​Like all other things in showbiz (or the rest of the world for that matter), Jennifer Hudson’s highly anticipated biopic on the late Queen of Soul – Aretha Franklin, has been postponed to a later date.
The rescheduling comes in the wake of the ongoing Covid-19 pandemic, as the world continues to stay indoors and people continue to work from home.
Several musical and movie projects have been rescheduled and postponed, in the past couple of weeks, so the biopic on our beloved Queen Ree is no exception.
According to early reports, the film is now scheduled for a limited release around Christmas – just to make it qualify for the 2021 award season (particularly the Academy awards), following which MGM productions plans to release it to a broader audience in January – around Martin Luther King weekend.

​Met pijn in ons hart maken we bekend dat vanwege de afgekondigde maatregelen rond het COVID-19 virus VESTROCK op 5, 6 en 7 juni 2020 niet door kan gaan. Uiteraard begrijpen we dat dit een enorme teleurstelling is voor alle festivalgangers. Maar ook voor vrijwilligers, artiesten, partners en natuurlijk de organisatie zelf valt het zwaar dat het festival, na een lange voorbereiding, niet plaats kan vinden. We willen iedereen enorm bedanken die in aanloop naar deze editie weer bergen werk heeft verzet. Daarnaast gaat onze dank uit naar onze sponsors, partners, leveranciers en uiteraard ons trouwe publiek. We houden van jullie en bedanken jullie voor jullie steun, begrip en vertrouwen.

VESTROCK 2021: 4, 5 en 6 juni 2021
In 2021 keert VESTROCK terug: zet 4, 5 en 6 juni 2021 maar alvast in de agenda. Volgend jaar willen we met zijn allen in goede gezondheid het festival twee keer zo hard vieren en er een memorabele VESTROCK editie van maken. We doen bovendien ons uiterste best om de aangekondigde programmering voor deze elfde editie door te schuiven naar editie 2021. Hierover volgt spoedig nadere informatie. Aangezien het programma voor 2020 nog niet compleet was volgen er voor 2021 ook nog nieuwe namen. 

Tickets blijven geldig
Reeds gekochte tickets voor editie 2020 blijven geldig voor 2021. Restitutie van tickets is ook mogelijk tot 1 juni 2020 (via [email protected]) maar met het behouden van je ticket(s) steun je VESTROCK en de toekomst van het festival. VESTROCK is een onafhankelijk, non profit festival dat op vrijwillige basis georganiseerd wordt. Daardoor is de klap flink voelbaar, maar met jullie steun kunnen we doorgaan. We kijken er naar uit iedereen weer te zien in 2021, wanneer we er, met dubbel zoveel passie, weer een fantastisch festivalweekend van kunnen maken. 

Warme groet en hou je goed,

Team VESTROCK

​The arrival of the coronavirus to Nashville came early in March, but Joe Diffie's passing yesterday, at the age of 61 — just two days after releasing a statement about his diagnosis through his publicist — marked the first reported loss of a country star to coronavirus-related complications. An admired, early-'90s neotraditionalist, Diffie had a belated professional start but a quick breakthrough that came a few years into a wave of hard-country singers who favored naturalistic production.
Born Dec. 28 1958, Diffie attended school in tiny Velma, Okla., where he was introduced to the traditionalist mentality — of defining and defending a distinct sonic lineage — by his self-taught, banjo playing father. He recalled arguing with his dad about the permissibility of "Amos Moses," the country-funk story-song made famous by eventual Country Music Hall of Famer Jerry Reed in 1970, his old man insisting, "'You ain't playing that rock and roll in my house.' "
Diffie, though, did play in a rock band in his youth, and later, during a nine-year stretch working as a machinist at an iron foundry, in regionally touring gospel and bluegrass outfits. He also tried his hand at operating a small recording studio and began mailing original compositions to Nashville, where he headed in 1986 after he divorced his first wife and was laid off. Once there, Diffie busied himself with a warehouse job at Gibson Guitars before landing a publishing deal and gigs singing demos.
Diffie's recording career began in earnest in 1990, by which time he was in his 30s, and he generated high-charting singles right out of the gate. "I thought, 'Hey this is an easy business. Nothing to it,' " he joked with Charlie Mattos, a co-host of the WSM morning show Coffee, Country & Cody, in 2010.
Several early hits were ballads of dignified distress, including, "If You Want Me To," whose protagonist makes a stoic promise to honor the wishes of a lover he fears wants him gone; "Is It Cold In Here," a subtly self-pitying lament of domestic detachment; and "Ships That Don’t Come In," a rueful salute to those who've experienced life-shattering loss or disappointment. Diffie delivered the songs with George Jones-schooled thoroughness, his curling, clenching and mellowing of notes creating emotional suspense. In the music video era, it didn't hurt Diffie's rising profile as an affable and bighearted everyman to have a recognizable look: a thatch of feathered hair, styled in a mullet for a good while, and a steadfast mustache. (His now-widow revealed on The Bobby Bones Show last year that she has a playful tattoo of those visual trademarks on her leg.)
Diffie made a deliberate turn toward more heartily rocking fare — or as he put it, “Honky Tonk Attitude” — from his third album on. The songs he became best known for — like "John Deere Green," "Pickup Man," "Third Rock From the Sun” and one that's been quoted affectionately and often since news spread of his death, "Prop Me Up Beside the Jukebox (If I Die)" — were danceable, jovially bluesy and winkingly down-home, and added plenty of young-adult listeners to his multigenerational audience.
By 1995, Diffie had scored more than a dozen Top 10 hits. Though the chart success dropped off after that, he continued to release major label albums through the end of the decade, later shifting to indies.
Two decades into his recording career, around the time when many country veterans felt the urge to embrace sturdy, time-tested forms that seemed more insulated from fleeting trends, Diffie returned to his bluegrass roots — "something I always wanted to be able to do," he said at the time. He cut a very fine, Appalachian-steeped contemporary bluegrass set, 2010's Homecoming, with a group of picking and harmony-singing virtuosos from that scene. But he remained willing to whip out his old crowd-pleasers, sometimes doing so on package tours alongside contemporaries like Sammy Kershaw, Aaron Tippin and Mark Chesnutt.
Not long after that, Diffie became one of the first '90s country stars to feel the impact of a resurgence of interest in the music of that era, when Jason Aldean released the novelty tune "1994," whose hook rhythmically repeated the elder singer's name in a style recalling a hip-hop hype man. Diffie made the tribute into a fan sing-along at his concerts, and used a mini-montage of current stars covering it as the intro of a video for his own little country-rap experiment with D-Thrash, the MC of a hick-hop group called Jawga Boyz.
Then there was "Raised On Country," Chris Young's 2019 hit that name-checked Diffie next to figures long viewed as country archetypes and towering legends: "I was raised on Merle / Raised on Willie / Got my honky-tonk attitude from Joe Diffie." A lighthearted line, but not without meaning.

