7-8-9-10-15-16 november 2013
Het nieuws dat Amy Macdonald en de Japanse pianiste Hiromi bevestigden voor de 29ste editie van Night of the Proms werd bijzonder enthousiast onthaald. Om aan de toenemende vraag naar kaarten te kunnen voldoen, worden drie concerten aan de reeks toegevoegd, waardoor het aantal concerten meteen verdubbeld.
Het feest van klassiek en pop zal ook op zondag 10, vrijdag 15 en zaterdag 16 november plaatsvinden. Om tegemoet te komen aan de vraag van gezinnen vindt de voorstelling op zondag 10 november om 15.00 uur plaats.
Wyclef Jean vervolledigt de Night of the Proms affiche 2013.
Met de toevoeging van Wyclef Jean, bekend van de Fugees (‘Ready Or Not’), is het programma van de 29ste Night of the Proms compleet. De Haïtiaans-Amerikaanse rapper deelt het podium met Gloria Estefan, Amy Macdonald, John Miles en pianiste Hiromi. Als maatschappelijk betrokken artiest – enkele jaren geleden was hij zelfs presidentskandidaat op Haïti – belooft Wyclef Jean een heel opmerkelijk optreden met het symfonisch orkest Il Novecento en het koor Fine Fleur op het grote feest van klassiek en pop!
Wyclef Jean's extraordinary musical talent has brought him wealth and fame and taken him all over the world. He's been a member of the biggest-selling rap group in history, he's a multi-platinum hit-making solo artist; and he's produced for, and collaborated with, an incredibly diverse array of musical superstars. But throughout his entire career, Wyclef Jean has never forgotten where he's come from, the places that nurtured his character and creativity as a young man: his native Haiti, where he lived until age nine, as well as the projects of Brooklyn and the streets of Jersey.
On Masquerade, his third solo album, Wyclef focuses his considerable lyrical and musical skills on life in the hood: past, present, and future. There are vivid tales of his childhood and his struggles as a young immigrant on the mean streets of New York, serious messages to the youth wrongly enamored of thug culture, and pleas for peace and love in the future--all backed by the eclectic and unpredictable sounds we've come to expect from a Wyclef Jean CD. Hardcore hip-hop beats, R&B funk, slow jams, and uptempo reggae--they're all here, sometimes all in the same track. Masquerade represents the next step in the musical development of an artist who's known unalloyed success since first stepping onto the scene nearly ten years ago, and who shows no signs of slowing down.
Wyclef Jean, of course, first hit it big as a prime mover in the groundbreaking Fugees, whose 1996 masterpiece The Score stands as one of the most influential records in hip-hop history. On that album, Wyclef pioneered a production style that became virtually unavoidable throughout the rest of the '90s: real life street hip-hop seasoned with a radio-friendly musical, lyrical and vocal sophistication. The Score sold more than 11 million copies worldwide, won two Grammys (including Best Rap Album), and paved the way for the successful solo careers of all three of its members. In 1997, Clef released Wyclef Jean Presents the Carnival, a double-platinum album that featured the emotionally powerful hit single "Gone Till November," which earned him a Grammy nomination in the Best Male R&B Vocal Performance category.
Clef's second solo CD, The Ecleftic -- 2 Sides II A Book, was even more musically adventurous than his previous work, from the booty-shakin' "Dirty South" to the socially-conscious neo-protest ballad "Diallo" to the R&B smash "911" which found Clef dueting with Mary J. Blige. In addition to his solo work, Clef found time to collaborate with Whitney Houston on her smash "My Love Is Your Love" and Carlos Santana on his chart-topping hit, "Maria Maria". More recently, Wyclef's worked with Mick Jagger and Sinéad O'Connor on their latest releases, as well as collaborations with U2, Destiny's Child, Michael Jackson, and Rita Marley.
The spiritual element that's always been crucial to Wyclef's music is immediately apparent on "Peace God," the first track of Masquerade. Clef calls this his "Crouching-Tiger style": a Far East flute is looped over a hip-hop drumbeat while Clef rhymes in praise of God and against false idols made by man. Whether adopting the persona of the Preacher's Son or a Thug Angel, Clef has always illuminated ghetto reality as he sees it, taking on the tone of a wise older brother rather than a strident preacher. "The PJs" is an ode to the projects Clef grew up in and the lessons he learned there: "Gotta make noise for the PJs/I wrote my first rhyme in the PJs/You can hear it in my speech, I'm from the PJs." This is a playful tribute to the harder life he's left behind as well as a reclamation of his status as a hip-hop artist, first and foremost.
There's no other musician today who seems so natural in so many different genres. "Masquerade" is a hardcore posse track featuring M.O.P., but while other producers might be content to just let the beat run, Clef brings on accomplished Israeli violinist Miri Ben-Ari to provide an unexpected coda to the track. Proving that he not only has an ear for music but also an eye for talent, "One Last Chance" is a soul ballad with Clef on acoustic guitar dueting with velvet-voiced Claudette Ortiz of City High. "Daddy" is one of the saddest songs you're ever likely to hear--reminiscent of 2Pac's classic "Dear Mama"--a rap that Clef dedicates to his recently departed father. "What A Night" remakes Frankie Valli's 1976 disco hit into a soul/hip-hop blend where Clef tells a little of his amazing life story and details his many accomplishments. On "Knockin' On Heaven's Door," Wyclef reworks the Bob Dylan classic, in Clef's version the lyrics are transformed into a lament on unnecessary death occurring in the ghetto and thro
ughout the world.
Masquerade is the kind of album that only Wyclef Jean could make--from rock to rap to soul to reggae, Clef is a living embodiment of the different styles and genres that comprise contemporary popular music. Producer, arranger, composer, musician, rapper, singer, and showman--Clef is that rare artist who not only does all these things, but does them incredibly well. There's only one Wyclef Jean and Masquerade secures his place as one of the most versatile, talented, and accomplished musical artists we've got. http://www.wyclef.com
Rhythm is gonna get you met Gloria Estefan
De 29ste Night of the Proms krijgt een heel bijzondere vrouwelijke ‘touch’: na Amy Macdonald en de Japanse pianiste Hiromi is nu ook de zevenvoudige Grammy Award-winnares Gloria Estefan aan het programma toegevoegd.GLORIA ESTEFAN
De op Cuba geboren maar in Miami opgegroeide Gloria Estefan werd bekend als gezicht van Miami Sound Machine en verkocht wereldwijd meer dan 100 miljoen albums met zowel Engels- als Spaanstalig repertoire. ‘Dr Beat’ (1984) werd een enorme danshit in Europa, ‘Conga’ (1985), ‘Bad Boys’ (1986) en ‘Words Gets In The Way (1986) werden wereldwijde bestsellers. ‘Rhythm Is Gonna Get You’ (1987), ‘Can’t Stay Away From You’ (1988), ‘Anything For You’ (1989) en ‘1-2-3’ (1989) droegen de naam Gloria Estefan & Miami Sound Machine. Vanaf ‘Cuts Both Ways’ (1989) verschenen alle albums onder de naam Gloria Estefan en fungeerde Miami Sound Machine alleen nog als begeleidingsband. Single-releases uit dit album waren ‘Don’t Wanna Lose You’, ‘Get On Your Feet’, ‘Here We Are’ en ‘Oye Mi Canto (Hear My Voice)’.
In 1990, op het hoogtepunt van haar carrière, raakte Gloria ernstig gewond bij een busongeval tijdens haar tournee, maar sneller dan verwacht maakte ze in 1991 een grootse comeback met een uitverkochte wereldtournee en het album ‘Into The Light’, waaruit de single ‘Coming Out Of The Dark’ een nummer 1-hit werd. Met haar volgende albums wisselde ze Spaans- en Engelstalig werk af en sloeg ze verder de brug tussen Latin en Amerikaanse pop: ‘Mi Tierra’ (1993), ‘Abriendo Puertas’ (1995). ‘Destiny’ (1996, met de single ‘Reach’, themanummer van de Olympische Spelen in Atlanta), ‘Gloria!’ (1998, met de singles ‘Heaven’s What I Feel’ en ‘Oye’), ‘Alma Caribeña’ (2000), ‘Unwrapped’ (2003), ‘90 Millas’ (2007; het eerste Spaanstalige album dat in Nederland op 1 binnenkwam in de Album Top 100) en ‘Miss Little Havana’ (2011). In september brengt ze ‘The Standards’ uit, een album waarop ze liedjes zingt uit het ‘Great American Songbook’ en waarvoor ze samenwerkte met artiesten als Laura Pausini, Dave Koz en Joshua Bell.http://www.gloriaestefan.com/
Amy Macdonald en Hiromi eerste namen voor 29ste editieAMY MACDONALD
De Schotse singer-songwriter Amy Macdonald (25) en de Japanse pianiste en jazzcomponiste Hiromi (34) zijn de eerste namen op de affiche van Night of the Proms, het grote feest van klassiek en pop dat dit jaar in het Sportpaleis aan zijn, jawel, 29ste editie toe is. Beide jonge talenten zullen worden begeleid door het vertrouwde Promsorkest Il Novecento o.l.v. Robert Groslot en het koor Fine Fleur. Amy Macdonald past perfect in het plaatje van de opfrissing die Night of the Proms de voorbije jaren heeft gekregen: voor het eerst staat een popartiest op het podium die jonger is dan het evenement zelf.
Amy Macdonald verkocht wereldwijd 5 miljoen albums en won met haar rootsy zelfgeschreven songs een pak internationale awards. Ondanks haar overweldigende succes bleef ze een bescheiden singer-songwriter, eerlijk als haar liedjes en met een oor voor beeldschone melodieën en catchy songteksten. Met haar debuutalbum ‘This Is The Life’ pakte ze in 2008 vrijwel heel Europa in. De gelijknamige single werd in ons land de bestverkochte single dat jaar. Het nummer nestelde zich vlot in de Ultratop 50 en bleef daar 14 weken lang staan, waarvan 11 op de allerhoogste plaats.
Ook met haar volgende albums ‘A Curious Thing’ (2010) en ‘Life In A Beautiful Light’ (2012) haalde ze de aandacht naar zich toe. De single ‘Don’t Tell Me That It’s Over’ van haar tweede album scoorde net als haar debuutsingle hoog in de hitlijsten. Van haar meest recente album haalden de singles ‘Slow It Down’ en ‘Pride’ vlot de hitparade. Amy’s liveshows werden almaar krachtiger, zoals bleek tijdens haar uitverkochte shows overal in Europa.
In februari speelde Amy Macdonald nog twee uitverkochte concerten in de AB. Op 10 augustus doet ze opnieuw de hoofdstad aan tijdens het Brussels Summer Festival. Night of the Proms is bijzonder blij haar in het najaar te gast te hebben. Zowel in Antwerpen als in Rotterdam zal beminnelijke Amy haar vrolijke popmuziek brengen in de unieke symfonische Proms-setting. http://www.amymacdonald.co.uk/gb/home/
Night of the Proms zou Night of the Proms niet zijn mocht het niet opnieuw een uitzonderlijk klassiek artiest aan zijn publiek voorstellen. Spraakmakend op deze editie wordt zonder twijfel Hiromi. Deze eigenzinnige Japanse pianiste barstensvol energie en talent wordt sinds 2006 door de pers het ‘wonderkind van de Jazz-Fusion-Rock’ genoemd. Zelf wil ze haar muziek niet benoemen. “Mijn muziek bevat zowel elementen van klassieke muziek als van rock en jazz”. Het pianospel van deze bijzonder levendige Japanse is buitengewoon. Hiromi danst als het ware op de toetsen en beëindigt in volle extase en soms zelfs met haar knieën op de pianokruk haar uitvoering.
Hiromi volgde pianoles vanaf haar zesde en concerteerde als twaalfjarige al met een orkest. Veertien was ze toen ze met het Tsjechisch Filharmonisch Orkest optrad. Drie jaar later werkte ze samen met de vermaarde jazzpianist Chick Corea. In 1999 ging Hiromi studeren aan de Berklee School of Music in Boston, waar ze les kreeg van o.m. jazzbassist Richard Evans. Hij co-produceerde met Ahmad Jamal haar eerste album ‘Another Mind’, dat in 2003 meteen goud behaalde en uitgeroepen werd tot jazzalbum van het jaar in Japan. Verschillende samenwerkingen, nog meer albums en tal van solotournees volgden. http://www.hiromimusic.com/
Ook met Fine Fleur en John Miles
Op de 29ste editie is, na een jaar afwezigheid, ook het koor Fine Fleur weer present. Uiteraard zal ook ‘Mister Proms’ John Miles niet op het appel ontbreken.
Zorg dat u erbij bent en reserveer nu uw plaatsen voor deze 29ste editie van het grote feest van klassiek en pop. Wie al bestelde, krijgt binnenkort een betaaluitnodiging toegestuurd. Na betaling zijn de plaatsen definitief gereserveerd.
Kaarten: 22, 25, 37 en 46 euro.
Korting van 3 euro voor de show op donderdag 7 november.
Korting van 2 euro voor groepen vanaf 20 personen (5 euro op donderdag).
Bestellen kan ook telefonisch via Tele Ticket Service 070/345.345 (max. € 0,30/min.), vanuit NL: 0900-45.000.45 (€ 0,45/min.).
Autumn Chills (B)
Voodoo Swing (US)
Lil' Jimmy Reed (US/UK)
Band of Friends (UK/NL)
Robert Smith Bluesband (B/NL)
Larry and his Flask (US)
Slam & Howie and the reserve men (CH)
James Harman Band (US/B)
Hackensaw Boys (US)
The Norman Beaker Band (UK)
The Nightporters (UK)
The Autumn Chills,
4 kerels van ergens tussen Betekom en Baal,
verkochten in 1997 hun ziel aan de duivel,
ook aan de biersteker en de dochter van de plaatselijke cafebazin.
Uit angst voor jeugdpuistjes doopten ze hun instrumenten in de Mississippi Swamps,
zuiverden ze hun lichaam met Mexicaanse tequila en in hun poging om te ontsnappen aan het kleurloze bestaan verliezen ze zich nog steeds op zoek naar de muzikale beheksing of Duende van de herfstmuze,
(die ze omkochten met statiegeld van lege flesjes na het opruimen van het repetitielokaal.)
Wie oren heeft die hore!https://www.facebook.com/pages/The-Autumn-Chills/195746910464495?id=195746910464495&sk=infoVoodoo Swing
Voodoo Swing is Shorty Kreutz on lead guitar and vocals; Leeroy Nelson on drums and hollerin’ and Tommy Collins on the doghouse double-bass.
Their unique style of “rip-it-up” Rockabilly first attracted England’s Nervous Records in 1993. Voodoo Swing's debut album "We're Usin' Code Names!" is followed by a second album, "Well, Okay Then!" released on Netherlands’ Rockhouse Records label. Voodoo Swing is also featured on Rockabilly compilations "American Rumble" and “The Sounds of Gasoline ’’. The band also scores the soundtrack for the Lowrider documentary "Low and Slow" as well as for the full-length feature film “Rockabilly Vampire”. In 1998, Shorty is awarded "Best Electric Guitar Player" by Salt Lake's City Weekly Magazine reader’s poll.
In the early years, the band headquartered in Salt Lake City. After a long hiatus, the band regrouped in Phoenix and released their third record, “Greasers Por Vida”, then criss-crossed the Western USA on their “Back From the Grave” tour. In 2010 the band, released “Refried Voodoo Beans” produced by Olivier Zahm of Electric Lotus Music, album redesigned and reprinted by Electric Lotus Music in 2011. The band had just added the young Wesley Hinshaw on upright bass. His incredible slap bass playing sets the new Voodoo Swing sound apart from the flock. Voodoo Swing continued to tour the Western United States in their 1969 Lincoln Continental, towing a trailer-full of gear. They also begin to tour heavily in Europe, mainly the countries of Belgium, Holland, Germany and Austria, playing small venues as well as popular Summer Festivals for their ardent European Rockabilly fans.
“Keep on Rollin’”, Voodoo Swing’s first Electric Lotus Label release premieres in the summer of 2011. This proved to be the trio’s most popular release to date, backed by sponsors, Gretsch Guitars and Knucklehead Strings. Again, the band hit the road in the Voodoo Continental, as well as playing heavy European schedules in the summers of ’11 and ’12, the latter enhanced by the “Europe Summer Tour 2012” record with some very exclusive recordings which are already sought after by collectors.
2013 marks the debut of the band’s finest work in their 20-year history. “Fast Cars, Guitars, Tattoos & Scars” is a 13-song masterpiece that represents the band’s thoughts, angst, joy and trials of playing music for the love of it and for a living. They stretch their sound with more blues, bluegrass, honky-tonk as well as loads of talented guest musicians. This is the record that will surely get you off your seat and into your hot rod, windows down, wind in your hair, the stereo volume set to 11. For old Voodoo Swing fans and all the new ones, be prepared to wear the grooves out of “Fast Cars, Guitars, Tattoos & Scars”!http://www.reverbnation.com/voodooswing/bio
Lil’ Jimmy Reed
Born in the late 1930's, to the parents of Morris and Velma Atkins, Leon Atkins (aka- LiL Jimmy Reed), is a native of Hardwood Louisiana, a small town outside of the City Baton Rouge. He who now resides in Enterprise, AL, with his wife of 35 years (Imogene). Leon is the eldest of five siblings, one sister, and four brothers. Being the eldest child, Leon learned first hand the struggles and the discrimination of growing up poor and black in the deep South. At an early age, to escape the depressions which many of the blacks experienced in the poverty stricken South, Leon adopted a love for music. He favored the guitar and the harmonicaimmediately, and often dreamed of some day becoming a famous guitar player and travel far beyond the hatred of Southern Louisiana. For Leon growing up across the street of a nightclub fascinated him, hearing the sounds of the guitars, pianos, and the jukebox music echoing throughout the night was to him a pure joy. When he saw the local Men playing music he would often imitate them on his childlike imaginary guitar. But soon that would change. When he was just six years old, one of the older Men who had taken notice of Leon's love for music surprised him by making him his very first guitar out of a small cigar box. Leon loved it and that sparked the beginning of a life long relationship of a Man and his guitar.
