At American Blues News, located at www.ameriblues.com, our writers cover the American blues music scene. Many of our writers are blues artists or key people in the national blues scene in America. They enjoy sharing blues interviews, reviews and festival happenings. We'd love to hear from you and what you have to say about blues music! Write us at: Info@ameriblues.com
Chris Beard @ Kingston Mines Chicago
(photo courtesy of Electro Glide Records)
(Chicago,Illinois) This past Friday night I went to Kingston mines to check out a performance by Chris Beard. I was glad I did. Chris calls Rochester, New York home. Chris is a second generation blues man. His Dad is the legendary Joe Beard . Joe is a more traditional player. Chris takes the blues to the next level. He has found a style that explodes on stage.
The normal adjectives do not do justice to describe Chris.
Killer, blazing, on fire, dynamite, possessed, they all fail to define his performance. Let me just write this. He is the most refreshing player I have seen and heard in a long while. A performer extraordinaire. The elite of the elite. He has a uncanny way of attacking the guitar that I seldom see or hear. Chris' techniques far exceeds a lot of the players on tour today. He is a master. Here is a video of Chris at the Mines.
My neighbor Jimmy Warren also an Electro Glide Records recording artist was in the audience and sat in with the band
Chris, in 1998, was nominated for the W. C. Handy award. In 1999 he won Blues Beat Magazine's Muddy Waters award for new talent. As part of his world tour Chris is currently in Beirut, Lebanon for a month.
Electro Glide Records, which is based in my area, has recently signed Chris Beard to it's roster. EGR is fortunate to have landed an artist such as Chris.
CHRIS BEARD
For those of you in the Chicago land area some of the Electro Glide artists will be performing at a showcase. March 20th.
I had the opportunity to speak with Sue Foley. Sue has a lot going on. She was creating a new album with Peter Karp. She has written books on the music industry. She has created a compilation of women blues players. Let's see what Sue shared with us:
Monica: Hi Sue! I laid out this interview with a couple of subcategories. I would like to talk about the beginning of your career. I’d like to speak with you about songwriting, life in general and do some fun girly girl questions that we do.
Sue: Sure! Great!
M: You were very young when you first started playing the blues. I believe I read that you were around sixteen?
S: Yes.
M: And, you were fortunate and talented enough to sit in with a lot of major blues artists when you were so young. My question to you is, did any of those major blues artists give you any advice or tips that really sat well with you that the advice caused you to live by.
S: You know what, I wasn’t comfortable asking a lot of those guys for advice. Actually, the only advice I had was not to smoke on stage. And, I was told not to use a set list. I thought that because I was female, I always felt a little bit of distance between me and those guys. As for the other women I hung out with, I’m not sure they gave me advice. I was perceptive of how they handled things. I would watch people.
M: In regard to songwriting, what do you think was your best songwriting experience?
S: Probably the stuff I’m doing with Peter Karp in the "He Said She Said" project that I’m working on. I think it is definitely the best songwriting that I have done. He’s such a great songwriter and an inspiration and that has really stirred my creative impulse.
M: You are doing a CD?
S: We are finishing it up.
M: For all of the newer songwriters out there, let‘s share some thoughts. Cowriting is sort of like dating. Did you ever abandon a songwriting session?
S: Not abandon. But I have done a couple that it really didn’t click. Actually I don’t really do cowriting in the traditional way that people think of it, which is where two people get together and sit in a room and hack stuff out. I really have a hard time with that. Usually with Peter, for instance, we recorded stuff for my own upcoming record and he helped me finish some songs. But, I had already done my part and showed him what I had. We worked individually. I have a really hard time going to that place where I’m sitting in someone else’s presence.
M: So what he did is lay done some lycs and mp3’d the cuts to you, and then you wrote the lyrics. Is that what you had going on?
S: That’s what I did actually. I had songs that we were going to go in the studio and do. And, they weren’t finished. Or, I wasn’t quite happy with them. And, I couldn’t quite bring them anywhere. So, I showed them to him and he kind of added a little bit here and there. I think that’s a really good way to do cowriting. That way you can have your privacy as well.
M: I agree. Do you think your songwriting is unique?
S: I think we are all unique. I don’t know if I am more unique than anyone else or if my themes are. I really don’t know. I can’t say I have a perspective on that.
M: As a songwriter you bring your own experiences to the table. You pull from your own life. I guess that makes each songwriter unique.
S: Exactly. If you can tap into your own story and not try to take from someone else, that’s a good thing.
M: Let’s move on to the guitar. How do you determine when your body of work should be acoustic or electric?
S: I don’t really know. It’s just that some songs sound better acoustically, and you kind of know that when you write them. Some songs have a rock and roll feel. Some songs are good both ways. I have done some songs in my show both ways.
M: When you begin to write a song, do you typically start acoustically? Or, do you pick up the electric?