The urban-jazz harpist’s “Loving You” courts programmer’s ardor in advance of the release of her third album, dropping April 24.
 
SAN DIEGO (30 March 2020): Mariea Antoinette is upping the ante. Her previous albums have been designed to place the classical harp in surprising, unimagined contexts: R&B, jazz and hip hop. The motif expands on her third outing, “All My Strings,” which drops April 24 from Infinity/Maasai Productions. Teaming with producer Allan Phillips, who wrote four songs for the album, Antoinette’s focus is vibrational, celebrating the progress and unique contributions made by stringed instruments in music.  
 
“The idea was to create an organic sound where most of the instrumentation of the album is
propelled by vibrating strings - harp, violins, violas, cellos, guitars and bass guitar. ‘All My Strings’ is a tribute to the evolution and the magic that strings bring to music,” said Antoinette, a San Diego native. “I wanted the album to unfold as a beautiful, unexpected story.”
 
Antoinette began telling the story a couple years ago when she released the album opener, “Overture,” as a single, which went Top 5 on the Billboard chart and was named Best Jazz Single by the Black Women in Jazz & the Arts Association. With sweeping strings that build to a dramatic crescendo over funky beats, the track provided an exciting preview of what was to come on “All My Strings.” Last fall, Antoinette provided a second glimpse with the release of “That Thing (Doo Woop),” a reinvention of the Lauryn Hill hit. A third sampling came when “Loving You” began collecting airplay and playlist adds last week. The single earned Most Added status at Billboard. Antoinette tells the story behind why she elected to record the Minnie Riperton signature tune.    
 
“For years, Allan (Phillips) had the idea of recording a tribute to my first producer, the late Carl Evans, a founding member of the contemporary jazz group Fattburger. Carl had inspired countless musicians in Southern California and first introduced me and Allan. After years of searching, Allan suggested ‘Loving You.’ The original has a sublime effect that naturally seemed to work great with the harp. Then Allan gathered the surviving original members of Fattburger to record the song. We used a hallmark arrangement typical of Fattburger’s chart-topping style along with the string ensemble that appears throughout ‘All My Strings.’ The result is a fresh and exciting new version of a classic so dear to everyone’s heart. It also honors Carl who taught us to always spread love through our music - no matter what.”
 
Another compelling selection from the set is “Garden of Peace,” a soothing original spoken word number delivered by Antoinette over music by Lonnie Liston Smith.
 
“I believe in the healing power of music and spoken word where it drives all the tension from a room.
With spoken word, you can take people on an unforgettable journey through the power of words, something I do on all my projects. That was my intention with ‘Garden of Peace.’ Coupled with a pure harp solo, it creates a journey that is inspirational, creative and metaphysical. I love music that comes from an unknown place allowing you to simply close your eyes and listen.”
 
Antoinette wrote the album closer, “Gaia,” and spoke about its spontaneous origins. 
 
“I was taking a break in the studio after we recorded ‘Sekmet: Lioness Goddess.’ I began playing the harp, channeling what was in my heart. Allan walked into the room and asked what I was playing. He said we had to record it. It wasn’t planned at all. Totally impromptu. Suddenly, 'Gaia’ was born.”
 
After earning a master’s degree in harp performance, Antoinette debuted as a solo artist in 2003 on the Evan’s-produced “Sexy Paradise.” She began serving as principal harpist with the Los Angeles Southeast Symphony Orchestra in 2007 and later played a private event for President Barack Obama and First Lady Michelle Obama. Antoinette also accompanied Ne-Yo during a BET Awards performance. Her 2015 “Straight From The Harp: Special Edition” album, produced by Phillips, went Top 5 on the Billboard chart. Antoinette’s honors include winning a 2018 Black Music Award and the Instrumentalist of the Year title from the San Diego Prestige Awards the same year. In addition to playing club, theater and festival dates with her own ensemble, Antoinette has toured with the female-powered supergroup Jazz in Pink.       
 
“All My Strings” contains the following songs:
 
“Overture”
“Yearning For Your Love”
“All My Strings”
“Loving You”
“Ain’t Playin’”
“That Thing”
“Sekmet: Lioness Goddess”
“Garden Of Peace”
“Gaia”
                                                                                                    
For more information, please visit https://www.marieaantoinette.com

The country musician John Prine has been hospitalised and is in critical condition after experiencing symptoms of coronavirus. A post to his official Twitter account said that Prine, 73, had been taken to the hospital on Thursday and intubated on Saturday.

“This is hard news for us to share,” the post says. “But so many of you have loved and supported John over the years, we wanted to let you know, and give you the chance to send on more of that love and support now. And know that we love you, and John loves you.”
Prine’s wife, Fiona Whelan Prine, said on 19 March that she had coronavirus and that the couple were quarantining separately.
​
Prine won the Grammy award for best contemporary folk album in 1992 and 2006, and a lifetime achievement award this year. He was inducted into the Songwriters Hall of Fame in 2019. (bron: TheGuardian)

De Jamaicaanse reggaezanger en songwriter Bob Andy (werkelijke naam Keith Anderson) is op 75-jarige leeftijd overleden. Andy werd geboren in Kingston en was een van de oprichters van de reggaeformatie The Paragons. In 1967 scoorde hij zijn eerste solohit met de single 'I've Got to Go Back Home'. Hij schreef ook liedjes voor de zangeres Marcia Griffiths, met wie hij in de beginjaren zeventig het duo Bob & Marcia vormde. Hun reggae-single ‘Young, Gifted And Black’ bereikte de vijfde plaats van de Britse Top 50. De opvolger ‘Pied Piper’ deed het niet veel slechter met een elfde plaats in de Britse Top 50. Deze twee singles stonden samen 25 weken in de Britse hitlijst in een tijdsbestek van minder dan achttien maanden. In het midden van de jaren zeventig gingen Andy en Griffiths ieder hun eigen weg. ‘Young, Gifted And Black’ werd geschreven en ook oorspronkelijk opgenomen (in 1969) door Nina Simone. Hierna volgden Donny Hathaway, Aretha Franklin en Bob & Marcia. Bob Andy ruste in vrede!

​Met dank aan Leo Weijers.

