitar with the then-fledgling Dead. This infamous move opened the door to usher the Buddy Cage era on pedal steel guitar. An association with Garcia and the Riders perhaps even predates the late 1960s band organizing. "I met Jerry in 1962," Nelson said from the van en route to a tour stop in Kentucky. "At the time I loaned him my banjo and he borrowed my acoustic guitar. We started a bluegrass acoustic band called the Wildwood Boys. It was Bob Hunter, me, and Jerry. We played around the San Fransisco peninsula area, many gigs, for a about a year. It was a lot of fun in those days." Needless to say there will always be a connection between NRPS and the Grateful Dead. But as Nelson points out the NRPS of today is not trying to regenerate an earlier period of jam-band mentality. "The difference between the old New Riders and the new New Riders is that we're not trying to recreate from the 70s-era," Nelson said. "When we're playing a song we're taking it out there to where it feels tonight instead of being a slave to the old arrangement." One highlight to a live performance of NRPS is the guitar Nelson plays a good portion of the night. "It's a Gene Parsons StringBender," Nelson said. "He invented it back in the Byrds days. Clarence White was playing it then and Gene was the drummer in the Byrds. It takes the second B string so when you pull the neck down, the lever (inside) is where the strap is usually, you get a bend to an exact note rather than a string pull that pulls indefinitely. You tune it to bend to a whole step similar to what the pedals do on a pedal steel. I've been using this guitar for years. I'm really into it and enjoy it." This particular incarnation of The Riders came together in 2005. Along with the veterans in the group like Cage and guitarist Michael Falzarano (formerly of Hot Tuna), NRPS welcomed two newcomers to the band in Johnny Markowski and Ronnie Penque. According to Nelson drummer Markowski and bassist Penque not only hold their own instrumentally but they offer valuable songwriting contributions. "They bring a lot; both sing and have their own bands," Nelson said. "It's been a great thing. They are largely responsible for the renaissance of this band because they made it possible for me, Cage, and Falzarano to actually start doing it (again). I didn't think it was even possible but we tried it and it's working."

New Riders of the Purple Sage wsg Gunnar and the Grizzly Boys at the Intersection Oct 30 at 7:00pm.

Interview with Marc Broussard: "Cajun Soul Singer"

2011-09-19T13:16:00.009-04:00

“Chet, you ol’ dog!” exclaimed singer Marc Broussard over the telephone. With such down-home exuberance evident right off we could have been talking about Broussard’s favorite football team, the New Orleans Saints. “I’m fired up about coming back to Grand Rapids--I can’t lie,” continued Broussard. To hear this sincerity it’s easy to understand why he has remained as one of the top vocalists going. Broussard’s music ripples with powerful currents of R&B, gospel, and swamp pop. His soul-laden original songs have always been quality crafted and delivered with emotional depth. Not bad for starters. Marc Broussard hails from the tradition rich, potent soil of Louisiana; so far has lived up to the southern soul singer heritage part. But when it comes to musical tradition down there, he says he comes by it honestly courtesy of the nearby Cajun community up by his hometown of Carencro. “I would say that some of these local boys, like Belton Richard and the Cajun and zydeco musicians, were always fun to listen to,” said Broussard from a recent tour stop in Columbia MO. “I’m still being influenced by Cajun and zydeco music,” continued Broussard. “Roddie Romero is an excellent musician and a good friend of mine. I’m a huge fan of Roddie’s stuff, no doubt about it. He started out playing accordion but he has turned into, truly, one hell of a slide guitar player. We’re going to do some writing together for my next record.” Broussard also readily acknowledges the influence of noted songwriter and fellow Louisianan Bobby Charles of “See You Later Alligator” fame, which was later immortalized by Bill Haley & the Comets. “Bobby’s a great, great songwriter,” said Broussard. "He wrote some fantastic songs for Fats Domino (“Walking to New Orleans”) and Bob Dylan.” Broussard appears in Grand Rapids at the Intersection on Sept 19 in support of his newest release simply titled Marc Broussard (Atlantic). The effort was produced and co-written by Nashville’s Jamie Kenney, who also contributed piano parts to the project. “Jamie was hugely instrumental in bringing about these arrangements,” said Broussard. “As a co-writer it’s rare to have such a connection from the get-go. We got along as musicians and as people. He’s supremely talented and a joy to work with.” For all the pop sheen applied to the Broussard release, the song “Eye on the Prize” is the most representative of Broussard’s “bayou soul” origins. “Prize” starts out swampy, murky, with a slash of slide guitar as you might expect and just keeps going. “We’re doing that one on tour now but doing it a little differently than the record version—a little more dynamic,” said Broussard. “I think it’s one of the shining moments on the album. I wish we would have had more time with “Eye on the Prize” before calling it quits on the recording. The original version of that song is vastly different than what we recorded. It started out really smooth and pop sounding. Imagine taking a Steely Dan song and totally swamping it out,” said Broussard with a chuckle. The Marc Broussard band coming to town will feature noted Memphis Hammond B-3 player Al Gamble on keys. In addition to a busy touring schedule, Broussard is known for his philanthropic work with post-Katrina New Orleans. “There was obviously a huge outpouring of support from all over this country and all over the world which allowed New Orleans to reclaim itself from shortly after the storm,” said Broussard. “Out of that tragedy it brought about some sort of reformation in that city. Obviously the New Orleans Saints football team winning a Super Bowl championship after the storm was a big part. Drew Brees (Saints quarterback) and those guys have been huge motivational factors for people who were skeptical about moving to the city. It’s funny how a football team can give a shot in the arm to a city like that but they sure as hell did. The city, I think, still has all of its charm and all of its culture but it’s got a little more pep in its step these days. I’m excited about being there.”

Marc Broussard wsg Chic Gamine & Scars on 45 at the Intersection Sept 19. More information at Marc Broussard's web page.

TMGR interview with Steve Berlin of Los Lobos

2011-08-10T18:41:00.001-04:00

Even for a seasoned musician Steve Berlin sounded enthused. He was talking about the current co-bill tour affair of Los Lobos and Los Lonely Boys where so far the jamming opportunities have been plentiful. It seems that Berlin, Cesar Rosas, and David Hidalgo had been taking time out of their busy summer nights to jam a few tunes with Los Lonely Boys onstage. "We're doing the LLB songs "16 Monkeys," "Friday Night," and "Heaven," Berlin said from a tour stop in Colorado. You would think that jamming opportunities for working musicians must figure into the equation with some regularity. While not always the case you must still trust the other band before you get back on stage. Fortunately for Berlin and Los Lonely Boys the bonds of trust were established on their 2008 Brotherhood tour together. Now Berlin and LLB's Garza boys--Jo Jo, Ringo, and Henry--make it an almost every night occasion to sit in with each others bands. "We really enjoy playing the Los Lonely Boy songs," said Berlin. "They're built for jamming--probably more so than our songs are for the most part. We know these guys so well by now that it just feels natural when they sit in and, I hope, vice versa." The bonus for the fans of Los Lobos is that LLB joins them for their signature songs "Don't Worry Baby," "La Bamba," and a bluesy "Pride & Joy." Berlin notes that the current show-sharing arrangement is "really what a double bill should look like." The kicker for career musician Berlin is that he's digging the view from the stage of the varying age difference in each audience. "It's quite gratifying to see the demographic range when we play," said Berlin. "It's a win-win for fans of both bands. I think we're expanding each others audience with these shows. I hope we continue to perform with them for a long time." Los Lobos comes to Grand Rapids' Fredrick Meijer Gardens on Aug 11 in support of their most recent release Tin Can Trust (Shout! Factory), which was nominated for a Grammy in the Americana category earlier this year. As the tour winds down on August 12 Steve Berlin, though a tad wistful, sounded pretty sure of one thing. "I think we're going to miss them (Los Lonely Boys) when this tour ends."

Los Lobos and Los Lonely Boys at Fredrick Meijer Gardens on Aug 11 at 6:30pm.

More information at http://www.loslobos.org/

Coming Soon: Interview with Steve Berlin of Los Lobos

2011-08-06T12:15:00.006-04:00

Steve Berlin talks about his main influence on saxophone and what it's like jamming with Los Lonely Boys on their current tour together. The Brotherhood 2011 tour makes a stop at Fredrick Meijer Gardens on Aug 11. All this and more coming up on Taste Makers Grand Rapids.

Interview with Oliver Wood: The Wood Brothers at the Intersection 5/30

2011-05-30T15:58:00.017-04:00

Heartfelt is just one characteristic of traditional American roots songs. Songs written by Oliver Wood display this and other essential lyrical traits. From fertile blues roots territory Wood is able to incorporate his own contemporary touch with folk and jazz nuances just as he did when writing songs for blues singer Shemekia Copeland. In producing Copeland's latest CD Never Going Back, Wood says he believes Copeland and her camp were looking for the Wood Brothers distinct songwriting vibe and perhaps a brief departure from her rocking blues background. "I think they hired me to have her sing some pretty stuff, some spooky songs, and atmospheric things. I guess you could say they're contemporary but more than that the songs are just different enough than your standard blues." Oliver is convinced of one thing: most audiences secretly long to see the human side of those in the spotlight. “A lot of music can be great where its appeal is that it’s real aggressive or rocking; or its real forward or great for a party,” Wood said from his home in Atlanta. “There are so many good things about those types of music. My thought is what people like, and what often as artists we forget, is that people want to hear you be vulnerable sometimes. I think people want you to expose yourself somewhat. That comes from how you perform, if you sing softly for instance, but it also has to do with subject matter--what are you singing about. There’s a lot more to sing about than relationships. But often times you can still be personal about a song and it doesn’t have to be about a relationship. It can be just about anything: politics, addiction, kids, and parents. And it takes guts to do that. People like to see you be vulnerable about in the same way that--though they don’t always realize it—they like it when you screw up. It’s the same reason people watch NASCAR to see a crash or watch a hockey game to see a fight. They're there to see people’s pain and what’s real about them. As performers a lot of time, when you’re up there performing putting on a show you’re not doing that necessarily.” Even though he got his start as a touring musician with electric blues guitar great Tinsley Ellis, Wood says the roots influences he learned first-hand from that experience serve him today. “What’s similar musically is that we’re all influenced by the same roots,” says Wood. "From Chicago blues to acoustic blues, to gospel and R & B, there are so many ways you can express those influences and everybody does it a little differently. Even now with when I’m doing my original music thing with my brother this is how we express those influences. It is quite different from the Tinsley days but not a stretch.” Root vegetables are the best thing for the body. Similarly quality roots music done the right way is nourishment for your soul. Oliver Wood, along with his brother Chris, seem to feel this more than most. Although billed as a two piece act, the Memorial Day 2011 tour by the Wood Brothers will feature an extra musical hand in drummer/vocalist Jano Rix. Rix was asked by Paul McCartney to play piano on McCartney's Driving Rain release and world tour. He has recorded with Marc Broussard, Liz Wright, Damian & Stephen Marley. The Wood Brothers come to Grand Rapids in support of their most recent collection of songs called Smoke Ring Halo. Wood is proud to announce they’ve recently signed with a fresh imprint out of the Atlanta area called Southern Ground Artists, a new start up by Zac Brown of the Zac Brown Band. “Brown is doing really well now in the country market. He loves all kinds of music and wanted to start a label so he could get some music that he likes out in front of people. We’re already touring with the new record that comes out on August 2. We’re lucky to have been picked up by him.”

The Wood Brothers featuring bassist Chris Wood (below left) of Medeski Martin & Wood tonight at the Intersection, doors at 6:30 pm.

Coming Soon: Interview with Oliver Wood of the Wood Brothers

2011-05-29T18:15:00.000-04:00

The Wood Brothers perform at the Intersection in Grand Rapids on Monday May 30.

Sharrie Williams at Billy's Lounge Jan 22: “I’m going to get right into your spirit.”

2011-01-22T13:05:00.008-05:00

Sharrie Williams gonna tell you one thing; it’s about to get all spiritual up in here. Dig: her live shows dare conjure up such power side music that it just about threatens the known senses; this, friends, is when her inner side arises. "I'm just grateful when I'm able to use the lyrics of my songs to bring forth that power,” Williams said of her mostly original compositions described as “rockin" gospel blues.” The Saginaw-native Williams says she was raised in the gospel and still, as expected, infuses that flavor in her music. But her sound represents all the various shades of blues, she says. So while not a traditional blues band per-Se, she somehow incorporates into her show the hard-driving Tina Turner; the powerhouse blues of Etta James and Koko Taylor. “I do know some shuffles. I want to touch everybody in the audience and not just one sect of people,” Williams said. “I think that’s what's made me a ‘keeper’ in this business. People call me back because I love to entertain and I bring the audience into the experience.” Williams brings her 5-piece Wiseguys band back to Billy’s Lounge on Jan 22 on the eve of a week-long tour of Dubai. According to Williams there is more to helping people forget their problems for a of couple hours on a Saturday night. “I say forget about your problems and then get over them if possible,” she said. But that thought can be a tall order for just about anyone, Williams admits. “Nowadays with the killings in Arizona and the foreclosures and such, we live in a very blue moment.” But Williams proves again the importance of real belief. “We have to be strong enough to overcome all of that," she explains. "A lot of times people go into deep depression and they don’t come out. I want to be the blues buster and bust you out of that depression.” In substance abuse recovery for fourteen years Williams proves the Creator can see anyone through. “We all have the power to make it,” she said. “There’s a song on my latest album (I’m Here to Stay) called 'Power'. It's about the power we have within ourselves,” said Williams. “A lot of it is laying there dormant and we don’t know how to tap into it. That’s why I call it a musical movement. It’s there--we just have to find it. And we are going to find every bit of that power on the 22nd of January," Williams said with a hearty laugh.

Click here to listen to Sharrie's MySpace Page.

Tad Robinson wsg Greg Nagy Band at Billy's 1/8

2011-01-08T20:12:00.007-05:00

Guitarist/singer Greg Nagy

Try as he might, Greg Nagy could hardly conceal his excitement. Nagy was getting worked up about his gig at Billy’s Lounge this weekend when a new development unfolded. No wonder. It seems Nagy had just secured Hammond B-3 player Jim Alfredson as a special guest to join Nagy’s band when they open up for vibrant vocalist Tad Robinson on Saturday night. Even though Nagy and Alfredson have an affiliation that goes back to their time with the Root Doctor, Nagy knows opportunities like this don’t always come together so easily. “Jim is helping me produce my new record as we speak,” Nagy said.”We’re in the studio now. Even so there are a few tunes that Jim knows that we haven’t done out live yet. I don’t worry because Alfredson is really good about thinking on his feet as far as just following along,” Nagy said of performing newer songs that might not be complete as they’d like. If that doesn’t work, there’s this. “Jim will pull stuff out of the hat which is kind of exciting. And when in doubt he can just lay out (improvise musically) and it’s not the end of the world,” Nagy said. Having a player as accomplished as Alfredson coming off the bench before half-time, so to speak, affords Nagy a coveted chance “to build a (better) show.” According to Nagy this sort of show-building worked out well when Alfredson joined the Nagy trio of Jim Shaneberger (bass) and kazoo playing drummer Kevin DePree at the Old Town Blues Festival in Lansing last September. “I think we’ll do half of the show as a three piece,” said Nagy. “Then I might have them sit down and I’ll do a solo number, a finger style thing. Then call the trio back up and get Jimmy up there as a special guest. When we call up Jim it clearly changes the sound and the choice of material you can do. The whole pacing of the set is more dynamic when you have a special guest.” Nagy sounded equally wound up about the chance to sit and watch Tad Robinson and not just play in his accompanying band on Jan 8. With good reason: Robinson brings to town a piece of blues history in the fabled Delmark records rhythm section of Harlan Terson and Marty Binder. Between them, these two Chicagoans have experience with just about every important blues artist of the last 35 years. For bassist Terson it came from recording with Lonnie Brooks and Otis Rush among others. For drummer Binder it was playing the kit behind Albert Collins & the Icebreakers and fellow Delmark label-mate Ken Saydak. “They’ve got that Chicago thing going on because they’ve been a part of that scene for so many years now,” Nagy boasts. “Marty has that ultimate “fat-back” beat which you don’t find too often.” Longtime Grand Rapids music lovers may remember seeing Binder with Saydak at the former Rhythm Kitchen Cafe. Rounding out Robinson’s side of the band is the Indianapolis connection of Kevin Anker (Delbert McClinton, Darrell Nulisch) on keyboards and Paul Holdman on guitar. And what more could Nagy say about Tad? “He’s a singer’s singer and an excellent harmonica player," Nagy explains. "In my opinion Tad doesn’t get nearly the credit he deserves for the way he plays the harp.”

Tad Robinson wsg the Greg Nagy Band, Jan 8 at Billy’s Lounge.

Los Straitjackets wsg The Concussions at Billy's Lounge Jan 1

2010-12-31T18:05:00.004-05:00

Photo courtesy of the Sears Portrait Center

Good bands don’t have to come across as meaningful to have meaning. You can be meaningful if your sole purpose is to entertain. This is one thing Eddie Angel of the instrumental guitar quartet Los Straitjackets is willing to reveal to your un-masked face. According to guitarist Angel, rock ‘n’roll lost the way of fun around 1965. “There’s a good term for what we do--it’s called vintage entertainment,” Angel said from his home in Nashville. “We’re fans of the way entertainment was until the mid-1960s. Then it changed from entertainment to everybody getting on stage and singing about themselves. It’s a real simple idea that’s been lost.” In pursuit of this seemingly lost basic mission since 1995, Los Straitjackets have recorded 16 albums (including a Christmas collection) of instrumental surfs-up sounds pummeled with root equivalent rockabilly and garage rock. Their vibrato-rich chewy twang was featured on an entire blues album by Eddy “The Chief” Clearwater called Rock ‘n’ Roll City. One of their non-instrumental albums is called Sing Along With…and features guest vocals from Big Sandy, Raul Malo, Nick Lowe, and Dave Alvin. But according to Angel not every singer who agreed to be on the recording could make it in. “We had Joey Ramone lined up but then he got sick,” Angel said. “Brian Wilson (Beach Boys) was going to do it but then he got wishy-washy; he’d go back and forth. Brian’s a funny guy.” “But we’re big Beach Boys fans, “Angel continued. “Brian writes great songs. Their harmonies are amazing. It’s like ear candy.” In their Mexican wrestling masks Los Straitjackets might look like the space invaders from the crop circle movie Signs but they’re much less scary to listen to. “There’s a certain sensibility that says rock-n-roll should be fun—mainly,” Angel said, noting there is one Grand Rapids band who shares this entertainment-first thought. “They’re really good musicians,” Angel said of The Concussions, whose members play alongside Angel in a garage band called the Neanderthals. “It’s not that common (anymore) but they want it to be fun for everybody. And Tommy Schichtel is a good bass player,” Angel said of the Closed-Head Injury Crew guitarist. Link Wray and The Ventures are the biggest influence on Los Straitjackets, Angel admits. Angel was even tapped to provide the Wray-like vibe on a recording by pre-Stray Cats rockabilly revivalist Robert Gordon. Angel and company look forward to a return visit to West Michigan. “I really like Grand Rapids,” Angel said. “I think it’s a pretty cool rock ‘n’ roll scene.”