S: I always play acoustic. I always play my Flamenco guitar when I’m at home. I never touch electric. I like acoustic guitars.
M: Did you ever put your little boy to sleep playing acoustic guitar?
S: He used to put his hand on the guitar to stop me from playing! (LOL) It meant I wasn’t paying attention to him!
M: They are smart when they are young.
S: Too smart!
M: Why do you prefer the Telecaster and the Flamenco?
S: I’ve always been a Tele player. I got into it because of Muddy Waters Albert Collins, Keith Richards. I’ve always played Teles from the early days. As soon as I went electric, it was a Telecaster that I went for. Plus I didn’t want to play a Strat, because everyone else was playing a Strat because of Stevie Ray. I steered away from a Strat. My Flamenco I just love. I have always loved Spanish guitars. I studied a bit of Flamenco as a hobbyist. I really love the way those guitars sound. They are so sweet.
M: Let's talk life in general. How hard is it to be a woman band leader?
S: It’s hard to be a band leader. Woman. Guy. I don’t know. It was hard to be a young woman band leader. That was when I was eighteen or nineteen and just starting out. That was kind of difficult, because as a band leader it’s a job you have to grow into. You have to learn how to have authority. You have to separate yourself from your band to a certain degree. It took me a long time to do that. I always played with my friends, and I didn’t want to be separate from them. A good band leader has to walk tall alone. It’s a lonely job.
M: What do you mean you had to separate your self?
S: You can’t be everyone’s friend. You have to hire and fire people. You have to keep the show on track. It’s a boss. The boss can’t be on the same level as the employees. A boss has to be separate. Not that he is higher, but he is separate. You can’t get involved with the employees and stay distant to some degree. That can be hard on the road. As a young woman that was a very alienating feeling, because you feel a little vulnerable out there and you are tired and it’s a hard job. You want everyone to like you. I wanted to be everyone’s friend. It took me years to get away from that.
M: Management 101, you can never be one of the guys.
S: Exactly. Being one of the guys works out to a certain degree, but you are not one of the guys. It’s not a bad thing.
M: I see you lived in Texas for seven years, and for your family you moved back to Canada. Does being in Canada pose any dilemmas as an artist or with technology today it doesn’t matter where you are at?
S: It really doesn’t matter. I came back up here to raise my son, and he is in a good support network. He has what he needs. I love Canada and I love my country. I will move back to the states someday, because that is where the music I’m playing is really happening. There’s more going on. There’s more of everything. More players. I came up here for a personal reason and not business. However with the internet and flying, it doesn’t matter as much. You can live anywhere and do your business.
M: Do you think the US is more happening than Europe?
S: Yes. I mean, the gigs are better in Europe, and they generally treat you better. They have more of an artistry feel about it. They have a real respect for African American Blues artists. There may be more respect in Europe. However, the players are all in the US.
M: Whenever you talk players, are the road players and session players the same for you?
S: A little bit of both. Generally we have the band. Whenever you record a CD, you might bring in extra people. Or if you want a certain sound, you bring in a specific person for a certain feel. I use some guys in the studio, but I have my main guys on the road.
M: I did read your Myspace blog, in regard to management. You said that you were told that you were unmanageable! Why would someone say something like that?
S: It’s hard for me to let someone else navigate my career.
M: Do you think you have to?
S: When you work with a manager, yeah, you do. They have their own agendas and their own ideas of where you are supposed to go. I’ve never had luck in that. It doesn’t mean that it can’t work. I still think that you need to be sitting on top of the heap, and be able to manage the manager.
M: Well, yeah, It’s YOUR career!
S: I’ve been self managed forever. I have had a couple of managers. But, I always come back to self management.
M: Speaking of your day and self management and family, what is a typical day for you?
S: Busy busy busy. If you video taped me and put me on speed, I would look like a Charlie Chaplin movie. I’m constantly in motion. I write a lot. I spend a lot of time with my computer.
M: Does he ever go on the road with you?
S: Yeah sometimes. We went to Tennessee last year and that was fun.
M: Guitarist, songwriter, entertainer, author, producer, probably a lot more onto that list..
S: Mother.
M: Yes, Mom. Which one is your favorite to do or you’re most successful at? Who are you?
S: The most important and most successful is being a mother. As soon as I got into that role it took precedence over everything else. That’s basically my identity in a lot of ways.
M: Does it affect your songwriting?
S: It opened me up. It definitely gave me a perspective on life that I didn’t have before. Any life experience you have….that’s what makes blues players so great. As artists get older they have this richness of experience. They are able to relate to their audiences and share this gift from all those experiences. They can relate more to an audience that way.
M: That’s true.
S: Blues, of course, aging is a beautiful thing. Mother is definitely my biggest role. Everything else is a big mosh after that. After I take care of my son’s needs and I know that he is good, there’s food in the fridge and the house is taken care of, then the business takes up. All of those other things are at one level.