​For her second album on True North Records, Nashville-based singer Crystal Shawanda has channeled the spirit and strength of blues greats such as Etta James and Koko Taylor, paired with a contemporary delivery that makes the 10 tracks on Church House Blues a rousing testament to her powerful vocal and songwriting abilities.   

​Recorded at several Nashville area studios, Crystal Shawanda says that the recording sessions for Church House blues allowed her to express herself without feeling like anyone was looking over her shoulder. “This is the most I’ve ever loved an album out of everything I’ve ever done,” she offers. “This is really who I am. It’s my most definitive album yet. All these songs reflect different aspects of who I am. It’s putting a finger on that definitively. I’m not trying to prove anything. I’m just being me. I’m done with trying to fit in.”
 
For the recording sessions, a sympathetic cast of all-star musicians was assembled, including session superstar Dave Roe on bass (Johnny Cash, Yola, Ceelo Green), the McCrary Sisters on backing vocals, Dana Robbins of Delbert McClinton’s band on sax, and Peter Keys of Lynyrd Skynyrd on keyboards. Produced by her husband, collaborator and cowriter Dewayne Strobel, it not only marks her fourth blues effort to date, but one of her most demonstrative as well. That’s evident at the outset, from the fiery delivery of the title track, the riveting drive of “New Orleans Is Sinking,” and the assertive strains of “Rather Be Alone,” to the quiet, contemplative desire and despair that scorches “Evil Memory,” the radio-ready hooks illuminated in “Hey Love,” and the emotive strains instilled in the bittersweet ballads “When It Comes To Love” and “Bigger Than the Blues.” At the center of it all are Crystal’s evocative vocals, a powerful, provocative force of nature that elevates each encounter and sends the album’s entries soaring towards the stratosphere.
 
An indigenous musician who grew up on the Wikwemikong reserve on an island in Ontario, Canada, Crystal lived in a home filled with the music her oldest brother loved most: the blues – even though her parents encouraged her to play country songs. Moving to Nashville brought her some early success in country music, but as Crystal herself admitted in an interview, “The whole time I was singing Patsy Cline on stage, I was singing Etta James at home.”
 
Originally signed as a country artist to RCA Records in 2007, she produced a Top 20 hit on country radio, sold over 50,000 copies in the US, and reached Top 20 on the Billboard Country Album Chart; but the pull of the blues music she heard in her heart and soul was too strong to ignore. Eventually, she left RCA, formed her own label and began making the blues music that is her true calling.
  
It’s that free spirited approach that’s found her becoming a critical favorite. Her first album for True North Records, VooDoo Woman (2018) elevated her to the upper strata of today’s most expressive and exhilarating performers. Although influenced by such iconic individuals as Etta James, Koko Taylor and the Staple Singers, she claims a specific signature style all her own.

The critics agreed. “Shawanda is a real deal blues artist who isn’t dabbling in blues so much as channeling it,” Steven Ovadia wrote in Elmore Magazine. JD Nash of American Blues Scene raved, “Not only does Shawanda capture Koko Taylor’s Southside growl, but after a brief slow down for breath, morphs into a primal scream that would grab Janis Joplin by the shorthairs.”
 
Still, Crystal is hardly what one might call an overnight sensation. “I grew up with blues music and I used to jam with blues musicians when I was still living in Canada,” she recalls. “It’s funny. After moving to Nashville the second time in 2000, I was discovered while actually playing the blues —the music made by Muddy Waters, B.B. King, Big Mama Thornton, Janis Joplin. But when I was offered the record deal to make country music, it felt like the opportunity of a lifetime, and so I took it and ran.”
 
After scoring initial success as a country artist, she garnered a legion of devotees, marquee status as a major headliner, and even became the subject of a reality show, “Crystal: Living the Dream,” on the CMT television network.
 
She followed her stint at RCA with an independent effort Just Like You, garnering Canada’s prestigious Juno Award in the process. She also had the distinction of performing at President Barack Obama’s inauguration festivities in 2013. She’s since made her name as a motivational speaker and currently serves as board member of the not-for-profit Nike 7 charitable foundation.
 
“I veered towards the blues because that’s the music I love to sing,” Crystal says in retrospect. “It feels so natural, the kind of music I was meant to sing. It’s a beautiful release. It’s like letting a bird out of a cage. This is what I’m supposed to do. This is how I fly.”

Het hing al een tijdje in de lucht maar de kogel is door de kerk, er zal dit jaar geen Duvelblues plaatsvinden. Voor het Duvelblues kernteam primeert de gezondheid van het publiek, de artiesten en de vrijwilligers, daarom wachten we niet op een signaal van de overheid maar nemen we zelf onze verantwoordelijkheid.

Uiteraard kijken we nu al uit naar Duvelblues 2021! Markeer alvast zaterdag 29 mei 2021 met een dikke rode stift in je agenda want dan is het weer één groot blues-, roots-, soul-, … feest in Ruisbroek bij Puurs. Over de affiche kunnen we uiteraard nog niets lossen maar we hopen heel wat artiesten van Duvelblues 2020 ook volgend jaar weer te mogen verwelkomen, maar daarover later meer.

Heb je een ticket gekocht voor Duvelblues 2020? Dan hebben we goed nieuws want het ticket blijft geldig voor de volgende editie, je hoeft hiervoor niets extra te doen. Wil je je ticket toch graag terugbetaald hebben dan kan dat door voor 30 mei 2020 een mailtje te sturen naar [email protected] . (Let wel, er zullen gezien de omstandigheden geen early-bird tickets voor Duvelblues 2021 te koop worden aangeboden!)

We wensen iedereen nog een goede gezondheid. Het is nog even op de tanden bijten, maar hopelijk kunnen we binnen enkele weken toch al mondjesmaat weer onder de mensen komen. Hou jullie taai allemaal!

Tot op Duvelblues 2021!
Het Duvelblues team

Wat al een tijdje in de lucht hing, is nu ook officieel. Stad Genk last een aantal grote evenementen af, waaronder dus ook het festival Little Waves. Een zeer begrijpelijk gevolg op een moment waarin ieders gezondheid primeert. We hopen in eerste instantie dat jullie gezond en wel zijn en dat we samen kunnen uitkijken naar betere tijden, met een glas in de hand voor een podium bijvoorbeeld.
 
Momenteel zijn we druk bezig met het verplaatsen van de concerten. Wat gebeurt er met je aangekochte ticket? Ook dat lees je in deze nieuwsbrief.


Intussen werken we hard aan de line up voor de volgende editie . Want hey.. 'the future looks bright!'. Zo komen Trixie Whitley & Mooneye naar Little Waves 2021, op 17 april.
 
Ook met andere bands van dit jaar wordt verder onderhandeld.
 