Los Straitjackets wsg The Concussions at Billy's Lounge on Sat Jan 1. Doors 8:30, show 9:30.

Visit Los Straitjackets MySpace page

New Riders of the Purple Sage at the Livery Friday 12/17

2010-12-17T14:18:00.007-05:00

There is a quote that reads “life is a journey not a destination.” The culmination of experiences along the way is what matters most. It’s unclear whether this famous line by Ralph Waldo Emerson applies to a life that actually begins with a journey. But that’s how it happened for renowned pedal steel guitarist Buddy Cage of the New Riders of the Purple Sage. His musical trip began with a journey and an infamous one at that. By 1970 Cage had hooked up with Canadian duo Ian & Sylvia just as their influential country-rock group Great Speckled Bird was taking off. Before he knew it Cage and Great Speckled Bird were immortalized in the film Festival Express, a documentary about a traveling music festival of the same name by train across Canada. Also on the train were the Grateful Dead, Janis Joplin, Buddy Guy, and Delaney & Bonnie. During the shooting of the movie Jerry Garcia took a keen interest in the pedal steel guitar playing of Cage. Unbeknownst to Cage at the time Garcia was eyeballing him as a substitute for a new band Garcia was in called the New Riders of the Purple Sage. According to Cage, Garcia was becoming so busy that a sub made sense. “Garcia really tore into steel playing around 1969 and just went nuts with it,” Cage said. “He kept it up until NRPS put out a recording which is what they did in the day. Prior to that Jerry was just plunk-plunking around on the steel; he wasn’t that good at it. But during this time he was doing unbelievable shows playing acoustic guitar with (David) Nelson and a couple of the Riders but it was mostly Grateful Dead guys that formed an ad-hoc beginning set. Then they would switch to an electric New Riders country set and then they would switch over to the standard Grateful Dead two-sets which kept Jerry onstage for up to four and-a-half hours. Then that became too much even for Garcia. In the end NRPS were really getting good but Garcia wasn’t getting any better (on pedal steel). He was ready for someone to take the gig and I was the guy. Plus it was time for Garcia to go do serious work on Working Man’s Dead and American Beauty.”

The off-shoot band of the Grateful Dead then went on to tour extensively and record landmark albums like Oh, What a Mighty Time. In between all the craziness Cage was asked to record with Tommy James and the Shondells, fellow Canadian Anne Murray, and Bob Dylan. Something about Cage’s style of pedal steel playing attracted Dylan’s ear. Cage then recorded on perhaps Dylan’s most personal album Blood on the Tracks. "The stuff that I do is different than other people," Cage said. "That's what it's all about anyway--as an individual playing, right? On the Bob Dylan Blood on the Tracks stuff for instance, the cut "Meet Me in the Morning" defines a whole different way of steel playing. It was just something that I knew how to do. It wouldn't have fit with the Nashville sound of the day. They used asked me 'Why don't you move down to Nashville?' I would say ‘Why don't you kiss my ass?' Just so I can fit into some kind of mold or plug-in thing? I don't think so."

Even then those developments were a long way from when Cage starting playing music. In the early 60s he had to realize the only outlet for his instrument at that time was country music. Just prior Cage had been newly influenced by pedal steel master Ralph Mooney (Merle Haggard, Buck Owens). The only problem was Cage hated country music. “I never had a desire to be a country western player, " Cage said while he waited for sound check in Chicago. "When I was kid I thought it was cornball shit and hayseed. It just didn’t work for me. I ended up with country and western music until I found really good players and good bosses who taught me what was good country, and what was not. They gave me a great education into what was good bluegrass and stuff that was hard to listen to.” One of those good bosses ended up being early rock-n-roller Ronnie Hawkins, whose claim to fame about that time was having hired the band before they became The Band. Today the New Riders still perform and record. They have a new record out called Where I Come From. I asked Cage if he ever thought what’s left of the Dead and the New Riders would hook up for shows like they famously did. “Why yes,” Cage said. “We have a New Years gig in Pennsylvania with Bill Kreutzmann (Dead drummer) and Papa Mali in a group they call 7 Walkers.” So yes, from reluctant country and western pedal steel player to jam band NRPS and beyond, Cage and company are still around and doing fine.

The New Riders of the Purple Sage at the Livery, Benton Harbor, tonight 9 pm (doors 8). More info at:
The Livery website

Carolina Chocolate Drops at Ladies Lit 12/1

2010-12-12T17:00:00.001-05:00

(Originally published on Dec 8, 2010 in the The Collegiate student newspaper at Grand Rapids Community College)

In the musical world of the Carolina Chocolate Drops one kazoo and two curved bones are all you need to make authentic sounds. Then pass around a fiddle, jug, and banjo and you’re all set. This was the musical mission as executed by the Durham NC trio in front of a sell-out crowd at the Ladies Literary Club on Dec 1. The Carolina Chocolate Drops not only entertained and engaged but enlightened and informed on America’s lesser-known musical footnotes. With their old-timey string band presentation, complete with exchangeable instrumentation among members, the Chocolate Drops are one of very few African-American bands (along with NY’s Ebony Hillbillies) performing this time-honored historical tradition. They wasted no time getting into the gospel spirit by revving up “Starry Crown (Chase Old Satan through the Door)” as their first number. Throughout the night each member took a turn mentioning old-time fiddler Joe Thompson as vital inspiration. Fiddler Justin Robinson played the straight guy mostly during the colorful narratives of his band mates. Singer and banjo player Rhiannon Giddens laid it all out during her stunning solo vocal number, the Celtic flavored ballad “Reynadine” from their acclaimed release Genuine Negro Jig. If there was one standout among this talented group it had to be Dom Flemons. Flemons is not only fine acoustic guitar player but he is an absolute master on the bones, a basic percussion instrument that specializes in triplet rolls. In Flemon’s imaginative fingers the bones are transcended from lowly calcium and phosphorus deposits to performance hall-worthy musical devices. One gift of the group is their ability to bring a world music vision to their shows as heard in the reading of “Snowden’s Jig.” The audience response to “Cornbread and Butterbeans” was among the most rousing of the night. Their most modern sounding song, “Hit ‘Em Up Style,” with microphone beats from Robinson closed out the main portion of the show. Demonstrating this genre as an important link to all forms of contemporary music, and now with a sound young folks might relate to, the tradition of African-American string bands seems in good hands. With their enthusiasm clearly unabashed, we should all be grateful the Carolina Chocolate Drops are giving this type of music an invigorating shake of youthful musicianship.

Jennifer Kreisberg & Pura Fey (formerly of Ulali) at GVSU Nov 30

2010-11-30T16:23:00.004-05:00

Jennifer Kreisberg, formerly of Ulali, took a moment to talk with TMGR the other day. We asked her what one might expect if they were to attend her Nov 30 show at Grand Valley State University's Pew Campus. She said that she along with slide guitar afficianado Pura Fey will be doing one or two songs with guitar but the show will mostly focus on their world class vocals and trademark harmonies.

TMGR found some background material that said Fey and Kreisberg were "one of the first Native American a capella women's groups to create their own sound from strong traditional roots and personal contemporary styles." We asked Ms. Kreisberg what this meant when we caught up with her by telephone.

"Our traditional music and pre-Columbian (Columbus) contact music was very thick and full with harmonies," Kreisberg said. "The scale of it is what people today consider to be a blues scale; it's not a Western European music scale. People who think that all Native music is from the Plains are the ones who hear our music and try to put other labels on it."

What about the "traditional roots" part?
"We write songs that sound just like our traditional songs because no one should be allowed to use their ceremonial songs for general public consumption," Kreisberg stated."We use some stomp dance structures but we make the songs ourselves. We make them new. We don’t use the ones we use at home (in ceremony)."

"Music is either in you or not," she continued.

"Pura and I each have something in us. For her it’s about slide guitar. But Pura Fey can do anything. She likes jazz and blues," Kriesberg explained. "For me it’s more about reggae and hip-hop. What we both like in common is indigenous music from all over the planet. We both have extensive collections of African music and all kinds Native music, of course. But we enjoy music from all over the world basically: rain forest music, pygmy music, Celtic, and Mongolian. I don’t know if that necessarily influences our work but when that’s inside of you I’m sure it comes out somehow," she says.

"We just do music; a couple of Indian chicks,” says Kreisburg with a laugh.

Jennifer Kreisberg & Pura Fey (formerly of Ulali) at Grand Valley State University (Pew Campus) Loosemore Auditorium, tonight at 6 pm. Free and open to the public.

JJ Grey & MOFRO at the Intersection Nov 30

2010-11-29T23:33:00.013-05:00

This much I know about JJ Grey: He likes his ice water icey cold, his Thai food spicy hot, his soul music sexy, and his women even hotter. OK, I'm not exactly sure about the last one. But it fit so I just went with it. Seems the only thing hotter than any of this is when JJ and company hit the stage running. You may have seen this concept in action back in June when JJ Grey & MOFRO opened up for Buddy Guy at Meijer Gardens. Grey is a complete bandleader spinning around on his cowboy boots, pointing at band members for their solo, and otherwise letting the band do their thing. He told me afterwards that the reason he didn't do an encore was because he wasn't sure how much time he had left after forty minutes (he had about 5 minutes we figured later) and under no circumstances did he want to go a second over into Buddy's time slot. I found this not only smart but also extremely respectful.

Then come to find out JJ is a wiz at remotes and televisions. He single-handedly averted an uprising after that show when a tour bus full of basketball-crazed men couldn't get the NBA finals on the satellite TV. They said "don't worry; he'll get it, he always does." I'll admit I was skeptical (the thing was programmed in Florida). But sure enough he got it to work. In a snap it was game seven of the Celtics/Lakers championship matchup without missing a single inadvertent whistle.

Earlier we found a Thai restaurant downtown for JJ to get take-out. During the afternoon we spent together riding in the car and getting his hair trimmed outside his bus in the hot sun, he talked about his grandmother's influence on his storytelling and in particular the time and care she took in sharing tales of the grasshopper known as the Georgia Warhorse. He seemed patient with the new-to-the-tour-that-day bass player (and with the radio guy hanging around) even going over some bass parts while still writing the set list for the evening.

JJ was a guest on my afternoon radio show that day at WYCE-FM. His publicity people told me he probably wouldn't be doing a live song on my shift. But after a quick stop at a grocery store where JJ wanted to go for protein bars, he surprised by showing up at the studio with an acoustic guitar in hand.

I've interviewed on the radio and in-person (or at least sat-in on the talk) plenty of musicians: Ben Vereen, Bela Fleck, Tony Zamora (Tremoloco) and Cougar Estrada (Los Lobos), John Trudell, Donald Kinsey, Gary Primich, Robert Ward, and The Avett Brothers among others. But this one was special for some reason. First, I don't think anyone has ever debuted on any of the various shows a soon-to-be-released single like JJ did that day. But we got to talking and "The Sweetest Thing" off the forthcoming Georgia Warhorse was the one he wanted to do. Secondly I don't know if it was the Meijer's protein bars or what but he really nailed it. He sang like he was meant to live it and living the song like it was meant to be. This is a real person delivering worthwhile music the only way he knows how--with truth. If you go to see a JJ Grey concert (and you should) be ready to dance, sing, and otherwise feel human. Music like this doesn't come to town everyday.

JJ Grey & MOFRO at the Intersection tonight. Doors 6:30, show 7.

JJ Grey & MOFRO MySpace page

Raya & Mystic Dub: Have No Fear

2010-11-26T17:08:00.001-05:00

On Have No Fear (Uncle Don’s Records) Raya & Mystic Dub manage to touch on all the important world music trends of the last thirty years. At times the disc sounds a little like dance-friendly Sly & Robbie, UB40, and Marcia Griffiths. Have No Fear features MD stalwarts John “Carlos” Ellsworth on drums along with Mickey McKenzie (clavinet). But Raya has also assembled some of the more credible players from West Michigan’s bustling blues and jazz scene: saxophonist John Gist (Steve Hilger Band) and bassist Jim Shaneberger (Greg Nagy). Raya reminds of Sade in a couple of ways. She shines bright as both songwriter and multi-instrumentalist (accordion, Hammond C-3 organ); all nine of the tracks are originals. The old school reggae sound is often characterized by a full horn complement which is found in abundance here. Rounding out the band is blues guitarist Donald Kinsey from the national touring act The Kinsey Report. Kinsey’s slicing lead work is unmistakable; warm blues tones permeate as famously heard on Mama Africa-era Peter Tosh. Producer Kinsey has credentials behind the board for legendary Jamaican artists as the aforementioned Tosh and Bob Marley. Singer Raya is able to give “Contagious” the sought after Middle Eastern flair. “Majesty Dub” sounds like it could have showed up on the Geffrey Morgan album it’s that good. There’s a lot to like on Have No Fear particularly if you’re not a big fan of the over-populated singer/songwriter scene. Positive vibes like this have been in short supply lately. Thankfully the one-love premise never goes out of style. Have No Fear is available locally at Vertigo Music and the Jumpin’ Java Coffeehouse in Grand Haven.

Raya & Mystic Dub, 10:30pm at The West Side Inn, Muskegon, tonight and tomorrow.

Tab Benoit, Anders Osborne, & Big Chief Monk Boudreaux at the Livery Sunday 11/14

2010-11-13T16:18:00.011-05:00

Louisiana soul singer Tab Benoit is set to play the Livery (pictured) in Benton Harbor on Sunday. TMGR has learned that Benoit will be accompanied by guitarist Anders Osborne and New Orleans music legend Big Chief Monk Boudreaux on percussion. Benoit sings like Otis Redding and plays guitar reminiscent of Albert Collins. Imagine that if you will. Sweden-native Osborne has seen his songs recorded by country music star Tim McGraw. Osborne's songwriting collaborators have included Keb' Mo' ("A Better Man"on Slow Down). Boudreaux is a well-known "Big Chief" of the Mardi Gras Indian tribe, the Golden Eagles. He is a former member of the Wild Magnolias. The Wild Magnolias played the first New Orleans Jazz and Heritage Festival in 1970. Like Benoit he records and tours as part of the Voice of the Wetlands All-Stars. Tab Benoit at the Livery continues their recent tradition of not to be missed shows.

For directions to the brewery and ticket information please visit The Livery website.

The Lustre Kings at Billy's Lounge Nov 3

2010-11-01T15:36:00.015-04:00

The Lustre Kings are coming off a busy summer. From here they go right into a decent autumn booking season. Mixed in with club dates are special events like a wedding in Alabama, the Elvis Festival in Green Bay WI, and for the tenth year the Hell's Angels Halloween Party at the Dinosaur Bar-B-Que in Rochester NY. What is it about the Greenville NY-based Lustre Kings that makes them so irresistible? Is it because too few bands even try to pull off an Elvis number in the flesh? Try to pin down guitarist Mark Gamsjager (above) on what genre his band plays and you get this. "I like to think of it as American music. That's the way I label it. Rockabilly vein, sure. But it's not straight-up rockabilly or straight-up country. It's hillbilly rock-n-roll. We just try to play good music." Within that Gamsjager still considers himself a fan of the Stray Cats. "When the Stray Cats hit in 1980 it was like the freshest thing. There are these neo-hipsters who think they know everything about late 50s music and who like to bash the Stray Cats," says Gamsjager from his home near Albany. "I say keep it positive. Everybody's doing their thing. There's enough room for it all. It's not really cool to say you like them. But I like 'em." Gamsjager started out playing bluegrass music then became a fan of Commander Cody. You may have seen The Lustre Kings at the former Gibson's restaurant on Lake Drive. If you were missing the steel guitar in the Big Sandy band recently, the Lustre Kings quartet has that covered. The band for their show Nov 3 at Billy's Lounge features a steel guitar player. "There are so many great bands I listen to like Jack Baymoore and the Bandits out of Germany. They're so authentic it's scary. I can't sound that way; I got to sound like what we sound like," says Gamsjager. "I've never really tried to cop any one particular sound. I never said we're going to try to sound like Elvis or Jerry Lee. We play a lot and it sounds like the Lustre Kings. We try to make every song our own. By putting that on it, it works."

The Lustre Kings (MySpace) wsg the Midnight Cattle Callers at Billy's Lounge tonight at 9 pm. (MCC on first)

JJ Grey and MOFRO: Georgia Warhorse

2010-10-26T17:28:00.043-04:00

Hear tell the Georgia warhorse ain't your ordinary bush cricket. According to those in the know there ain't nothing mamby-pamby about the revered, delicious, and nutritious Caelifera neither. You might not realize it just by looking but soul singer JJ Grey and the grasshopper have similar attributes. Grey, a ten-year plus veteran of the worldly music biz, has that gritty hang-tough attitude just like the storied insect. Both are legends of the south Georgia woods; they have well-developed survival qualities. Each April Jacksonville FL native Grey must mull over the books and wonder if he didn't break even for the year. But he and the warhorse keep coming at life because they don't know what else to do; you might say that Grey has looked the grasshopper eye-to-multiple-eye without a blink. Good thing for the rest of us they keep coming back. Grey's newest release Georgia Warhorse (Alligator) roils and simmers with sweet southern sweat, genuine Stax pop, and swampy blues. Undertows of indisputable soul churn about ready to envelop true music lovers in warm currents of sound. The early 70s sounding "All" is total Memphis straight from the heyday. On Warhorse songwriter Grey presents a solid case to join the selective ranks of esteemed Dixie writers such as Jerry Reed, Tony Joe White, and Otis Redding. No slouches in that bunch, no sir. The gospel sounding "Gotta Know" is one to have the wooden pews in church gently bending and creaking with the beat. "The Sweetest Thing," featuring reggae master Toots Hibbert, has one of the best breaks going just like a mid-range putt bends decidedly on the way to the cup. Yes! "Slow, Hot, and Sweaty" has you right there with sweat dripping behind your shades into your eyes while sashaying to your favorite beat. Warhorse picks up where Grey's successful predecessor Orange Blossoms left off. Georgia Warhorse was recorded in the Blossoms studio with essentially the same personnel and gear; not a bad way to go. Please don't expect an ensuing installment of Where are They Now? on VH1 for Grey. Not unless the grasshopper is ready to bug out too.

Bruce Katz: Live! at the Firefly

2010-10-22T14:46:00.020-04:00

Bruce Katz and company wade deep into territory where few present-day jazz bands dare go: the blues. More precise would be to say that other jazzers don't feel like they need to go waist deep in this essential music form. For a jazz organ trio to roll out a slow blues or early boogie number would seem a no-brainer. You know, something to keep the crowd on the dance floor. Recorded at The Firefly Club in Ann Arbor Live! at the Firefly (Brown Dog Music) showcases the band at their live best with Katz at the piano and organ. When they launch into Mingus' "Better Get it In Your Soul" there can be no mistaking the sign out front that night said 'jazz band.' This might be a good time to point out the word soul; the Bruce Katz band has that in abundance. Not since Jimmy Smith has an organ-led trio ventured forth with such passion and skill. The beauty of the soulful feeling shows up clear as day on "The Blue Lamp." Superb guitarist Chris Vitarello sounds uncannily like Duane Allman on "Jump Start"; elsewhere reminiscent of Larry Carlton. Up the middle, Ralph Rosen on drums and Rod Carey on bass are about are good as a 1-2 as you can find. "Crew of Two" sounds a lot like the fine work Katz did with Ronnie Earl on The Color of Love. Speaking of the boogie number, "Norton's Boogie" is one hand-clappin' foot-shufflin' gem not to miss.