As Leon grew into his teenage years, he spent most of his after school days working in the local saw mill and the town shoe shop after school. Growing tired of fixing shoes, Leon let it be known to his father that he wanted to play music. One Monday after his father returned home from a good days work with gifts for the family, Leon patiently waited his turn and was speechless, when his Dad handed him a brand new guitar. By that Saturday evening, Leon was playing the guitar as if he had taken music lessons for years. Leon played music by ear without any teachings or lessons ever taken. Soon he entertained the locals around town and realized there must be a better way to help provide for his family and himself.
In the year 1957, Leon turned 18 and went to Barber College in Little Rock Ark. He continued to pursue his musical talent as he quickly advanced with simple jobs such as playing in the local juke joints and blues alleys. In these lumber walls and saw dust covered floors, Leon became a favorite of the locals, and others who heard him play. One night in an upper scale blues club, Leon was able to get that one lucky break. A well known blues artist by the name of "Jimmy Reed" was scheduled to perform. Leon knew Jimmy Reed's music really well, from childhood listening to jukebox music from the nearby nightclub. Leon had always wanted to see the real Jimmy Reed and finally he'd gotten the chance to do just that. Be it unknown to Leon, this night would change his life forever. As Leon recalls, Mr. Reed had obviously gotten drunk, and Leon was asked to take his place. "They snuck him out back, and came and got me" Leon recalls clearly. Mr. Reed was just too drunk to play". The crowd couldn't tell the difference and the show was a hit. Leon gave a show stopping performance. And thus he was born "LIL' JIMMY REEDhttp://www.reverbnation.com/liljimmyreed
Band of Friends
"A CELEBRATION OF THE MUSIC OF RORY GALLAGHER"
Rory’s music reached a massive audience from Norway to Spain, from Japan to the USA, Covering all parts of the globe and producing some of the greatest rock/blues albums of the 60’s 70's and the 80's.
Sadly we lost Rory on 14th June 1995, to his devoted fans and followers this was the ultimate tragedy.
The BAND OF FRIENDS is not a tribute to Rory,
more a celebration of his life and music.
'Please be assured that this is no tribute band.
Think a rendition of a composer's former work performed by those who have a full right to both perform it and choose their musicians.
RG would approve. No Doubt'
'Having had the privilege of seeing Rory Gallagher live (as well as several tribute acts),
I can honestly say that this gig is the closest that anyone will ever come to his sound, style and sheer energy of delivery.
This wasn't a gig, it was a concert.
This certainly was a 'Celebration of the music of Rory Gallagher' and it's great to see they are doing a fantastic job of keeping the music of this great musician alive.'http://www.bandoffriends.eu/
Robert Smith Blues Band
Voor zover bekend de enigste Europese bluesman die samen met Janis Joplin gespeeld heeft…. Hij was toen 16 jaar, die fameuze dag in Port Arthur, toen Robert definitief de blues omarmde.
Vanaf dat moment stond deze flamboyante bluesharpist overal ter wereld te spelen. Als je op het podium gevraagd wordt door R.J. Misho and his Red Hot Bluesband of door de J. Marchallband dan moet je klasse hebben.
Na 32 jaar over de wereld te hebben gezworven heeft Robert nu de rust en de muzikanten gevonden die voor een avondje ontspanning kunnen zorgen. De Robert Smith Bluesband bestaat uit louter muzikanten die in het verleden grote namen van de jaren zestig en zeventig uit de Nederbluesscene naar de top hebben geleid. De band heeft een eigenzinnig repertoire en geeft de bezoeker het ultieme thuisgevoel.Het brabants dagblad schreef ooit, Deze band doet de meest verstokte droogkloot uit zijn dak gaan.
Karel Fransen, Drums
Ralph Masius, Guitars
Hans vandenbosch, Guitars
Bhe van Beurden, Bass
Robert Smith, Vocals & Harphttp://members.multimania.nl/robertsmith/
Larry and his Flask
Larry and His Flask are a high energy, five piece band that have incorporated many facets of Folk, Punk, Gypsy Jazz, Bluegrass, Soul and Brass band Music to create their very own unique brand of rock and roll. Some people call it folk-punk, some people call it down right wild. But no matter what you call it, their live show is one to be seen and heard.
They hale from Redmond Oregon, USA. Smack dab in the middle of the beautiful Pacific Northwest. The band members are Jeshua Marshall on Contra Bass and Baritone, Ian Cook on electric guitar and lead vocals, Andrew Carew on Banjo, Trombone and vocals, Dallin Bulkley on Acoustic Guitar and vocals, and Jamin Marshall on Drums and vocals.Over the past 9 years since brothers Jeshua and Jamin Marshall founded the band in 2003 they have gone through many lineup changes and fundamental changes to their sound. But they have always held true to their reputation for an absolutely foot stomping, and hand clapping good time.LAHF have shared the stage with such acts as Streetlight Manifesto, The Decendents, The Devil Makes Three, Wanda Jackson, Wayne the Train Hancock, The Dropkick Murphys, Lucero, Old Man Markley, Pokey Lafarge and the South City Three, Reverend Horton Heat, Lionize, Strung Out, Trampled by Turtles, Less Than Jake, Against Me!, Andre Williams, Blackalicious, Gym Class Heroes, Paramore, Jenny Owens Young, Frank Turner and the Sleeping Souls as well as the entire 2011 Vans Warped Tour.
In any given performance you will hear Harmonica, Contra bass, electric and acoustic guitars, drums, banjo, trombone, trumpet and baritone horn. They trade off instruments mid song as they dance back and forth across the stage in a punk rock ballet of sorts, narrowly avoiding collisions constantly.
Their love of old school country, folk, hip hop, gypsy jazz, and everything in between comes shining through in their full length album “All that we know”. They have also released a six song EP called “Hobo’s Lament” in 2012. Their New Album “By the Lamplight” is slated to hit the streets in June of 2013.
Since their inception in 2003 they have toured from coast to coast in the US and Canada many times over. They have also played in Hawaii and Alaska, Newfoundland, England, Wales, Scotland, Belgium, Switzerland, Czech Republic, Austria, Netherlands, Italia, Germany with a full world tour booked for 2013.
From street corners to barns, from squats to coffee shops, from dive bars to international music festivals, Larry and his flask continue to bring their own brand of rock and roll to the people. In 2011 they were listed as one of the most important shows of the year in the New York Times. They strive to make sure that no one misses out on the fun. So, if they happen to be in your state, province or even your country do yourself a favor and check them out!http://www.larryandhisflask.com/
James Harmand Band
JAMES HARMAN was born and raised in Anniston, Alabama-quickly picked up on the black blues and soul music being played on juke boxes and the radio. He sang in the church choir until age 16 when his family moved to Panama City Florida, where he found himself surrounded by like-minded blues lovers. Wearing a fake moustache, young James slipped into a still segregated black nightclub to see Little Junior Parker’s show. He was totally overtaken by the blues and soon became a regular, known as “That boy who sings like a man” by patrons.
While still in his teens, he started playing juke joints and dance clubs throughout the South. Hs performances became legendary-he was “tapped” by talent scouts, signed and taken to Atlanta, Georgia in 1964 to begin his recording career at age 18. He had a series of nine singles (45 RPM records) released during the mid to late 60's on obscure southern labels. He tried several restarts in new home bases including Chicago in ’65, New York in ’66, Miami in ’68 and New Orleans in ‘69.
During his stay in Miami Harman was befriended by fellow record collectors Henry Vestine, Alan Wilson and Bob Hite of Canned Heat, who persuaded him to move to California, promising to help him get re-started. Harman made his move to SoCal in 1970, and true to their word, Canned Heat insisted on Harman’s Icehouse Blues Band as their opening act on many big shows. Icehouse Blues Band became established at venues such as The Golden Bear, The Ash Grove, The Troubadour and The Lighthouse, which all booked real blues artists.
James Harman was soon in demand for his own shows, as well as backing every living blues artist who was touring without a band. He also opened literally hundreds of shows for artist who did have their own band. Icehouse Blues Band was a real working blues band. In 1978 James tired of using band names and started billing his act as James Harman Band.
Some alumni include Phil Alvin, Bill Bateman, Gene Taylor, David “Kid” Ramos, Michael “Hollywood Fats” Mann, Stephen Taylor Hodges and Jeff “Big Dad” Turmes. All of these players did long stints in the Harman Band. James is often cited as a band leader who gave many now famous bluesmen their start. Harman stopped ground touring in 2000 and now only takes blues festival dates around the world. Nathan James has been James Harman’s regular band guitar player since 1997 when he was 19 years old... he turned 35 in 2013 and he's still Harman's favorite! Nathan is also James’ recording engineer and co-producer on his own projects, as well as projects they produce for other artists.
James Harman’s side project: Bamboo Porch Revue features guitarist Nathan James playing rollicking, low-down, juke-joint blues over James Michael Tempo’s Afro-Cuban percussion, Troy Sandow’s sparse, pulsating acoustic bass and Marty Dodson's masterful drumming. Through his long career starting in the early 60’s James Harman has built up an enormous song catalog and had 20 of his original songs used in movies and television. He has been nominated for 19 pestiferous W. C. Handy (Blues Foundation) awards. He was inducted into the Alabama Music Hall of Fame, and he is the harmonica player of choice on many ZZ Top releases, as well as live with them on many international TV shows. James Harman has had 31 releases, on many different labels; he currently tours every spring, summer and fall, working in as many as 28 countries. Harman is a one of a kind song writer, producer, musician, showman, vocalist and internationally known bluesman.http://www.jamesharman.com/
Life can sometimes take you to unexpected places. Just ask the Hackensaw Boys. The popular Charlottesville-based bluegrass band recently traveled to Kinderdijk, the Netherlands, where they launched their latest album titled For the Love of a Friend. It was the second time in one year the band passed through this small village, a UNESCO World Heritage Site famous for its beautiful countryside and historic windmills, and they were there with good reason.
In February of 2012, well before The Hackensaw Boys had ever heard of Kinderdijk, tragedy struck the small community when a local villager named René Verkerk died in a windmill accident. The 47-year-old Verkerk, a miller by trade, was known throughout the town not only for his passion for windmills, but also for his love of bluegrass music, particularly the Hackensaw Boys, whom he'd discovered when he attended a concert they'd played in Amsterdam a decade earlier. Soon after his death, his grief-stricken best friend Peter Paul Klapwijk sought a personal way to celebrate Verkerk's life.
"I felt I had to do something," he says, "and that the Hackensaw Boys had to be involved.’’
Without knowing exactly what to expect, Klapwijk wrote the band about the circumstances surrounding Verkerk’s death, hoping the band members might be interested in meeting the family and friends of a man who so highly regarded their music. "At the time, that’s exactly what we expected,’’ says David Sickmen of the Hackensaw Boys. "Hang out, meet new people, make some music and hear about René. We didn’t plan to play an actual gig."
But Klapwijk had other ideas. "At some point it hit me," he recalls. "If the band is here, why not play a tribute concert just for close family and friends? René would have loved that! As soon as that idea hit me, I was off and running."
Dozens of villagers took part in planning the event. Klapwijk invited a professional filmmaker to create a documentary of the band’s stay and also made sure the concert could be recorded.
In late May, just three months after Verkerk’s death, the Hackensaw Boys arrived in Kinderdijk. "What a stunningly beautiful place,’’ says Sickmen, a longtime Charlottesvillian who relocated several years ago to Lynchburg. ”The people were very friendly and hospitable.’’
The warm feelings were mutual, says Klapwijk. "When the band arrived here, something amazing happened. At some point everybody knew the guys were here. There was a vibe going around in Kinderdijk. For the first time after René died, people started smiling again."
On May 25, the band played a sold-out show in a small venue in town. "It was emotional. It was a first for us that everybody in the audience knew each other and that they were there for the same reason. That put a little pressure on us, especially during our song 'Box of Pine,'" says Sickmen. "The family requested we play that.’"But everyone agreed the performance was exceptional.
"Better than we thought when we heard the recording later," Sickmen says.
Call it a fluke, but the recording turned out to be of excellent quality. ”It didn’t take us long to decide to release it,’’ says Sickmen. The CD, accompanied by a DVD of the band’s stay in Kinderdijk, was released in the U.S. earlier this month. The CD is in part meant as a permanent reminder for Verkerk’s eight-year-old daughter, ”so that in 10 years, she realizes what happened with the Hackensaw Boys and her hometown after her dad died," Klapwijk explains. The band has decided to donate half of the proceeds of the CD sales to Verkerk’s family.
"In the end," says Klapwijk, "the band did much more than just play a concert. They helped us overcome our grief. They gave us a sense of closure."
Sickmen and the Hackensaw boys look back on the experience with a sense of humility and gratitude.
"Just imagine what that family and town went through," he says. "The fact that we could help was amazing. If we’ve given them some closure, that’s fantastic. We have found friends for life in that small village. Kinderdijk is now our home away from home."http://hackensawboys.com/
The Norman Beaker Band
Norman has been at the forefront of the British Blues scene for the last 3 decades and first came to the public's attention in the late seventies whilst playing with legendary UK blues giants such as Alexis Korner, Graham Bond and Jack Bruce.
A self-taught guitarist, Norman, learnt to play the guitar at the tender age of seven whilst confined to bed after a serious accident. In 1964, whilst on holiday in Llandudno, Norman entered and won first prize in a holiday camp talent competition, winning an appearance on skiffle king, Lonnie Donegan's Show. Norman's early influences were people like Lonnie and Hank Marvin though everyone who heard him play said he sounded like a blues guitarist. Elder brother Malcolm was a keen blues fan and introduced Norman to the likes of Howlin' Wolf, Jimmy Reed, Muddy Waters and Sonny Boy Williamson.
Understandably impressed, Norman began to take a real interest in the British Blues Scene, playing more blues orientated music himself, eventually playing alongside the likes of Paul Jones (Manfred Mann), Alexis Korner, Graham Bond (The Graham Bond Organisation) and Jack Bruce (Cream), the latter becoming a long term collaborator and friend. What an apprenticeship!
In 1967 Norman formed his own band, 'Morning After' with a lineup that included brother, Malcolm on drums and Ian Stocks on bass. Gigging extensively throughout the late sixties and early seventies they built up a regular following. Often playing alongside Victor Brox, Norman eventually joined Victor's 'Blues Train', playing numerous gigs and appearing on Granada TV's 'So It Goes'. In fact, Victor Brox played a very particular role in Norman's career, christening him 'Beaker' after the Neolithic 'Beaker' folk to whom he considered Norman bore a resemblance! He introduced Norman 'Beaker' on stage one night and the name stuck to the point now where most people think it is his real name!
Then, at the height of the Punk era Norman formed 'No Mystery', with a lineup of experienced and talented musicians who played the blues with a sense of humour. They stood out on the gig circuit at a time when bands prided themselves on their inability to play more than three cords and audience participation meant, spitting at the band. 'No Mystery' won widespread admiration from fellow musicians, fans and critics both in the UK and Europe. Indeed 'No Mystery' were one of the few western bands to penetrate the Iron Curtain pre 'Glasnost', playing to ecstatic audiences in East Germany and Poland. As Norman's reputation began to grow in the UK for his authentic but refreshing approach to the blues genre, the visiting American bluesmen began to show more than a passing interest in a white guitarist beating then at their own game and it wasn't long before Norman and 'No Mystery' were touring and recording with the very cream of the US blues fraternity.
Perhaps one of their finest hours was guesting with BB King at Manchester's Free Trade Hall and the Hammersmith Odeon where the audience included Eric Clapton who went on to cover one of Norman's songs ('Break It Down') for a radio session; sadly it never made it onto vinyl. BB commented " I think we've found a white Freddy King", a compliment indeed and one not wasted on the many artistes Norman has subsequently worked with including: Jimmy Rogers, Buddy Guy, Lowell Fulson, Fenton Robinson, Chuck Berry, Katie Webster, Louisianna Red (with whom Norman appeared on the Old Grey Whistle Test), the list goes on and on. Even the young up and coming stars such as Larry Garner have called on Norman and his band to give them their unique style of modern day blues.
In 1981, 'No Mystery' released their first single, 'Taxman's Wine' c/w 'Doubt You Lord' (Jungle Telegraph WS001S), a welcome antidote to the depressing popular music scene at that time which was dominated by synthesiser groups with bad hairstyles and even worse dress sense! But the enthusiasm with which it was received by critics and live audiences didn't translate into mainstream sales and it failed to chart. Somewhat disheartened the band continued with their hectic schedule of live performances but by 1982, Norman felt 'No Mystery' had run its course and the band amicably disbanded.