> Tickets 2021



WAT MET MIJN AANGEKOCHT TICKET?

Mensen die een ticket kochten voor Little Waves 2020 worden persoonlijk gecontacteerd. Tickets blijven geldig voor de volgende editie op 17 april 2021.

Wat als ik een Early Bird ticket kocht?
De tickets voor Little Waves 2021 kosten 28 euro en zijn vanaf nu te koop. Indien je reeds in het bezit bent van een Early Bird ticket, dan behoud je je voordeel.
 
Wat als ik geen ticket wil voor Little Waves 2021?
Indien je geen ticket wenst voor editie 2021, kan je het ticket inruilen voor theatercheques t.w.v. je aangekocht ticket. Daarmee kies je een voorstelling/concert naar keuze voor volgend seizoen. Opgelet, als je een Early Bird ticket kocht, verlies je dan wel je voordeel.

 
We wensen iedereen een goede gezondheid, zorg voor jezelf en elkaar, blijf flink thuis en niet vergeten.. muziek verzacht de zeden!

 
LITTLE WAVES 2021 - ZA 17 APRIL 2021
> Follow Little Waves on facebook.

 

Chansonnière en actrice Liesbeth List is op 78-jarige leeftijd overleden. Dat bevestigt haar familie vandaag aan NOS. Afgelopen woensdag overleed ze in haar slaap. ​

List leed aan een vorm van dementie, als gevolg van hersenletsel uit het verleden waardoor littekenweefsel ontstond. In 2017 beëindigde ze om die reden haar indrukwekkende carrière. In oktober van dat jaar ging de musical Liesbeth List in première over haar leven en werk. Kort daarna volgde de biografie De dochter van de vuurtorenwachter.
Het laatste optreden van de zangeres was eveneens drie jaar geleden, toen ze optrad op een bijeenkomst van de CPNB. Ze zong toen Non, je ne regrette rien van Edith Piaf, het nummer waarmee ze, nadat ze de hoofdrol speelde in de musical Piaf, een doorstart in haar carrière maakte.

Cultureel erfgoed

Haar dochter Elisah Baijens beheert het omvangrijke nalatenschap van Liesbeth List. ,,Eén ding weet ik inmiddels zeker. Het werk van mijn moeder is cultureel erfgoed dat bewaard moet blijven", liet ze twee jaar geleden aan deze site weten. Ze had zich net verdiept in de carrière van haar moeder voor een eerbetoon aan haar. ,,Ze was mijn moeder, de zangeres stond veel verder van me af. Ik ontdekte prachtige dingen, waarvan ik dacht: ‘Deed ze dat óók?’ Vloeiend Frans spreken bijvoorbeeld met Theodorakis over zijn ballingschap en interviews geven in voortreffelijk Engels.”
List werd op 12 december 1941 geboren in Indonesië. Ze bracht haar eerste jaren, ten tijde van de Tweede Wereldoorlog, door in een Japans interneringskamp. Na de bevrijding kwam ze naar Nederland. Ze brak door nadat ze begin jaren 60 optrad in televisieshows en contact kreeg met zanger Ramses Shaffy, die haar vroeg mee te werken aan Shaffy Chantant. Met Shaffy zou ze jarenlang muzikaal optrekken, resulterend in onder meer de grote hit Pastorale.
​
Ze won onder meer Edisons (1971 en 1995) en een Gouden Harp (1998) en de oeuvreprijs van de Gouden Eeuw Awards.
​
Vanwege de coronacrisis zal ze in kleine kring worden gecremeerd. (bron: AD.nl)
​

​Jackson Browne is now the latest celebrity to come forward with testing positive for the coronavirus (COVID-19), and he’s detailing his symptoms and has an idea of how he contracted the virus.
In an interview with Rolling Stone, Browne said he “had a small cough and a temperature” and added that as soon as he had symptoms, he self-quarantined immediately. He also added, “My symptoms are really pretty mild, so I don’t require any kind of medication and certainly not hospitalization or anything like that.”
Browne said he suspects he contracted the virus when he was in New York City for the Love Rocks NYC benefit concert at the Beacon Theater. “Now, I wish I hadn’t gone to New York and done this benefit,” said Browne “I think to myself, ‘How much simpler would it have been had I just called in and said, ‘No, I’m not going to travel on a cross-country flight and spend two days in New York with all these people that are singing all over the country.’ I didn’t know it then. There was already a question of being careful and saying, ‘I’ll bump elbows and not shake hands and won’t hug anybody. I won’t behave like that at this show.’ But still, you’re in close quarters and you’re breathing the same air. They are swabbing the mics, but somebody in the crew has it. For all I know, he got it from me. I could have got it from the crew member that has it or he could have got it from me. I don’t know. I traveled on an airplane to get there.”
Browne, who is 71, expressed gratitude for being able to fight the virus at home instead of a hospital saying, “I feel lucky that I’m not really badly affected. I guess I’ve got a really strong immune system…There’s so much we don’t know. It’s important for us all to be pretty forthcoming about what we’re going through. Our experiences will be helpful for others to know. I don’t think my case is that important, but it might be helpful to know that some people don’t get this really bad.”

Lake Charles native and singer/songwriter Philip “Phil Phillips” Baptiste has died. He was 94.
Phillips died on Saturday, March 14, 2020, according to his family.
He was known as Philip, or Phil, by those who knew him personally and those who knew him throughout the world knew him from the classic hit “Sea of Love."
The song went to No. 2 in the U.S. Billboard Hot 100 pop chart and spent 14 weeks in the top 40, as well as reaching No. 1 on the R&B chart. In 1959, it sold over one million copies and was awarded a gold disc.
In addition to his music, Philips was devoted to his wife, Bell, of 60 years, his seven children and grandchildren.
Phillips was inducted into the Louisiana Music Hall of Fame in 2007. One of his last live performances was in April 2005 at the Jazz Fest in New Orleans, Louisiana, a few months before Hurricane Katrina.

Als tegemoetkoming op het wegvallen van concerten door het Corona virus vInd op zaterdag 28 maart het 2de Lockdown Music Festival plaats. Initiatiefnemer Jason Elliot is er in geslaagd om ook dit keer 27 acts vast te leggen die ieder 15 minuten speeltijd krijgen. De live streams komen veelal uit de woonkamers van de artiesten, hetgeen voor een ongewoon intieme sfeer zorgt. Naast klinkende namen treden ook minder bekende acts op die niet meteen een belletje doen rinkelen. Het Lockdown Music Festival is voor hen daarmee de ideale gelegenheid om zich aan een wereld wijd publiek te presenteren.