The Bruce Katz Band (MySpace) appears at the Livery in Benton Harbor on Oct 22.

Tin Can Trust by Los Lobos

2010-10-20T17:48:00.047-04:00

Too often a collection of songs is more important than the songs themselves. For their best batch of original tunes since 2001’s Good Morning Aztlan, Los Lobos lays this convention aside. The band stays in finest form when they keep things simple for us. All they need to do to uncork the magic is focus on uncomplicated song structures, revisit poignant themes with no-nonsense riffs, and it's all over before anyone knows what happened. Los Lobos writes songs that go beyond just sounding good, the contents of which are filled wide with relevance and imagination. Their songs tell a story of what it must be like to head off to the bank first thing with your tin can of coins and realize what you don’t have by the time you corralled a runaway quarter on the landing by the stairs. The song is deeper than just that; how cool to connect on multiple levels. Trust was pieced together from recording studios across the US; no big surprise given the band’s hectic road schedule. But instead of sounding fractured and bumpy, Tin Can sounds smooth and taut due to the strength of the writing. Their ability to tell clear concise stories lies seemingly within strands of T1 fiber optics connecting the start of history to present life. “The Lady and the Rose,” a song of faith and struggle is destined to find its way into their tradition-rich acoustic show. “On Main Street” is a groovy 70s sounding Saturday morning jaunt down to the bakery and hardware store for your wife. "Jupiter or the Moon" is like the vaunted creeper buzz. It hits you when you're least expecting. The blues have been the bed rock foundation of a 35-year career and on Trust the Lobos again find ways to bring that out: here it’s the Hammond organ work of Steve Berlin and guest Rev. Charles Williams. The cover of the Dead’s “West LA Fadeway” is heavy blues worthy of comparisons to the old-school hard hitting funk of Albert King and the modern-day guitar of Buddy Guy. Cesar Rosas is the blues linchpin and one of many links into fertile musical territory. With their broad vision grounded in the blues, Rosas and company take it from that important roots strain into many directions. Rosas, their most recognizable member, strikes again with a new cumbia (Yo Canto) and a fine addition to the “runner” portion of the live show, “Mujer Ingrata.” The beauty of all this is that “Do the Murray” could be the set-ending number for the first show on any Saturday night for countless house blues bands everywhere. How grounded and universal is that? When Los Lobos dives deep and out of sight it’s perhaps too much for us to grasp (27 Spanishes). Ordinary humans have to see things in black and white to believe just a little; they can’t just feel it like is required here. When they go a little shallower, just skimming the surface of profound, Los Lobos is still better than most any other band going. Except maybe the all-time house blues band in the sky.

Tin Can Trust is available for purchase at www.loslobos.org

Stone River Boys at The Livery (Benton Harbor) Oct 17

2010-10-16T19:21:00.014-04:00

Look out now. Gettin’ all funky, bustin' a move in your cowboy hat and Tony Lama’s. Doesn’t sound quite right does it? But for Mike Barfield, singer with the Western-appareled Stone River Boys and formerly with the Hacienda Brothers, bringing the funk is all right and out of sight.
“I come from the funky side of things like the Stax records stuff,” said Barfield from a tour lay-over in Green Bay WI. “Even before the Hacienda Brothers I put out a record called 'Living Stereo' which was whole-hog R & B soul. Then I had my own band called Barfield which was a Cracker-like funk thing with no horns; just Hammond organ, guitar, bass and drums."

"So you see I’ve been doing this all along,” proclaims Barfield.
Barfield cites the cross-over sound of Memphis Stax soul blended with Louisiana swamp soul/blues and James Brown’s early R&B years as inspiration for what he’s doing now with SRB.
“I’m a big fan of Tony Joe White and his swamp sound. I got to open up for him once in Houston. Both Dave Gonzalez (guitarist with SRB) and I really like Jerry Reed. I consider Jerry to be funky. Not in the same way that you’d say funk since James Brown however,” said Barfield, a nationally known funky dancer himself.
“But Reed had that country swampy sound in his music," he continues. "Songs like “Amos Moses” may be a novelty song on the surface to some. But Reed's songs are really well done and well played; they’re great in their own right.”
As 2010 winds down the Stone River Boys are set to record new material and decisions remain about which way to proceed.
“We’re at the point now where we need to start working on our new record. We’re debating on what we’re going to do and where we are going to record it; we’ve been really busy on the road promoting the record we have (Love on the Dial) out now," says Barfield.

"It’s kind of a different world out there now and we're trying to figure out the best way to go about this release. The record business has changed so much in the last few years. Needless to say there are many different ways to go."

For their Oct 17 appearance at the Livery in Benton Harbor Barfield is almost sure to let loose with a version of the “The Struggle” an original from Love on the Dial.
“I was inspired by the old Marlon Brando movie The Wild Ones of all things. Though you’d never know it by listening to the lyrics," Mike said with a laugh. "

"There’s a scene where they're at this restaurant bar. This guy instead of asking the girl to dance, asks her if she wants to struggle. I always thought that was a great thing. It kind of turned into my passive political statement and dance,” Barfield said with a smile.

It’s great when you can get both ideas in at once, right? To be sure, there’s bound to be some funky struggling all up on the dance floor when the Stone River Boys hit town.

The Stone River Boys MySpace page. The band appears at the Livery in Benton Harbor on Oct 17 at 6 pm. More info at The Livery website.

"We Are Here" at San Chez Bistro for Art Prize 2010

2010-09-25T10:19:00.009-04:00

The 2010 Art Prize entry of Grand Rapids artist Pamela Troyer is now on display at San Chez Bistro located at 38 Fulton W. The Aboriginal-inspired "We Are Here" acrylic on canvas painting is featured prominently above the bar in the restaurant. Please vote UP for "We Are Here" # 41931. Her art work is available for purchase at Art Prize. Here is an article from the Grand Rapids Press in which Troyer is quoted about the art sale at Devos Place coinciding with this years event.

Big Sandy & His Fly-Rite Boys at Billy's Lounge Sept 21

2010-09-20T22:26:00.012-04:00

Big Sandy occupies a unique space as originator and survivor. The suave doo-wop crooner and debonair rockabilly front-man considers himself lucky to have lived through the swing music revival of fifteen years ago. He knows first-hand the excitement and frenzy of the hipster scene that reigned mighty from the mid-‘90s until the end of the decade. A pre-internet grassroots movement turned cultural happening if there ever was one. According to legend, it was Big Sandy & His Fly-Rite Boys right alongside another instigator of the LA scene--the horn-fueled Royal Crown Revue.
“They were one of the bands that came up with us in the late 80s who started to make noise around town. I know there were quite a few other bands who, more or less, copied their style. Either that or they were heavily influenced by the Revue and wanted to get something going like that for themselves,” said Sandy.
“The Royal Crown Revue kind of created the scene here on the West Coast, in my opinion, as far as the swing thing goes. They started to attract a lot of dancers here in Southern California and up in San Francisco,” says Big Sandy (aka Robert Williams).
At first it was a tiny natural organic embryo of a small snowball.
“How it happened was kind of cool, an underground faction that built on itself. Other people took notice and it began to spread places,” says Sandy sometimes called Big Spanky in certain circles.
“We had our own thing going when swing started to boom. We got booked on shows with RCR, many times advertised as Swing Night. Suddenly the crowds doubled and tripled. Even though we didn’t quite fit into the mold of the time we were able to adapt a little bit to make it work.”
As the phenomenon began to take hold, Sandy found himself on the same bill with RCR at an LA club called the King King.
“The original place was one of the first clubs to actually pay us decent money. We started to bring people in and there were lines around the block. It felt like something was happening there.”
“At the same time up in San Francisco there was a group of guys who started to throw these warehouse parties. That began to attract all kinds of people. Regular kids started showing up in their 40s and 50s clothes. I think it was a big turning point,” notes Sandy.
“We’ve seen different little things come and go. Sometimes we’re able to fit in with them. We’ve tried to carve out something of our own so we’re not completely affected by trends along the way.”
According to Big Sandy today’s LA rockabilly scene remains vital. One of the more recent developments includes the participation of Latino youth.
“On the West coast there are tons of kids still coming into the scene and discovering it for the first time. A lot of them are good musicians who are starting to form bands now,” says Sandy.
“There is a record label out here called Wild Records who is starting to round them up. It reminds you that it’s living and breathing; still an ongoing thing.”
The version of the Fly-Rite Boys appearing at Billy’s on Sept 21 will be minus a seemingly integral part of the western swing sound: a pedal steel guitar.
“We’re back to just a four piece now. We’ve been playing without a steel guitar for about four years,” says Sandy.
Only the best can readily adjust.
“We had two-weeks off from a trip a while ago. Our pedal steel player was Canadian and he went home to Vancouver BC. While there he lost his passport. We had shows coming up and he couldn’t make it back in the states,” explains Sandy.
“We did some shows without him, kind of fumbled our way through that. Then he took his time getting his new passport and we had more and more shows without him.”
“Then it started to fall into place. I kind of liked the way it was feeling,” said Big of the stripped down tougher sound.
“It’s just another phase of the band. We’re kind of back to how we started--a little leaner" sayeth Sandy.
“I like it for now. We’ll see what happens next,” said Sandy with that famous grin.

Big Sandy & His Fly-Rite Boys wsg The Rhythm Dogs (GR) and featuring rockabilly DJ Del Villarreal (Ann Arbor) between sets. Doors:8:30 Show:9:00 (Big Sandy on first) $12 (at door) 21+

Deke Dickerson at Billy's Aug 17

2010-08-16T17:19:00.007-04:00

Mottled are the rockabilly music fans at Deke Dickerson’s shows. In the house you’re bound to see tattooed swing dancers swirling alongside mascara-lined punk rockers standing next to assorted guitar nerds. No matter the lot, these are the demographics that seek out future guitar museum curator and rockabilly artist Dickerson.
“I’m sort of unique in the rockabilly scene that way. I tend to draw from all types of audience members. We get some of the psycho-billies, sure,” says Deke Dickerson.
“But we also see people from all walks of life: the college kids, the old people, and whatever else. We have a very diverse audience.”
“I’m always glad when I win them over and they become regular customers,” he adds.
Among his many talents Deke now writes feature articles for Vintage Guitar and the Fretboard Journal, plus a bi-monthly column for Guitar Player magazine. That’s not too out of step. Dickerson started college with an eye on a career in journalism.
“It’s kind of interesting, all these years later, that writing is what I wound up doing. I’ve been writing a lot lately and writing about things that I would have wanted to write about anyway if I had been a journalism major,” said Dickerson during nine-hour drive from Kansas City to Minneapolis.
“I’m not going to complain,” said Deke of the seemingly win-win situation he faces.
Roots music fans will have a win-win on their hands when Deke Dickerson and his four-piece Ecco-Fonics hit Grand Rapids on Aug 17. Deke’s current edition of the Ecco-Fonics band includes drummer Pete Curry of Los Straightjackets and Australian bassist Jon Flynn. Piano player Amy Hawkins of St Louis hooks up with the group just in time for their appearance at Billy’s Lounge.
“Amy is a great piano player. I saw her play when we were in St. Louis earlier this year and she sat in with my band. She plays with a jump blues band called Miss Jubilee and the Humdingers. I liked the way she played so I asked her to come on tour,” said Dickerson.
Here’s a bonus for those fans of surf music. Deke says with the inclusion of Curry they’re doing more from the surf catalog, songs they wouldn’t normally do. This bodes well for those folks already coming out to hear the belly-flop beach sting of GR’s The Concussions.
But Deke wouldn’t come all the way to town without a special surprise.
“Did you hear the news story about the guy who discovered he had diabetes after the dog ate his toe?” Deke asked me.
“I’m writing a song just for the evening in honor of Big Jerry called I Miss My Big Toe.”

Deke Dickerson & the Ecco-Fonics wsg The Concussions at Billy's Lounge Tues Aug 17 9:00pm 21+ $12

TMGR Exclusive: It's Official. Organissimo no more.

2010-08-01T10:48:00.009-04:00

TMGR is reporting that the end has really arrived for jazz jam-band Organissimo. Keyboardist Jim Alfredson continues to tour with Janiva Magness, which was widely publicized. Lesser known is the revelation that guitarist Joe Gloss was recruited by the The Order of Christ/Sofia religious sect and has moved out of state. Drummer Randy Marsh has reformed his group from the mid-90s, Blue Train, now called Big Organ. You may remember the Blue Train trio of Marsh, guitarist/vocalist Ricky Hicks, and Hammond B-3 whiz Chris Moberly from their regular weekday night gig at the former Rhythm Kitchen Cafe in downtown Grand Rapids. Big Organ sounded tight, focused, and bluesy at a recent hit on the patio of the Grand Rapids Art Museum.

Nick Curran & the Lowlifes "Reform School Girl"

2010-07-21T14:38:00.018-04:00

Mavericky Nick Curran--that’s what they call him these days. Mavericky seems appropriate given his all-orginals song choice and vaporous recording method on Reform School Girl (Electro Groove Records). In a Wild Ones cap bad-ass sort of way Reform School Girl sounds crusty and a little dusty but that’s part of its roughhewn charm; if you call pinks socks roughhewn. At first you might think you put on a Little Richard album without cleaning the needle first given the Penniman inspired vocal whoops and vintage palm-sliding piano of Derek Bossanova. To be sure, Curran is rambunctious but not reckless, psycho but not scary. Reform School Girl helps Curran find his place in today’s roots music scene without going to cheese. Cheesey is different from flamboyant as you know. Flamboyant has everything to do with being on stage, breaking a leg and living it up. By doing that Curran makes us feel like we’re in ye days of old and the era of flamboyant types like Orvis Goodnight, Screamin’ Jay Hawkins, and Guitar Slim—who had the stage antics down green hair plus. Curran takes us on a wild trip on his motorcycle with slicing rockabilly guitar in the side car and early rock on the transistor radio. He gives it the gas hard all the way through the tight corners and careens about you’d swear he just turned off the headlight in the dark. Not that he's reckless or disrespectful but he runs over expectation flattening convention along the way via a double- dose of punk attitude. Now we’re slithering along the underbelly of the seamy blues world of the Lowlifes where inhabits tough lovers, everybody’s lover (Lusty Li'l Lucy), Pinky Tuscadero-types, and old-school record parties. Curran has spent meaningful time with rockabilly’s Ronnie Dawson, the Fabulous Thunderbirds (Painted On), and his own punk band (Deguello). On Reform School Girl all these hit money at once and the result is cashtastic.

Nick Curran & the Lowlifes wsg the Rowley Wheeler Band appear at Billy's Lounge on July 22, 9pm. $10

Nick Curran's Myspace Page

Terrance Simien at the Jiggle Jam Festival, (Crown Center) Kansas City MO 5/30

2010-06-23T18:38:00.018-04:00

Terrance Simien's enthusiasm for performing is evident all the time. But when he's in front of children during one of his specialty Creole for Kidz matinee shows, it's apparent he makes an extra special effort for the little ones. Zydeco music in Simein's experienced hands, it seems, allows anyone regardless of age to feel like a kid again. You can't help but be drawn in. This was the feeling when Terrance Simien and the Zydeco Express played the Jiggle Jam Festival in Kansas City on Memorial Day weekend. Encouraging kids to learn about another culture while having big fun is a win-win situation for all. With tales of his linage back to Africa and a word about his family's Creole roots in southwestern Louisiana Simien looked into the past while he continues to move the zydeco tradition forward. He accomplishes this by bringing an exuberant message of peace, love and zydeco to the young masses. Simien's hour-long set found him singing like Sam Cooke, playing his accordion like Clifton Chenier, and offering a brief musical history of New Orleans while extolling everyone to dance. With his gifts as an entertainer apparent, he is able to leave everybody smiling, dancing, and reaching for beads. A big part of this cross-cultural presentation is education; the telling of stories, origins, and histories. Simien willingingly shares with his young audience the story of Amede Ardoin, the first Creole/Cajun musician to record zydeco accordion, and about about how his people trace their roots back to Senegal Africa. It seems Simien was diversity long before it became a political term: his ancestors were French, Caribbean, African, and Native American. One of the highlights was long-time frottoir player Ralph Fontenot doing double duty by helping children--equipped with miniature rubboards around their little necks--on and off the stage after they'd had a chance to play along with the band. During the last portion of the show Simien performed a medley of hits from Crescent City artists like Dr. John, the Wild Tchoupitoulas (Mardi Gras Indians), and Fats Domino. Simien himself earned his keep on a muggy Sunday afternoon by relentlessly throwing multi-colored beads to all comers no matter size or age.

JJ Grey & MOFRO at Fredrick Meijer Gardens June 17

2010-06-15T17:44:00.029-04:00

We caught up with soul singer/songwriter JJ Grey as he busied himself finalizing production for his new album due later this summer. He was in the middle of getting copies made of the original recordings and sending the disc to be pressed. Otherwise preparing to depart for Grand Rapids and a show with Buddy Guy at the Fredrick Meijer Gardens Amphitheater on June 17. This trip comes days after a short Canadian tour with George Thorogood. One of the first things to come up is the oil spill.

“We don’t have any shows coming up along the Gulf coast so that’s not an issue now,” Grey says of the worsening slick in the Gulf of Mexico.

“But it will affect me somehow that’s for sure. I don’t know how but it will,” Grey says as if he might already know the answer.

One way Grey's livelihood might be affected is if no one wants to hit the Gulf Coast on vacation this year because they can’t go to the beaches. If bars and clubs are struggling keep the doors open they won’t need the extra entertainment expense. It seems the ongoing news of the spill’s magnitude hits Grey hard.

“I live by all kinds of lakes and streams. We’ve got fresh and salt water down here. I can get to the ocean and surf in about 35 minutes. I live in paradise,” says JJ Grey the outdoorsman.

His song "Lochloosa" may help illustrate his place among nature in his home state:

Homesick but it's alright; Lochloosa is on my mind. She's on my mind.

I swear it's ten thousand degrees in the shade. Lord have mercy knows - how much I love it. Every mosquito, every rattlesnake; every cane break – everything. Every alligator, every black water swamp; every freshwater spring - everything

All we need is one more damn developer tearing her heart out. All we need is one more Mickey Mouse. Another golf course, another country club, another gated community. Lord I need her, Lord I need her, and she's slipping away…

JJ Grey the musician lives in Northern Florida about half-an-hour west of Jacksonville and another 25 minutes from the udder–like chunk of densely-wooded Georgia forest protruding into the panhandle. Also living near him with the mosquitos and rattlesnakes is a well-known grasshopper. Hear tell it’s a cool grasshopper; you know, as insects go. Kind of spunky, resilient, and familiar. But evidently there's been some talk among the townspeople. Leave it to Grey to worry that people might say he is comparing himself to the grasshopper somehow, of all things.

“That is not the case," he says of the gossip.

"I could only hope to be as cool as that grasshopper. The old timers down here call it the Georgia Warhorse. It’s got a folklore all its own,” Grey says.