The early eighties saw Norman experimenting with different band line ups and exploring new areas musically. Involved in several projects and bands including 'Street Talk', a rock orientated band with two girl singers and the intriguingly named 'State Rhapsody Orchestra' playing 'musical electric cabaret' (don't ask). The 'Norman Beaker Band' also continued to perform with various lineups which included 'No Mystery' members, Lenni and Tim Franks but also Dave Bainbridge on keyboards and Kevin Hill on bass. Norman was to collaborate with Dave on several projects including writing the theme for Granada TV's 'World in Action' programme.
During the eighties, Norman produced and appeared on several blues compilations including 'Manchester Rhythm and Blues' 1984 and 'Up Jumped the Blues' (1988). 'Norman Beaker Band releases included 'Bought in the Act' (1986), recorded live at the Leeds Trade Club, sadly only released on cassette, 'Modern Days, Lonely Nights' (1988) on vinyl and 'Into the Blues' (1989) released on cd.
The current band lineup are one of the finest live acts on the circuit, playing with a lot of emotion, a lot of excitement but also with a lot of humour. Band members include; Damien Hand on saxophone, John Price on bass, Dave Baldwin on keyboards and Tim Franks on drums; with Lenni (sax), and 10cc's Paul Burgess (drums) also making regular appearances. The band have earned tremendous respect from their peers for their dedication to the blues when it was less fashionable than today, and for encouraging new talent and projects such as The Alexis Korner Memorial Concert which annually brings together, for one night only, the very best of the British Blues artistes.
Norman has many strings to his bow such as writing themes for T.V. and films. He also had his own cult radio show. The nineties saw Norman, as busy as ever, song writing, touring, recording and somehow finding time to become a highly respected producer, working with artistes such as Robert Plant, Jimmy Page, Paul Jones, Jack Bruce, Ruby Turner, Mick Abrahams and Chris Farlowe, the latter becoming and ongoing partnership, as the Beaker band doubles as Chris' band.
Norman has been so busy recording with other artistes that finding time to record his own material has been difficult. However, in 1999, he took time out to record "The Older I Get...the Better I Was", an upbeat collection of self-penned, modern and original blues numbers. The overwhelmingly positive response to this CD encouraged Norman to return to the recording studios again in 2002 and "Who's he calling me him?" was the result. In contrast to "Older", this recording finds Norman in a more reflective mood, exploring life's and love's trials and disappointments, it also features Chris Farlowe as guest vocalist on "The Guitar Don't Lie".
The new millennium has seen Norman and his band extensively touring the UK and Europe with Chris Farlowe. Plans for the current year include dates in the UK and Europe and 2003 will also see the release of a new Chris Farlowe CD which features Norman and the Band. You can also catch them live with Chris Farlowe at one of their regular appearances as special guests of Van Morrison on his 2003 UK tour.http://www.normanbeakerband.com/
THE NIGHTPORTERS, one of the wildest and most popular touring Rockin' Rhythm & Blues acts of the past 20 years are proud and excited to announce their return to the European music scene.
The original, classic line-up will come together between July and September 2013 to perform a 30 date European tour. It's been over 10 years since the band toured, so this is one show you definitely do not want to miss!
The band will feature the four original band members:
Ian Roberts ... Vocals / Guitar / Harmonica
Martin Vowles ... Guitar / Backing Vocals
Chris Robbins-Davey ... Double Bass
Kevin Crowe ... Drums / Backing Vocals
The Nightporters are credited as being one of the finest bands to have performed on the International roots and blues circuit. Their shows have become legendary throughout Europe and for their army of fans, The Nightporters were certainly a "never miss" band whenever they hit town.
Originally formed in 1993 in deepest South Devon, all four members of the band came together through a mutual love of Blues, 1950s Americana and British Rhythm & Blues. Like most British kids of the same age, they had grown up listening to Ska / Two-Tone, early 80s Rockabilly stuff and good time Punk Rock, these inlfuences undoubtedly gave the band their unique, power-packed, swing-boogie sound. They released two widely acclaimed albums on Indigo Records, made innumerable appearances in clubs and concert halls in over 25 countries, national radio and T.V. and at just about every major European blues festival. They had also built a huge fan-base through their relentless commitment to touring and above all ENTERTAINING their audiences. In 2002, much to the shock of their fans, the band unexpectedly split after a successful Canadian tour and while still at the height of their popularity.
2013 will mark 20 years since the band formed and all four members are looking forward to stunning audiences with their trademark high-energy, rockin' show once more. This will not be a rushed, under-rehearsed approximation of the great band of a decade ago, this will be the real thing; a tight, kick-ass rock'n'roll machine, firing on all cylinders and hungry for a new audience!
Today, just as before, The Nightporters mix elements of Blues, R & B, Rock-a-Billy and whatever else they need to create a contemporary, exciting and danceable sound. They deliver unique interpretations of carefully selected numbers and perfectly crafted original tunes that, as one major blues publication put it, "...are as good as the blues masters".
Still known for their sharp suits, valve-rattling guitars and showmanship to rival any of the great rhythm & blues acts, this English 4-piece are an electrifying ball of energy from the moment they hit the stage. The Nightporters are a band that instinctively understands their audience and knows how to make them feel good!
Since the band split in 2002, each member of the band has been busy recording and touring with some the finest acts on the Blues, Rockabilly and Roots scene including The Wildcards, Becca Langsford, The Big Town Playboys, Linda Gail Lewis and many, many more.
So, dust off your dancing shoes and get ready for a night of wild, reckless, Rhythm'n'Blues abandon! The boys are back, and in the words of the great song, "You got the old time boogie, and the new one too, but don't nobody boogie, like The Nightporters do!".http://www.nightporters.co.uk/
Marcus from Detroit, Michigan USA was first signed by Al Teller of United Artist Records - now EMI Capitol.
Marcus has performed at the Royal Albert Hall, Burnley and Colne Festivals in the UK; Harlebeke Blues Festival in Belgium; the Bospop Festival in Holland; Valdagno (Vicenza) Blues Festival in Italy; and various UK Art Centres and Blues Clubs.
Marcus is presently working the European blues circuit, festivals and concert halls including tours of Belgium and Holland. During 2004 Marcus appeared at most of the major festivals in the UK – Colne, Maryport, Stanley, Warrington, Warners, and Darlington Festivals.
Marcus has written, produced and recorded his album "One More Time" which was released in January 2000 on the Redline Music label distributed by RMG/Universal.
The title song "One More Time" is featured on 'Blueprint 1999 -The Best of The British Blues' album.
Marcus' second album -'Walkin' Shoes'- was released in August 2002 on the Redline Music label, and features some of the UK's finest blues musicians. The track 'Take It To Heart' is featured on 'Blues In Britain' 2002 - 'The Best of British Blues' album.
Marcus performed two self-penned acoustic numbers ‘Take It To Heart’ & ‘What About Me’live on the The Paul Jones Show BBC Radio 2. The session was was aired in December 2002. A live session with his band was recorded at BBC Pebble Mills studio in Birmingham for airplay on the Paul Jones Show.
The latest album 'Blue Radio' was released in January 2004 and is now available on the Redline Music Label from this site. www.marcusmalone.com
24Pesos have a unique and energetic take on the Blues that has put them at the forefront of the new Blues scene in the UK and have been toted as "The UK's most exciting and original Blues band." by Maverick Magazine. 24Pesos play original music, with deep understanding of the Blues history, virtuoso instrumentation a joyous groove, real songs and enough energy to bring the house down every night
The band burst on to the blues scene in 2008 with their raw and rootsy live shows and debut album The Boogie Worm. In 2010 they released their second album Busted Broken and Blue to great critical acclaim earning the band four nominations at the British blues awards including best band and best album.
Drawing from influences diverse as Sly Stone, Sean Costello, The Meters, James Brown, Freddie King, Howlin Wolf, Captain Beefheart, Jimi Hendrix, The Rolling Stones and the Roots, the band’s upbeat, down-home sound brings an infectious energy to their electrifying live shows that has earned them a great reputation as a live act at festivals and venues throughout Europe and the UK.
The band gigged extensively throughout 2009/10/11 in support of their debut album The Boogieworm and 2010 release Busted Broken and Blue (Cadiz Music) including festivals, Bluesin@out festival in France, Ribs&Blues festival Holland, Rhythm & Blues Night Groningen Holland, Bliuzonaktys Festival Lithuania, Askim Festival Norway, Cullemborg Festival Holland, The Colne Blues Festival and club dates at Ronnie Scotts, The Jazz Cafe London, Paradiso Amsterdam and the Harvest Jazz and Blues festival Canada. They represented the UK at the European Blues Conference in Berlin in March, won the New Brunswick battle of the Blues and were nominated four times at the 2011 British blues awards. They appeared on national radio throughout the UK, Europe and beyond featuring on a 1hr live in session special on CBC Canada’s national radio station and the Paul Jones 25th anniversary show on BBC radio 2
When The Ship Goes Down is the bands latest release on Ourgate records/Cadiz music. Produced by bassist Silas Maitland the album expands on the themes of their earlier release Busted Broken and Blue and is very much a crossover Blues album. The band recorded eighteen tracks over two days in London’s Perry Vale studios. All tracks were recorded live to capture the real band sound, spontaneity, excitement and vibe. The tracks were then developed in the band’s own studio. “We really worked on the arrangements for this record. Looking for a gnarly groove and grind, real songs and a sound that is unique, original unmistakably 24Pesos.” Eighteen tracks were pared down to eleven. “Having tracks to spare meant that we were able to produce and album that we are really proud of from start to finish.”
Groovin, powerful, raw and rockin’. ‘When The Ship Goes Down’ is the bands most complete release to date...http://www.24pesos.com/
Kirry Willy Et Le Magasin Dangereux
Morblues Feat. Diane Blues
Boston's DIANE BLUE has the “whole package” – she is a strong vocalist, skillful harmonica player and a crowd pleasing entertainer. Voted Outstanding Female Singer in The Blues Audience 2011 Readers’ Poll, Ms. Blue is a soulful and sassy performer with a strong, confident attack and energetic delivery, serving up her own spin on soul, blues and R&B.
Ms. Blue won the 2010 Massachusetts Blues Challenge, earning the honor of competing at the 2011 International Blues Challenge in Memphis, Tennessee. She was nominated for "Best Female Singer" in the 2010 Blues Audience Readers Poll, "Best Blues/R&B Act" and "Best Female Vocalist in 2007 by the Providence Phoenix and also nominated "Best Local Blues Act" by Motif Magazine in 2007.
Ms. Diane Blue has played harmonica and/or sung with guitarist extraordinaire, Ronnie Earl, as well as international performers Luther Guitar Jr. Johnson (former sideman for Muddy Waters), Big Jack Johnson (of Clarksdale, Mississippi) and Irma Thomas (the Soul Queen of New Orleans). Juke joint legend Big Jack Johnson dubbed Ms. Blue “A Monster” on the harp after she performed as his guest star at Red's Lounge in Clarksdale, Mississippi.
Ms. Blue continues to tour internationally as well as performing in the USA.http://dianebluemusic.com/
MORBLUS stands for American Blues made in Italy and captures the audience with its exceptional sound of Funk, Blues, Rhythm & Blues and Soul.
The band founded in 1991 has a wide repertoire of blues classics, modern soul pieces and original compositions. With an unbridled amount of adrenaline, the quartet, around front-man Roberto Morbioli, evokes an unforgettable music experience.
The MORBLUS sound is unique. Its power and groove, infused with its many musical influences, carries its audiences away more than any other act in the European music scene. In Spain, the Netherlands and even in the Home of Blues, the USA, MORBLUS has made its mark as the most fiery Funky Blues Export from Italy.
In performing with various international Blues artists, the MORBLUS sound has matured to an individual and distinctive Blues that grabs the fans right from the start. When lead singer and guitarist Morbioli leaves the stage and with his Telecaster dives into the audience, everybody shakes a leg.
Well known for their energetic sound, by fans and musicians alike, in Europe and beyond MORBLUS has toured Italy with John Mayall, and Robben Ford and played the legendary B.B. King’s Blues Club in Memphis! With its strong stage presence at home in Italy and across Europe, MORBLUS, now in its 20th year, has celebrated great musical success.
Roberto is the founder and frontman of MORBLUS. Born in the beautiful city of Verona, he at the age of 15 first got in touch with what should later become his greatest passion: the Blues!
After several years of activity in the Italian music scene, he was asked to play in the ‘Tao Ravao Blues Band’ in 1987, with whom he recorded his first album: “From Madagascar To Chicago”.
In December 1989 he joined the ‘Rudy’s Blues Band’ and with them recorded his second album:“Reason To Live”. While in this band, he also played at the biggest European festivals such as: Amsterdam Blues Festival, New Orleans Music Festival in Ascona, Sanremo Blues Festival, etc.
Roberto has performed at the historical places of the Blues in the U.S.A., such as “Antone’s” in Austin, Texas where he shared the stage with artists like “Anson Funderburgh” and “Sue Folley”.
In 1991 he finally set up his own band MORBLUS which has brought him much recognition and many awards, playing in all the biggest national and international blues festivals and events. In 1998 he toured with MORBLUS around the U.S.A. where he played at the B.B. King’s Bluesclub in memphis and in most popular American Blues clubs.
Roberto writes and arranges the music and lyrics of all the original songs recorded by Morblus:
„Let The Good Times Roll“, „101% Pure Morblus“, „7 Days Of R&B“, “Push!” (Live), “Mrs. Miller” (co-produced with the song writer Massimo Bubola), “I Can’t Go Wrong” (14 original songs reflecting back on 25 years of music and important collaborations) and the latest “On the Way Back “(Live) .
Roberto’s personality and unique playing style are evident in all his interpretations while at the same time recalling the styles of blues greats such as Freddy King, Albert King, B.B. King, Albert Collins, T. Bone Walker, Steve Ray Vaughn and Eric Clapton.
Roberto is a passionate and commanding guitarist, laying down great groove in every song he plays. Each note comes straight from his heart. As a singer, Roberto’s powerful voice recalls the styles and tones of Sam Cook, O.V. Wright, Little Milton, Otis Redding, Robert Cray, and Donny Hathaway.
Daniele has been a vital part of MORBLUS since its very beginning contributing signigicantly to the piano and hammond arrangements. Thanks to his great talent in improvising and arranging, he has ever since shaped the typical MORBLUS sound.
Previous cooperations with: Vallery Wellington, Lovie Lee (Pianistin von Muddy Water), Louisiana Red, Angela Brown, Jeanna Carol, Karen Carol, Maisha Grant, Bill Thomas, Sharon Clark, Paul Orta, Tolo Marton, Rudy Rotta, Bleu “Benoit” Boy, Paris Slim, Sandra Hall, Chicago “Bob” Nelson, Beverly Hammond, Preston Shannon, Ush Brown, Big Jesse, Michael Coleman, Steve Smith, Robin Brown, Herbie Goins, Louisiana Mojo Queen, Shakura S’Aida…
Stefano started to play the bass at the age of 14. After his musical studies in London, Mailand and Ferrara he joined MORBLUS in 2008.
Previous cooperations with: Diane Blue, Waldo Weathers, Sax Gordon, M.O.F. 5tet, Carbon 13 (U.K.), Abertico Project, Ricky Portera, Maurizio Solieri, , Sergio Pescara, Daniele Di Gregorio, Teo Ciavarella…
Diego is the youngest member of MORBLUS. He discovered his passion for the drums at the age of 14 and took lessons from famous musicians such as Alfredo Antonio Golino or Ellade Bandini.
From 2006 on, he took part in a large number of seminars and workshops (Siena Jazz etc) before in 2008 he founded the electronic jazz formation MOF 5tet, together with Stefano Dallaporta (Morblus bass player). Their first CD “Embarassing Days” came out in 2009.
Diego’s efforts paid off when in 2009 he won the competition for the best drummer of the MMI Verona, awarded by Steve Smith. One year later, he finished his graduation in Jazz at the Conservatory G. Frescobaldi in Ferrara.
Since then, his musical journey led him on tours through France und Luxembourg (with different Gospel and Jazz ensembles), and on the stages of well-known national Jazz festivals in Bologna or Ferrara.
As part of MORBLUS that he joined in 2009, Diego has played in many European countries such as France, the Netherlands, Belgium, Luxemburg, Switzerland, Austria and Germany
He has worked with different national and international artists such as
Diane Blue, Waldo Weathers (James Brown), Martha High (James Brown, Maceo Parker), Leo Carboni, Roberto Manuzzi, Teo Ciavarella, Sax Gordon, Domenico Loparco, Giuseppe Bassi, Marco Marzola, Stefano Dallaporta, Frank Martino, Manuel Trabucco, Filippo Vignato, Roberto Morbioli, Daniele Scala, Oscar Marchioni, Kicca Andriolo, Alfonso Santimone, Gianluca e Gianmatteo Carollo, Chiara Luppi, Elena Tavella.
Op 11 mei voeren Katerina Tsiridou & Kompania je mee naar de onderwereld van de melancholische rembetiko of Griekse blues. Tijdens onze Griekse blend (13/05) blijven we in de sfeer met een lezing over rembetiko door Antoine Légat.