Je kan alles volgen via: ​https://www.facebook.com/lockdownmusicfestival/
​

Op hun FB pagina kondigd de organisatie aan dat hun indoor festival wordt gecanceld

Tribe Jazz Orchestra™ Provides a Swinging, Soulful Groove For Helm’s Rendition of 12 Jazz Standards
 
DURHAM, NC – Nine years since her last recording hit the charts, Lenora Zenzalai Helm returns to the recording industry with FOR THE LOVE OF BIG BAND (FTLOBB) featuring Tribe Jazz Orchestra™ in a unique approach to the music of the big band tradition.  Released on March 9 on Zenzalai Music, the new album is Helm’s seventh record and her first leading a big band. 
 
“I was burning the candle at both ends while completing my doctorate degree in Musical Arts at Boston University and teaching Jazz Studies at North Carolina Central University (NCCU),” said Helm. “I was thrilled to immerse myself in these fabulous stories by some of my favorite composers after being out of the studio for so long. To have the privilege to work with all of these talented musicians and to record with my own big band for the first time is truly a blessing.”
 
FTLOBB was recorded live over two days before an audience at Hayti Heritage Center, an historic church near downtown Durham, NC. The music is a mix of jazz standards, which came to life at the swinging and soulful concert. Guest conductor, Brian Horton, and Helm guided the band through the new arrangements by Stanley Cowell, Cecil Bridgewater, newcomer Maurice Myersand Horton.  Special guests include Joey Calderazzo, piano; Ameen Saleem, acoustic bass; Kobie Watkins, drums; Ira Wiggins, flute;
with vocals by Myers and the North Carolina Central University Vocal Jazz Ensemble.
 
FOR THE LOVE OF BIG BAND kicks off with Nina Simone’s Blues for Mama. Although happily married to the love of her life for nine years, Helm puts her foot in the blues and is so convincing that one might actually believe she is wrapped up in the my-man-done-me-wrong drama of the song.  She swings on to Gillespie’s Bebop, with Calderazzo ruling the keys and Helm and her Orchestra doing the composer`` and bebop proud. 
 
Jimmy Van Heusen and Johnny Burke provided the music and lyrics for the beautiful ballad It Could Happen to You; however, it gets a special twist with Cecil Bridgewater‘s rhythmic arrangements with hints of 3 against 4 while taking a swing feel for the solo sections and horn shouts. “Cecil took a very innovative approach to a timeless standard. It begins and ends with rubato vocal and horns underneath. It’s a lot of fun to sing,” says Helm. Everything but Youby Duke Ellington and Harry James is also enjoyable with its quirky lyrics about getting everything from horses to baked beans to Peruvian coffee pots, but not the one you love. 
 
Helm declares to her audience that she “loves old jazz standards … they have nice stories and tell of love the way we hope it is.”  The rest of the album is a testament to the beauty of the music and Helm’s devotion to singing it. Rounding out the CD are Chega de Saudade: No More Blues(A. Jobim, J. Cavanaugh/V.de Moraes, J. Hendricks), Soul Eyes(M. Waldron),I Didn’t Know About You(D. Ellington/B. Russell), Sandu(C. Brown/D. Townsend), But Not for Me(G. Gershwin, I. Gershwin), Mississippi Goddam (N. Simone) and Stella by Starlight(V. Young/N. Washington). A bonus track with the Tribe Jazz Orchestra Septet, Helm’s lyrics to John Coltrane’s composition Conversation with God(Dear Lord)is a highlight of the recording with Myers’ vocal arrangement featuring the NCCU Vocal Jazz Ensemble, directed by Helm.  
 
In addition to the special guests, FOR THE LOVE OF BIG BAND personnel is: Lenora Zenzalai Helm, voice; Ernest Turner, Lydia Salett Dudley, Ed Paolantonio, piano; Baron Tymas, guitar; Ginnae Koon, bass; Thomas Taylor, Dorien Dotson, drums; James "Saxsmo" Gates, Sam King,Brian Miller, Matt York, Ariel Kopelove, Shaena Ryan Martin, reeds: Lynn Grissett, Al Strong, Zoe Smith, Tyler Perske, trumpets; Robert Trowers, Isrea Butler, Tenay Harrell, Reggie Greenlee, Cameron MacManus, trombones. The band’s conductor is saxophonist/composer/arranger, Brian Horton.
 
Helm, Paolantonio, Tymas and Taylor along with Timothy Holley, cello; Salome Serena Wiley, tenor saxophone; Lance E. Scott, Jr., acoustic bass; with special guest vocals by Maurice Myers and the NCCU Vocal Jazz Ensemble, make up the Tribe Jazz Orchestra Septet.
 
The Live Recording, Mix & Mastering Engineer is Rob “Wacko” Hunter.
The Tribe Jazz Orchestra™ is an ensemble of musicians led by vocalist/composer/educator Lenora Zenzalai Helm. Representing one of the few vocalist and woman-led big bands, TJO features a diverse amalgam of some of the top men and women performers in Jazz.  The instrumentation comprises a combination of Jazz orchestra with a modern chamber ensemble perspective. The members all have ties to, or are based, in North Carolina, have performed together in various configurations and have appeared in noted concert venues and international music festivals worldwide. 
 
FOR THE LOVE OF BIG BAND is Helm’s seventh commercial release. Her previous recordings include I Love Myself When I’m Laughing, Chronicles of A Butterfly and Precipice. She has performed and recorded with some of the biggest names in Jazz while leading her groups at renowned jazz festivals and venues worldwide, including Jazz Standard, Dizzy’s Club Women’s Jazz Festival, Schomburg Center's Women in Jazz Festival, Blues Alley, JVC Jazz Festival, Clifford Brown Jazz Festival, Cape Town Jazzathon, University of Pretoria Jazz Festival, Essentially Ellington Regional Festival at Brigham Young University and Fiji Jazz & Blues Festival. She is on the Jazz Vocal Advisory Board for Juilliard Jazz, joining esteemed colleagues Dianne Reeves, Kurt Elling, Carmen Lundy, Carla Cook, Charenee Wade and Hilary Gardner. Helm has amassed numerous composer and music awards, including Chamber Music America's New Jazz Works, and served as a U.S. Jazz Ambassador.
 
For more information, visit www.LenoraHelm.com.
 