Founding players and writers wrote about things they saw everyday like trains. Other local sights and sounds inspired Southern writers were church bells ringing, steamboat horns bellowing, and shrill whistling. True to this storied writing form, Grey writes songs about elements of life in his neck of the woods.

“Things like the Georgia Warhorse are just part of my environment down here. I write about what I see,” Grey says.

But unlike the four-piece band that just toured with Thorogood, Grey plans on bringing a big Southern-style soul revue band to the Meijer Gardens complete with horn players and guitarist Daryl Hance. This way you'll get to experience the spirit of Stax records and songwriters like Tony Joe White. It’s not often he can get everyone together with so many schedules to deal with but it’s an opportunity he tries to enjoy every time.

“I encourage my players to go do their own things when they feel it necessary. We’re all adult men and try to deal with it as such. I appreciate these guys but I don’t want them to feel like they owe me anything,” says Grey.

His new CD on Chicago-based Alligator records, Georgia Warhorse, is due at stores and online August 24. A brand new song collaboration with Toots Hibbert (Toots & the Maytals), who contributed vocals, has Grey particularly excited.

"I had Toots up for the Blackwater Sol Revue. He will always be one of my heroes. I was excited to hear he'd participate in this project, so I sent him demos of me singing all the parts of the song. He sent it back and it sounded great in a way only Toots can," beamed Grey.

If you’re wondering if Georgia Warhorse will sound similar to its successful predecessor Orange Blossoms (Alligator), Grey offers this.

“I recorded it in the same studio as Blossoms with the same gear and some of the same musicians. All of my releases have featured different sets of players and this is no exception.”

Buddy Guy wsg JJ Grey & MOFRO at Meijer Gardens Thursday June 17 at 7 pm

(As of Tuesday 6pm only about 60 tickets remained)

Click here to hear more on JJ's MySpace page.

Smokin' Joe Kubek at Callahan's April 25

2010-05-23T13:51:00.007-04:00

Sometimes it's all you can do just to get to the gig. Van trouble and an hour earlier time change are just two of the pitfalls to hitting the road. It takes patience, work, and-these days-plenty of gas money to get anywhere. So by the time Smokin' Joe and company hit the stage at Callahan's, they were ready to play. The workman-like approach to the art of performing seemed to serve the band well. Featuring guest guitarist Jimmy Thackery, the Smokin' Joe Kubek Band with B'Nois King did what they could to liven-up an otherwise sleepy Sunday night in suburban Detroit-and it paid off for everybody. It was no secret Thackery was at the club the night before, hence an invite to stick around and play. Thackery took in all the latitude that Kubek afforded. Thackery is a tasteful guitarist by far. His presence was much anticipated. In a pleasant surprise was how well these guitar players--including King--fit together. Many times on slide guitar rather than straight lead, Kubek unfolded a steady perusal through his 20-year catalog. Featured were the songs "Texas Cadillac," "Burn One Down," and "I Saw It Coming." The latter featured the sweet vocals of B'Nois King. Enough cannot be said about the front man talents King commands, or about the way he approaches his job. King never loses focus that the audience is always a part of the show, engaging them even while a guitar tuning takes a little too long. It was hard to believe that this was only bassist Patrick Recob's (Kansas City MO) fourth gig with these guys. But it hardly showed-even for a live recording. King pitched a new CD on Alligator records due this spring. Sure there was the van break-down outside Rock Island IL a day-and-a-half earlier. Then there was the hour time change back east that inadvertently slipped by everyone. But Kubek and his band showed poise all the while, later rewarding themselves with a pint of Ben & Jerry's.

Wanda Jackson at the Orbit Room 5/15

2010-05-12T21:24:00.013-04:00

Rockabilly singer Wanda Jackson loves what she does. She counts her blessings for having made it this far in her decades-long career, and she gets a kick out of Betty White. She is a 2009 inductee to the Rock and Roll Hall of Fame (Early Influences category) and counts Elvis Presley as one of her former admirers.

Ask why music lovers who come out to her live shows still like to hear songs written 50 years ago, you’ll get this response.

“This music says America--rockabilly and ‘50s rock,” says Jackson on her way to a tour stop in Buffalo.

"I think songs like this will live on, really, forever because it's just classic and good stuff. Clean and innocent--for the most part. This music is so opposite from the stuff they're doing today. Not everybody likes what they're doing today. That's where we fill in a gap."

Jackson has been filling musical gaps all along, even forging her own way back in the ‘50s when it came to onstage fashion. She was one of the first to start wearing fringe dresses, high heels, and jangly earrings as part of her country singing act.

“I was the first to break barriers, whatever you want to call it. I had been wearing traditional cowboy attire. But I never did like because it was heavy and cumbersome. I didn’t look good in it. I’m only five foot one. It was just too heavy.”

“I told my mother who was always my seamstress that I wanted to come up with something that was showy but sexier, more glamorous. So we got our heads together, found this silk print, and decided that was the way we were going to go. I was the first one to get out of boots and hats,” says Jackson.

Her hour-long set with her band the Lustre Kings will showcase her influential singing style.

“I feel so lucky. I’ve always loved a variety of music. Even when I listen to it for pleasure I play a variety of styles. I feel fortunate that I could record it first of all, that my producer let me stretch and get outside the borders a little bit. This helped me in my career later on because now I have audiences in gospel, country, and rockabilly—I prefer to call it ‘50s rock.”

“Country and ‘50s rock are like kissing cousins. Anyone who likes one usually likes the other. It makes for a good varied show; I always get comments about the variety of material that I do. I even throw in a yodel to go with the gospel, country ballads, and Elvis songs,” says Jackson.

http://www.myspace.com/wandajacksonmusic

Wanda Jackson with The Lustre Kings, wsg The Rhythm Dogs (local) and DJ Del Villarreal (Ann Arbor), appear at the Orbit Room in Grand Rapids on May 15 at 7:30pm.

More info: http://www.orbitroom.com/

The Bruce Katz Band at the Livery in Benton Harbor April 18

2010-05-01T14:22:00.013-04:00

If there is one original music which has kept dance floors busy across this country it has to be the blues. We're speaking here of piano-based uptempo roots music sounds of New Orleans, sometimes known as early rock'n'roll. Musician Bruce Katz seems to understand this reality and, as such, tailored his live set at the Livery to include material from all the leading American songwriter sources. Whether sliding into a jazzy Professor Longhair tune or a Hank Williams honky-tonk, Katz is fearless when reaching into the well for treasures from artists whose ageless gems grow more valuable with time. Katz also has the foresight to include other home-grown keyboard influences which helped put this country on the musical map. All of this make for lively in-person presentation. The second song of the 2nd set was a nod to Katz's days with Ronnie Earl and the Broadcasters. "Blues in D Natural" proved a perfect showcase for guitarist Chris Vitarello. After trading hollow-body jazz guitar for solid wood Telecaster, Vitarello absolutely delivered. His first guitar solo was searing. Meanwhile Katz was providing some serious organ, often using the double-fisted triple keyboard method. Katz even stood up to play the piano in a Jerry Lee-inspired moment. Vitarello also proved a soulful singer as heard on the Allman Brothers version of Muddy Waters' "Trouble No More." From there it was on to what Katz described as a "Huey 'Piano' Smith version of Hank Williams" and a Fats Domino-inspired version of "Jambalaya (On the Bayou)." Drummer Ralph Rosen was spot-on, providing an enviable pocket in which to lay back. Katz featured songs from his most recent release "Live from the Firefly" and a tune from his Mississippi Moan CD originally sung by Mighty Sam McClain called "Hanging on the Cross." Katz finished up the night with tunes from Billy Preston and Blue Note's Jimmy McGriff ("Talking About My Baby") completing a unique American odyssey across the keys. (Photo by Alan Bartlett)

Morris Dees at Fountain Street Church April 1

2010-05-01T10:36:00.013-04:00

Morris Dees has spent the better part of his professional life illuminating the dark issues hate groups in this country espouse and act upon. When the founding member of the Southern Poverty Law Center in Alabama speaks, like he did at the Grand Rapids Community College Diversity Lecture Series on April 1, he articulates in an authoritative way few of his peers match.

Speaking in front of a mostly middle-age mainstream audience not quite filling Fountain Street Church, Dees gave a compelling and comprehensive update on hate groups operating in the United States today. Dees described first-hand accounts of these groups--with a glimpse into their future--and speculated on what factors may have given rise to recent activity.

“The issues that loom for this country--a change in political power and the change in how we cut the economic pie--will present an enormous problem for this nation.”

Dees says the real issue is this: America is changing—sooner rather than later.

“In 1950 non-whites made up 20 percent of the population; this year it will be around 39 percent. By 2042 census takers and demographers tell us that people like myself and many of you here tonight will be in a minority,” Dees said.

He says memberships in most hate groups have risen significantly in the past two years; this includes a new group which targets Latino immigrants. But he also cautions about hateful venom spewed by both mainstream media commentators and members of the Tea Party movement.

Although security was expected to be tight for Dees' appearance due to near constant death threats, absent were walk-through metal detectors upon entering. Just before the presentation was to begin a man heard raising his voice was seen being quickly escorted out of the church by GRCC campus police.

After some welcoming remarks by Bob Woodrick, benefactor for the evening's discussion, Dees—a former preacher himself--took to the podium.

"I accept those kind words of praise for all the people who have worked at the Southern Poverty Law Center," Dees began.

As he would throughout his 50 minute talk Dees infused his lecture with the words and examples of civil rights icon Martin Luther King.

“Dr. King faced rivals and many in his own race who had no vision, politicians with no backbone, and finally in Memphis a terrorist with no conscience," said Dees of the many challenges Dr. King experienced during his short lifetime.

"However in the forty years since Dr. King we as a country have taken three steps forward and two steps back in regards to the civil rights movement," Dees said.

"There has been an enormous backlash since because of the election of Barack Obama. That’s really the best way I know how to put it."

Speaking with a soft-spoken southern accent, Dees contends there are many factors at work on this issue.

“Maybe this backlash is because we have elected an African-American president. Maybe it’s because of the economy that we’re going through now which is the worst in my lifetime and the lifetime of most of you here. Or it could be a backlash because of the enormous Latino migration in this nation. But there’s been an extreme reaction since the election of President Obama in our country."

By this time the already attentive crowd grew more silent with each word.

"There are approximately 950 certified hate groups operating today--Ku Klux Klan, Skinheads and others,” Dees said.

“That’s a big increase in the number before Obama starting running for office. But more alarming is the increase in what we at the Southern Poverty Law Center call militia groups in our country; I won’t call them hate groups--they’re not necessarily hate groups. They are those groups who feel it’s necessary to arm themselves in order to protect themselves against our government."

As expected he made a direct reference to the Hutaree militia in southeastern Michigan whose members were arrested less than a week earlier.

“We know here in Michigan, recently, eight members of one these groups were arrested,” Dees said.

“This is a group I guess you’d have to qualify as an absolute hate group because they hate Jews. They felt the Jews were controlling our country and that we were going to have a One World Government, and they wanted to start a war to end that. They were going to kill a police officer and then blow up those who came to the funeral. Now whether they had the ability to carry this out who knows.”

“But there’s been a 244 percent increase in militia groups in the last 12 months alone. Something’s happened in this country in the last year or two to cause an enormous increase in these groups,” Dees cautioned.

Dees went on to describe the methodology of the newly described hate group.

“And then we have about a 50 percent increase in what we call ‘nativeist’ groups. These are anti-Latino groups and in many cases create acts of violence against Latinos, whether they’re documented or not in this country. All told there are about 1850 militia, hate, and ‘nativeist’ groups—or just plan Klan groups. That is a 44 percent increase in just one year alone. You add to that the whole Tea Party Movement that we have going on, and I’m sure exactly what it is and what it will amount to or what percentage of our people this represents. But there are some really ill-tempered and hateful things coming out of the mouths of these people. And on top of that we have commentators like Glenn Beck and other who say things like 'Obama hates white people.' I don’t know where this comes from but Beck has a big audience—a very big audience. Add to that the dozens of other commentators who 24/7 spout intolerance in the worst sort of way.”

The current climate in Washington did not escape scrutiny.

“Then you end up with-- I’m not sure it’s totally the reason for the increase--a Congress in absolute gridlock. We tried to pass a healthcare bill that just got through by the skin of its teeth and it was opposed 100 percent by the Republican Party. That’s not the Republican Party I knew growing up when you had people in it like Richard Nixon, who proposed a much more comprehensive health care bill than was passed by this last Congress,” Dees said.

While listening to these stories it may seem easy to lose hope in fellow man. But Morris Dees left time to once again quote Dr. King, referring to his famous speech at the Washington Mall and the role of faith in a better America.

“I don’t mean to put words in this great American’s mouth. But if Dr. King were here today he would have to include the barrios, the reservations, the poor, and perhaps even the uninsured,” as groups still in need of equality.

Dees spoke of the SPLC, an organization which pioneered innovative legal strategies—with some surprising allies along the way--to bankrupt contemptible groups like the Ku Klux Klan and Aryan Nations.

“I think the health care bill is a precursor to the problems we see today because the bill is about how we’re going to allocate cash resources in the future. You might say in many ways this is a class issue.”

Claudia Schmidt at Wealthy Theatre April 22

2010-04-19T11:57:00.016-04:00

The artistry of Claudia Schmidt goes like this: She's got a split-brain musical personality disorder--sort of. On paper, jazz and folk couldn't be further apart in most anything--audience included. However, over the course of a 35 year career Claudia has given the idea life and made it look easy. One might say her very own spot well-deserved; an 'X' on the musical stage of life. She practically invented a sub-genre of music--currently not classified by name--by infusing jazz and folk with highlights of spoken word and humor. Even with her unique talent and vision going for her, this duality is hard to grab hold of for some. Schmidt finds she must continue to carve out a space for herself.
“Those two forms--folk and jazz--as best as anything represent what I’ve been all along,” says Schmidt.
“I’ve always done a hodge-podge of different styles of music. My more easily described solo stuff tends to be more folk-ish and my band material more jazz-ish.”
The jazzy side of her sound will be the focus of her next show in Grand Rapids celebrating the release of her newest CD “Promising Sky” at the Wealthy Theatre on Thursday April 22.
Despite the boundary-straddling all is not on the downside for northern Michigan resident Schmidt. This twin approach has lead to musical appearances on the acclaimed “Prairie Home Companion” and spot in the movie “Gap-Toothed Woman.”
“Folk club owners are afraid to hire me sometimes for fear I’d sound too jazzy. Then you have jazz club owners who say ‘Oh. I didn’t know she was a folkie,’” says Schmidt from the middle of a two-week solo tour in the Pacific Northwest.
Add to that a perceived shrinking of an already-narrow mind set of some music listeners.
“It’s worse now than it has ever has been,” she says of people wanting to think of her in singular music categories
“People are less adventurous in terms of their musical palate.”
Leave it Claudia to come up with a handy answer for that.
“I’ve found I’m constantly there to rub salt in the wound of musical ignorance,” laughs Schmidt with her good-natured response.
“I’m here to say ‘Try this, it might not be as bad as you thought,’” noting that long term fans have always appreciated both sides.
“It’s still going to be me no matter what kind of music. It’s still my musical sensibilities. That is a constant,” says Schmidt.
“I’m only doing songs that I love to do. The art of performance for me is always about figuring out a fun sequence of songs. I never do the same set twice. That makes it fun for me. I always put together a set of songs that are special and particular for that night.”
Claudia Schmidt has stylishly out maneuvered musical margins—stealthy as she is—and that’s lucky for the rest of us.
On April 22 Schmidt will take the stage at the Wealthy with a quartet of jazz musicians from Traverse City plus local drummer Randy Marsh. Together onstage you get several decades worth of musical expertise.
“Promising Sky” contains several gems including the opening track, “Can’t Get Yourself Out of Love,” which reminds of Maura O’Connell courtesy of the languid pedal steel of Joe Wilson and enriching mandolin of Don Julin.
The bluesy side takes over on “Missy Ma’am,” a medium tempo propelled along by Marsh’s crisp drum work.
If putting together a long career weren’t enough, Schmidt must sometimes convince potential employers that while she might not be that much of a hot babe any longer, she remains the one who can deliver the goods.
“There are some club owners out there who when you call on them you get the impression they’re thinking, 'Oh, it’s you again. I thought you just went away…'”
At that point if Claudia has her druthers she’ll be right over with the salt shaker--no extra charge.

More info: http://www.claudiaschmidt.com/

Claudia Schmidt & her Funtet perform at the Wealthy Theatre on Thursday April 22 at 8:00pm. She also performs with the Funtet at Blissfest 2010 (Cross Village) July 9-11.

Bruce Katz at The Livery in Benton Harbor 4/18

2010-04-17T15:54:00.014-04:00

The Bruce Katz Band plays a live show at The Livery in Benton Harbor on Sunday April 18 at 6:00pm. The band features Katz, on Hammond B-3, along Chris Vitarello on guitar and vocals; Ralph Rosen on drums and Rod Carey (Ronnie Earl & the Broadcasters) on bass and vocals. Lately Katz has been part of the Greg Allman & Friends band. Here is a review of his 2004 release A Deeper Blue for 88.1 WYCE-FM.

The Bruce Katz Band: A Deeper Blue

Ross Bon of the Mighty Blue Kings poses this question: Is Ray Charles a first-rate blues singer or just a great jazz piano player? “You know what,” he says. “It’s both.” Bon ought to know; everyone just had to ask MBK if they were blues or jazz. Simply put, it was jazzy jump blues which couldn't help itself from smoldering in soul. A similar sentiment holds for this disc from Severn records--a solid blues label from the East Coast stabling Darrell Nulisch and Mike Morgan along with Bruce Katz. Katz is skillfully proficient on the piano as anything else: check out the honky-tonk duet “Stovepipe Boogie.” Most other times he builds on the soulful organ groove of the Hammond B-3. Many tracks on here are originals but one cover features guest guitarist Ronnie Earl (Katz was/is a member of The Broadcasters) on a vintage Earl Hooker piece, a cooker called "Blues in D Natural." A Deeper Blue offers shining and lively blues with jazzy low-down sensibilities. At his best Katz keeps the tempo moving just long enough for the sweaty lower-back, slow-drag blues to come around. All the players are solid. Enjoy now.

WYCE album review by Chet Eagleman, Jr.--July 2004

EXCLUSIVE: Smokin' Joe Kubek records live at Callahan's (Auburn Hills) w/ Jimmy Thackery 4/25

2010-04-16T12:14:00.007-04:00

TMGR is reporting that blues guitarist Jimmy Thackery will join the set of Texas blues band Smokin' Joe Kubek with B'nois King for a live recording at Callahan's near Detroit. Thackery, with his band the Drivers, plays the club the night before. The Kubek band will feature Patrick Recob (Gary Primich, Lee McBee& the Confessors) on bass.