Welkom in de Griekse onderwereld van de rembetika en smyrneïka (liederen uit Smyrna). Rembetiko wordt geassocieerd met melancholie, gebroken liefde, eenzaamheid, onrecht, drank en drugs. Als maatschappelijk verschijnsel past het genre in het rijtje van de Amerikaanse blues, flamenco, fado en tango. Katerina Tsiridou (zang, baglama, cymbalen) wordt begeleid door Dimitris Kranidas (bouzouki, ud, zang), Nikos Protopapas (gitaar), Ioannis Kalafatelis (accordeon) en Sotiris Papatragiannis (zang, baglama).Griekse Blend
- Ontmoetingsdag rond Griekenland
In de namiddag trekken we volop de kaart van de actualiteit met een boeiend panelgesprek tussen Peter Mertens, auteur van de bestseller 'Hoe durven ze?', Yiorgos Vassalos, vertegenwoordiger van het Grieks-Brusselse 'Initiative de Solidarité à la Grèce qui résiste' en Karel Van Isacker, een Vlaming die al jaren tussen Griekenland en België pendelt en in Athene woont en werkt. De moderator van dienst is VRT-journalist Michaël Van Droogenbroeck, die de Griekse situatie nauw opvolgt en net voor de blend ook naar Griekenland gaat om verslag uit te brengen over de verkiezingen. Het debat zal worden gevoerd aan de hand van fragmenten uit de spraakmakende documentaire 'Debtocracy'.
Na het debat is er ruimte voor een babbeltje met (andere) Griekenlandliefhebbers... Neem gerust uw bouzouki of baglama mee, misschien is het wel de gelegenheid voor een Griekse jamsessie. Of bent u al jarenlang op zoek naar een tegenspeler voor een tavli-spelletje? Wie weet loopt u er die dag wel eentje tegen het lijf...
Om 18u30 kan u genieten van een heerlijke Griekse maaltijd voor het kleine bedrag van 12 euro pp. Hiervoor dient u op voorhand te reserveren via email@example.com (t.e.m. 03/05).
's Avonds wordt u ondergedompeld in de wereld van de rebetiko met o.a. een lezing over rebetiko door Antoine Légat. Het precieze programma volgt zo snel mogelijk.
- 14u00 - panelgesprek ahv fragmenten uit 'Debtocracy'
- 18u30- eten (reserveren t.e.m. 03/05)
- 20u30 - avondactiviteit rond rebetiko
ritish experimental musician David Tibet of Current 93 heard a demo and offered to release Antony's music through his Durtro label. The debut album, Antony and the Johnsons, was released in 1998. In 2001, Hegarty released a short follow-up EP, I Fell in Love with a Dead Boy, which, in addition to the title track, included a cover of "Mysteries of Love", a David Lynch/Angelo Badalamenti song and "Soft Black Stars", a Current 93 cover.
Producer Hal Willner heard the EP and played it to Lou Reed, who immediately recruited him for his project The Raven. Now gaining more attention, Hegarty signed to US-based record label Secretly Canadian, and released another EP, The Lake, with Lou Reed guest-performing on one of the tracks. Secretly Canadian also re-released Hegarty's debut album in the United States to wider distribution in 2004.
Antony's second full-length album, 2005's I Am a Bird Now, was greeted with positive reviews and significantly more mainstream attention. The album featured guest appearances by Lou Reed, Rufus Wainwright, Boy George and Devendra Banhart, and circled themes of duality and transformation. I Am a Bird Now featured arrangements by Maxim Moston and Julia Kent and was mixed by Doug Henderson. In September 2005 Antony and the Johnsons were awarded the Mercury Prize for the best UK album of 2005. Rival Mercury nominees, and favorites for the prize, the Kaiser Chiefs suggested that Antony got in on a technicality; despite the fact he was born in the United Kingdom he spent much of his time in the US — although they later apologized for the suggestion that he wasn't a deserving winner.
Antony and the Johnsons collaborated with experimental film-maker Charles Atlas and presented TURNING in November 2006 in Rome, London, Paris, Madrid, and Braga. Thirteen women from New York City were presented in intimate live video portraits during the course of the concert. The Guardian called the piece "fragile, life affirming, and truly wonderful (five stars)". Le Monde in Paris hailed TURNING as "Concert-manifeste transsexuel".
In 2006, the song Bird Gerhl was used in V for Vendetta. It was also included in the soundtrack released by Astralwerks Records, which featured artists such as Julie London and Cat Power along with instrumental work by composer Dario Marianelli.
Antony and the Johnsons' 5-song Another World EP was released on October 7, 2008. Antony and the Johnsons' third album, The Crying Light, was released on January 19, 2009 and went to #1 on the European Billboard charts. Antony has described the theme of the album as being "about landscape and the future". Nature, death, love and the role of the artist were explored across ten tracks, which included the single "Epilepsy Is Dancing." The album was mixed by Bryce Goggin and included arrangements by Nico Muhly.
Ann Powers wrote of The Crying Light for the LA Times online, “it's the most personal environmentalist statement possible, making an unforeseen connection between queer culture's identity politics and the green movement. As music, it's simply exquisite -- more controlled and considered than anything Antony and the Johnsons have done and sure to linger in the minds of listeners."
After touring throughout North America and Europe in support of their new album, Antony and the Johnsons presented a unique staging of The Crying Light with the Manchester Camerata at the Manchester Opera House for the 2009 Manchester International Festival. The concert hall was transformed into a crystal cave filled with laser effects created by installation artist Chris Levine. Antony and the Johnsons went on to present concerts with symphonies across Europe in Summer 2009, including the Opera Orchestra of Lyon, the Metropole Orchestra, Roma Sinfonietta and the Montreux Jazz Festival Orchestra. At Salle Playel in Paris, Antony appeared in a costume designed for him by Riccardo Tisci of Givenchy.
After two sold out concerts at the Sydney Opera House, Antony and the Johnsons ended their recent touring in February 2010 in Tokyo. Antony, Johanna Constantine and William Basinski performed at the Sogetsu Hall with butoh master Yoshito Ohno, the son of the 103 year-old dancer Kazuo Ohno, whose image graces the cover of The Crying Light. Kazuo Ohno passed away in June of that year, and Antony wrote an obituary for the dancer in The Guardian.
September 2010 saw the release of the Thank You For Your Love EP which includes covers of Dylan's "Pressing On" and Lennon's "Imagine". The Sun listed Thank You For Your Love as single of the week on August 27, 2010.
Antony and the Johnsons released a 4th album Swanlights on October 12, 2010 through Secretly Canadian and Rough Trade Records. Simultaneously, Abrams Books published a book edition of Swanlights featuring Antony's drawings and collages with photography by Don Felix Cervantes. Antony and the Johnsons performed "Thank You For Your Love" on both The Late Show with David Letterman and Later With Jools Holland in support of the album’s release. In October 2010 Antony was invited to "takeover" The Guardian's music and arts page that ran for weeks leading up to the release of Swanlights. Stereogum placed Swanlights in its Top 50 Albums of the year at #8.
In tribute to Kazuo Ohno, Antony and the Johnsons performed on October 30, 2010 at Lincoln Center's Avery Fisher Hall with the Orchestra of St. Luke's and featured the film "Mr. O's Book Of The Dead" directed by Chiaki Nagano and starring Kazuo Ohno.
In January 2011, Antony was a guest on "Winterguest", a program on Dutch Television's VPRO channel and was interviewed by Leon Verdonschot.
In 2010-2011, the song "Her Eyes Are Underneath The Ground" from the album The Crying Light was chosen as one of the five stimuli that the International Baccalaureate Organization chose for the IB Theatre Arts PPP.
On January 26, 2012, the Museum of Modern Art in New York produced a sold-out performance by Antony and the Johnsons, entitled "Swanlights" after their fourth studio album, at Radio City Music Hall, a collaboration with laser artist Chris Levine and set designer Carl Robertshaw. Hailed a triumph by the New York Times, the spectacle was prefaced by a speech from Dr. Julia Yasuda, who said: “I am concerned about nature changing and dying. Won’t you please help her? Otherwise the world will be too lonely”. The New York Times entitled their article about the concert as "Cries From the Heart, Crashing Like Waves".
On March 14, 2012, the Southbank Centre in London announced that Antony would direct Meltdown 2012. Since 1993, some of the world's most distinguished musicians including Nick Cave, John Peel, Laurie Anderson, Patti Smith, David Bowie and, most recently, Ray Davies, have directed Meltdown, hand-picking their ideal festival by inviting their favourite artists to play, perform and exhibit their work at Southbank Centre. Meltdown 2012 will see Antony create a line-up of twelve days of music, debate and performance that reflects his interests, influences and passions.
Die Gründung von Nightwish findet, ihrer Musik angemessen, am Lagerfeuer in einer Nacht im Juli 1996 statt. Nachdem Tuomas Holopainen (Keyboard), Tarja Turunen (Gesang) und Emppu Vuorinen (Gitarre) zunächst nur akustische Songs komponieren und diese auch aufnehmen, wagen sie schon bald den Versuch, ihre Songs mit Schlagzeug (Jukka Nevalainen) und elektrischer Gitarre zu versehen. weiterlesen
Die Musik von Nightwish zeichnet sich von Anfang an durch die Verbindung von Metal-Gitarren und klassischen Arrangements aus, die nicht zuletzt auf Tarjas Stimme zurückzuführen sind. Sie plant eine Ausbildung als klassische Opernsängerin.
1997 kommt "Angels Fall First" mit acht Songs als Limited Edition auf den Markt. Im Mai des Jahres unterzeichnen Nightwish einen Vertrag mit Spinefarm Records und nehmen vier weitere Songs für die offizielle Debüt-Scheibe auf. Im Dezember des gleichen Jahres geht schließlich der erste Live Auftritt über die Bühne. Anschließend ist aber erst einmal Sendepause, da Jukka und Emppu ihren Wehrdienst leisten müssen und Tarja mit ihrem Gesangsstudium beschäftigt ist.
Im Sommer 1998 komplettieren Nightwish das Line-Up durch Sami Vänskä, der den Bass übernimmt. In dieser Konstellation spielen sie den Nachfolger "Oceanborn" ein, der Ende des Jahres erscheint und ab Frühjahr 1999 auch im Ausland erhältlich ist. Zur Sonnenfinsternis nehmen die Nordlichter die Single "Sleeping Sun" auf, die sich allein in Deutschland über 15.000 Mal in einem Monat verkauft.
Das 2000er Album "Wishmaster" erhält in Finnland Platin, bleibt drei Wochen auf Platz eins der finnischen Charts und erreicht hierzulande immerhin Platz 21. Den außergewöhnlichen Erfolg der Band erkennt man auch daran, dass Nightwish bis in die Vorausscheidung zum Grand Prix d'Eurovision kommen, in der Endauswahl leider scheitern. Zwar wählen die Zuschauer das Quintett mit Abstand auf den Spitzenplatz, die Jury jedoch auf die vorletzte Position, was einen dritten Platz ergibt.
Nach einer sehr erfolgreichen Tour durch Südamerika kehren Nightwish wieder nach Finnland zurück und arbeiten an einer Live-CD "From Wishes To Eternity" mit vier neuen Tracks. Erhältlich ist die Scheibe auch als VHS-Kassette oder DVD mit Konzertausschnitten, Musik-Videos und Interviews. Kurz zuvor erscheint die EP "Over The Hills And Far Away" mit dem Coversong von Gary Moore, sechs Live-Tracks und zwei neuen Liedern, die so ziemlich alles an Edelmetall einsackt.
Für das 2002 erscheinende Album "Century Child" ersetzt Marco Hietala (Tarot, Sinergy) Sami Vänskä am Bass. Schon zwei Stunden nach der Veröffentlichung durchbricht das neue Album, bei dem neben einem Orchester auch der inzwischen fest zur Band gehörende Marco als zweiter Sänger zum Einsatz kommt, in Finnland die Goldgrenze, nach zwei Wochen erreicht es Platinstatus.
Ein Ende der Erfolgs-Story Nightwish ist nicht abzusehen. Das sehen Drakkar Records genauso und bringen schnell noch eine Nightwish-Box mit den drei alten Alben und der EP, einem Buch sowie einigen Infos und Fotos auf den Markt.
Die folgenden Touren, zunächst wieder Südamerika, dann Europa, sind ebenfalls überaus erfolgreich, in Deutschland müssen sie wegen der enormen Nachfrage sogar Zusatzkonzerte geben. Im Herbst des Jahres ist die Tour vorbei, Nightwish gehen in eine schon länger angekündigte Pause, die die einzelnen Bandmitglieder ganz unterschiedlich nutzen.
Tarja setzt ihr Studium fort, Tuomas arbeitet mit drei Eternal Tears Of Sorrow-Mitgliedern und ein paar anderen Leuten am Projekt For My Pain und tourt mit Timo Rautiainen ja Trio Niskalaukaus durch Finnland. Jukka zockt derweil bei Sethian, und Marco widmet sich wieder seiner alten Band Tarot.
Die DVD "End Of Innocence" erscheint Ende 2003 und etabliert sich prompt auf Platz 62 in den deutschen Albumcharts. Der Vertrag mit Drakkar läuft damit aber aus. Nach einiger Zeit geben Nightwish ihre Einigung mit Nuclear Blast bekannt.
Dort machen sie dann richtig einen auf dicke Hose und verpflichten Antti Jokinen, der schon Videos für Celine Dion, Eminem oder Shania Twain gedreht hat, als Regisseur für ihr Video zur Single "Nemo". Auch das London Session Orchestra (hat die Musik zur "Der Herr der Ringe"-Trilogie eingespielt) muss natürlich her, somit belaufen sich die Produktionskosten für "Once" auf über 400.000 Euro.
Die Investitionen scheinen sich aber zu lohnen, denn man sieht Nightwish nicht nur bei Top Of The Pops. In Finnland bekommt die Band sogar eigene Briefmarken und ein eigenes Bier und sackt dort auch nach einem halben Tag schon Gold ein. Die Tour für Amerika ist ab Ende Sommer geplant.
Wie nicht anders zu erwarten, kommen Drakkar bald auf die Idee, dass dem ehemaligen Goldesel bestimmt noch ein paar Dukaten aus dem Arsch zu pressen sind. Folglich erscheint Mitte Oktober 2004 die Best Of "Tales From The Elvenpath", die nicht nur wegen kitschigem Cover und lieblosem Booklet missfällt.
Ist das schon mehr oder minder ärgerlich, schockt die Band Fans und Presse schließlich am 22. Oktober 2005 mit der Nachricht, dass Tarja bei Nightwish gefeuert wurde. Der Zusammenhalt zwischen ihr und dem Rest der Band muss schon lange nicht mehr der beste gewesen sein, Bandleader Tuomas gibt in einem offenen Brief auf der Homepage ganz deutlich Tarjas Mann Marcelo einen Großteil der Schuld. Die News steht einen Tag nach den Aufnahmen zur bezeichnend betitelten Live-DVD "End Of An Era" in der Hartwall Arena in Helsinki auf der Homepage.
Schon einen Tag später meldet sich auch Tarja zu Wort und beschwert sich über die Art und Weise, wie sie aus der Band geflogen ist und wie es in die Öffentlichkeit getragen wird. Auch, dass ihr Mann da mit hineingezogen wurde, schmeckt der Sängerin gar nicht, die sich nun wohl ganz auf ihre Solokarriere konzentrieren will.
Nightwish wollen auf jeden Fall weiter machen. Im Mai 2007 hat das Rätselraten um den Platz am Mikrofon ein Ende: Die Neue heißt Anette Olzon, stammt aus Schweden und ist 35 Jahre alt. Mit 17 ist sie zum ersten Mal mit einer Coverband aufgetreten, zuletzt war sie als Sängerin bei Alyson Avenue aktiv. Mit "Dark Passion Play" zeigt sie zum ersten Mal, dass sich die Band richtig entschieden hat. Anette legt einen erstklassigen Einstand hin.
Klar, dass es nach dem fulminanten Erfolg der Scheibe und der weitgehenden Akzeptanz der neuen Frontlady erst einmal ausgiebig auf Tour gehen muss. Sie räumen in Deutschland den Echo und in Finnland drei Emma Gaala-Awards ab und haben zu der Zeit schon vier Mal Platin für die aktuelle Scheibe in der Tasche. Anette singt im Sommer 2008 für Peter Tägtgrens Pain-Scheibe zwei Songs ein, bevor es in ganz Amerika auf Tour geht.
Anfang März 2009 veröffentlichen sie die Live-Scheibe "Made In Hong Kong", die trotz Bonus-DVD eher sparsam ausfällt.
Knapp ein Jahr später lassen sich die Skandinavier für den deutschsprachigen Raum ein besonderes Schmankerl einfallen und veröffentlichen in Zusammenarbeit mit dem Metal Hammer, die zuvor nur in Finnland erhältliche EP "Erämaan Viimeinen", inklusive zweier Bonus-Tracks.
Was folgt sind die produktionstechnisch wohl aufreibendsten und intensivsten zwei Jahre der Band. Das Quintett beginnt fortan mit den Arbeiten zum Mammut-Projekt "Imaginaerum".
Dieses besteht aus dem gleichnamigen neuen Studio-Album, das Ende 2011 den Weg in die Läden findet, sowie der visuellen Umsetzung des Audio-Materials in Form eines kompletten Fantasy-Spielfilms, den die Band für das Frühjahr 2012 ankündigt.