Stay connected with Lenora Zenzalai Helm at:
·      www.twitter.com/lenorahelm
·      Lenora's Official YouTube Channel
·      www.Reverbnation.com/lenorahelm
·      www.facebook.com/LenoraZenzalaiHelm 
·      Lenora on iTunes
·      www.cdbaby.com/artist/LenoraZenzalaiHelm 
·      Lenora's Online Courses
·      https://www.chamber-music.org/member/lenora-zenzalai-helm-zenzalai-project
·      http://www.theawfc.com/user/lenora-zenzalai-helm/
·      https://portablemacdowell.org/#artists/lenora-zenzalai-helm
·      https://soundcloud.com/lenora-zenzalai-helm
·      https://www.linkedin.com/in/lenora-hammonds-a2205810
·      www.VocalJazzSummerCamp.com

PARIS (24 March 2020): Best laid plans, right? After spending the last few years off the concert trail in order to meticulously craft a new album, “Azwan,” preceded by an accompanying book, “Pierre Bensusan Guitar Collection,” and the unveiling of a handmade Lowden Guitars signature model, all of which were to be supported by an extensive 110-date US and Canadian concert tour running from March 7 into July, world music fingerstyle guitar virtuoso Pierre Bensusan suddenly finds himself back home on French soil after having to pull the plug one week into the concert trek due to the Coronavirus outbreak. While the entire tour is being rebooked for 2021, until then, listeners will have to discover the magic and masterful musicianship showcased on the 12-track digital and CD release composed and coproduced by Bensusan for his 3DADGAD Vision label, which is distributed by MVD Entertainment Group.
 
The COVID-19 global pandemic that has ensnared humanity underscores the oneness of our world and our interlocked connectivity. That’s Bensusan’s message and the meaning behind “Azwan,” the award-winning artist’s 15th album that dropped March 13. The French-Algerian guitarist-vocalist said, “Along my life’s journey, I have experienced unity off and on, being more or less aware of the impact and influence of every action upon the entire universe. As time goes on, the more I feel connected to all people, animals and universally to the whole of nature. Being that we are all connected, my intention is that every action and behavior contributes, supports and adds value to our interconnectivity, especially through my music. It feels like a nurturing or even a healing process for me and those with whom I share the music.”
 
Voted by Guitar Player magazine readers as Best World Music Guitarist, Bensusan’s music is contemplative, wistful, sublime and prodigiously performed with inspiration rooted in nature. “The concept of ‘Azwan’ came from observing bees, those solar insects working in the darkness together as one, and by observing flocks of birds flying and dancing together as one. It has been an inspiring symbolic representation of the continuum of music. When seeing ‘Azwan’ written, it can evoke a place, a city or a mood, but when hearing it said out loud, it sounds like ‘as one.’ I’ve been contemplating all the music from ‘Azwan’ for years before actually recording it, taking time to allow all the notes to come together as one.”
 
Bensusan is a storyteller, using expressive and lyrical acoustic guitar parlance and ethereal vocalization to allure, transfix and transport. “‘Azwan’ is primarily a solo instrumental album on which the guitar is conceived as an orchestra, delivering melody, bass, chords and counterpoint in the same space. To it, we add some vocal elements and several collaborations with guest musicians,” said Bensusan who has lived in Paris since age four.
 
“Azwan” opens with “Fils de la Rose,” a fragrant guitar and violin bouquet that welcomes the musical journey prepared to blossom. “Optimystical” is a seamless swoon of exquisite guitar, atmospheric vocalization and even sweet whistled melodies. On the title track, Bensusan’s simple, meditative and evocative fretwork dispenses poise, hope and grace. “Abeilles” (“Bees” in English) enchants with a touch of celestial vocal harmonization and string accoutrements. Bensusan deploys an endless array of dexterous fretwork on “Balkangeles,” which includes a special appearance by French guitarist Jean-Marie Ecay, who coproduced “Azwan.” Bensusan indulges his wanderlust on “Return to Ireland” and seductively romances with a Latin flair on “Without You.” On “Wee Dander,” Bensusan seems to delight by deftly constructing melodic licks over complex guitar rhythms at constantly vacillating cadences. Adding Christophe Cravero on alto and violin and Stephane Kericky on upright bass lend dramatic sensibilities to “Dia Libre.” Bensusan’s music is genre-defying and genre-uniting, which “Portnoo” exemplifies in its unique alchemy. The artist sings in French on the fun and playful romp “Corps Vaudou” and closes the set poignantly with the sensitive “Manitowoc,” an Indian title meaning “land of the great spirits.”
 
Teaching himself to play guitar at age eleven after four years of piano training, Bensusan inked his first record deal when he was 17, winning the Rose d’Or at the Montreux Festival for his 1975 debut album, “Près de Paris.” More recently, he won an Independent Music Award in 2014 for “Encore: Live,” a triple live record. He’s regarded as one of the greatest acoustic guitar players of the 21st century, known for his immense sound vocabulary utilizing hues of world music, new age, jazz, classical, traditional, folk and pop with French, Arabic, Latin and Celtic cultural references.    
 
“Azwan” contains the following songs:
 
“Fils de la Rose”
“Optimystical”
“Azwan”
“Abeilles”
“Balkangeles”
“Return to Ireland”
“Without You”
“Wee Dander”
“Dia Libre”
“Portnoo”
“Corps Vaudou”
“Manitowoc”
 
For more information, please visit https://www.pierrebensusan.com

​New York jazz pianist Mike Longo has died from COVID-19. He was 83 years old.
Mike’s wife Dorothy Longo confirmed the cause of death to WBGO. Longo was admitted to a New York hospital on March 17. The pianist—who had pre-existing medical conditions—succumbed to the disease on Sunday, March 22.
Longo is known for his association with Dizzy Gillespie, for whom he served as musical director and bandmate from the late ’60s to the mid-’70s alongside bassist Paul West and saxophonist/flautist James Moody. Longo played on Gillespie’s live album Swing Low, Sweet Cadillac, and others such as Portrait of Jenny.
Longo was also mentored as a teen by Cannonball Adderley, who was then band director at Dillard High School in Fort Lauderdale, the Florida city that Longo’s family moved to from his native Cincinnati.
Longo also had a prolific solo career, most recently releasing Live From New York! in 2013 with the New York State of the Art Jazz Ensemble. Longo had performed with the Ensemble as recently as March 10.

​Bandleader and Latin percussion maestro Ray Mantilla passed away on Saturday, March 21, 2020 in New York City. He was 85 years old. 
Raymond Mantilla was born in New York City on June 22, 1934 in a family with Puerto Rican roots.
Ray grew up with some of the biggest names in the New York City salsa and Latin Jazz scene, including conguero Ray Barretto, timbalero Orlando Marin, percussionist Manny Oquendo, pianist Eddie Palmieri, flute player and percussionist Johnny Pacheco, and percussionist Benny Bonilla.
A master percussionist, Mantilla played a wide-range of percussion instruments, including congas, bongos and timbales. He played on numerous recordings, including iconic albums such as M’Boom by Max Roach, Flute, Brass, Vibes and Percussion by Herbie Mann and Cumbia & Jazz Fusion by Charles Mingus.
He recorded nine albums as a band leader.