M: Thank you. What is your most requested song?
S: 'New Used Car' gets requested a lot. 'Two Trains'. People like that one a lot too. Probably those two. 'Mediterranean Breakfast' gets requested a lot too.
M: I’m always a fan of having a phrase mean more than one thing, so I enjoy 'Baby We Got a Good Thing Going'.
S: I didn’t write that.
M: I still like it. You performed it. It’s very country musicish.
S: Right. It’s a Barbara Lynn song. It’s great lyrics.
M: What is your most memorable moment?
S: Period!?
M: You have many awards, played with some awesome players. What one ranks up there?
S: I don’t remember anything! It is my problem right now!
M: It must all be good then!
S: I’m being honest about it. My most memorable moment must be at Antone’s. I played with a lot of those older guys that are gone now. Maybe sitting and drinking with Gatemouth Brown, watching cartoons with him, was pretty memorable.
M: Let’s talk about your book on female guitar players. What have you learned from women in other genres?
S: I’ve learned a lot. There’s a lot of common ground. Mostly I’ve learned that we are similar kind of people that do this. The guitar thing. At the same time, I’ve learned that I can’t make generalizations that we are the same. Does that make sense? It’s fun to discuss other music forms and talk to other women how they raise their kids and go on the road. How they handle their careers and aging. It’s all really good stuff.
M: In your research who do you think is the upcoming woman guitar player? Who should we keep our eye on?
S: Laura Chavez by far. Do you know Laura? She’s with Candye Kane. She’s the best. She is really good. Debbie Davies turned her onto me. She is a great person and a damn fine guitar player!
M: What’s the best advice you could give Laura today?
S: Just be really serious about your music. Don’t get sidetracked. Laura and I have traveled together. Just keep your nose clean and be serious about your playing. There are so many things to distract you. Keep your playing first. There are so many things that can pull you off track. It can be drinking or partying or too much self esteem. You really have to be sharp and on top of your game. It’s easy to be in your twenties and let some of that slide. But once you hit your thirties and forties, you really got to pull it together or someone else is going to get your gig. I really like the idea of being supportive of these other musicians such as these women guitar players.
M: What about your blues guitar women?
S: That was a spin off from the book. There happen to be a lot of women blues players. We put together a compilation, and it ended up being a two album set. And, it could have been bigger. I was pretty blown away. I could do another version right now, and that is with just blues. I think that record is a fine piece of music. It is very playable. I get a lot of compliments on it. The first song on side A is Laura Chavez.
M: I have a few favorites on that one! Sue, I think we covered a lot and I thank you for your time.
John Pizzarelli has been called one of today’s “prime interpreters of the American Songbook” as well as a “jazz guitar virtuoso” and even “The Sultan of Swing”…ok, maybe I made that last one up, but it certainly is a title that fits. Whether it is playing guitar duets with his legendary father, leading his trio or quartet, fronting a big band or an orchestra or backing the likes of Rosemary Clooney and even James Taylor, Mr. Pizzarelli has been at the forefront of American jazz for over 25 years. His ability to interpret a lyric is masterful and his guitar-style brilliantly blends the technical proficiency that the genre has become known for, with an energy, feeling and soulfulness that is more a kin to the blues greats than many of today’s modern jazz “heroes”.
With his latest Telarc release, ROCKIN’ IN RHYTHM, Pizzarelli honors one of jazz’s most beloved and greatest stars, Duke Ellington. No stranger to the “tribute album”, the 49 year-old guitar-playing-crooner approaches this latest studio effort with the same amount of detail, care and unpredictability that made his previous tributes to Nat ‘King’ Cole, Frank Sinatra and Richard Rogers wonderfully unique and specific. Unlike so many albums celebrating the work of a single artist, Pizzarelli consistently manages to put his own personal stamp on familiar favorites while also highlighting slightly less recognized (and often forgotten) gems.
“East St. Louis Toodle-On” and “Don’t Get Around Much Anymore” get the John Pizzarelli treatment here by being skillfully woven into a single track; while not only paying tribute to “The Duke”, but also Steely Dan, whose 1974 recording of “East St. Louis Toodle-On” admittedly served as inspiration of this album’s arrangement. Other laidback highlights include a solo-guitar rendition of “Just Squeeze Me” and “Satin Doll”, which features some of the album’s most beautiful guitar-work; courtesy of Pizzarelli’s legendary father Bucky.