In 2010 maakten Clare and The Reasons kennis met de Handelsbeurs aan de zijde van éminence grise Van Dyke Parks. Een concert met volgens Focus Knack geen enkel dieptepunt. Hoogtepunten waren Clares nummers ‘Pluto’ en ‘That’s All’. Sindsdien liet Gent haar niet meer los en wilde ze dolgraag terugkomen.
We kennen Clare vooral als dochter van muzikant Geoff Muldaur, die geregeld opdook aan de zijde van Bob Dylan, producer Joe Boyd en Van Dyke Parks. Talent zit duidelijk in de genen, want Clare schrijft niet enkel prachtige songs, ze heeft ook een betoverende stem. In 2008 schreef Humo over het album The Movie: “het is nooit te laat om wonderbaarlijke muziek te ontdekken, en de verrassing stijgt uit elke porie van dit sprookjesachtige, tussen klassiek, jazz en crooners planerende plaatje.” Wie Clare and The Reasons eerder aan het werk zag, heeft nu ongetwijfeld al een ticket op zak. Voor wie hen nog niet kent: het is nooit te laat om wonderbaarlijke muziek te ontdekken!
Brooklyn-based Clare and the Reasons, fronted by collaborators Clare Manchon and Olivier Manchon, are pleased to announce the release of their sophomore album, Arrow, just out October 20th on Frog Stand Records. Arrow features a special guest appearance from Shara Worden of My Brightest Diamond, and is the followup to their acclaimed debut LP, The Movie, which included contributions from Van Dyke Parks and Sufjan Stevens.
Clare and the gang have spent the past two years touring around the world in support of The Movie. Live, they have a steady list of contributors, with a lot of instruments– cellos, violas, things to hit, kazoos, baby kotos, saws, recorders, and a bass drum that says “Kaboom” on it. It took a bit of wood, nails and many blankets to make Arrow in a recording tent built in the Ditmas Park apartment of Clare and the Reasons’ neighbor, friend and engineer, Alex Venguer. Clare and the Reasons deliver an assortment of meticulously constructed and arranged songs, most written by Clare in her very own kitchen, arranged by Olivier in the living room with two cats by his side, and recorded with surgical precision with the help of “Reason” Bob Hart. Walking the line between musical maturity and sophistication and primal, childlike musical instincts, Arrow floats in both worlds, comfortably.
In the midst of nothing but glowing reviews of both “Arrow” and live shows Clare and the Reasons toured US/Canada 3 times for “Arrow” thus far with Van Dyke Parks, Vic Chesnutt and Nouvelle Vague. They did an extensive euro tour in March 2010. The Reasons have euro festivals this summer (including Primavera Sound and Meltdown Festival in London) and another USA tour with Van Dyke Parks in fall 2010. You can hear Clare’s voice throughout the first season singing on the beloved show ”Arrested Development”. Clare has 2 songs in new French films, “Jusqua Toi”, and “Les Nuits de Sister Welsh”. Van Dyke Parks says, “Clare is the Reasons’ raison d’être. Melodious et mysterieux–(the group) defines esprit de corps. (wrapped in) elegant arrangements for your dream escape— Chamber music with edge. Get this Visa to real musical adventure. Totally transportive!”
Zijn wieg stond in Farnborough, Hampshire zuid Engeland. Zijn eerste muzikale herinneringen zijn van Buddy Holly, Jerry Lee Lewis, Elvis en Chuck Berry. Toen hij eenmaal Little Richard ging beluisteren werd hij zelf bezeten van dit soort muziek. Hij voelde zich sterk aangetrokken tot blues muziek en alle soorten muziek die daar aan verwant zijn. Muddy Waters is voor hem de "Blues God", Johnny Cash, Gene Vincent, Eddie Cochran en Hank Williams noemt hij zijn Godfathers. Op 16 jarige leeftijd trok hij veel op met een neef die in Engeland een getalenteerde pianist/zanger was zo begon hij steeds meer voor muziek te voelen.
Pas twee jaar later pakte hij de gitaar op en leerde zichzelf spelen. Het gitaarspelen ging hem gemakkelijk af hij luisterde veel naar Buddy Guy, Muddy Waters, Howlin'Wolf, Robert Cray, Albert Collins en B.B.King en kopieerde hun licks. Zo werd hij steeds beter, de basis Blues begrippen had hij vrij snel onder de knie, jamde veel met vrienden en leerde steeds meer door te luisteren naar de muziek.
Toen hij 20 was stopte hij op de kunstacademie en reisde af naar Berlijn. Hier moest hij veel spelen om te overleven, had weinig tot geen centen een voelbare blues ervaring die zijn gitaarspel en zang naar een nog hoger niveau bracht. Hij wist ondertussen dat hij echt alleen maar verder wilde gaan in de muziek.
Andy Graham - bass gitaar, Andy is al dik tien jaar bij de vaste band. Nieuwe songs worden bijna niet geoefend ze voelen elkaar perfekt aan en behalen zo de mooiste resultaten.
Nikolaj Bjerre – drums, Nik is al wat jaartjes bij de band en is een prima drummer. Met zijn eigen moderne inbreng geeft hij precies dat wat de Ian Siegal band zo speciaal maakt en dus opvalt tussen de traditionele bluesbands.
In the late 1980s, Siegal dropped out of art college and went busking in Germany. He has been active on the UK blues scene for many years, and after two European tours supporting Bill Wyman's Rhythm Kings in 2003 and 2004, began to receive significant attention in Europe and further afield, particularly since the release of his album, Swagger, the follow-up to his critically acclaimed Meat & Potatoes. These recordings also feature guitarist Matt Schofield, and received praise in the music press, including an entry in the Penguin Guide to Blues Recordings, and was Mojo magazine's second best blues album of 2007. In 2008 the album The Dust was released. Unlike the previous albums it contained mainly solo performances. In 2009, Siegal released another album together with his band members, Andy Graham (bass) and Nikolaj Bjerre (drums). This album, Broadside, was voted "Blues Album of the Year 2009" by Mojo.
His 2011 release, The Skinny, was recorded in North Mississippi with Cody Dickinson of the North Mississippi Allstars as record producer and he also played on the album. Backing Siegal were the sons of some notable Mississippi blues men, including on guitar Robert Kimbrough, on guitar and bass Garry Burnside, and on drums Rod Bland. Also guesting were Alvin Youngblood Hart and Duwayne Burnside.
De Britse band Porcupine Tree is vooral het geesteskind van diens frontman en tevens creatieve spil Steven Wilson. Met een tweede solo album getiteld ‘Grace For Drowning’ bewijst de man nog steeds op scherp te staan. Het is een ambitieuze dubbelaar geworden die aantoont dat hij momenteel één van de vaandeldragers van de progressive rock is; waar hij een hedendaags geluid (met een gezonde aandacht voor electronica) combineert met uitgesponnen jaren ’70 elementen.
Dat het talent van duizendpoot Wilson niet onopgemerkt bleef bewijzen zijn hand– en spandiensten voor artiesten divers als Opeth, Anja Garbarek, Yoko Ono en Anathema, en bovendien werkte hij onder het synoniem Bass Communion samen met de Belg Dirk Serries van Vidna Obmana in het ambient & drone project Continuum.
One of the most eclectic and prolific artists in rock music, Steven Wilson has been writing, recording, and producing music continuously since the age of 10. A native of Hemel Hempstead in England, Wilson was first exposed to music at the age of eight, when he started hearing his father listening to Pink Floyd’s Dark Side of the Moon, and his mother to Donna Summer’s Love to Love You Baby, two albums that were pivotal in the development of his musical direction. His father, an electrical engineer, built him a multi-track tape machine, and he began to experiment with overdubbing and developing a repertoire of production techniques.
Early demo tapes started to emerge in the mid 80’s while Steven was still at school, and at the end of the decade he created the two projects which gained him entry to the professional music world: Porcupine Tree and No Man. Porcupine Tree, which explored psychedelia, progressive music, and his love of ambitious seventies music, was initially an imaginary 'band' which, in reality, Steven overdubbed all the instruments himself. This even extended to early demo tapes coming with a fictional written history of the band, and biographical info about the fictitious performers.
Around the same time, Steven formed No-Man, his long-term collaboration with singer Tim Bowness. Influenced by everything from ambient music to hip-hop, their early singles and albums were a mixture of dance beats and lush orchestrations. Signing to One Little Indian in the UK, and Epic in the US in 1990, they received tremendous accolades from the music press, with Singles Of The Week in Melody Maker, Sounds and Hot Press
Meanwhile, things progressed with Porcupine Tree, whose increasing popularity was fast outpacing the imaginary pretext of an actual group. The second full-length album, Up the Downstair was released in 1993 and was praised by Melody Maker as "a psychedelic masterpiece... one of the albums of the year". This was the first album to include keyboardist Richard Barbieri and bassist Colin Edwin. Towards the end of the year, Porcupine Tree became a real band for the first time with the inclusion of Chris Maitland on drums, and began to tour. Further albums throughout the late nineties, and extensive touring resulted in a string of indie chart placings and critical acclaim, many fans hailing them as the Pink Floyd of the nineties.
In 2001 Porcupine Tree was signed to US label Lava Records, under the auspices of Atlantic Records. Now with the support of a major label, and featuring new drummer Gavin Harrison, In Absentia saw the light of day in 2002, featuring a heavier sound than all the group's previous works. It charted in many European countries and remains one of the top-selling Porcupine Tree albums. It was also their first album to be released in 5.1 Surround Sound, and won the 'Best Made-For-Surround Title' award for the Surround Music Awards 2004. Its 2005 follow-up, Deadwing was inspired by a film script written by Steven and film-maker Mike Bennion, and became the first Porcupine Tree album to chart the Billboard 200, entering at #132. The album won 'Album of the Year' at the Classic Rock magazine awards, and its surround version received the 'Best Made-For-Surround Title' once again. In 2006, Porcupine Tree released their first live DVD, titled Arriving Somewhere. The following year the band released Fear of a Blank Planet, its most successful selling album to date, receiving the most favorable reviews of the band's career. It entered the Billboard 200 at #59, and charted in almost all European countries, peaking at #31 in the UK. It was nominated for a US Grammy, and won several polls as the best album of the year. 2007 ended with the band playing their first arena shows, and their status as arguably the biggest “underground” band in the world was cemented.
Steven has become known for the high standard of his production and is a sought-after mixer and producer. Artists he has worked with in this capacity include the Norwegian artist Anja Garbarek, Yoko Ono, and Swedish progressive-metal band Opeth for whom he produced three albums. More recently Wilson has become known for his 5.1 Surround Sound mixes - the 2007 Porcupine Tree album Fear of a Blank Planet was nominated for a Grammy in the 'Best Mix For Surround Sound' category. The album was also voted #3 album of the year by Sound And Vision, which recently named Fear of a Blank Planet the second best 5.1 recording of all time. Steven is now working on several other surround sound projects, including remixing the King Crimson back catalogue. Other projects include Blackfield, a collaboration with Israeli megastar Aviv Geffen which has now produced two acclaimed albums, and Steven’s drone / ambient / experimental outlet Bass Communion.
In 2003 Wilson quietly started to release music under his own name for the first time, in the form of a series of two track CD singles on his own label Headphone Dust, each one featuring a cover version and an original SW song. The choice and treatment of the cover versions was unpredictable, with the first five featuring songs by Alanis Morissette, Abba, The Cure, Momus, and Prince. Stylistically these cover versions allowed Wilson to expand his musical pallete into everything from electronica, noise music, and stripped down acoustic balladry. This led to his decision to record his first solo album of original music.
Between January and August of 2008, Steven began recording material that would comprise Insurgentes. Comprising 10 new tracks that range from ballads and anthems to all-out industrial noise assaults, the dark, cinematic, and richly textured disc represents two years’ worth of creative output and numerous recording sessions worldwide in studios from Mexico City to Japan to Israel. The whole process was visually documented by film-maker Lasse Hoile, and the work in progress Insurgentes film features footage of the recording sessions, surreal sequences, and interviews with Wilson and many other musicians about what it means to be a musician in the age of iPods and download culture.
The initial version of the album was released as a mail order only 11 x 11 inch hardbound 120-page book, in a limited edition of 4000 copies, with 2 CDs of music and a DVD with a 5.1 mix and an 18 minute extract from the film. These sold out within the first week of release.
Van 19 tot 21 juli staan er in totaal alweer 18 groepen aangekondigd. Waar op vrijdag traditioneel Belgisch geopend wordt,wijken we daar dit jaar stevig van af: zo komt de afsluiter deze keer uit Spanje. The Excitements zijn een jonge band, die de soul van de jaren ’60 zeer genegen zijn en die in meer dan één opzicht aan Tina Turner en James Brown doet denken. Slick Nick & The Casino Special en hun swingmuziek zijn bekend van de Radio Modern-avonden, Virgil and the Accelerators zijn de jongste Engelse bluesrocksensatie en over Hideaway kunnen we kort zijn: deze Belgische veteranen bestaan dit jaar 25 jaar en openen dus met recht en reden de feestelijkheden.
Uit het lijstje van zaterdag 20 juli halen we, naast The Fabulous Thunderbirds en Robert Cray, die beiden een nieuwe plaat uit hebben, ook de relatieve nieuwkomers Heritage Blues Orchestra en The Delta Saints naar voren die onlangs indrukwekkend debuteerden. Daarnaast zijn er de Noorse Rita Engedalen en vooral Hugh Laurie die de aandacht trekken. Engedalen was vorig jaar de overtuigende winnares van de European Blues Challenge in Berlijn en Laurie speelt niet alleen Dr. House op tv, maar is ook een geweldige bluesmuzikant. Openers Sugarboy & The Sinners wonnen in 2012 dan weer de Dutch Blues Challenge.
De slotdag wordt ingepalmd door de donkere stemmen van Eric Bibb en Bettye LaVette, voor die laatste betekent dit een terugkeer naar het podium waar ze in 2006 al zoveel succes oogstte. Met Gov’t Mule en The Royal Southern Brotherhood (een kersverse supergroep uit het zuiden van de States met o.a. Cyril Neville en Devon Allman) worden de liefhebbers van southern rock op hun wenken bediend. Mike Zito, lid van de Brotherhood speelt in de vroege namiddag een soloset en afgesloten wordt met Status Quo, waarvan je je kunt afvragen waarom ze nooit eerder in Peer stonden. Ook hier wordt op grensoverschrijdende wijze geopend met Doghouse Sam & his Magnatones, een Belgisch/Nederlands trio, met wortels bij The Seatsniffers, The Rhythm Bombs en The Big Four Quintet.
Samengevat: een “Back To the Roots”-programma, dat deze 29ste editie helemaal waardig is. Dit alles op de nieuwe en ruimere locatie aan de Deusterstraat te Peer. Van de nieuwe opportuniteit werd gebruik gemaakt om het bezoekerscomfort stevig te verhogen.
THE EXCITEMENTS [ES]
SLICK NICK AND THE CASINO SPECIAL [B]
VIRGIL AND THE ACCELERATORS [UK]
THE ROBERT CRAY BAND [USA]
THE FABULOUS THUNDERBIRDS [USA]
HUGH LAURIE [UK]
HERITAGE BLUES ORCHESTRA [USA]
THE DELTA SAINTS [USA]
RITA ENGEDALEN [NO]
SUGAR BOY AND THE SINNERS [ES]
STATUS QUO [UK]
GOV’T MULE [USA]
ROYAL SOUTHERN BROTHERHOOD [USA]
BETTYE LAVETTE [USA]
ERIC BIBB [USA]
MIKE ZITO [USA]
DOGHOUSE SAM AND HIS MAGNATONES [B]
James Hugh Calum Laurie, OBE (Oxford, Engeland, 11 juni 1959), is een Engels acteur, komiek, musicus en schrijver. Hij is in Engeland bekend geworden door zijn werk voor televisie, en dan in het bijzonder door de samenwerking met Stephen Fry en Rowan Atkinson
Laurie is geboren en getogen in Oxford en studeerde aan Eton en Selwyn College in Cambridge. Zijn vader Ran Laurie won op de Olympische Spelen van 1948 (Londen) een gouden medaille voor roeien (mannen, twee zonder stuurman, met John Wilson) en Hugh was een fervent roeier in zijn studententijd, totdat hij moest ophouden omdat hij klierkoorts (de ziekte van Pfeiffer) kreeg. Hij besloot zich daarna te richten op acteren.
Tijdens zijn eerste jaar aan de universiteit werd hij lid van de Footlights Club in Cambridge, een vereniging die voor veel bekende Britse komieken het startpunt van hun carrière is geweest. In het laatste jaar was hij de voorzitter van de club, Emma Thompson was de vicepresident. In dat jaar (1980) ontmoette hij Stephen Fry tijdens het Edinburgh Festival.
Vervolgens deden zij als duo veel televisiewerk, zoals de komedieserie Jeeves and Wooster en A Bit of Fry and Laurie. Hugh Laurie heeft nu ook een solocarrière opgebouwd als acteur in zowel komische rollen (zoals in Blackadder met Rowan Atkinson, de rol van (adoptie)vader in Stuart Little, een stem in Stuart Little: the animated series en in 101 Dalmatiërs) als meer serieuze rollen, zoals in de film Sense and Sensibility. In het midden van de jaren negentig bracht hij een boek uit, The Gun Seller.