VERPLAATSING VAN HET CONCERT VAN ERIC CLAPTON IN HET SPORTPALEIS VAN 18 JUNI 2020 NAAR 9 JUNI 2021
 
Het concert van Eric Clapton in het Sportpaleis, dat normaal zou plaatsvinden op 18 juni 2020, wordt verplaatst naar 9 juni 2021.
 
Gelieve hieronder het officiële statement van Eric Clapton Touring terug te vinden:
 
“Volgend op het advies van de wereldwijde gezondheidszorginstanties spijt het ons zeer dat we geen andere keuze hebben dan aan te kondigen dat de Europese tour van Eric Clapton gepland in mei/juni 2020 nu zal worden verplaatst naar de lente van 2021. De gezondheid en veiligheid van onze band, crew, zaalpersoneel en fans zijn onze topprioriteit. We kijken ernaar uit om jullie te zien in de lente van 2021.” - Eric Clapton Touring
 
“Following the advice of global healthcare agencies, we are sorry that we have no alternative but to announce that the Eric Clapton's European Tour planned for May/June 2020 will now be rescheduled to spring 2021. The health and safety of our band, crew, venue staff and fans are our top priority. We look forward to seeing you in Spring 2021.” - Eric Clapton Touring
 
Alle reeds gekochte tickets blijven geldig voor de nieuwe showdatum in 2021.
 
Sportpaleis Antwerpen – 9 juni 2021 om 20u

 

Voor meer info over onze concerten, bezoek onze website www.gracialive.be

​A true socially conscious Renaissance man for our time, Darrell Kelley has been an unstoppable creative and grooving force of nature since getting back to his first love of music and dropping his debut album Unity in 2018. Fusing his passions for gospel, pop, dance and R&B with a deep-seated voice for social justice, the ultimate multi-tasker - singer, songwriter, spiritual leader, author, entrepreneur and activist – has created a powerful platform for a unique array of messages, ranging from drawing attention to key political issues and thoughtful spirituality to simply making the most of our lives and having a good time.
For those just getting immersed in all things Darrell, the Atlanta based artist is focused on three new visually and musically compelling new videos showcasing the colorful, provocative and deeply soulful range of his artistry. Directed pointedly at the NRA’s ongoing attempts to block common sense gun laws and background checks, the searing R&B ballad “Because Of You” is a call to arms addressing the tragedy of gun violence in our schools.
He sings plaintively: “Did you hear the children screaming?/Did you hear the children crying?/Did you see the children running?/Did you see the children dying?” He follows those lines with, “Tell us what you’re going to do.” The clip intercuts images of students, gun explosions and Darrell leading a team of protesters wearing “Stop Gun Violence T-shirts.” It was inspired by an interview CNN’s Don Lemon conducted with a student who survived the 2018 Parkland High School shooting. Darrell was moved when the boy looked straight at the camera and singled out the NRA, saying, “What are you going to do about it? Wait till another person gets shot?” “Because of You” reached #13 on the Indie Worldwide chart.
The two other fresh clips Darrell is drawing our attention to show that the multi-talented performer is also a playful artist advocating for people to simply let loose and enjoy life. “Get Wild Remix,” the title track from his 2019 album Get Wild which reached #4 on the Mediabase Activator Chart, is a spirited, synth driven club tune about getting out, hanging with friends and other cool folks and having a good time. The video shows Darrell in a celebratory mood, holding a champagne bottle and partying with some sexy female pals and dudes dressed to the nines. The remixed version is a slight reworking of the original version of “Get Wild,” which featured gospel centered lyrics and appeared on his earlier album Here Ends the Lesson. Likewise, his sensual, easy grooving club tune “Turn It Up” (just released January 20) features Darrell in another upscale lounge setting, hanging at the bar and partying with upscale female buds.
Other songs reflecting the Darrell’s fascinating blend of social awareness and overall sense of lighthearted fun are “Believe in Something (Kneel),” which finds him (via rap and sung vocals) addressing the critics of former NFL quarterback Colin Kaepernick for his silent protest during NFL pre-game activities, and his single “I’m So High,” a whimsical chill tune about marijuana that also addresses state by state inconsistencies in the legalization battle.
A native of Boston, Darrell cultivated his musical talents with the inspiration and encouragement of his uncle William Baskin (a performer, choreographer and artist manager), aunt Donna DeRosa and mother Sandra Kelley. The budding singer began emulating everyone from Michael Jackson to Luther Vandross, and started winning open talent competitions in his teens and early 20s, charming everyone with special performances like the one where he assumed both male and female roles on Michael McDonald and Patti Labelle’s “On My Own.” Other artists Darrell cites as influences are Lenny Williams (lead singer of Tower of Power in the 70’s) and Jennifer Holliday
Setting aside his early musical dreams, Darrell became a successful entrepreneur, including opening the popular soul food restaurant Soul Delicious Grill and Buffet in Morrow, GA. Every year, he’s hosted an employee appreciation dinner concert that showcases local artists, and at each event, he took the stage to perform a new song he wrote. After several years of sharing his talents this way, culminating in his powerhouse gospel tune “A Storm Is Coming,” he realized he had enough material to create and market an electronic press kit (EPK).
As “A Storm is Coming” was being promoted to college radio and started charting, Darrell took an interest in mentoring a local up and coming male singer. When the young man failed to show up for a paid for session, Darrell used the studio time to record his song “Unity” (which became the title track to his debut release) and freestyled “Call His Name” (which would later appear on that album). Working from tracks created by his producer collaborator with his label Viral Records LLC, he also freestyled most of the melodies and lyrics for the Get Wild album as well.
“We started all this in May of 2018, and before I knew it, I had three albums and four singles,” Darrell says. “Considering my spiritual background, it made sense to start recording as a gospel artist, but as certain opportunities came forth, I realized it was just as important to tap into the R&B/soul inspirations I grew up with and develop that side of my creative expression as well.”
Darrell’s gospel music is an outgrowth of his service as bishop of spiritual leader of The Pathway Gospel Ministry Church, which is founded on his growing, grass roots UWGEAM ministry. “The Book of UWGEAM,” which he published in 2016, explains the group’s focus on love, unity and respecting one another regardless of religion. UWGEAM stands for God of the Universe, God of the World, God of all gods, God of everything, and God of anything including me. Darrell has written: “I put God first and I encourage you to do the same and believe me you will not regret it. If you are lost and confused about religion, find UWGEAM as UWGEAM has already found you. This book is the way of life and it's about maintaining a better life for everyone. When you read this book, you will feel better about yourself and each other, but most importantly, you will feel better about God.”
Learn more at darrellkelleyofficial.com; news and updates www.facebook.com/darrellkelleysmusic. Watch his music, performance and commentary videos at youtube.com/user/latenightwithdarrell/featured.
Listen at soundcloud.com/user-792034936, or reverbnation.com/darrellkelley, and/or darrellkelley.bandcamp.com. You can follow him on Instagram at darrellkelleyofficial.