More info: http://www.atcallahans.com/

All-Michigan Not So Taxing Wine Event at the BOB in Grand Rapids, April 15

2010-04-13T18:49:00.016-04:00

Although no fault of our own, April may forever be remembered as Dreaded Tax Deadline Month. Now for the good news: April has also been designated Michigan Wine Month by Gov. Jennifer Granholm. Throughout the month Michigan’s regional wineries are getting operations cranked up and ready to roll for the busy summer season. The wine industry gets things started with a bang at the “All-Michigan Not So Taxing Wine Event” to be held at the BOB in downtown Grand Rapids on April 15 from 5:30 to 9:00pm.

Event organizer Bill Koski says the reason to hold such a gathering is simple.

“We’re here to promote Michigan wines and at the same time promote Michigan jobs. This industry has to be one of the few bright spots of growth in our economy,” says Koski.

According to the michiganwines.com website, the official website of Michigan’s wine industry, wines made here produce nearly $790 million in total economic value for the state. Wine makers in the state employ 5,000 people with a payroll of $190 million.

Koski reports that 31 wineries will be represented Thursday on the 3^rd floor of the BOB to display wares and talk shop. The $20 admission price includes opportunities to meet the winemaker, educational talks designed to inform about wine production in Michigan and, of course, chances to sample wines and food made from by wineries and bakeries from Traverse City to Fennville.

According to Koski, General Manager with the Gilmore Collection, large wine gatherings like this are rare.

“Normally--other than conventions--these large events are held up north at places like Shanty Creek. We’ve got a who’s who of winemakers coming down from Traverse City including Chateau Chantal and Larry Mawby. The southwest growing region is well represented by Fenn Valley, Round Barn, and Lemon Creek Farm Winery of Berrien Springs,” says Koski.

Koski noted that five Michigan food producers are signed up. They include Stone House Bread of Traverse City (now available locally at D&W), the famous Farm Country Cheese House in Lakeview--the heart of Amish Country--which collects milk from 80 Amish farms to produce Amish cheese. Also, what would the afternoon look like without a trout farm representative on hand. The Douglas Winery from Manistee will be there with organic cheeses and hard apple cider. Cider, Koski notes, is “the oldest drink in America.” Other vendors slated to appear are Vertical Paradise Farms with tomatoes and Ingraberg Farms of Rockford with greens from their garden.

Koski says that because of the increased interest from winemakers he hopes to make this event an annual stop on the wine calendar.

“This is by far the biggest all-Michigan tasting event to date. It’s not too often this many winemakers get together in this area let alone in the same room. It should be fun.”

More info: http://www.thebob.com/

An American Daughter at Jewish Theatre Grand Rapids

2010-04-10T12:20:00.016-04:00

A Wendy Wasserstein drama set in Georgetown Washington D.C. is the next production of Jewish Theatre Grand Rapids.
An American Daughter features local veteran actor Ray Gautreau in the role of the father figure. Gautreau was seen most recently in the G.R. Civic Theater presentation of One Flew Over the Cuckoo's Nest where he portrayed the character Randle Patrick McMurphy. TMGR has learned that Gautreau's role in Daughter features a steamy scene at a pivotal moment with a delightfully attractive blonde cast mate and one wonders what will unfold next. An American Daughter, directed by Jeralyn Pinsky, will be presented in the Spectrum Theater on the campus of Grand Rapids Community College. Show dates are April 15, 17, 18, and 22, 24, 25. More info at www.jtgr.org

Rick Estrin & the Nightcats at 411 Club Kalamazoo MI 3/27

2010-03-31T16:07:00.013-04:00

If Rick Estrin & the Nightcats have it their way music like theirs, a swinging set of time honored jump blues, will never go out of style. Estrin and the Nightcats appeared at the 411 Club in Kalamazoo laying it out with enough energy to keep the joint jumping and the dance floor dust-free. The second set began with a jazzy instrumental number which featured multifaceted bassist Lorenzo Farrell on Hammond B-3 organ just ahead the tasteful highlight reel guitar of Kid Andersen. It wasn't long before Estrin--snazzy shoes and all--was launching into the soulful Little Milton number "Never Trust a Woman." His showmanship needs appreciation. Not too many know the real art of front-man entertainer-ship but Estrin makes it look easy. Sporting the style with suits and pompadours, the period look of the Nightcats is from a simpler time when bands actually cared to dress up. Featuring songs from their most recent disc, Twisted (Alligator) Estrin and company did "A Ton of Money" to shouts of approval from the audience. From his days with former band mates in Little Charlie & the Nightcats, Estrin got busy with his signature tune of sorts, "My Next Ex-Wife." Soon after Andersen got the nod for the original surf-like "Earthquake," an instrumental which showed why he can rightfully inherit the once-revered spot held by "Little Charlie" Baty. Here's hoping they put a copy of the Rick Estrin & the Nightcats Twisted CD in the next time capsule so that future generations of music lovers may enjoy. (Photo courtesy of Dennis Tuttle)

Los Lobos "Acoustic En Vivo"

2010-03-31T15:58:00.014-04:00

35 years ago Los Lobos was not long out of East L.A.'s Jefferson High School. It didn't take long to realize that they should learn traditional Mexican music, polkas and folk songs. This way they could get more gigs playing Mexican quinciarras and other cultural occasions where traditional sounds were in demand. So they raided their parents’ record collections and scooped up traditional instruments, like the bajo sexto, for study at pawnshops. The young Wolves even made a pilgrimage to Mexico to see if they could really feel the historic vibe. According to Los Lobos founding member Louie Perez, this was the once in a lifetime opportunity “to learn first-hand the integrity of our culture.” Other musicians talk about how deep Los Lobos is; Acoustic En Vivo is what they’re talking about. Acoustic En Vivo spotlights a vibrant strumming technique complimented by the distinct blend of harmony voices that is unmatched when filling up the sound space in the finest concert halls world wide. Songs with such historical quality just aren't written anymore. Using the same fingers that wield wide respect on plugged-in instrumentation, Los Lobos finds an instant touch with soft hands on vintage Mexican jarana and tres guitars. There will simply never be a band like this again. Acoustic En Vivo is the finest documentation of their folklorico presentation that is available today. Click on the link below for a sample of this disc, the song "Colas."

http://www.youtube.com/watch?v=tsUtKfHX4wo

BB's Lawnside Bar-B-Q, Kansas City MO

2010-03-27T14:06:00.018-04:00

From the outside BBs Lawnside Bar-B-Q looks as inconspicuous roadhouses get. Once inside though the south Kansas City restaurant continues the unpretentious attitude right down to the red and white plaid tablecloths amid the smell of real barbecue aromas wafting from the back. Eight-foot long bingo hall style tables greet you with appropriately mismatched chairs--some folding and others hard plastic like you might find in the driveway at a graduation party--serve as invitation to pull up and take a load off. Cold bottled beer is still served without a glass while nearby diners munch on a combo plates of smoked turkey, ribs, and homemade sausage. The accompanying battered fries, lightly dusted length-wise cut, fresh deep fried potatoes, were right on the money. All this down-home eating fun happens underneath a large wall mural of notable blues music greats including Professor Longhair, B.B. King, and Muddy Waters. The wooden floor looks well-seasoned, comfortably so, as the brisket out back in the smoker.

Performing on this night was the five-piece KC-area band Lee McBee and the Confessors. It didn't take long for McBee and company to find a nice groove with their harp-based roots music show. Early in the second set things got rolling with a couple of Little Walter numbers, including the audience favorite "My Babe" and "Oh Baby," the latter featuring bassist Patrick Recob (Gary Primich band) on vocals. With Recob still at the microphone, they did a Smiley Lewis gem from Patrick's days with Primich, "Down the Road." Another highlight was Lee's own version of Bo Diddley's smash hit "I Can Tell." The best was saved for last as McBee performed "Come On In My Kitchen" as a solo chromatic harp piece for an encore. Afterward the ever amiable Lee McBee took the time to sign posters for all wanted one.

Allen Fieldhouse at the University of Kansas, Lawrence KS

2010-03-27T14:03:00.029-04:00

Allen Fieldhouse is located on the campus of the University of Kansas in Lawrence KS. It is home to the Kansas men's and women's basketball teams with a capacity of 16,300. The classic Kansan building is made of lime stone from the nearby prairie. It is named after legendary Kansas basketball coach Dr. Forrest Clare "Phog" Allen. "Phog" Allen coached at KU from 1919-1956 winning national championships in 1922, 1923, and 1952. As a student at KU Allen played for the inventor of basketball, Dr. James Naismith, beginning in 1904. Allen coached players who would go on to become Hall of Fame college coaches in their own right, among them Dean Smith (North Carolina) and Adolph Rupp (Kentucky). Between Kansas, North Carolina, and Kentucky, the three schools are members of an elite club to have notched 2,000 wins each. In that light, it seems like the fundamentals of both playing and winning were taught at Allen Fieldhouse. Allen also recruited Wilt Chamberlain to Kansas, and even coached former United States Senate Majority Leader Bob Dole. Allen was instrumental in basketball being accepted as an Olympic sport in 1936. Allen Fieldhouse was dedicated on March 1, 1955 when the Kansas Jayhawks defeated their in-state rival, the Kansas State Wildcats, 77-67. The actual playing surface at Allen is the James Naismith Court

Allen Fieldhouse has hosted several NCAA tournament regional and NBA exhibition games. Occasional concerts there have featured The Beach Boys, Elton John, Sonny and Cher, Leon Russell, Alice Cooper, ZZ Top, Tina Turner, Harry Belafonte, Henry Mancini, The Doobie Brothers, Kansas and Bob Hope. It has also hosted various speakers, including former U.S. President Bill Clinton in 2004, U.S. presidential candidate Senator Robert F. Kennedy (which drew over 20,000) in 1968, and activist Abbie Hoffman in 1970. More recently a group of American Indian singers and dancers from nearby Haskell Indian Nations University performed at half time of a women's basketball game.

Just getting to the Allen Fieldhouse location on campus can feel like a pilgrimage completed. Basketball fans from all over the United States seek this gym out, to look around and breathe the air; they travel just to touch the hallowed walls. Stepping into a non-game day darkened arena is like entering a basketball shrine. It's so quiet you might think you have to take your shoes off. When you walk around the concourse there is a palatable mystique that is hard mistake. With such an aura you might expect to see votive candles burning quietly in the corner. Allen is very clean and mostly untouched since the early days. Residing in the nondescript campus building underneath the vintage architecture of curved iron roof supports are the spirits of former players like Chamberlain, Jo Jo White, Danny Manning, Paul Pierce, and Kirk Heinrich. So much so you can almost feel their presence standing next to you.

The nearest top flight collegiate facility that is comparable in stature would be the now-retired Jenison Fieldhouse (MSU, East Lansing MI). Others in proximity include Hinkle Fieldhouse (Butler University, Indianapolis IN) and Welsh-Ryan Arena (Northwestern University, Evanston IL). Allen Fieldhouse is one of the few classic structures still hosting basketball games today.

North Mississippi All Stars at The Bottleneck, Lawrence KS 3/11

2010-03-21T12:49:00.024-04:00

The music of the North Mississippi All Stars is a natural hybrid byproduct for today's roots music lovers: one part Southern blues band, one part jam band trio, the rest rock-n-roll kids just having fun. Imagine if the Jelly Roll Kings with Junior Kimbrough strung together enough of their favorite songs to make you sit back and that is the essence of NMA. The multifunctional band appearing at The Bottleneck this night featured lead guitarist and singer Luther Dickinson, who also gigs with the Black Crowes; bassist/vocalist Chris "Big Cheese" Chew; Luther's brother, drummer and washboard player Cody Dickinson.

Entering the stage to the theme song from Sanford & Son the plaid work-shirted Luther Dickinson began the night authentically enough by running through a series of R.L. Burnside- inspired tunes on slide guitar. Early on Dickinson implored the audience to "shake what yo mama gave you" and many happily obliged. Next up was the bluesy "I'd Love to Be a Hippy," a song from the NMA release Hernando which featured the rich vocals of Mr. Chew. About midpoint through the show and just after the drum solo, members of opening act Hill Country Revue hopped onstage for some jamming. "Shake Em On Down" spotlighted the singing of tattooed, and apparent Lucero fan, Hill Country Revue vocalist Daniel Coburn. Later on during this half of the set, Luther got behind the drum kit for a spin with the sticks while Cody emerged to strum the washboard. The noticeable thing about the night was that NMA looked to be enjoying themselves thoroughly like it wasn't just another Thursday night in the heartland. So much fun in fact that Luther Dickinson at one point gave a holler and said, "Man, I feel like cussing," and proceeded to do just that.

The Bottleneck is non-smoking club in downtown Lawrence home to some of the best live music anywhere and features a sizable wooden dance floor plus two sections of flat board bleachers for convenient viewing or standing.

TMGR EXCLUSIVE: Organissimo last gig in GR 4/10 at Founders

2010-03-18T11:17:00.007-04:00

TMGR has just learned that Lansing-area jazz funk jam band Organissimo will play their last gig in Grand Rapids on April 10 at Founders Brewery. First word is that Hammond B-3 player Jim Alfredson has landed a full-time gig with blues singer Janiva Magness. Stay tuned for further details.

Lee McBee w/Mike Morgan & the Crawl in Europe summer 2010

2010-03-17T13:11:00.015-04:00

TMGR has learned that soul singer extraordinaire and harp player Lee McBee will be reuniting with his former band mates in Mike Morgan & the Crawl for a summer tour. Lee McBee says there are two outings on the books in Europe for May and July this year. Joining Mike Morgan on guitar will be drummer Kevin Schimmelhorn and bassist Drew Allain. McBee played with the Dallas-based Morgan & the Crawl for about 10 years beginning in the early 90s. Together they appeared locally at the Rhythm Kitchen Cafe in downtown GR and in Rockford. The Lawrence KS-area Lee McBee & the Confessors can be found most Sunday nights at BB's Lawnside Bar-B-Q in nearby Kansas City MO. He was recently honored as a 2009 inductee into the Kansas Music Hall of Fame.

Listen to the featured track "Twelve Hours From You" at:
www.myspace.com/leemcbeeofficialwebsite

The Kim Wilson Blues Revue at Martha's Midway Tavern & Dancehall (Mishawaka IN) Valentines Day 2010

2010-02-20T14:16:00.027-05:00

A nice shot of the bandstand at the historic Martha's Midway Tavern & Dancehall in Mishawaka IN as passed along by South Bend-area photographer Todd Gentzhorn.

A passerby walking down the sidewalk might miss altogether the unassuming storefront of Martha's Midway Tavern & Dancehall. Opened in 1924 Martha's is a Midwest live music landmark having been featured on CNN and in People magazine. Situated between the General Tire Store and a residence, Martha's lies kitty-corner from Maury's Pub which sits across the street from the NAPA Auto parts store and is just three blocks from two train rails constantly crossing the heartland. Nestled in this cozy south-side working-class neighborhood Martha's is as real as advertised: a vintage tavern and authentic dance hall. The tavern out front features the bar area and pool table where on most music nights you pay no cover. The dance hall in the back, unchanged for decades with plaster walls and two rows of antique decorative globe lights running the length of the room, is ticketed however. This place you'll notice reeks with history--musical and otherwise. It's said that Al Capone used to hang here in prohibition days; tunnels underneath the building lend credibility to that assertion. By looking at the many pictures on the walls and the scribbled signatures behind the stage it seems like just about every blues/roots musician/band in the past 50 years has played Martha's.

On stage this night was the Kim Wilson Blues Revue featuring hometown boy "Little Frank" Krakowski. From left, at the piano Barrelhouse Chuck (Little Brother Montgomery) who has studied under all of the famous Chicago blues piano players including Sunnyland Slim; Billy Flynn (guitar) formerly with Mississippi Heat and we hear tell is some kind of phenomenal mandolin player; behind the kit is drummer Richard Innes who is a true legend with world-wide recognition as an innovator of the West Coast jump blues style having played with the Hollywood Fats Band and George "Harmonica" Smith; Kim Wilson, sounding all the more like the late great Little Milton; originally from Richmond CA, Randy Bermudes on bass (Fabulous Thunderbirds) and Little Frank. Also partially obscured at far left is Amanda Wilson, amp hauler for the weekend.

The show at the Midway was the group's fourth gig in two days (as musicians sleep schedule goes it was really only about a day and a half with the early start on Sun). In attendance at the Valentines Day show was singer Tom Moore of Little Frank & the Premiers who bears a striking vocal resemblance to O.V. Wright. Gerry Hundt, also known as a great mandolin player himself (Nick Moss & the Flip Tops) radio guy Ol' Harv and "Big" Frank Krakowski. www.themidwaytavern.com

Boo Boo Davis canceled; Zora Young to replace

2010-02-12T10:59:00.008-05:00

According to Pete Bruinsma at WYCE, on Thursday Boo Boo Davis, scheduled for the Cabin Fever show at Billy's on Feb. 27, canceled due to band member illness. Singer Zora Young (left) named as replacement.

Morris Dees rescheduled for April 1

2010-02-12T10:53:00.005-05:00

According to Chris Arnold at GRCC the presentation of Morris Dees, originally canceled because of a snowstorm, has been rescheduled to April 1 at 7:00pm in the Fountain Street Church.

WGVU Morning Show with Eddie Rucker & WGVU Saturday Night Blues guests

2010-01-26T09:01:00.035-05:00

A look back at some of the guests interviewed and topics addressed on The WGVU Morning Showing with Eddie Rucker and WGVU's Saturday Night Blues in the late 90s.

The WGVU Morning Show with Eddie Rucker

John Trudell (American Indian activist/actor/musician)
Ted Nugent
Helen Thomas (White House corespondent)
David Osmond (son of Alan, nephew of Donny)
Susannah Kenton (daughter of jazz great Stan Kenton)
1998 USA Men's Volleyball Team
Ernie Harwell
Chester Eagleman, Sr.
Myrlie Evers-Williams (widow of slain MS civil rights activist Medgar Evers)
Davy Jones (The Monkees)
A former prostitute (Women's Issues segment)
Rep. John Conyers
Rep. Pete Hoekstra
Edith Gilbert (Ask Edith wedding planning tips)
Deb Conrad (construction worker)
Attorney General Jennifer Granholm
Floyd Mayweather (pictured next to Eddie Rucker, second from left front)
Todd duBoef (Top Rank Boxing, Las Vegas)
Attorney/Former Candidate for Governor Geoffrey Fieger
Liz Mandeville (blues entertainer, Chicago)
Ben Vereen
Rev. Samuel "Billy" Kyles (award-winning segment)
Butch Mudbone (American Indian musician, Memphis)
G.R. Mayor John H. Logie
Jim O'Neil (publisher, The Paper)
Former Vice President Dan Quayle
Debbie Allen (Fame)
Congressman Vern Ehlers
Former Chairman Joint Chiefs of Staff Gen. Colin Powell
Gov. John Engler
Rob LaDew
David May (GRACE Racial Justice Institute)
Tim Giago (S.D., publisher of Indian Country Today newspaper)
Michigan Gender Equity lawsuit (Title IX)
Michigan Right To Die initiative (Proposal B)
Rev. Fred Phelps (virulent anti-abortion proponent, Wichita KS)
Dennis Banks (American Indian civil rights advocate (pictured top right) with Kevin Richards of Skyview Traffic)

Saturday Night Blues

Robert Cray
Ross Bon (Mighty Blue Kings)
Derek Huston (The Iguanas)
Ken Saydak (in-studio performance)
Hank Mowery & Junior Valentine (in-studio performance)
Lynwood Slim
Ben Vereen (impromptu vocal in-studio performance)
Charlie Baty (Little Charlie & the Nightcats)
Big Sandy & his Fly-Rite Boys
Corey Harris
Ray Condo & his Ricochets
Jimmie Stagger (in-studio performance)
Tad Robinson
Mr. Downchild (in-studio performance)
Johnnie Bassett
Roberta Bradley & John Gist
Robert Ward (in-studio performance)
Gary Primich
The Mighty Littlejohn Band w/ Billy Rider (in-studio performance)
Big Dave & the Ultra Sonics
Rich Lataille (Roomful of Blues)

West Michigan Benefit for Haiti Relief at Intersection 1/28

2010-01-23T10:53:00.004-05:00

On the heels of the pop music's mega-production telethon effort to raise money for the victims of Haiti's earthquake comes a similar heartfelt effort- grassroots this time around- when local musicians gather in the front room of the Intersection in Grand Rapids on Januaray 28 to raise money for the Red Cross effort in Haiti. The Donald Kinsey Band along with Jimmie Stagger (presumably solo) and other local musicians including Griff and Jon's Afterhours Experience - featuring Ray White (former guitarist with Frank Zappa) with Griff from the Verve Pipe (Botfly, Daddy Longlegs). Bluesman Stagger has answered the call for musical assistance once again and lends his time as he has done throughout his career for the positive work of groups like God's Kitchen, Hospice of Grand Rapids, and Crib Full of Blues among many others. If you've never seen Jimmie alone with just a National steel guitar then you've never seen his real forte in action. $20 VIP includes food at 5, music at 6; from 7-11 only $10.
Please see www.sectionlive.com for more details.