Hugh Laurie is sinds 1989 getrouwd met Jo Green. Van 2004 tot 2012 speelde hij de hoofdrol in House, een Amerikaanse ziekenhuisserie. Hierin vertolkt hij de rol van Dr. Gregory House. Deze serie is op dit moment elke week te zien op 2BE, SBS 6 en 13th Street. Op 9 februari 2012 werd bekend dat dat voorjaar de laatste aflevering op de Amerikaanse televisie te zien zou zijn. De laatste aflevering werd in Amerika op 21 mei 2012 uitgezonden en in Vlaanderen op 3 juni 2012.
Op 23 mei 2007 werd hij benoemd tot officier in de Orde van het Britse Rijk door koningin Elizabeth II wegens zijn verdiensten voor het drama.
Op 5 mei 2011 kwam in Nederland zijn debuutalbum Let Them Talk op cd en lp uit. Het album telt vijftien nummers. Op 7 juli 2012 trad hij op tijdens het North Sea Jazz Festival.www.hughlaurieblues.com/home.htm
The leaders of Gov't Mule, Warren Haynes and Allen Woody, should be well known to Allman Brothers fans for their stint in Southern rock's most famous native sons. In 1989, Haynes became the second replacement for Duane Allman, providing a good foil for Gregg Allman and Dickey Betts on guitar and vocals; Woody filled out the Allman sound on bass. Five years after their debut, the duo joined drummer Matt Abts in the side project Gov't Mule, a band in which the Allman Brothers' influence is apparent but complicated with the psychedelic, bluesy power trio feel of Cream.
Gov't Mule debuted in 1995 with a self-titled album on Capricorn Records, followed by the stellar concert date Live at Roseland Ballroom. The studio follow-up, Dose, appeared in early 1998; another concert set, Live...With a Little Help from Our Friends, followed a year later, with the complete show later appearing as a four-disc limited-edition set. A new studio effort, Life Before Insanity, appeared in early 2000. A vital member of the band was lost, however, on August 26, 2000, when Woody was found dead in a hotel room in New York City. The band had been preparing to record their next album, and after a time, Gov't Mule finally decided to carry on with the project, this time with guest bassists ranging from Flea to Bootsy Collins. The two-volume Deep End series for ATO Records resulted. Phish bassist Mike Gordon also got involved in the project, filming the recording of the albums for a planned documentary. In mid-September 2001, the group hit the road for a six-week tour in support of Deep End, Vol. 1; Oteil Burbridge filled in as bassist for most of the dates.
The second volume of Live...With a Little Help from Our Friends appeared in 2002 and the Deepest End: Live in Concert CD and DVD in 2003. One year later saw the release of Déjà Voodoo, Gov't Mule's first studio effort since Woody's death. It featured his official replacement, bassist Andy Hess, as well as new keyboardist Danny Louis. The same lineup released High & Mighty in 2006. The two-volume Benefit Concert series followed in 2007. In 2009, Gov't Mule issued By a Thread, its first studio album in three years. Hess was replaced by bassist Jorgen Carlsson, and the album featured a guest appearance by ZZ Top guitarist Billy Gibbons. In 2010, the Evil Teen imprint issued Mulennium, a three-disc package that commemorated Gov't Mule's complete 1999 New Year's Eve concert at Atlanta's historic Roxy Theatre with the band's original lineup. The concert also included guest appearances by the Black Crowes, Little Milton, and Audley Freed. John Bush, Rovi.www.mule.net/
For over 30 years, The Fabulous Thunderbirds have been the quintessential American band. The group’s distinctive and powerful sound, influenced by a diversity of musical styles, manifested itself into a unique musical hybrid via such barnburners as “Tuff Enuff” and “Wrap It Up”. Co-founder Kim Wilson, the sole original member, still spearheads the group as it evolves into its newest incarnation.
“We started as a straight blues band”, vocalist and harmonica player Wilson says. “We now incorporate a mixture of a lot of different styles. We’re an American music band and we’re much higher energy than we were before.”
In addition to Wilson, the current Thunderbirds line-up features Jay Moeller on drums, Johnny Moeller and Mike Keller on guitar, and Randy Bermudes on bass.
“To be in the T-Birds, you need to understand the different styles of music and different ways of playing,” Wilson comments. “You have to be willing to adopt a more contemporary style. The guys we have now are able to do that.”
The band continues to tour extensively, in both the U.S. and Europe. Wilson is currently writing songs on his own, with band members and other writers.
“I’ve primarily been a solo songwriter, but I’m looking forward to experimenting with the guys in the band,” Wilson says.
The thread throughout the T-Birds career has been the respect the group commanded for its peerless musicianship and devotion to the sounds of blues, R & B and rock ‘n roll. In fact, Muddy Waters called Wilson his favorite harmonica player and vocalist. “Muddy Waters was very good to me,” Wilson says. “He almost adopted me. I’ll never forget him.”
For Kim Wilson, the musical journey started in Goleta, California. At 17 he began playing the harmonica. His influences included Little Walter, George “Harmonica” Smith, Lazy Lester and James Cotton. At the same time, Wilson began singing and was deeply impacted by Bobby “Blue” Bland, B.B. King, Otis Rush, Jimmy Rodgers and Muddy Waters. In search of other musicians who shared his love of the blues, Wilson headed to Minneapolis. He stayed there for a year and a half, playing locally, before moving to the burgeoning music scene of Austin, Texas. It was there that he met Jimmie Vaughan and they founded the T-Birds in 1974. The band developed a reputation as a compelling live act and subsequently signed a record deal with CBS/Epic Records.
In 1979, The Fabulous Thunderbirds released their first self-titled album. Primarily blues influenced, it became a cult classic. “Things were wide open back then,” Wilson recalls. “There were hundreds of stages where bands could show what they had.”
In subsequent releases, the band started to incorporate more Cajun, rock ‘n roll and soul influences. The album “T-Bird Rhythm” marked a creative turning point for the group as it collaborated with noted producer Nick Lowe. In 1986, The Fabulous Thunderbirds reached a commercial peak with the album, “Tuff Enuff”. The single of the same title as well as the singles “Wrap It Up” and “Look At That”, all went top 40. The song, “Tuff Enuff” was featured in the film “Gung Ho” starring Michael Keaton.
For the remainder of the ’80s, the band continued to record and tour, and released the album, “Powerful Stuff”. Jimmie Vaughn left in 1989 but Wilson kept the group going, incorporating keyboards into the guitar-driven sound. Kim moved back to California in 1996, continuing to cultivate the T-Birds music.
“The thing about the T-Birds is that we can play both blues festival and rock venues,” Wilson comments. “We’re a diversified band now and everybody’s on the same page.”
As a side project Wilson formed Kim Wilson’s Blues Revue, a traditional blues band. He also owns a blues label, Blue Collar Music, that has released three albums – one by Kim, one by “Big Al” Blake and one by Fred Kaplan. Wilson has also recorded and written with noted session guitarist Danny Kortchmar and drummer Steve Jordan and may tour with them at some point. However his current focus remains The Fabulous Thunderbirds. “This is a great time for this band,” he says. “We’re looking forward to the future.”http://fabulousthunderbirds.com/
THE ROBERT CRAY BAND
The five-time Grammy Award winner summarized 35 years of mastery on the debut Nozzle release Live From Across the Pond (2006), an electrifying two-CD concert set drawn from a series of shows (opening for Eric Clapton) at London’s Royal Albert Hall. When the time came to follow up that widely praised collection with a studio recording, Cray viewed it as an opportunity to move his sound in other directions.
He found exactly what he was looking for by turning to one of his oldest friends and colleagues: bassist Richard Cousins, whose tenure with the Robert Cray Band began with its barnstorming regional origins in Eugene, Oregon, in 1974 and extended through 1991, encompassing such early high-water marks as Strong Persuader (1986) and Don’t Be Afraid of the Dark (1988), both winners of the best contemporary blues performance Grammy.
I’ve known Richard for 40 years,” Cray says. “We go back to 1969, and we grew up in the same area together. We’ve always had a really good rapport together stage-wise. Richard and I have remained the best of friends ever since he departed way back in ’91. I’d still see Richard, whether it was in the States or in Europe – where he still lives. He’d always come to see us at the gigs. We always remained close. We talked on the telephone all the time.
“It just so happened that last year, I wanted to make personnel changes in the band. So I asked Richard to come back.”
Cousins’ return to the Cray fold bonds him once again with keyboardist Jim Pugh, a cornerstone of the guitarist’s group since 1989.
In the hunt for a new drummer, Cray – with encouragement from Cousins—struck on a musician whose style and experience perfectly complemented his own: the road-tested Tony Braunagel, whose résumé includes work with Bonnie Raitt (including her Grammy-winning Nick of Time and Luck of the Draw), Taj Mahal, Keb’ Mo’, and B.B. King.
Cray recalls, “I’d seen Tony work in a lot of different situations before. My first real opportunity to play with him was three years ago, when we did a benefit up in Portland, Oregon, for our friend Curtis Salgado. Tony was playing drums there, and Richard was there, too – they were the rhythm section. Richard was working really well with Tony, and they were kind of fronting the whole jam. It was great. I was talking to Richard after he’d rejoined the group, and I said, ‘We need to find a drummer.’ He just went, ‘Tony!’”
The refreshed lineup of Cray, Cousins, Pugh, and Braunagel came together at Santa Barbara Sound Design in Santa Barbara, California, to record what became This Time. Cray produced (though he notes, “Every time I produce, it’s like a communal effort”), with Don Smith engineering.
Cray says of the sessions, “I really looked forward to it—to how Richard and I were going to gel together after having not played together for a long time, and to bringing Richard back to work with Jim, because we did all get a chance to work together for two years, before Richard left—and then having Tony come in.
“Richard and Jim and myself have all known each other for a while, but when we added Tony to the mix, it was like, ‘Hey, where you been?’ We all get along really, really well. It was fun, and everybody brought something to the table. Tony’s interpretation of what we were doing was just spot-on, and of course, with his background, all the music that he’d listened to and played coincided with the music we’ve listened to and played over the years. It was like the perfect hand in the glove.”
All of the band members contributed fresh material to This Time. Cray brought in the title track, “Chicken in the Kitchen,” “I Can’t Fail,” and “Trouble and Pain,” and co-wrote “Forever Goodbye” with his wife Sue Turner-Cray. Pugh authored “Love 2009” and “To Be True.” Cousins and the Swiss soul/blues musician Hendrix Ackle collaborated on “Truce.” And Braunagel and guitarist Johnnie Lee Schell co-authored “That’s What Keeps Me Rockin’.”
As ever with Robert Cray’s undefinable sound, the music on This Time remains stubbornly beyond category. He has been internationally admired as a stylist whose innovations have brought new life to the blues, and such punchy outings as “Chicken in the Kitchen” and “That’s What Keeps Me Rockin’” should satisfy the most demanding blues fans. But the new album’s barrier-busting material – whether it’s the soulful “Love 2009” or the profound balladry of “This Time” and “Forever Goodbye” – demonstrate once again that attempting to slot Cray in a single genre is an exercise in futility.
Blues is one of the foundations of our music, but it’s not all that we play,” Cray says. “When I first started playing guitar, I wanted to be George Harrison – that is, until I heard Jimi Hendrix. After that, I wanted to be Albert Collins and Buddy Guy and B.B. King. And then there are singers like O.V. Wright and Bobby Blue Bland. It’s all mixed up in there.”
He continues, “Every time somebody asks me about where my music comes from, I give them five or six different directions – a little rock, soul, jazz, blues, a little gospel feel. Then there are some other things that maybe fall in there every once in a while, like a little Caribbean flavor or something. You just never know. I always attribute it to the music we grew up listening to, and the radio back in the ‘60s. It’s pretty wide open. It’s hard to put a tag on it.”
Cray, who began 2009 with concert appearances in Brazil and Japan, will support This Time with shows around the country with his reconfigured band.http://robertcray.com/
ROYAL SOUTHERN BROTHERHOOD
Mike Zito, Devon Allman, Cyril Neville ~ The soul of the south. Amplified soul for the new generation.
Before they even hit a chord, The Royal Southern Brotherhood have your attention. In the US South, where music is religion, two rock ‘n’ roll bloodlines tower above all others. In the saloon bars from Mississippi to Maryland, mere mention of the Allman and Neville Brothers casts a magic spell. Conversation falls silent. Pool balls stop rolling. Ten-gallon hats are tipped in respect and beer-bottles raised in salute. These aren’t just bands, they’re gods, and with a lineup comprising both the iconic Cyril Neville and Devon Allman, The Royal Southern Brotherhood come pre-loaded with expectations. Don’t worry: they can match them. The family tree might be auspicious, but this new band trades on talent, not genealogy. It’s not about rock history: it’s about the here-and-now.
This lineup has talent to burn. You’ll already know Cyril Neville: poet, philosopher, percussion master and perhaps the South’ last great soul singer. Devon Allman. As the son of Gregg Allman, the 39-year-old has rock ‘n’ roll in his DNA, but he’s always walked his own path. Mike Zito: the blues ace whose ear for melody provides the counterpoint to his wingman’s rocking tendencies. Nominated in 2011 for the Blues Music Foundation’s ‘Best Blues Rock’ award, and winner of 2010?s Blues Music Award. Bassist Charlie Wooten and drummer Yonrico Scott: both heavyweight names in their own right, with Charlie’s bass chops celebrated on the Southern jam scene for his sets with the Woods Brothers, and Yonrico hitting the skins for luminaries including the Derek Trucks Band, Gregg Allman and the Allman Brothers themselves.
They said that rock ‘n’ roll was dead, but they were wrong. Right now, in 2012, there’s something in the air, as The Royal Southern Brotherhood drag their thrilling new brand of blues-rock and white-hot musicianship from the Southern States onto the world stage. The South is rising again. Come along for the ride.www.royalsouthernbrotherhood.com
HERITAGE BLUES ORCHESTRA
A self-taught musician, Junior Mack is a gifted vocalist and guitarist. He has been playing since the age of nine and is equally at ease playing acoustic and electric styles. Junior started out on the guitar playing gospel - his road map being the early music of the Five Blind Boys Of Alabama with George Scott, Linwood Hargrove with the Swan Silvertones, Pops Staples of the Staple Singers, and the great Howard Carroll of the Dixie Humming-birds. His other influences are the country blues of Lightnin' Hopkins and the big city blues of Freddie King and B.B. King. Junior Mack has worked and collaborated with many major American recording artists including: Jaimoe's Jasssz Band, The Allman Brothers Band, Derek Trucks, Robert Randolph, Dickey Betts, Chaka Khan, Magic Slim, Joe Louis Walker, Honeyboy Edwards, Phillip Walker, Lucky Peterson, Eddie Kirkland, Jeff Healy and others.
BILL SIMS. JR.
Born into and raised by a sharecropping family in rural Georgia, vocalist and multi-instrumentalist Bill Sims Jr. is an internationally respected master of the blues. He began playing piano at age four and by fourteen he was playing professionally in a rhythm and blues group. A Warner Bros. recording artist, Mr. Sims is also an accomplished musical director and has lent his talents to many theater and film productions in New York and the United States. His film credits include Lackawanna Blues, Miss Ruby's House, American Gangster, and the recent Cadillac Records. He was also the subject of a critically acclaimed PBS documentary, An American Love Story, in 1999. Mr Sims currently lives in NYC where he mentors a new generation of blues and roots musicians.
A native New Yorker and the descendant of music makers from Georgia, Florida and Ohio, Chaney’s voice is steeped in field hollers, work songs, spirituals, blues, soul and R&B. She is dedicated to sharing the significance of these unique art forms; exploring their influence on her voice as a queer woman of color; and revealing a broad spectrum of the blues, roots music and the American songbook. Chaney has performed at venues around the world including: Rhino Jazz Festival, Aulnay All Blues, The Blue Note, Joe's Pub and Terra Blues. She has also had the privilege of sharing the stage with some of her mentors and muses including: her father Bill Sims Jr., the late Odetta, Phylicia Rashad, recording legend Bernard "Pretty" Purdie, Guy Davis, Staceyann Chin, Climbing Poetree and Ganessa James.
Placing the human factor at the heart of it all, and using music as a bridge between language and culture are the priorities of this highly-respected saxophonist, arranger and composer. At home in the jazz idiom, Bruno Wilhelm is a seasoned bandleader composer and arranger. He has led numerous original projects in straight-ahead and avant-garde Jazz. He composes and arranges for instrumentalists and vocalists across the musical spectrum including World, Hip-Hop and Rap as well as for theater and dance performance artists. He has also composed and played with various african artists in Western and Central Africa, and has worked as an arranger in classical music. He has collaborated with artists such as David Liebman, Chico Freeman, National Jazz Orchestra of France, Jean-Marc Padovani, Louis Sclavis and many others.