​Jazz singer-songwriter Gina Kronstadt’s new single, “The Threat of Love,” earns most added honors at Billboard as her new album and video arrive
 
LOS ANGELES (23 March 2020): Most of us have been tempted to fall for the wrong person at one time or another. Jazz singer-songwriter Gina Kronstadt journals an alluring temptation on “The Threat of Love,” the first single from her third album, “October Comes Too Soon,” which dropped last Friday on FallOff Records. Kronstadt wrote and produced the storybook musing on love, intimate relationships and astute observations. The single earned most added status on the Billboard chart in its debut week at radio. Debuting the same week was the sensual black and white video for “The Threat of Love” that was lensed on the streets of Los Angeles (https://youtu.be/OHpohgM9tsU). 
Kronstadt writes music as therapy – mental and spiritual - and she composed the eight songs that comprise “October Comes Too Soon” during a challenging eight-month period while recovering from multiple shoulder surgeries. She cleverly uses “real” lyrics and her soothing-caress-of-a-voice to capture and convey honest thoughts and emotions, feelings of vulnerability and heartache, and ruminations on love, bliss and politics. When it was time to lay the tracks, Kronstadt called upon noted musicians to vividly illumine her tales: keyboardists John Beasley and Nicholas Semrad, bassist Benjamin Shepherd, drummer Joel Taylor, trumpeter Michael Stever and saxophonist/woodwind player Bob Sheppard. A first-call violin player who has performed on an extraordinary library of crème de la crème recording projects and concert stages, Hollywood box office hits and landmark television series, Kronstadt helmed the 12-piece string section that draped the tracks with lush backdrops, adding depth, drama and elegance.         
While the first single garners attention from smooth/contemporary jazz radio programmers, cuts from “October Comes Too Soon” have also been proliferating playlists at a second radio format: straight-ahead jazz radio. In fact, Kronstadt’s disc is already making its way up the Jazz Week chart.
       
Kronstadt is eager to share the music from “October Comes Too Soon” with listeners live on stage although current global circumstances may force the delay of her album release concert slated for April 23 at Feinstein’s at Vitello’s in Studio City.    
 
Below please find a taste of several early album reviews:
 
“Giving a new dimension to jazz/cabaret on this set of originals, this jazzy lady…is a marvel of fearlessness on all fronts…A jazz vocal date in the classic sense, this is the real deal. Hot.” – Midwest Record
 
“‘October Comes Too Soon’ is a rather luscious 8-song collection of songs that largely find Gina musing on the nexus between what makes great friendships work between men and women, and the x-factor that looms over the possibilities for the deeper intimacy of love.” – Exclusive Magazine
 
“She combines her soft voice with elements from jazz, sophisticated pop and funky R&B grooves…a crossover jazz album.” – Keys and Chords
 
For more information, please visit http://ginakronstadt.com.

Helaas moeten wij u melden dat, door de problematiek rondom het coronavirus en de daarbij horende maatregelen, Moulin Blues 2020 geen doorgang kan vinden. 

Dit is ongetwijfeld een teleurstelling, voor u maar ook voor ons. Echter staat de veiligheid en gezondheid van de bezoekers en de samenleving voorop en conformeren wij ons aan de regels zoals die in deze crisissituatie aan ons opgelegd worden.

Wat betekent dit nu concreet?

Er zal in 2020 voor het eerst in het bestaan van Moulin Blues een jaar overgeslagen worden. Aangezien het verzetten naar een andere datum in dit jaar, geen optie is gebleken. 

Een grote groep mensen heeft inmiddels al een ticket voor Moulin Blues 2020 bemachtigd. Wij willen dit netjes oplossen maar willen ook een beroep op u doen: 

• U kunt het  Moulin Blues Festival enorm helpen door uw ticket(s) om te laten zetten naar een ticket voor Moulin Blues 2021. Hiervoor hoeft u helemaal niets te doen, het huidige ticket biedt toegang tot Moulin Blues 2021. Hiermee helpt u niet alleen de toekomst van Moulin Blues, maar ook de blues scene en in het bijzonder de bluesartiesten die voor hun inkomsten o.a. afhankelijk zijn van festivals als Moulin Blues.
  
  
• Aan de andere kant bieden wij u de optie om het aankoopbedrag van de tickets (excl. servicekosten) teruggeboekt te krijgen.
  
• U kunt dit doen door te klikken op deze link en het formulier in te vullen.

Moulin Blues wordt 100% op vrijwillige basis georganiseerd. Wij zijn een stichting waar verder geen (groot) evenementenbureau bij betrokken is. Dat wil zeggen dat het festival georganiseerd wordt op basis van passie en liefhebberij en er geen winstoogmerk is. Het (blijven) organiseren van een boeiend en gezellig bluesfestival is wat ons drijft. 

We hopen dat u met ons mee wil denken. We gaan samen voor een prachtige editie op 7 en 8 mei in 2021!

Bluesgroet en tot volgend jaar!

Stichting Rhythm & Blues Ospel
 

​His name was not well known nationally, but soul music fans in the DMV know the name Skip Mahoney (actual last name Mahoaney). As the group leader of Skip Mahoney & The Casuals, he was a fixture in the soul music community there for a half century, with his expressive falsetto lead making his work always recognizable.
Mahoney formed The Casuals in the late 60s and entered into several local talent shows. Ultimately, the group’s membership solidified with George Norris, Roger Chapman and Billy Jones. During the mid-70s, they recorded on several small labels, hitting the local charts with the beautiful ballad “Wherever You Go,” “Your Funny Moods,” and a few other cuts. The group disbanded, but came back together in the early 90s, releasing the album Now, Then & Forever, a combination of the group's early recordings with some new one. The song "Janice" received moderate airplay.
Skip Mahoney & The Casuals continued to largely serve a live act right into the new century, and, though never having major national success, had a small but very loyal following in the DC.