The Twilight Saga: New Moon movie has TMGR relative

2009-12-11T16:32:00.012-05:00

TMGR has learned that a relative of the publisher of this blog portrays the human werewolf character Sam Uley in the new hit movie The Twilight Saga: New Moon. Actor Chaske Spencer (second from left) has recently appeared in the movie 'Skins. He is originally from Lewiston, Idaho but his mother is from Montana with relatives in Michigan and Kansas. He moved to New York to study acting during his freshman year at college. Tidbit: His mother called up a relative to ask them to try to talk Chaske out of a cross-county hitchhiking trip he was on when Chaske turned up at the relative's home in MT.

Exclusive: R.J. Mischo at Cow Pie Blues 2010

2009-12-05T11:05:00.012-05:00

TMGR is reporting that Fayetteville, Arkansas-based harp player R.J. Mischo and his band will be appearing at the 2010 Cow Pie Blues Festival held annually in August in Caledonia MI. Earlier R.J. had to scrap a late spring/early summer tour completely--one that would have stopped in Grand Rapids--because of a lack of gigs. It's nice to see when artists from down South are able to string enough dates together to get here and back home again. Check out
www.myspace.com/rjblues

Morris Dees at Grand Rapids Community College on Wed Dec. 9

2009-12-01T12:54:00.008-05:00

Famed civil rights activist Morris Dees speaks at Grand Rapids Community College on Dec. 9 part of the Diversity Lecture Series 2009. Dees, co-founder of the Southern Poverty Law Center which was responsible for integrating the all-white Montgomery Alabama YMCA in 1969, speaks in Fountain Street Church at 7:00 pm. As an attorney Dees was one of the principal architects of an innovative strategy of using civil lawsuits to secure a court judgment for money damages against an organization for a wrongful act and then use the courts to seize its assets (money, land, buildings, other property) to pay the judgment. Dees' legal actions against racial nationalist groups have made him a target of criticism (to say the very least) from many of these organizations. He has received numerous death threats from these groups, and a number of their web sites make strong accusations against him and the Southern Poverty Law Center. More recently Dees obtained a judgment of $12 million against Tom Metzger's White Aryan Resistance. He was also instrumental in securing a $6.5 million judgment against Aryan Nations in 2001. Dees' most famous cases have involved landmark damage awards that have driven several prominent neo-Nazi groups into bankruptcy, effectively causing them to disband and re-organize under different names and different leaders. He is expected to talk about the resurgence of hate groups across the US since the Obama administration took office. Dees was most recently at Grand Valley State University in early 2000.
www.splcenter.org

Bill Lupkin at Billy's in Grand Rapids Fri Nov 27

2009-11-27T15:00:00.007-05:00

Bill Lupkin along with his brother Steve Lupkin have been playing harp-based Chicago blues for 30 years. Amplified harp man Bill and bass playing Steve have deep roots in the vibrant Windy City scene with people like Jimmy Rogers, Johnny Littlejohn, and Junior Wells. Between the two of them they have played and shared the stage with just about all of the old-school greats from that city. The brothers played the classic Chicago neighborhood blues bars like the north end Wise Fool's Pub ('71 with Buddy Guy), Ma Bea's on the gritty west side (with Howlin' Wolf), and the famed Pepper's Lounge on South State Street. Bill has performed with Muddy Waters (Wise Fool's '70) and Fred Below (Europe '69). Indiana native Lupkin made somewhat of a career within the relatively short commute to Chicago by gigging with the heavy cats. He knows his stuff and can back it up with a rich, fat toned harp. He's on the roster of Chicagoan Nick Moss' Blue Bella record label with a CD called Hard Pill to Swallow. This show features a guitarist who has played with Moss and a drummer formerly of the Junior Wells band. (Picture by Kate Moss at Buddy Guy's Legends, Chicago)

Los Lobos at Goshen College (IN) Nov. 21: Acoustic Brilliance

2009-11-20T16:50:00.021-05:00

Thirty-five years and still going strong, this Grammy® Award winning band has captivated fans around the world. The band’s evolving styles are influenced by traditional Spanish and Mexican music, rock and roll, R&B, folk and country. Rolling Stone magazine confirms its relevance: “With the exception of U2, no other band has stayed on top of its game as long as Los Lobos.”

Los Lobos has recently taken their world-class traditional acoustic presentation, or their folklorico set, to some big names in higher education : Humboldt State University (CA), Michigan State University (Wharton Center), UCLA; early next year finds the band at Duke, the University of Alabama, and Mississippi State U. It seems fitting somehow that the Lobos set of traditional Mexican folk music would find its way into the halls of academia because, after all, this presentation is of Smithsonian Museum-grade caliber hence its still-vital educational value. Equal parts history lesson, language seminar, and music appreciation, this close-to-the-heart show was multicultural long before the term was even coined; the always cultural Lobos have been singing these songs since day one of their storied career. The use of traditional instrumentation like bajo sexto, tres, and guitarron only serves to add authenticity. So when the band lands at Sauder Music Hall on the campus of Goshen College in Indiana on Saturday Nov. 21, the Lobos will be among familiar performance hall confines. The acoustic show is seen more rarely than Lobos in-demand electric set. Just the four original members onstage at first but the night will also include at some point Steve Berlin on saxophone with Cougar Estrada on percussion. Acoustic Lobos opened up for The Chieftains (or as Dave Hidalgo put it that night "Los Chieftains") for a series of shows in 2000 which included a stop at the Meadowbrook Music Festival (Oakland University, Rochester MI). This presentation has the ability to make you rethink and reconsider how music can and should be played. (Meijer Gardens photo courtesy of Pamela Troyer) More Goshen College info at:
http://www.gcmusiccenter.org/php/programming/performing.arts.php

All things Los Lobos: http://loslobos.setlist.com/
and http://www.loslobos.org/site/

Medeski, Martin & Wood in Grand Rapids at the Intersection Nov. 18

2009-11-17T16:36:00.010-05:00

20 years ago Whitesnake made it cool for macho tough guys to sing along with a hard rock ballad--in front of their girlfriends no less. 10 years later Medeski, Martin & Wood made it good for hippies to go hear a jazz band and really listen. As you know true music lovers appreciate most all types of music evenly, so this is a show for them. The long jamming (read The Dead) and improvisation of MMW is what many hippies flock to, an aspect that was lifted directly from American jazz. For those seeking, they can get the best of both worlds at a MMW show: songs that aren't performed the same way from night to night; tie dye; modern forward-looking sounds; cute patchouli sprinkled hippie chicks. All of that adds up to a solid live performance; glimpses of briliance which were seen as far back as spring 2001, which was the year MMW played the Kalamazoo State Theatre to a crowded throng of mostly college age people. During that particular show percussionist Billy Martin played flattened metal pieces as percussion in retrospect could have been tile. Keyboardist John Medeski has recorded with gospel pedal-steel star Robert Randolph in a band called The Word and more recently appeared on hard-core jazz saxophonist James Carter's 2009 CD Heaven on Earth. Double bassist Chris Wood gigs with his brother Oliver in a acoustic blues/folk format-which also defies tidy description-appropriately called The Wood Brothers. A jam band in the MI area now covers their song "Bubblehouse" (Back Forty). www.sectionlive.com for more details.

The Wood Brothers at House of Blues Cleveland (Cambridge Room) May 21: Past, Present & Future of American Music

2009-11-16T14:52:00.034-05:00

In some record stores the Wood Brothers, Oliver (l) and Chris (r), might find their CDs filed under the broad folk category. But what the Woods turned out on May 21 was anything but introspective lyrics and guitar. The show in the cozy 200 seat Cambridge Room, adorned in medieval decor, at the House of Blues in downtown Cleveland was an impressive intimate performance consisting of heart felt, soul laden acoustic blues--many of them originals. On this warm summer night by the lake, the choice in venue was ideal. The wholesome sound of the Wood Brothers in-performance is organic, natural-with no drums at all- and seemingly no added filler but perhaps a dash of preservative for good measure. This set on a wonderful Ohio night featured songs from their 2008 release Loaded (Blue Note). "Don't let me fall too fast, I want to fall slowly, I want my fall to last," sang vocalist Oliver Wood who soon had all the folks sitting down front cross-legged on the floor in the palm of his hand on "Fall Too Fast." His voice has an aged quality and youthful innocence to it sounding both vintage and in-step at the same time. Bassist Chris Wood, who we've known all along is more than technically proficient on his instrument (he of jazz jam band Medeski, Martin & Wood), showed more grit, fire, and soul that first imaginable at HOB. Intent on showing they are no flukes when it comes to exploring the deep well spring that is American music, the Woods unleashed a rousing gospel version of "You Never Can Pray Enough," which had the more zealous of the believers swaying tie dye in the aisle. The blues roots showed early and often with a stunning reading of "Make Me Down a Pallet on Your Floor"(Mississippi John Hurt). One of their best songs was performed next, "Postcards From Hell," which according to Oliver is purportedly about a guy who "plays in a chicken coop," and featured Chris Wood getting out the bow for his bass fiddle. Not to be outdone by anyone in the Cleveland area, the Woods whipped out a Beck cover for good measure. The boys also did a song from their late mother who had recently passed, "Lovin' Arms," which must make Mrs. Wood awfully proud somewhere. Their sounds alternated from jazzy to folky and back to bluesy seamlessly. Initially Oliver had been playing a National steel guitar but he got out an acoustic for "Liza Jane," a song featured on their most recent effort Up Above My Head (Sister Rosetta Tharpe). In the Wood Brothers ever-capable hands this New Orleans stalwart tune sounded fresh, loose, and invigorated. Next up was the song "Chocolate on My Tongue" from the release Ways Not To Lose; about this time the vibe was getting good, of course, just as things were winding down. "Fixing a Hole" contained an attention-grabbing bass solo from Chris. The Wood Brothers live far apart in real life and only get to see each other at these shows-or so they said. Here's to the whole Wood family; hope you can get together more often in the near future. Chris Wood appears with Medeski, Martin & Wood at the Intersection in Grand Rapids on Nov. 18. Check www.sectionlive.com for more details.

Kim Wilson Blues Revue at the Livery Oct. 25: Little Walter Rides Again

2009-11-16T12:03:00.018-05:00

At the Livery brewery in Benton Harbor on Sunday Oct. 25 Kim Wilson demonstrated once more why remains atop the modern blues harmonica scene with an exceptional late afternoon performance. The second set of the show started with an audience request for Little Walter’s “Juke.” While this oft-requested tune has seen the miles, in the hands of Wilson and company it still breathes real life; they wasted not a single note impressing the small but engaged crowd. This edition of the Kim Wilson Blues Revue turned out to be such a tight collection of first-rate players that they perceptively know just what tune they’ll do next by the time Kim begins to count off. During the course of the show just a nod from Kim or some brief eye contact, and the band was off into the next number. Audiences get their money's worth each night as Wilson wastes no time between the end of a song and the beginning of the next, ala Van Morrison. Only first-rate musicianship allows Wilson to cut a wide swath in order to uncover all the elements of true blues music; songs and styles that may go by the wayside with Wilson’s other band, the guitar forward Fabulous Thunderbirds. Featuring Barrelhouse Chuck allowed Wilson to delve further into the deep history of Chicago piano blues reminiscent of keyboardists like Sunnyland Slim, Lafayette Leake, and Otis Spann. If there was one thing this lineup was assembled for it is Wilson’s overlooked instrumental harp extended jam workouts. These jams, often on the chromatic harmonica and sometimes solo, are a true privilege of seeing Kim and company in such a small place. There is no mistaking the influence of Little Walter on Wilson, as Kim was asked to perform all the Little Walter parts for the 2009 motion picture Cadillac Records. But on the chromatic Wilson conjures up in real time the ghost of William Clarke, who as you know was one of the best ever on this particular harp. Wilson again chose the right band for this short tour as evidenced by Kim letting each of his players shine in their individual light. Early on in the set guitarist Billy Flynn got the nod to get out the slide for authentic sounding renditions of Elmore James (Shake Your Moneymaker) and Leroy Carr (Blues before Sunrise). Proclaiming that they as a band “love Jimmy Rogers,” Kim and friends furnished a modified modern version of “That’s All Right.” Little Frank showed off the subtle style that has landed him work with Hubert Sumlin. Kenny Smith proved once again why he got the call for this gig; he’s soft and creative when Kim solos and hits hard on some of the up-tempo pieces. He is one to watch (Kim said it in a word: “wicked”). Of all the great harp players working today, Musselwhite, Estrin, Hummel, and Piazza, Kim is the one with the most signature sound, style, and presentation. He looks just as comfortable without a harp in hand all while sweating out a soulful vocal number by Little Milton. Wilson is either gracious, yes, or just smart enough to let his band do their work. At times he’d walk over to be near Chuck during one of his keyboard solos as if being three feet closer would garner more vibe; apparently so, because it looked like he was really feeling it. Speaking of a solo solo, that was our encore at the Livery. Just Kim alone: a man, his harp, and an amp. After that Kim got his children up to play, Steven and Hunter (on guitar and bass), for some great Sunday-type of family atmosphere. All the superlatives now applied: exciting showman, star bandleader, authentic bluesman, and Dad.(Photos courtesy of Alan Bartlett)

Kim Wilson Blues Revue at The Livery (Benton Harbor) Oct. 25

2009-10-15T08:36:00.014-04:00

If there was one blues/roots musician who can get the most out of the best players of a genre it has to be Kim Wilson. When not fronting the Fabulous Thunderbirds, Wilson executes a true-to-form time honored jump blues project that is without peer. Already we've seen Kim record (My Blues, pictured) with guitarists Junior Watson, Kid Ramos, and Rusty Zinn, along with pianist Fred Kaplan, and the dream team rhythm section of bassist Larry Taylor and drummer Richard Innes (both formerly with Canned Heat). When last in the area the Blues Revue employed as back up Doug Deming and the Jeweltones plus regional lead guitar legend Steve "The Snake" Nardella. Kim continues the fine tradition of featuring stellar musicianship when he appears next at the Livery in Benton Harbor on Sunday Oct. 25. For this gig Kim will be playing with some of Chicagoland's finest players, including guitarist Little Frank (Hubert Sumlin), guitarist Billy Flynn (Mississippi Heat), pianist Barrelhouse Chuck (Nick Moss & the Fliptops), bassist Bob Stroger (Pinetop Perkins, Lester Davenport), and pocket timekeeper Kenny "Beady Eyes" Smith (Ken Saydak, Rockin' Johnny Band) who is the son of blues drum royalty Willie "Big Eyes" Smith (Muddy Waters). Both Stroger and Smith won Living Blues magazine's 2009 Living Blues award for Most Outstanding Musician on their respective instruments. Check http://liverybrew.com for more details.

Root Doctor Members on the Move

2009-10-07T20:26:00.005-04:00

TMGR has learned that two members of Lansing-based Root Doctor will be leaving the band in November. Guitarist Greg Nagy leaves to pursue solo projects with his trio The Greg Nagy Band and organist Jim Alfredson departs to focus attention on his jazz funk outfit Organissimo.According to sources the split is amicable and understandable. Look for the Root Doctor at Billy's in Grand Rapids on Sat. Oct. 10 while Nagy and company appear at the club on Oct. 30.

TMGR Exclusive: The Fabulous Thunderbirds at The Livery (Benton Harbor MI) in August

2009-07-03T10:45:00.005-04:00

The Fabulous Thunderbirds are set to play the 4th anniversary celebration of The Livery Brewery in Benton Harbor. TMGR has learned that the group, led by phenomenal harp player and soul singer Kim Wilson (pictured), will be appearing the weekend of August 15 for two shows (tentatively Friday the 14th and Saturday the 15th). TMGR will confirm the dates soon.

The Winchester-Grand Rapids

2009-06-08T19:39:00.013-04:00

On our most recent visit to one of Grand Rapids' newest gastro pubs TMGR was generously offered the opportunity to sample The Winchester's signature frog legs with mango mustard sauce (good sauce but in our humble opinion it could have used a tad more gourmet Dijon mustard). It was prepared well with a light batter encasing tender succulent frog leg and thigh. The frog legs were said to have come from "Smyrna." We washed it down with one of Northern Michigan's finest hand-crafted brews, a pint of Short's Brewing Company (Bellaire MI) Bellaire Brown. Add a non-smoking atmosphere, throw in a Red Wings shut-out victory and there is practically no way to go wrong. Make it your first stop on the next Red Wings playoff game night. The Winchester is located at 648 Wealthy St SE.

Nomad Willy at Billy's Lounge 5/16

2009-05-15T14:11:00.008-04:00

Nomad Willy is a blues band born of the open mic night at the Intersection nightclub last summer. The core members of Willy were frequent participants who backed up jam hosts Jimmie Stagger and Hank "The Hawk" Mowery. They play a good mix of blues, rock, funk and soul as witnessed by TMGR at the Point Bar on Grand Rapids' west side in March. Nomad Willy features the phenomenal Molly B on vocals. Molly is a natural when it comes to engaging an audience and holding their attention with her beauty and voice. She looks to B incomparable if not unstoppable. Come see for yourself when Nomad Willy plays Billy's Lounge on Saturday May 16. The buzz from music lovers about these guys and gal has always been positive. And it would seem that their schedule reflects this as Nomad Willy looks to be busy with public dates throughout the summer.