At the age of sixteen, Vincent Bucher learned to play the harmonica. He was discovered playing in the Paris Metro by American master harmonica player Sugar Blue, who encourages him to play professionally. Vincent is quickly recognized as a harp player of extraordinary talent and begins accompanying blues greats including: Louisiana Red, Jimmy Johnson, Sonny Rhodes and many others. He records with French blues stars Bill Deraime and Patrick Verbeke, as well as pop and rock music star CharlElie Couture. For two decades, he led his own groups, and played extensively with Blues, Roots and World artists throughout Europe, Africa and the United States. More recently, Vincent toured with his own group as well as with the Franco-Malgache artist Tao Ravao, the Legendary Malian singer-guitarist Boubacar Traoré and other notable African musicians. Considered one of the most accomplished harmonica players anywhere, he is a singer, composer, songwriter and arranger who uses his unique versatility and experience to explore the kinship between African music and the Blues.
KENNY "BEEDY EYES" SMITH
Widely considered the top traditional Chicago-blues drummer on the scene today and son of legendary ex-Muddy Waters drum man Willie “Big Eyes’’ Smith, Kenny is currently the most sought-after blues session drummer in Chicago. Some of his recording credits—over 50 albums—and touring engagements include Pinetop Perkins, Homesick James, Buddy Guy, Chicago Blues: A Living History, Honeyboy Edwards, Henry Townsend, Jody Williams, Big Jack Johnson, Aaron Burton, Lurrie Bell, Dave Myers, Kim Wilson, Paul deLay, Junior Wells, the Legendary Blues Band and many others. Kenny's talents as a drummer are not restricted to any one style of music—he is equally as comfortable in other musical genres including R&B, Soul, Jazz.www.heritagebluesorchestra.com/
Born: 29th May 1949
From: Forest Hill, South London.
Now Lives: South London.
Personal: Married to Eileen, eight children from two marriages.
Plays: Lead Guitar, Vocals, Songwriting.
Francis is the front man. His instantly recognizable voice and the twin guitars of Rossi and Parfitt are the main ingredients of Status Quo.
Known to everyone in the band as 'Frame' or 'The Gomorr' (the grand old man of rock and roll), he is married to Eileen, has eight children from two marriages, and lives in Surrey, England.
A typical Gemini, Francis on stage is an outgoing and charismatic showman but has been labelled a recluse because he rarely goes to parties or big social occasions, preferring to stay at home (If you saw his house you'd understand why!). Musically he still loves playing, performing and writing as much as ever and is always involved in the production of Quo records.
When not touring, Francis keeps fit by swimming and exercising. He is a collector of Koi Carp, likes Clay pigeon shooting and is probably the English pasta-eating record holder.
The Green Fender Telecaster...
is an original 1957 model, which Francis bought for £70 in 1968 and has been his main guitar ever since.
Over the years he has had some of the original Telecaster fittings replaced, using G&L parts which help the sustain and the intonation. It now has three pickups, which work in a Stratocaster configuration.
The gauge of the strings Francis uses are: .09 .11 .16 .26w 34w 46w.
He is currently using two 4x12" 8 ohm Marshall cabinets, a JCM 800 Lead Series amp and sometimes a JCM 900. For effects, Francis uses a Roland GP8 which boosts the signal to the amplifier, has five different overdrive patches and one patch which is a very tight straight double effect with some echo.
Between the output of the amp and the speakers are Palmer speaker simulators. The output of these goes out-front and is mixed with the miked signal from the Marshall cabinets and a miked signal from a Vox AC30 which is one of the new ones made by Marshall using exactly the same components as were originally used when they were first made in the sixties. You won't see the AC30's on the stage because they are kept behind the Marshalls.
Francis and Rick love the sound of the original AC 30's. In the old days these were loud enough to be the main stage amps but now the miked signal is sent out front to give the sound that extra fatness.
Francis uses Samson Radio systems on the guitar and for Radio headphones.
Born: 12th October, 1948.
From: Woking, Surrey.
Now Lives: Spain and South West London.
Personal: Four children from three marriages.
Remarried - August 2006.
Plays: Guitar, Vocals, Songwriting.
Rick is one of Englands' greatest rhythm guitarists, his rock solid style has always been the core of the Quo sound.
Also known as 'The Womorr' (The Wild Old Man Of Rock and Roll) , he has written some of Quo's most memorable songs including '"Whatever You Want", "Backwater" "Living on an Island"' and "Rain". If you've seen Quo live you'll know the rush you get when Rick steps up to the front of the stage and hammers out the intro to 'Caroline' or 'Paper Plane'.
The enduring partnership of Rossi and Parfitt is the thing that keeps Quo rocking and even though they are very different characters, after more than 40 years together they are still the best of mates. Once known as the 'Wild Man' of rock, Rick insists that he has now learned to relax and now is a 'Mild Man' of rock.
The white Fender Telecaster that is Rick's main guitar is a 1965 model with all the original Fender pickups and parts except for the bridge which has been changed to a Badass bridge, because he attacks the guitar and plays so hard he would tear his wrist on a normal Telecaster bridge.
The gauge of the strings Rick uses are: .14 .17 .26w .36w 46w 56w. (these are heavy gauge strings!)
He also uses an original Gibson SG which is tuned to an E chord. Both Rick and Francis use a number of open tunings and capos in the Quo set, between them they have 18 Guitars on the road.
Apart from the famous two Telecasters, They also use a 1981 Zemaitus for 'Forty Five Hundred Times' tuned to a B tuning with a .60 gauge bottom E string, a Schecter, a Fender Esquire that Rick uses on the medley tuned to G,G,D,G, B, D with a capo on the second fret, a Giffin and a Chet Atkins Acoustic used for 'Gerdundula'.
For 'Whatever you Want' Rick and Francis use a normal tuning but with the bottom E string tuned down to a D.
As Francis, Rick uses two 4x12" 8 ohm Marshall cabinets, a 100 watt JCM 800 Lead Series amp and sometimes a JCM 900. For effects, Rick also uses a Roland GP8 signal processor, which has three different chorus/flange settings and three overdrive settings.
Like Francis, Rick also uses a Vox AC30 which is fed out to the front system and mixed with the Marshalls.
Born: March 27th, 1946.
From: Beckenham, South London.
Personal: Andrew remarried on May 8th 2004 in London. He and his wife Ronnie (Veronica) live with three of their four children in Barnes, South West London.
Plays: Keyboards, Guitar, Harmonica, Bass, Vocals, Songwriting.
Andrew, otherwise known as 'Acid Man' because of his acerbic wit, is the multi-instrumentalist of the band and whilst he wouldn't admit it, is a fantastic musician.
Besides the keyboards, harmonica and guitar that you see him playing on stage with Quo, he is a great bass player, in fact not many people are aware that bass is his main instrument. He is also by his own admission the worst drummer in the world!
Andrew is also a connoisseur of fine wines and noted consumer of the same.
A full member of the band since 1976, he has contributed some great songs to the Quo hit list including "Whatever You Want" and "Burning Bridges".
The main keyboards Andrew uses on stage with Quo are a Roland piano, a Hammond C3 Organ and a Roland D70 which is also used for a mother keyboard and is connected to a Roland U220, a Vintage Keys module and an Akai Sampler. He has a Leslie speaker for the Hammond Organ, which is kept at the back of the stage and various pedals and effects which have all been modified to make the setup more comfortable to play.
When playing the guitar, Andrew uses custom guitars by Jamie Davey, a vintage Fender Telecaster, a Gibson Les Paul, a Washburn semi-acoustic and Gibson and Takamini acoustics.
He also plays several Harmonicas and as with the other members of Quo, Andrew uses in-ear radio monitoring.
John 'Rhino' Edwards
Born: 9th May 1953
From: Whitton, Middlesex.
Now Lives: South west London.
Personal: Married to Kathy, three children.
Plays: Bass, Guitar, Vocals, Songwriting.
John has played with many other artistes but for him there is only one band and he is where he wants to be, in the engine room of Status Quo.
He is known to all as 'Rhino' and also as 'The Bludgeon' because he is the clumsiest man in the world and somehow he manages to break things wherever he goes.
An enthusiastic supporter of Brentford Football Club and a 'Do it Yourself' (demolition) expert, he is married to Kathy and has three children, Mae, Freddie and Max.
Rhino loves touring and when Quo are on the road, he and Andrew can often be found wandering the streets, taking in Art Galleries, seeing the sights and tasting the local brews.
With possibly the biggest stereo system in West London and the best neighbours (not), he is a musicoholic, always listening to new and old records of all kinds and recording tracks in his home studio... loudly.
Rhino mainly uses Status basses, (aptly named, but no relation) He has a collection of others which he sometimes uses when recording, including an Alembic, a Fender Jazz, a Fender Precision and various others, but on the road with Quo he only uses the Status basses because they sound great and stand up to the rigors of touring. He has two headless Status four strings and a Status five string.
For amplification he uses two Marshall Dynamic Bass System heads and two Marshall cabinets, a 2x15" and a 4x10", and for effects he uses a Roland B5 multi-effect system mainly for chorus and flange. Rhino plays guitar in the song 'Gerundula" and uses a Tanglewood guitar and a Marshall JCM800 amp with a 4x12" cabinet.
Rhino released a solo album in 2000 on Eagle Records. The album 'Rhino's Revenge' is now available on Spotify from the link below.www.statusquo.co.uk/
Betty Jo Haskins was born January 29,1946, in Muskegon, Michigan. The family moved to Detroit when she was six years old. Her parents sold corn liquor and her living room was oft-times visited by The Soul Stirrers, The Blind Boys of Mississippi, and many other traveling gospel groups of the day. Unlike many of her contemporaries, Bettye did not get her start in the church, but in that very same living room, where there was a jukebox, filled with the blues, country & western, and R&B records of the time. The "5" Royales, Dinah Washington, Bobby "Blue" Bland, Red Foley, ...these were her roots.
By 16, Betty Jo had become enamored with showbiz. She decided to change her name to something more dramatic. She knew a local groupie by the name of Sherma Lavett, liked the sound of the name, and thus, Betty LaVette was born. Singer Timmy Shaw brought her to Johnnie Mae Matthews, notorious Motor City record producer. Bettye's first single was "My Man - He’s a Loving Man.", in the fall of 1962. The record was quickly picked up by Atlantic for national distribution. The record charted #7 R&B and put her on her first national tour, with Ben E. King, Clyde McPhatter, and another newcomer, Otis Redding.
After a brief spell at Detroit's Lupine label, Bettye went back to New York and became the featured singer in the Don Gardner & Dee Dee Ford Review, where their Small's Paradise shows became the talk of the town. Her association with Don and Dee Dee spawned her next big record, for the Calla label. "Let Me Down Easy", written by Dee Dee Ford, was an atmospheric masterpiece. Bettye's pleading voice, set against the moody string arrangement by Dale Warren produced a record that is on many "greatest soul songs of all time" lists. It went # 20 R&B in 1965 and led to an appearance on the television show, Shindig. It also put her on a tour with The James Brown Review.
Then back to Detroit for a one off single on Big Wheel and a series of singles for Ollie McLaughlin's Karen label. One of these songs, "Hey Love", was written expressly for her by Stevie Wonder. In 1969, Kenny Rogers heard her cover of his group's "What My Condition My Condition Was In", and suggested to his brother, producer Lelan Rogers, that he record her. This led to her signing with Silver Fox, and a trip to Memphis, where she made a string of records with a then unknown studio group, who went on to become known as The Dixie Flyers. The recordings were augmented by The Memphis Horns. The first release,"He Made a Woman Out of Me", went #25 R&B, even though it was banned by some stations due to it's risqué content. It later went on to be a hit for Bobbie Gentry. In 1970, the follow-up "Do Your Duty" went # 38 R&B. She recorded a number of other songs for the label, some of which were issued on 45. The LP that was to come never did, due to a falling out between label head Shelby Singleton and Lelan Rogers.
In 1971, at the suggestion of her manager, Jim Lewis, she entered a talent competition, and won a Clio Award for a Schaffer Beer Commercial.
"Bettye has always had big ears and a wide open mind, preferring to fulfill the role of a song interpreter, rather than attempt to write her own material. Bettye’s near mystical ability to get inside a song’s lyric, melodic line and harmonic implications, in the process invariably making anything she covers her own, stems from the tutelage and guidance of her late manager Jim Lewis. A veteran of the big band era having played with the screaming and stomping Buffalo-based Jimmie Lunceford Orchestra, Lewis managed LaVette for ten years beginning in 1968 and constantly harped on her to listen to master song interpreters such as Sarah Vaughan and Frank Sinatra, pointing out the intricacies of phrasing and timbre manipulation that are part and parcel of the sonic art of any truly great vocalist."
In 1972, above left, she was once again signed to Atlantic, through it's Atco subsidiary. After a few recordings in LA, they sent her down to Muscle Shoals Sound, where, under the guidance of producer Brad Shapiro and accompanied by the famed MSS studio band, cut what was going to be her first released full length LP. The Memphis Horns were dubbed on, as well as strings at Criteria Studios in Miami. The recordings were mastered and readied for release under the title Child of the Seventies. A publicity tour was booked, but at the last minute Bettye was called and told, “We have decided not to go forward with the project. Please return the plane tickets”. She was never given an explanation and the devastation stayed with her for years to come. However, a 45 from the sessions, "Your Turn To Cry", was released and ranks high on the lists of most deep soul collectors.
1975 brought a brief stint with Epic, where "Thank You For Loving Me" went #94 R&B.
The follow up, a cover of Charlie Rich's "Behind Closed Doors", as good as it was, failed to chart.
In 1978 she cut a disco record, "Doin' The Best That I Can" with a 19 year old producer, Cory Robbins, for the West End label. (Cory went on to fame as the creator/producer of Run DMC.) Bettye wanted a release from her contract, and they agreed to it if she signed away all of her rights to the song. She did, and weeks later the record became a huge dance floor hit, selling over 100,000 copies.
In 1979-1982 she was asked to appear in the touring company of the Toni Award winning Broadway musical, "Bubbling Brown Sugar" in the role of Sweet Georgia Brown. She learned to tap dance, and was hired. She worked with Charles "Honi" Coles, and Cab Callaway while with the show. It was here where she learned more about staging than she had ever known.
In 1982, Bettye got a call from Motown. Lee Young, Sr. was president of the label at the time, and he liked Betty. She was signed and sent to Nashville and recorded the Tell Me A Lie album. Produced by Steve Buckingham, the studio players were augmented by The Memphis Horns. Two 45s were released, the first of which, the Sam Dees penned, "Right in the Middle (Of Falling in Love)," went to #35 on the R&B charts. It also allowed for another television appearance, this time on Soul Train. However, a corporate shake-up removed Lee Young, Sr., and the LP itself was never promoted properly.
In 1989, Bettye recorded a CDs' worth of songs for English DJ, Ian Levine's Motor City label. Although most of the instrumentation is synthesized, her vocals were, as always, impeccable
1997 saw a wonderful, but unauthorized, release of Bettye's version of Etta James' "Damn Your Eyes", on cassette only, by the Bar/None label.
All the while, Bettye was a cult favorite in soul circles, especially overseas.
In 2000, French collector/label owner Gilles Petard, while searching the Atlantic tape vaults, came up with the long-thought-lost tapes to the 1972 Child of the Seventies Atco LP . He licensed the tracks and released them in France on his own Art & Soul label as Souvenirs.
At the same time, Dutch fan Ben Mattijssen recorded Bettye at a live show in Utrecht, Holland and released Let Me Down Easy--In Concert, on the Munich label. These two CDs, released almost simultaneously, created a renewed interest in Bettye, and showed that she was still in excellent voice.
In 2002, thanks to Shanachie Records' president Randall Grass, Bettye was introduced to Grammy Award winning producer, Dennis Walker. Dennis got her signed to fledgling label, Blues Express, and they made her comeback CD, A Woman Like Me.
In late 2002, John Goddard, owner of world famous Mill Valley Records decided to give himself a birthday party. Being a fan of Bettye's recordings, he contacted Bettye and asked if she would come and perform at his party. He told her that he would make sure that everybody who was anybody in the area would be there. Amongst the many famous musical guests was Mike Kappus, president of The Rosebud Agency. Although she hadn't had a record out in years, his belief in the power of her live show prompted him to sign her for bookings.
After signing with Rosebud, A Woman Like Me was finally released in 2003. Bettye won the coveted W.C. Handy Award in 2004 for "Comeback Blues Album of the Year" as well as the Living Blues critic pick as "Best Female Blues Artist of 2004."
After her contract with Blues Express expired, Mike Kappus helped her look for a new label home. He invited ANTI- Records president Andy Kaulkin to see one of her shows. On the strength of her live show, Kaulkin asked Bettye to sign a three record contract.
For the first project, Kaulkin paired her with Grammy Award winning producer Joe Henry, and suggested an album of songs written entirely by women. The resulting CD, I’ve Got My Own Hell To Raise, was on many critics’ “Best of 2005” lists. Due to an unfortunate error, the CD was never submitted to the Recording Academy for Grammy consideration.
In 2006, she received a well-deserved “Pioneer Award” from The Rhythm and Blues Foundation.
Her second ANTI- album, The Scene of the Crime, was recorded in Muscle Shoals’ FAME Studios with alt-rockers Drive-By Truckers. On it, she transforms country and rock songs written by Willie Nelson, Elton John, and Don Henley, among others, into devastating mini-dramas. The title of the disc references the now infamous Child of the Seventies LP, which was also recorded in Muscle Shoals. The Scene of the Crime was nominated for a Grammy Award for “Best Contemporary Blues Album” and landed on numerous “Best of 2007” lists.