Hank Mowery w/ Count Bracey & the Pleasuretones at Billy's 5/9

2009-05-06T13:55:00.025-04:00

According to their website, Count Bracey & the Pleasuretones "play traditional and jump blues with the authenticity of an uncut diamond and the seriousness of a well timed left-hook." (Maybe it was a Manny Pacquiao sort of well-timed left hook like the one that recently dropped Brit Danny Hatton) But to hear drummer Chris "Count" Bracey tell it all, the American jump blues treasure as we've grown to know and love it may be on the ropes and is the one headed for a KO. How could this be? You mean this valuable slice of cool Americana--sweet like bowling shirts for guys and sweater sets for the gals--could be headed for demise? Ain't that a shame to say goodbye to dark service station Dickie's-style shirts and the flip hairdo. All fashion aside, a good jump blues band can be engagingly visual with the bass player slapping a big acoustic bass, the guitar player playing a vintage hollow-body guitar out of a crusty old amp. Sorry if this seems like we're rehashing nostalgia but this officially timeless music of America most steeped in all the important roots musics: country, rockabilly, Western swing; the spawn of the blues that became rock and roll. There is an art to playing behind a harmonica player, like Hank "The Hawk" Mowery (above right), so it would appear Bracey and company have it going on. See for yourself when harp-meister Mowery plus Bracey & The Pleasuretones play at Billy's Lounge on Saturday May 9. "You have to listen to the harp player, see where he's going and try not to out play him. It helps to find the groove," explains Bracey. For all their demonstrable talent it seems that today's blues crowd would more prefer to hear a Stevie Ray Vaughn cover, "Brown Eyed Girl,"or better yet, another semi-all right version of "Mustang Sally." Could it be that the paying crowd would rather settle for the songs/artists that they've been programmed to like? Programmed, i.e. brainwashed courtesy of Clear Channel & Regent repetitious programming. "People get in a rut with the music they hear. The only music they know is what they hear on mainstream radio and that isn't the stuff we play. If people listened more to jump blues the more they would like it," Bracey suggests. This type of blues has been around for decades ever since people like Texan T-Bone Walker headed west for work opportunities and infused their deep blues and Texas swing with cool California jazz. Bracey is a minimalist, in a sense, with his drumming style: an extra stripped-down kit with just a bass drum, snare, hi-hat, and one ride cymbal. This arrangement forces the particular drummer to be more inventive with fills (most often on the cone of the cymbal or the rim and side of the drum) and more steady with the beat (also using right hand on snare), something not all drummers are capable of nor inclined. But come to find out, Bracey only started this formation when fronting his own group so that the audience may better see him sing and play (plus he couldn't get the rest of his drums in the crowded car on gig night). Bracey's love of this music came by quite honestly, through his jazz studies in the now-defunct music program at Jackson Community College. "I was never a phenomenal jazz drummer. But because other drummers in the program weren't reliable enough to show up for class I got to play at least twice a day, once with the jazz group and once with the big band; that helped my playing immensely. I wish I had that to do all over again," notes Bracey from his home near Grass Lake MI. Even at that location, Bracey can't get a gig at the local Jackson "blues" bar probably because his group isn't loud enough to be heard over the chatter. The Pleasuretones set includes a smattering of more mainstream artists like The Fabulous Thunderbirds and includes tunes from the T-Birds early catalog, which is pure rock and roll, such as "Wait on Time," and "Rock With Me," plus "Baby, Scratch My Back." If Bracey had his way, his group would sound more like Wynonnie Harris, Roy Milton & his Solid Senders, Louis Prima, and Louie Jordan, among other giants of the jump genre. "I've always liked Billy's. They have a good, appreciative crowd. And they like to dance and dance, man," says Bracey with a laugh. "That's cool, more than enough motivation right there."

Horns A-Many: Hip Pocket at Billy's 4/25

2009-04-21T15:25:00.026-04:00

Bands with horn sections used to be all the rage from local guys Newt & the Salamanders to national touring act Roomful of Blues and every manner of crazy ska/reggae band in between ( bop Harvey, Daddy Long Legs). Although those days seem long ago, newer bands like JJ Grey & MOFRO carry at least two horns. But the bottom line is that when the economy goes raspberries the horns are the first to go. But for Phil Marsh's local horn-enriched 10 piece band Hip Pocket the lack of competition has its advantages. "Not having those bands around is good for us in a way," says Marsh during a break from his end-of-semester chores as adjunct professor of jazz guitar at Grand Valley State University. "There are a couple of reasons why there aren't too many around anymore. For instance, if you have more than one horn in a band you need a horn arrangement. And while it may seem basic it needs to be legible so the players can actually read it. Some people don't like to the put time into that. The arrangement has to include the rhythm section as well. Everybody has to be on the same page, making sure particular solos are a certain length every time. The more complex the arrangement the more critical it is for a good rhythm section be on board." Hip Pocket strives for the crisp brass & reeds of Tower of Power, the soul of Earth, Wind & Fire, the funk of James Brown, Motown, and the Dave Matthews jazzy sound. Dave Matthews, you say? "Dave Matthews is music unto itself and stylistically his own in that you know who it is right away when you hear it," explains Marsh. "We fatten up the voicings for the horns on those songs. From the rhythmic standpoint Dave Matthews is challenging and that's what we like about them," says Marsh noting that the HP set includes DMB songs Stay (Wasting Time) and Too Much plus some of his earlier work. "Certain jam bands could use an arrangement or two but it takes a lot of discipline. I feel you lose a certain necessary edge in not having an arrangement and that the sound gets dull night after night because it's not the same. They start to play a lot of 'fill' as a result." The Hip Pocket must be doing something right; they stay busy year round with fund-raising event shows (Gilda's Club) and corporate gigs (GR Hoops event pictured), both of which affords HP the luxury of repeat customers year after year. "Corporate gigs can be lucrative. We're there to create a specific vibe and to exhibit a certain amount of professionalism," notes Marsh. "They will compensate us well to make the whole thing successful and we're definitely into that."

The Concussions: Magic Fingers

2009-04-14T15:25:00.017-04:00

The unearthly opening song for The Concussions most recent release, Magic Fingers (the name reminds me of a great but weird mechanic I once knew), sounds like the theme music from some late night, 1960s Abbie-normal sci-fi television series. The Invasion of the Closed-Head Injury Guys comes to mind. "Think Pink" sounds like what would be on the turntable during a game of naked Twister beach bingo on 'shrooms back in the day. "All Skate" takes us back to the more innocent days of roller skating on Friday nights. You know, the song that came on for the couples skate which found the girl you asked looking like she'd rather enjoy sharp shards of glass in her fountain drink than skate alone with your geeky ass (she only gives in because her Mom is giving her the eyeball from the sidelines). Yeah, thanks for the memories. Bill Vits drumming is spot on and, more importantly, never too loud. Great example of ensemble playing by everyone. Danny Barber on trumpet is heard on "Stiletto" which is instrumentally reminiscent of Dick Dale & the Del-Tones "Miserlou" (which the C-HIG's do rousingly in performance). The Concussions have established themselves as one of the U.S. prominent surf bands alongside the esteemed likes of The Volcanoes, The Trashmen, and Los Straightjackets (whose members sometimes appear locally with part of The Concussions crew as The b/sides and The Neanderthals). A warm fuzzy sound quality permeates Fingers courtesy of the analog production at Goon Lagoon Studios. So come on in, take off your skin and rattle around in your bones with The Concussions. Next time you too will wish you'd worn a helmet. Magic Fingers is available at http://theconcussions.com/

Gaelic Storm at the Intersection 3/19

2009-03-30T19:43:00.024-04:00

"...Russell Crowe is an ***hole..." Wow. What's up with that? Certainly more than a few attendees at the The Intersection's presentation of Canadian Celtic band Gaelic Storm on March 19 were left to wonder. But for many among Gaelic Storm's hearty Celtic fan base, they knew exactly what singer Patrick Murphy was blathering on about. It seems GS had written a song about an incident between Murphy and the Gladiator actor in which fisticuffs arose and things ended up with Maximus catching one in the jaw (The Night I Punched Russell Crowe). Gaelic Storm's niche is rollicking sing-along, audience participation numbers, and songs about drinking; and then later more songs about drinking. Fair enough. Sure, most of the songs were in the same tempo and rhythm. Still there is an organic natural quality to what they do, although the patter in between songs went on for what amounted to the length of another short song. To some the foreign accent thing only goes so far and certainly does not in total swap for another quick song. New Jersey-born Ryan Lacey was an absolute standout for the band this night playing a stripped-down percussion kit with some serious hand drumming on "The Scalliwag" ; the biggest piece of his kit was a conga. No wonder: Lacey twice graduated from the Los Angeles Music Academy, once for hands and the other for sticks. Jessie Burns on fiddle was noteworthy. Playing selections from their 2008 release What's the Rumpus?, GS showed just how worldly they have become (an appearance in the 1997 movie Titanic didn't hurt either) by incorporating traditional instruments from all around the world into their set. To wit: Guitarist Steve Twigger also played the bouzouki (The Beggarman); Pete Purvis played the traditional pipes, bagpipe, flute (Death Ride to Durango), plus the trombone (If Good Times Were Dollars); guitarist Murphy played accordion as well. "Darcy's Donkey" sported a spoon solo. "Kelly's Wellies" contained a memorable line about an earnest young man getting his groove on and how "he was trying to flirt in his hand-me-down shirt." You can't blame a guy for trying. The Intersection continues to bring in quality music rooted in tradition-whatever tradition it may be-from the vast world-wide stage.

Benefit for L.C. Davis at Diamond Ave. Hall Saturday 3/21

2009-03-10T14:39:00.007-04:00

Benefit party for L.C. Davis to offset medical costs at the venerable St. Isidore Casino, 435 Diamond Ave. NE in Grand Rapids on March 21. Music by West Michigan piano legend Lew Russ. Food by former owners of the Grand River Saloon and Rhythm Kitchen Cafe. $10 suggested donation (does not cover donation for food). Cash bar.

Tad Robinson: Soul Under Fire

2009-02-26T08:42:00.019-05:00

Admittedly (in a tongue-in-cheek sort of way) Indiana soul blues man Tad Robinson has played gigs at some dangerous, rough and tumble places in Gary IN and on the west side of Chicago. But nothing could have prepared Robinson for the excitement (if you will) of playing the Middle East in a war zone. And that's exactly what happened when Tad and his band visited Israel this past January during the latest Palestinian/Israeli Gaza Strip dust up. They had to play their show in a bomb shelter. "The local authorities would only let us go on after the club owner moved the show to an underground bunker/parking garage. We were definitely in range of Hamas missiles. At first we were worried about a low turnout," Robinson recalls from his home in the Indianapolis area. "But the people had been cooped up in their apartments for almost a week so they were willing to venture out. And a missile did hit outside on the street as we were finishing up. It was sad there was a war but overall things went pretty good." Tad Robinson plays the finale of the Cabin Fever Blues Series at Billy's on Feb. 28 in support of his recent release, A New Point of View (Severn). The disc (though not this appearance) features the guitar of Alex Schultz who is long known as the preeminent West coast jump blues player for his work with William Clarke and Rod Piazza & the Mighty Flyers. "Alex played with William Clarke on the "Must Be Jelly" recording which was blues record of the year that year. He had a choice between Clarke and Rod Piazza and chose Rod with Clarke's blessing. Alex replaced Junior Watson in the Mighty Flyers and everyone said that couldn't be done. But he did it and helped the guitar chair in that band become hallowed ground for all who came afterward, namely Rick Holmstrom (Mavis Staples)." But on A New Point of View, Schultz had to dig deep into his soul bag. "Alex and I have been lifelong friends. We grew up in New York digging the sounds of Otis Redding and Wilson Pickett. When he plays with me he gets to take on a different soulful role." Tad has been nominated in the Soul/Blues Male Artist of the Year category for the 2009 Blues Music Awards (formerly the Handy Awards). He also plays harmonica and his oh-so-soulful singing voice has been described as having both "sandpaper and honey" qualities. The band he will bring on Saturday are some mates from Indy, Kevin Anker (keys) and Paul Holdman (guitar), plus phenomenal players from Chicago (well-versed in Tad's music) in bassist Harlan Terson (Dave Spector) and Marty Binder (Albert Collins & the Icebreakers, Ken Saydak) on drums. Tad has been busy establishing himself as a premier soul singer alongside the biggies: Curtis Salgado, Robert Cray, Doyle Bramhall, Darrell Nulisch, and Lou Pride. Robinson knows well how important it is to create your own niche. The niche that he has fashioned allows him to look farther afield for gigs when the music business is slow, like in January, hence the trip to Israel. During a time when gigs have been slowing down for some blues musicians, Robinson has a full slate of shows going into the summer including plans to head to Russia and Belgium in April, an enviable schedule he attributes to the aforementioned niche building. "European folks like the soul blues vibe. We have a pretty active touring circuit over there." Here's hoping the next trip overseas will be less eventful. "During the week we were there we got to see and hear how the average Joe on the street and Israeli intellectuals viewed this conflict," Robinson observes. "After a week the public attitude had changed considerably. It was an interesting peek into a different high stakes political environment."

The Kinsey Report at the Kalamazoo State Theatre 2/27

2009-02-26T08:18:00.008-05:00

Chicago-based blues/rock band The Kinsey Report make a headline appearance in Kalamazoo this Friday Feb. 27 as part of the WRKR-FM 2009 Bud Blues Series. The Kinsey Report has previously appeared at the venerable State Theatre as an opening act for B.B. King. The Kinsey brothers have performed in the West Michigan area for many years. You may have seen them play at the Silver Cloud, 48 West, Martini's (now Billy's), and Blues on the Mall. They play Rosa's on West Armitage in Chicago on Saturday. The Kinsey Report consists of Donald Kinsey on vocals and guitar, with Ralph Kinsey on drums and Kenneth Kinsey on bass. Opening act is Harper. www.kazoostate.com

Liz Mandeville: Conduit to the Blues

2009-02-18T18:43:00.020-05:00

Ever the go-getter, Chicagoan Liz Mandeville related this tale to TMGR: "I woke up one day and said, 'What am I going to do if for some unforeseeable reason I am no longer able to sing? What am I going to do then?'" Come to find out Liz is of the rare breed who then goes out to find another style of music to play, one that relies heavily on serious instrumentation. In this case it was early Piedmont-style acoustic blues guitar. But not only did she learn it, she actually got good at it. Ever the songwriter, Liz even penned a couple of tunes while woodshedding with her guitar. In addition to the songwriting workshops she conducts around the country, she was nominated for Best Blues Songwriter of the Year 2008 by the American Roots Music Association. "Words are bridges to basic instincts; they make you want to know more," Mandeville notes from her home in Chicago. She counts the songs of Melissa Etheridge, Lucinda Williams, and Sheryl Crow among her songwriting inspirations. "They tell stories with their songs, of course and they're revelatory, but they have a hard edge to them to go along with their universality." Mandeville has been with the Earwig blues label for many years, and credits owner Michael Robert Frank with gentle prodding ever so often to get her to reinvent herself; to keep her moving forward musically and otherwise. The result: she is more than just an blues diva powerhouse with painting endeavors and music column writing to help round things out. "I'm an observer at the core. Through my songs the listener gets to see what I have seen and heard, be it in my voice, on my guitar, or through a painting. " A consummate entertainer with 20 years experience, she is sexy and sassy, a Mistress of Tasteful Bawdiness calling things out as they really are in the world. Nowadays Liz feels the need more than ever to connect on a deeper level with her audience in order to make the experience more worthwhile for all. "I'm there to make sure the happy animal comes out in people. I want to connect on a gut level. When I perform I want you to dance, to feel rhythm, to express yourself-to work up a good sweat. I want to conjure up the positive effect music can have the entire being," she says."After they have a couple of drinks, it's like okay, now we know each other. Now we trust each other. If I have it my way the audience will have access to everything I've experienced in my life," she continues. As for the approach she and her band use when working on songs for the set: "We try to reinvent the song to fit the band and then we work the groove. It's like a musical adventure. By doing songs differently each time we try to keep the feeling fresh and in the moment." Liz Mandeville and her world-class band The Blue Points will have you dancing and really feeling it deep on Saturday when they play the Cabin Fever Blues Series at Billy's in support of Liz's most recent release Red Top (Earwig). Mandeville has appeared in West Michigan previously at the Silver Cloud (GR), The B.O.B., Martini's (now Billy's), Winterfest (Grand Haven), and Creekfest (Newaygo). "I've seen a thousand performances. I've gone to check out people I might never go see just to see what it is about them, what is it that makes them so popular. Then I try to incorporate that into what I do. I try to provide the humor and sophistication. I'm really lucky to be doing what I'm doing."

Euforquestra at Founders Brewery 2/12

2009-02-11T19:38:00.004-05:00

Euforquestra is a seven-member band who originally hails from Iowa City IA but who are now forced to admit they recently relocated to Fort Collins CO. Euforquestra, having recently opened for Eek-a-Mouse, plays a barrage of different styles: their material says they play Afro-beat/Reggae/Funk but later down the page it lists Afro-Caribbean and barnyard funk. I guess you can have it both ways; nothing get funkier than the barnyard at times. We'll see how adept they are at these musical adventures when Euforquestra plays at Founders on Thursday Feb. 12. They play in support of the release The Adventures of Glen Devey which at times sounds like that other famous Colorado dance band, Cabaret Diosa (at least the horns do, coupled with the world groove sensibility). The title track has a nice trance-like quality about it. "Medicine Bow Run" is the other good one and it sounds like Ron Levy's Wild Kingdom, the Green Eyed Soul era. Again, the seven-piece outfit appears to be a percussion powerhouse with dual horns and even the vibes. Can't go wrong like that. Progressive band, progressive booking. Check it out.

Grand Rapids Jazz Orchestra at Founders Brewing 2/8-9

2009-02-08T15:13:00.008-05:00

The Grand Rapids Jazz Orchestra will be making a live recording of their music for two consecutive nights, Feb 8th and 9th, between 5:30pm-7:30pm at Founders. The GRJO consists of Tim Froncek (drums), Steve Talaga (piano), and Paul Brewer (trombone) among many other fine local players. Admission is free. www.grjo.com

Root Doctor at Billy's 2/6

2009-02-05T17:56:00.008-05:00

The Lansing-based Root Doctor has been churning out their own trademark elixir of funk for 15 years now. Serious road dogs, the good Doctor has been traversing the land from Traverse City to Detroit and back with an occasional trip to the Nudie Blues festival (now defunct). They make a stop at Billy's Lounge in Eastown on Feb. 6. The Root Doctor's stalwart members are Freddie Cunningham (vocals) and James Williams (bass, vocals), and with the not-so-recent addition of Jim Alfredson (organ, vocals) and Greg Nagy (guitar, vocals) they now have some further songwriting credentials. Beyond that, what Alfredson and Nagy are able to bring to the band in both playing and presence is vital. There aren't too many bands who can still bring a crowd after 15 years at some of the same haunts. The key to the Root Doctor's sound is their connection to old school R & B (LTD's "Back in Love Again") and the Motown sound. For those of us who have lived in the state for so long it's easy to take the sounds of Detroit's West Grand Blvd for granted. Not so with the Root Doctor; their dance-floor-packing version of "I Can't Get Next To You" among others are worth the price of admission any night. What better way to celebrate the 50th anniversary of the founding of Motown records in 2009 than with a trip to see the only authentic practitioners of that quality, world renown vibe left, the Root Doctor. RD plays at Billy's in support of their latest CD, Live at the Cadillac Club.