In 2008, she received a BMA (Blues Music Award) for “Best Contemporary Female Blues Singer”. In December she performed a critically acclaimed version of "Love Reign O'er Me" at The Kennedy Center Honors in a tribute to The Who.
In January 2009 she had the honor of performing "A Change Is Gonna Come" with Jon Bon Jovi for President elect Barack Obama on HBO's telecast of the kick-off Inaugural Celebratory concert, We Are One. In April she shared the stage with Sir Paul McCartney & Ringo Starr at Radio City Music Hall for David Lynch's Change Begins Within benefit concert. A theatrical film release is planned.
In June 2009 a 6 song EP, Change Is Gonna Come Sessions, was released as a download only available on Itunes, Amazon, E Music, Rhapsody, etc. It consisted of songs that were composed by black writers.
In May 2010 her 3rd ANTI- CD, Interpretations: The British Rock Songbook was released to rave reviews. The concept was conceived by her husband, music maven Kevin Kiley, who was inspired by the critical acclaim that she received after her performance of "Love Reign O'er Me" at the Kennedy Center Honors in 2008. As the title implies, she re-invents songs from the British bands who were initially influenced by American r&b music. Bettye co-produced the record along with Rob Mathes and Michael Stevens, a relationship born at the Kennedy Center Honors and the We Are One events. It was nominated for a Grammy Award for “Best Contemporary Blues Album”
She has appeared on National Public Radio's World Cafe, All Things Considered, Weekend Edition, Wait, Wait Don't Tell Me, and performed a Tiny Desk Concert. She has appeared in a Mississippi Public Broadcasting series, Blues Divas, and is in a film of the same name, both produced by award winning film maker, Robert Mugge. She has also appeared on The Tonight Show with Jay Leno, Late Night with David Letterman, The Conan O'Brien Show, The Late Late Show with Craig Ferguson, Lopez Tonight, Austin City Limits, The Prairie Home Companion, The Artist's Den, Good Morning America, The Today Show and The Tavis Smiley Show.
Late 2012 saw the release of her album, "Thankful N' Thoughtful", and her autobiography, variously described as 'engrosing', 'riviting', 'hair-raising' and only suitable for the over 18s, "A Woman Like Me", co-written with David Ritz, author of books on R&B legends Ray Charles, Smokey Robinson, Aretha Franklin and Marvin Gaye.http://bettyelavette.com/
Mike Zito is het levende bewijs van Friedrich Nietzsche's stelling dat "what doesn't kill you makes you stronger". Hij groeide op in St. Louis, Missouri en werd op jonge leeftijd al ondergedompeld in de woeste klanken van het rauwe Zuiden van America, zich toen nog niet bewust van het feit dat deze de basis zouden vormen van zijn toekomst in de muziek. Tegenwoordig heeft hij zijn demonen getemd, en hij komt naar de Handelsbeurs!
Mike ontdekte op zeer jonge leeftijd het muzikale gebeuren om zich heen en oefende heel wat toonaarden met zijn kinderstemmetje. Het duurde dan ook niet lang voor Mike zich ging verdiepen in het gitaarspel. Voor zijn verjaardag kreeg Mike een album van Van Halen en net deze band zou Zito’s geest voorgoed verruimen. Na zijn middelbare school liep Mike vaak naar de plaatselijke gitaarwinkel, alwaar hij legendes als Chuck Berry en Bessie Smith zou bespeuren. Bezetten door deze geluiden bouwde Mike geleidelijk aan een geheel eigen stijl. Zijn debuutalbum ‘Blue Room’ in ‘98 en de al even knappe opvolger ‘America’s Most Wanted’ in 2000 zouden de plaatselijk muziekscène meteen overdonderen. Doorspekt met popgevoelige en intensief gitaarwerk werd dit dan ook een nationale doorbraak. In 2004 realiseerde Zito dan ‘Slow It Down’ en in ‘06 het goed ontvangen schijfje ‘Superman’. Twee jaar later ging het akoestische ‘Real Strong Feeling’ aardig over de toonbank. Met zijn “Bluesy Americana” vibe vind Mike’s muziek een ingetogen evenwicht tussen melodie, muzikant en band.
Mike Zito kroont zich dan ook tot een perfect singer-songwriter met een heel soulvol stemgeluid en kroont zichzelf tot uitmuntend gitarist en performer.
Na jaren van onvermoeibaar toeren en het knappe album ‘Today’ op Electro Groove Records oogst hij nu heel wat lof met zijn laatste studiorelease ‘Today’. Dit album wordt aanschouwd als zijn meest bevredigend en volbracht werk tot nu toe.
Mike Zito is op tour met dit werk van zijn laatste studio cd 'Pearl River'.
Een prachtige plaat waarin je een goed uitgebalanceerde mix van zijn invloeden Prince, Van Halen, Jimi Hendrix, Eric Clapton, Walter Trout, BB King, Buddy Guy, Danny Gatton, Stevie Ray Vaughn en waarom ook niet, John Mayer, kan terugvinden.
Het resultaat is een vrolijk stukje Americana, geserveerd met stapels vette plakken New Orleans funk, zanderige blues en ouderwetse rock-‘n- roll!
Zijn laatste wapenfeit is de live registratie ’Live From The Top’. Opgenomen op 25 & 26 juni 2010 in de Smoking’ Moe’s, gedurende het Blues From The Top Festival in Winter Park, Colorado. Samen met gastmuzikanten als Teresa James,
Nick Moss, Jimmy Carpenter, Ana Popovic en Curtis Salgado serveert Mike Zito opnieuw rauwe blues die boordevol positieve energie steekt.
Growing up in St. Louis, Missouri, Zito was immersed in the gritty sounds of the south side that would unknowingly become the groundwork of his future in music. Like the legends before him, music has coursed through his veins from the early age of five, when he began singing and performing. It didn’t take long for him to discover his instrument of choice – electric guitar – after receiving a Van Halen record for his birthday. His education and journey were just starting – little did he know he would find himself among such legends at a local guitar shop just out of high school. “Everyone from Chuck Berry to Bennie Smith came in that store,” Zito shares of his experience. “I soaked up the sounds of that store and began building my own style.”
Zito’s journey took off at the age of 19, when he busted into the local St. Louis music scene, developing his sound even further from the stage. His first independent release arrived in 1996, titled “Blue Room” which included raw and funky songs “Hollywood” and “Pull the Trigger”. His songwriting experience would break through on his sophomore release titled “America’s Most Wanted” in 1999. This album shares his pop sensibilities and intense guitar work. "Crazy People", "Deal Me In" and his own rendition of Elton John’s "Rocket Man" all set the pace to bring him into a national audience.www.mikezito.com
Eric Bibb’s debut CD for Dixie Frog/Stony Plain — Deeper in the Well — may well have been one of the most important roots music albums of recent years. Not only does it cross genres — folk, gospel-infused acoustic blues, and down-home country — but it offers a sound steeped in the rural Louisiana where it was recorded.
It also offers the spirit of hope and optimism in difficult times, in a friendly, warm-hearted and generous manner. To find your way though these darker days, he seems to say, you have to dig — as the album title says — “Deeper in the Well.”
Eric Bibb’s father, Leon Bibb, certainly helped his son dig a little deeper. An acclaimed singer in stage musicals and a senior figure on the New York folk scene of the 1960s, Leon gave his son his first guitar when he was seven, and introduced him to a who’s-who of musical icons. Eric’s godfather was actor singer and activist Paul Robeson; his uncle was jazz pianist and composer John Lewis. Family friends included Odetta, Pete Seeger and Josh White.
A professional player at 16, playing in the house band for his father’s television talent show, Something New, Eric went on to study (psychology and Russian) at Columbia University, but "after a while it just didn't make much sense; I didn't understand why I was at this Ivy League school with all these kids who didn't know anything about what I knew about," he says now. Aged 19, he left for Paris, where a meeting with American studio guitarist Mickey Baker focused his interest in blues guitar.
A few years later he moved to Sweden and settled in Stockholm, where he found a creative environment that, oddly, reminded him of his teenage days in Greenwich Village. He made a handful of albums, starting in 1972, and began meeting and playing with local musicians as well as newcomers from all over the world. He laughs: “There was a budding world music scene going on, long before it became a marketing concept."
His breakthrough album, Good Stuff, was released in 1997 and led to Eric signing to a British label, which in turn released Me to You, featuring appearances from some of his personal heroes, among them Pops and Mavis Staples and Taj Mahal.
The album furthered Bibb's international reputation and was followed by tours of the UK, the United States, Canada, France, Sweden and Germany. And so it went through the 90s and the first decade of the new century — he made consistently good records, and built audiences from Stockholm to Sydney, Vancouver to Vienna, Paris to Peoria, New Orleans to Newcastle, and from B.B. King’s club in New York to the Bluebird Café in Nashville.
Been greeted like a tramp, greeted like a star
From Albert Hall to rundown bars
I’ve seen it all — in my timewww.ericbibb.com
Her CDs, Three Still Standing (2008) and Chapels And Bars (2011), were both nominated to the Norwegian Grammy Award!
Rita Engedalen is often referred to as Norway's Queen of the Blues.
Her album Chapels and Bars (2011) is Rita Engedalen's 4th album. Of her previous albums Engedalen has won the Norwegian Grammy once and been nominated three times.
Rita Engedalen has buillt a large audience through an impressive series of festival apperances and touring at home and abroad. So it is with good reason that she is often referred to as Norway's Queen of the Blues. The brand new album "Chapels and Bars" consists mainly of newly written original material and was released in connection with the Notodden Blues Festival in August 2011.
Rita’s influences are mostly American folk music from districts and areas not very familiar to mainstream audiences. Dusty roads, back and forth from the Appalachian Mountains to the Mississippi Delta are areas she travels musically. Her intense nerve, her strong and rich voice mixed with deeply rooted soul form her personal musical expression. Many songs rooted in Rita’s musical landscape are often formed upon a simple, repetitive chord progression with intensely felt emotions and the raw power of trance. Making songs in these musical terms is for Rita very natural; she’s actually a natural born master.
Rita is a full range artist, both on CD and as a live performer.The combination of natural talent, a beautiful voice, solid song writing skills, original music and her outstanding musicians makes Rita’s live shows to amazing experiences!http://www.ritaengedalen.com
THE DELTA SAINTS
The Delta Saints are not what they say they are. Delta? Absolutely. But saints? One might call them “cautionary tales” long before the term “saints” ever came to mind; however, there is something devout about their bayou rock, a dirty, distinct sound they’ve zealously refined on their debut full-length, Death Letter Jubilee. Alternating between raucous melodies and slow-burning odes to the devil in his many forms, Ben Ringel (vocals/dobro), Dylan Fitch (guitar), David Supica (bass), and Ben Azzi (drums) explore themes of difficult love, the wanderer’s high road, and the moral low road using their unconscious fascination with the classical elements – earth, air, fire, and water – as a natural vehicle for their briny narratives.
With Death Letter Jubilee, The Delta Saints are blooming into life not as a pretty flower might, but perhaps a mushroom explosion from an atomic bomb or a feral thunderhead. After two self-released and well received EPs, Pray On and A Bird Called Angola, fans demanded a full length and happily burst through the band’s Kickstarter goal to get it. “That is a feeling like no other,” Ben Ringel claims. “It’s awesome and also humbling. And it’s good pressure on us to succeed. It’s the kind of pressure we were able to harness and strive off of.”
The members of The Delta Saints each moved to Nashville for college in 2007. They first found common ground as old-world-loving, good-bourbon-swilling musicians and began playing together around town before they had any plans to record. As the searing harmonica and howling vocals of their live show began garnering notoriety in a city known well for its indifference to anything less than worthwhile, The Saints rode their roots rock wave right into the studio.
On the heels of 2010’s A Bird Called Angola, the band toured tirelessly, playing more than 150 shows a year, including a slot at Arkansas’ Wakarusa Festival and two summers headlining in Europe during which they performed on the long-running, renowned German TV show Rockpalast. Road tested and weather worn, The Delta Saints have seen wholly organic growth, working diligently in the name of a roots revival alongside fellow up and comers Alabama Shakes and Gary Clark Jr., becoming The Black Keys of a bygone era, all the while harnessing the brackish delta current into something gripping and bold.
“Liar” opens Death Letter Jubilee with a swaggering bass line and a blazing guitar riff, the “Come on!” refrain in the chorus echoing like a command, beckoning listeners to settle in for the long haul. “’Chicago’ is just written about the first time I was ever in Chicago,” Ringel explains. “We were there for 18 hours, and there was a blizzard, so it was snow and wind and bitter cold. Right before bed, I looked out this big third story window, and all I could see was amber light from the streetlights and snow, and for some reason that image just stuck.” The song itself generates a heat fit to ward off that blizzard weather, featuring a rare but incendiary brass section and an immovable beat that marks the tune as an early highlight.
“Death Letter Jubilee” is by far the most magnetic track on the album. There’s something eerie about its cacophonous Orleans-inspired chorus, the warm buzz of harmonica, the tinny trumpet whine, and the way one can’t help but be swept away by the utterly irreverent revelry. “I love songs where sonically you get one emotion from it, and then you look at the lyrics and it’s not at all what you expected,” Ringel says of the song’s musical inspiration. “And everybody has certain emotions that they’re not proud of. The idea that you can be glad about somebody’s ultimate demise… it’s such a negative thing, but everybody feels something a little like that.”
“Jezebel” melts down into a sweltering lo-fi blues number, its minimal instrumentation muddled and viscous as though the song was written on an old front porch when it was just too damn hot to do anything but sing. And like water thrown over flames, the crackling and steaming “Out to Sea” cools the album with its haunting refrain: “Oh, oh, river run, straight out from the hurt that seems to pour from me, and oh, oh, river speak, just haulin’ ass down the Calabash, just headed out to sea.”
“It was a new direction for us on a lot of different fronts,” Ringel admits of the tune. “It’s quiet and it’s sweet and it’s sad. It explores the idea of that cheesy, sappy movie line, ‘I can’t live without you,’ but this is more like, if you’re going to say it, what does that really mean?”
“Sing to Me” starts out sluggishly, forlornly, a rusted locomotive gathering speed with lyrics like, “I come to you now with blood on my hands, the law on my tail, and my conscience be damned, my sweet little babe, my sweet honeybee,” before running off the rails completely, harmonica flashing, drums galloping. And “River,” a second listen gem, is a brief interlude deep into the album in which an ethereal female gospel choir seems to sway and billow in the breeze on balmy Sunday afternoon.
“The main thing we wanted for Death Letter Jubilee was for it to have movement,” Ringel states. “We wanted people to listen and have an emotional journey similar to the one we had while making it.” That journey has left them energized and confident about the future, while still enjoying each stop along the road: “We want to grow, and maybe even grow faster, but we understand that it’s all in due time. We want to fully realize the weight of our experiences, and be able to savor them too.”www.thedeltasaints.com
DOGHOUSE SAM AND HIS MAGNATONES
Now these guys are something else… Gettin’ back to the bare essentials, they play their blues pure and raw… simply the right way!! Out of the depths of their souls comes nothing less than prophetic mojo. And an upright bass, drums and hollowbody guitar is all it takes to deliver a high-energy show every single time they climb on stage. Witness yourself how these magnificent craftsmen create grooves’n’vibes on the spot, hit you in the stomach with it and then leave you breathless… Make sure to fasten them seatbelts cause you’re ‘bout to go full throttle on the blue highway!!!
Doghouse Sam & his Magnatones have earned their tracks with highly acclaimed and well-known bands such as Rhythm Bombs, Seatsniffers, Al Copley, Jake La Botz... Doghouse Sam performs both solo and with the Magnatones as a trio!www.doghousesam.com
In the beginning of 2010, and in such an uncommon place for their soulful passion as Barcelona (Spain), The Excitements have come crashing out the gate delivering a Rhythm and Blues breed of music with a Soul and Rock edge, completely unseen in stages nowadays.
Influenced by the finest black music of the preceeding century, its rhythm section delivers tight backbone, and is complemented by a horn section in the late 50's and early 60's tradition, all of it fronted by the powerful howl of Koko Jean Davis. And so, the Mozambique-born Soul Sister adds her ferocious whirlwind of power and energy, pushing the band towards a territory in which having a good time, dancing and shouting is all that matters.
Etta James, Ike and Tina, early James Brown or Sugar Pie de Santo are only a few names you should expect as the basis to the Excitements' stay-true-to-the-roots sound, which, at this time, you can find on a string of scorching 45s preceeding their inminent LP debut, all of it released on Barcelona's Penniman Records, one of the most important R&B and old school Soul labels around the globe.
So put on your dancin' shoes and join to the groove and energy show of The Excitements, very soon hittin' YOUR town! http://www.myspace.com/theexcitements
SLICK NICK AND THE CASINO SPECIAL
Swing Bands live on a stage are very cool and far too few these days. The absolute power and rhythm that's created when starting up a raging swing rhythm with the pulsating push of the double bass and a honking sax is something that you'll never forget.
Slick Nick is mr. entertainment himself who can build up the bopping mood in no time. While Jan Schaeken en Bart Geysels honk their saxes to the riffs we all know and love. Michel plays his six strings as a passionate rocker and Christophe hits the keys like a madman. Both musicians are swept away in the groove of Johan's Double Bass stomp and Jerry's boppin' beat. Come and bring some fun loving friends to see our shows. Good clean wholesome fun when dancing and jiving.http://www.slicknick.be