Nick Moss: Sparse Winter Blues

2009-02-04T19:24:00.015-05:00

Like most of America, Chicago's Nick Moss is trying to tough out a long cold winter in slow economic times. And the talented guitar player ought to know first-hand how rough it is out there: Live entertainment along with the food service industry (bars, restaurants, catering) are usually the first to feel the effects of a tight budget. As imperative as it seems in the winter, for some getting out to see live music is a jaunt they might have to postpone for a month or two. For as in-demand as this young Chicago blues player has been for the past ten years, his have gigs slowed down a lot more this past year. "In the Midwest things grind to a halt in the winter. But this time my schedule slowed down back in October which is a whole month earlier than previous years. For the past ten years I would have weeks go by where I would be working a full schedule. Now I have three week layoffs with not one single gig," Moss says from his home near Chicago. Nick Moss and his outstanding band the Flip Tops will be doing their part to shake off the winter blahs when they appear at the WYCE-FM, West Michigan Blues Society, and Billy's Lounge presentation of the first Cabin Fever Blues Series of 2009 on Feb. 7. Although Moss has performed with Buddy Guy, Jimmy Rogers, Willie "Big Eyes" Smith, Lynwood Slim, among others, it is the collective talent of his band which puts Nick above the rest. The Flip Tops consist of drummer Bob Carter (one of the best in the business, formerly of the Mighty Blue Kings), pianist/bassist Willie Oshawny (who could be a show all by himself), and Gerry Hundt on mandolin and guitar. Their muscular sound has a totally danceable rock and roll element but they can also finesse their way through the deep soul slower numbers. Look out for the stripped down portion of the show with Nick paired up with only one other band mate. Not all is a downer for Moss: He just firmed up an overseas trip to Riga, Latvia, and he has in the can the second installment of live recordings he did at Chan's Eggrolls & Jazz Chinese restaurant. Plus a 2009 Blues Music Awards nomination for Band of the Year, for an incredible third year in a row. With the cold month of January behind us, Moss looks ramp up for a month of gigs in February starting with a return appearance at Billy's, where previously the Flip Tops where the back up band for local harp player Hank "The Hawk" Mowery. In good times, Nick started his own record label, Blue Bella, where he recorded his own band along with Indiana harmonica master Bill Lupkin and blues mandolin player Gerry Hundt. "We're not a traditional label with a powerhouse roster or anything like that. For me it's more like a side project mostly for fun. Blue Bella is for recording the people whose music I think is worth something," Moss says modestly. Moss has performed previously in Grand Rapids at the Rhythm Kitchen Cafe (New Years Eve 2000), Blues on the Mall, and Celebration on the Grand. What you're in store for at Billy's on Saturday is the present and future of Chicago blues, the world renown brand of roots music that spawned rock and roll. "It will pick back up,"Moss says of the slowdown."Whenever we elect a new president there is an upswing of positive good-will that you can feel. We're just hoping to catch some of what is left of that while we're still slow on gigs. My booking agent tells me the summer festival season looks good for business. I'm looking forward to that."

Coming Soon: Interview with Chicago bluesman Nick Moss

2009-02-02T10:38:00.005-05:00

Nick Moss and his band the Flip Tops appear at the inaugural Cabin Fever 2009 blues series at Billy's Lounge 2/7.

Interview with JJ Grey & MOFRO

2009-01-31T21:21:00.011-05:00

JJ Grey seems to have it going on as of late. The certified soul singer and his sanctified southern soul review band MOFRO have been touring pretty steadily and there is some recent side work Grey just wrapped with producer Steve Berlin (Los Lobos). Grey even got to host his own roots music festival, the Blackwater Sol Revue in St. Augustine FL, the past two years. But the recent news that he sounds most excited about is the notable figure who lives down the road a piece from Grey’s Baldwin FL home: none other than Tim Tebow, quarterback of the 2008 national college football champion University of Florida Gators. For a self-proclaimed Florida college football nut this is about as cool as it gets. Grey’s funky lichen-hangin’- from-the-trees swamp soul, which are Southern as grits at the Waffle House, includes a rock/blues foundation complete with contemplative lyrics about developers cutting down all the woods behind your house that you and your brothers grew up in only to then have the owner let the property go to blight and sell it. They will probably roll up for their gig at the Intersection on Feb. 5 in a crusty (but not rusty since they're from FL) old Cadillac asking about a place to get some good chicken and fried okra. To understand just how Grey got to this point of success you must back seven years, to the beginning of his association with noted producer Dan Prothero, owner of Fog City Records, the Bay Area’s best soul funk outpost. Noted funk-miester Prothero ran the controls on Galactic’s first-ever studio release, Coolin’ Off, which is the first record Fog City ever did. Grey is grateful for all the good fortune that has come his way since he signed with Prothero.“Dan was the first person ever to offer me a record contract. He is the single biggest influence on who I am today. Playing, singing, you name it,” says Grey from a tour stop in Baton Rouge. With Grey arranging and writing all the music, he and Prothero created Orange Blossoms (Alligator), Grey’s 2008 release which he will be featuring on Thursday. Several songs on Blossoms can bring the funk (“WYLF,” "Everything Good is Bad") so this should be as entertaining it gets (MOFRO includes The Hurricane Horns). Of the several record companies who were in the running to release Orange Blossoms Grey picked Chicago-based Alligator records, the county's foremost roots music indie label. “I chose Alligator because of their philosophy that you don’t have to make all the money in the beginning of the record’s life cycle. Alligator has a rich history, thirty years, and they’re in it for the long haul. And they’ve been around so long for a reason. They have a back catalog that will withstand time. I hope that by being associated with that my records will have “legs” as well.”Grey is a multi-instrumentalist but equally adept at writing quality songs. He seems to have a natural knack for writing catchy hooks (the title track) which also tell a mostly complete story in less than five minutes. By his own unique definition, he counts Otis Redding, Tony Joe White, Toots Hibbert, and Jerry Reed among his favorite singer-songwriters.“The image of a singer-songwriter is an acoustic guitar, being introspective, not too loud, and without much groove. People don’t realize that James Brown was a great songwriter as well,” Grey notes.

Coming Soon: JJ Grey & MOFRO at the Intersection 2/5

2009-01-26T20:08:00.008-05:00

Organissimo at Founders Brewery 1/17

2009-01-17T12:49:00.011-05:00

The popular band Organissimo's jazzy-jam flavorings will be on full display during a rare Saturday evening appearance in Grand Rapids on Jan. 17. Lansing-based Organissimo found a home for a couple of consecutive months at Founders (the old place) in 2002. Since that time the band had been regulated to Thursday night appearances at Founders, so this being a Saturday gig is extra special. Organissimo has stayed busy since those early days of the now-legendary Boogaloo Sisters by recording CDs, accepting awards, and gigging where ever possible. They've also made headway into larger city markets like Chicago (Andy's Jazz Club), Philadelphia (The Philadelphia Museum of Art), Indianapolis (Jazz Kitchen), and even South Bend IN (Trio's, this past New Year's Eve). The band was even espoused upon by none other than Chicago Tribune music critic Howard Reich. So if you are looking for some Windy City grade entertainment this brisk winter evening, Founders is your place. The classic jazz trio is lead by Jim Alfredson on Hammond B-3 and Moog (he also plays with the Root Doctor), Joe Gloss on guitar, and a living legend in the West Michigan music scene (playing and instructing) on drums, Randy Marsh. An added plus at most Organissimo shows are the other heavy cats of the local music scene who show up to jam. Look to the packed dance floor for a rare sighting of the original Boogaloo Sisters. www.organissimo.org

Wild Woodys at Jukes 12/20

2008-12-18T09:40:00.005-05:00

It's hard to believe that the Wild Woodys have been around since 1984. But that is indeed their inception date, according to their My Space page. Founder/guitarist/singer Scotty Spears has also done time with Detroit's own Twistin' Tarantulas. With such pedigree it should not be wondered why the Woody's have survived this long in a music scene dominated by trends and fads. But they have. You can see for yourself just why they might be around for another twenty years when the Wild Woodys play Jukes Bar on the west side of Grand Rapids on Saturday Dec. 20. On display that night will be their own take on classic roots music, more true to the rockabilly genre than either Rev. Horton Heat or the Tarantulas with less punk attitude. More like Big Sandy & his Fly-Rite Boys, if you will. For this Christmas extravaganza at Jukes, the Wild Woodys feature "D.J" Dan 'Bones' McCoy on the drums.

Reverend Horton Heat at The Intersection 12/7

2008-12-11T10:06:00.004-05:00

The Intersection in Grand Rapids on Sunday wrapped up a full weekend of quality roots music with a performance by the Reverend Horton Heat. Again wielding his trademark hollow-body Gretsch guitar, the good Reverend proceeded to enthrall the faithful with his own fire-brand gospel psycho-billy. After a seemingly slow start, the Rev. (Jim Heath) got things going with the title track from "It's Martini Time." It wasn't long before the Rev. was dispensing the Christmas cheer with "Santa Claus is Coming to Town" and other seasonal gems. There was even a punk rendition of Black Sabbath's "Paranoid" which only served as more fuel for the semi-crazed dancers (read moshers) down front. Speaking of down front, there was this guy who kept doing the lateral drill yelling for his favorite song, "Mar-i-juana!" until he finally got his wish about half way through. Other seasonal tidbits were in store, like "she took my sh*t in the divorce" marital bliss fodder, and "where in the hell did you go with my toothbrush" lament. The tune "Wigglestick" showed off Heat's guitar techniques, playing both lead and rhythm at the same time. With the Donna the Buffalo show on Friday at The Intersection, this weekend turned out like an early Christmas present for local roots music lovers.

Hank Mowery & The Hawktones at Billy's 12/12

2008-12-08T18:44:00.015-05:00

As mentioned in the very first post on TMGR, you can't be quite sure of who Hank Mowery will have in tow for his appearances at Billy's. It could be Doug Deming from Detroit, Lil' Frank and company from Indiana(and acquired associates from Chicago), or rockabilly genius George Bedard. And it even could be local luminary Junior Valentine; or (on rare occasions) it might be Kim Wilson, with Steve Nardella, of Fabulous Thunderbirds fame. Up until about a year ago it could have even been the Gary Primich band from Austin TX. But one thing is almost nearly certain: no matter who Hank picks to back him up, it's going to be about as good as it gets around here. With that said, this Friday Dec. 12 at Billy's Lounge in Eastown proves no exception to the quality control rule when Mowery welcomes the jump blues stylings of Count Bracey and the Pleasuretones. The Pleasuretones features Troy Amaro on guitar, who can be seen locally playing with James Reeser. Chris "Count" Bracey (drums) has gigged with the aforementioned Deming and Wilson to name but a few. Be sure to catch this every-other-month occasion to treat yourself to some of the Midwest's best jump blues. www.hawktones.com

Blues Nazi's Among Us

2008-12-02T14:59:00.007-05:00

From the liner notes of the Gary Primich release Company Man (Black Top 1997) written by the late Cub Koda, who couldn't be more correct all these years later:

I figure it this way: There's blues people, and then there's blues Nazi's. Blues Nazi's-the ones who always act like they're superior to everyone else because they know two more facts about Howlin' Wolf and bought their copy of The Best of Little Walter two years before everyone else did-are a most odious lot, divided into two distinct camps. In Column A, we have the ones who listen to it and write about it, who generally have that Charles Emerson Winchester on M.A.S.H air about them that makes you want to strangle their pear shaped asses. These are the doorknobs who think that everyone playing blues with white skin is some kind of sleazeball carpetbagger, utterly devoid of talent. In Column B, the ones who actually play it, like to keep the music totally mummified and preserved, regurgitating their record collection note for note, lick for lick, never advancing their conceptions any further until a new CD of Muddy Waters out-takes gets released. And if you think heavy metal bands dissing each other is just some genre folly of misinformed youth, just get a bunch of Nazi combos together and listen to them rip each other apart like a bunch of high school kiddies with more jealousy than talent going for them. You'll change your tune right quick.

Mem Shannon of New Orleans can't get gigs sponsored by the Blues Nazi's, often associated with blues society groups across this fair land, because he doesn't do shuffles or Sweet Home Chicago.

Donna the Buffalo in Grand Rapids at The Intersection 12/5

2008-11-26T18:52:00.027-05:00

Donna the Buffalo return to West Michigan for a live show at The Intersection nightclub in Grand Rapids on Friday December 5th. No strangers to the 'Section stage, D the B appear in support of their most recent release Silverlined (Sugarhill) which features cameos by Bela Fleck, Claire Lynch, and, on the title track harmony vocal, David Hidalgo of Los Lobos and Latin Playboys fame. Silverlined also features Kathy Ziegler helping Tara Nevins with some beautiful harmony singing ("Temporary Misery"), a trademark of the group. Donna's sound begins to begin with a foggy mountain string band foundation with equal sensibility jam band (ala the Grateful Dead) plus Cajun and reggae inflections. Three core members remain: Jeb Puryear (vocal, electric guitar); Nevins, (vocal, fiddle, acoustic guitar, accordion, scrubboard) and Tom Gilbert (drums). They farm out bass players (usually from Nashville) and this time around DTB carries a full-time keyboard player. DTB must be doing something right with the bass players, as Conrad Lonzano, (always) bassist with Los Lobos notes:

They have that old-school sound on the bass, nice reverb. Nobody does that anymore. He (DTB bass player) reminds me of Phil Lesh (of the Grateful Dead).

Dave Hidalgo chimes in, "They write good songs. There is something about them."

To be fair, a couple of DTB shows have seemed, well, under-whelming. Times when there was not much of an effort to connect further with the audience. As one fair-minded witness recalled, "they (DTB) seemed to have it on auto-pilot (that night)." Maybe a couple of days rest before the G.R. show on Friday will reap benefits in that regard.

D the B last appeared in the area at 5/3 Ballpark in Comstock Park in August, headlining the inaugural Silver Maple Music Festival. No strangers to the Mitten State, DTB has played such diverse locales as Cadillac, Blissfest (Cross Village), and the Dunegrass festival near Traverse City. www.sectionlive.com

Free Thanksgiving Day dinner at Big O's 11/27

2008-11-25T11:49:00.009-05:00

Once again the good people at Big O's are offering a free Thanksgiving Day dinner for those in need at their restaurant, Big O'Cafe, located at 80 Ottawa Ave, downtown Grand Rapids, between the hours of 10 am until 3 pm. Volunteers can stop by the restaurant after 6 pm on Wednesday 11/26. www.bigospizzas.com

Reverend Peyton's Big Damn Band at Billy's Lounge 11/22

2008-11-22T02:28:00.009-05:00

"Rousing, hyper, and authentic brand of blues that sounds like what might come out of that secret meth lab nestled deep in the backwaters of the Mississippi Delta." - Cincinnati City Beat
www.billyslounge.com
www.bigdamnband.com
This has to be one of the most anticipated and talked about shows to come to town yet this fall. TMGR is mostly unfamiliar with RPBDB aside from their recordings. To our knowledge, RPBDB has never played Grand Rapids. Hats off to Billy's Lounge for booking such an interesting show.

Donald Kinsey Band at River City Slim's 11/21

2008-11-20T10:49:00.008-05:00

When not fronting his longtime band across the Midwest with his brothers in The Kinsey Report, Donald makes his home in the Grand Rapids area. One thing leads to another and now Donald has his own project going on, The Donald Kinsey Blues Band, in which he utilizes local talent. For those of you who are unfamiliar, Kinsey spent his formative years as band leader for blues /soul giant Albert King. He then went on to record/perform/tour with Bob Marley, Peter Tosh, and his late father, Lester "Big Daddy" Kinsey. The Kinsey Report made a home at Alligator records (Chicago) for many years. Cut to 1989: The Kinsey Report is scouted and considered for an opening slot on a North American tour with the Rolling Stones. Donald has worked with Albert Collins, sung with Chris Robinson (Black Crowes) on a tune called "I Take What I Want" from Crossing Bridges (pictured), and Kinsey recently invited David Hidalgo (Los Lobos) onstage at Buddy Guy's Legends blues club in Chicago to jam with The Kinsey Report. Joining Kinsey on vocals and guitar will be Andy Ogrodzinski, along with Jim Shaneberger on bass, vocals, and Tim Cowart at the drum set. Visit www.rivercityslims.com for more info.

Marc Broussard at The Intersection 11/19

2008-11-17T19:29:00.001-05:00

Soul singer Marc Broussard has been on the scene since 2002. He has a new CD out now called Keep Coming Back (Atlantic) . A solid single off that release is the song "Real Good Thing." Marc will be showcasing many of these original tunes from Keep Coming Back in concert at The Intersection in Grand Rapids MI on Wednesday November 19. Marc's southern origins draw immediate parallels to singers like O.V. Wright and Al Green, and, to that end, people like Doyle Bramhall and Lee McBee. Marc was initially spotted singing with Solomon Burke at a Wilson Pickett tribute dinner at the Rock and Roll Hall of Fame by none other than Ahmet Ertegun who immediately signed young Broussard to perform at the Montreux Jazz Festival. Marc also performed at half time of the 2008 NBA All Star Game in New Orleans. He is known for his philanthropic endeavors as well, building homes with Habitat for Humanity, undertaking a tour of U.S. military installations in 2007, and selling bootlegs to benefit victims of Hurricane Katrina. More information can be found at www.sectionlive.com and www.marcbroussard.com.

Organissimo at Founders Brewery 11/13

2008-11-14T21:13:00.002-05:00

Organissimo is a local/regional jazzy jam-flavored trio that has sparked excitement with audiences since day one. Thursday night proved no exception as Organissmo's players enticed dancers of all stripes to take to the floor at the downtown Grand Rapids brewery. Playing selections from their catalog of three CDs, Organissimo performed straight ahead organ trio jazz material interspersed with their own extended play jams, much to the delight of the faithful in attendance. Organissimo's newest CD, Groovadelphia (pictured) was most recently in the Top 30 spins at listener-supported WNMC radio in Traverse City MI. Based on the work already produced, a well-spring of talent and ideas, I suggest that we may have only begun to scratch the surface of what these players have in store.

Hank Mowery at Billy's Oct. 25

2008-10-27T19:22:00.002-04:00

Whenever you attend a Hank "The Hawk" Mowery & the Hawktones show there is a solid chance that you'll be entertained by some of the best jump blues musicians in the Midwest. This was the case last Saturday night at Billy's Lounge located in (Eastown) Grand Rapids, MI. Backing up vocalist/harmonica player Mowery this evening was Detroit's premier jump blues outfit, Doug Deming and the Jewel Tones. Deming and company are an in-demand back up band for today's best blues players (primarily harp) including Kim Wilson (Fabulous Thunderbirds), Dennis Gruenling, Greg "Fingers" Taylor, A.C. Reed, and a European tour with the late Gary Primich. They were the perfect compliment for Hank's Slim Harpo-inspired harp licks. A sure standout for the Jewel Tones this night was Julian Van Slyke on drums. Julian's easy-does-it, economical style proved once again that 'less is more.' Way more.