Ballads and vocal standards aside, Pizzarelli and his horn-heavy band, affectionately known as the “Swing 7”, are at their best when they are living up to their title and thankfully a tribute album to one the finest big band leaders of all time is the perfect venue. “C Jam Blues” (featuring saxophonist Harry Allen and violinist Aaron Weinstein) and a medley of “Cottontail” and “Rockin’ in Rhythm” (serving as the album’s finale) highlight not only the music of a jazz legend and the individual talents of a magnificent band, but also the art of swing and bebop. Pizzarelli is in top form here as he and conductor/arranger Don Sebesky navigate their seemingly fearless crew through well-charted, yet still treacherous waters. These tracks alone are worth the price of the CD and as a bit of a suggestion; when you’re listening to them...turn it up!
ROCKIN’ IN RHTYHM expertly explores the work of one of America’s greatest musical treasures and Pizzarelli once again proves that he’s not just a talented guitarist and singer, but a gifted artist, interpreter and leader. This is jazz at its finest.
*other guests on the album include vocalists Kurt Elling & Jessica Molaskey
John Pizzarelli and The Swing 7 will be performing at the historic Birdland jazz club in NYC from tonight (Tuesday, March 9th) through Saturday, March 13th. Visit http://www.birdlandjazz.com/ for more information.
Blues Music Awards, the highest honor given to Blues artists, will be presented by the Blues Foundation this year on May 6, 2010, at the Cook Convention Center in Memphis.
Heading the list of honorees for the 31st Blues Music Awards is Joe Louis Walker, who garnered five nominations, including Album of the Year, Contemporary Blues Album of the Year, and Song of the Year for "I'm Tide" from his recent release Between a Rock and the Blues. Tommy Castro, Rick Estrin. Super Chikan, Louisiana RedandDuke Robillard, each received four nominations.
Super Chikan
Louisiana Red
Almost every nominee will perform. Blues Foundation members get seating preference and are the only fans who vote to decide which nominees will win the Blues Music Award.
Duke Robillard(photo Richard Hurley)
I strongly recommend joining the Blues Foundation and it is easy to do online with a credit card. Their awards such as the Blues Music Awards, Keeping the BLUES Alive and the International Blues Challenge (which includes adults and younger people), their outreach programs for musicians, HART and SOUND Healthcare, promoting BLUES in the Schools, the BLUES Hall of Fame are a testament to their commitment to lovingly promote and preserve our beloved indigenous musical genre. Furthermore, the folks that work there and the many volunteers are all genuine, wonderful friends.
The BLUES Foundation is not just talking the talk, they have about 185 affiliates across the globe representing blues societies, protagonists promoting and preserving the music.
Please take just a moment to join the BLUES Foundation today! It is not expensive and it will make you feel good about preserving and honoring the music we love and cherish.
The Blues Hall of Fame Induction Ceremony and Charter Members' Dinner will be held the night before the Awards, May 5. Honorees were listed by my friend and colleague, Monica Yasher, in this article in the American Blues News: http://www.ameriblues.com/2010/02/2010-blues-foundation-hall-of-fame.html
I am planning on covering both events for the American Blues News and my dear friend, Terry Lape, has plans to come to Memphis and join me. Tickets are still available at the Blues Foundation website:https://www.blues.org/#ref=tickets_bma
2010 Blues Music Awards
Presenting Sponsor: The Gibson Foundation
NOMINEES:
Acoustic Album
David Maxwell & Louisiana Red You Got to Move
Maria Muldaur & her Garden of Joy Good Time Music for Hard Times
Saffire-the Uppity Blues Women Havin' The Last Word
Samuel James For Rosa, Maeve and Noreen
Various Artists Things About Comin' My Way - A Tribute to the music of the Mississippi Sheiks
Maria Muldaur
Josh Roberts, Wayne Russell, Samuel James and Doug McMinn
Acoustic Artist
Annie Raines & Paul Rishell Doug MacLeod Guy Davis Louisiana Red Samuel James
Album
Duke Robillard's Jumpin’ Blues Revue Stomp! the Blues Tonight
Eddie C. Campbell Tear This World Up
Joe Louis Walker Between a Rock and the Blues
Louisiana Red & Little Victor's Juke Joint Back to the Black Bayou
Various Artists Chicago Blues A Living History
B.B. KingEntertainer
Candye Kane Magic Slim Rick Estrin Super Chikan Taj Mahal Tommy Castro
Laura Chavez, Barbara Blue and Candye Kane on Beale Street for the IBC
Band
Duke Robillard's Jumpin' Blues Revue Nick Moss & the Flip Tops Rick Estrin and the Nightcats The Mannish Boys Tommy Castro Band
Best New Artist Debut
Greg Nagy Walk That Fine Thin Line
Joanne Shaw Taylor White Sugar
Marquise Knox Man Child
Monkey Junk Tiger in your Tank
The California Honeydrops Soul Tub!
Contemporary Blues Album
Candye Kane Superhero
Joe Louis Walker Between a Rock and the Blues
Rick Estrin and the Nightcats Twisted
Ronnie Earl and the Broadcasters Living in the Light
Tommy Castro Hard Believer
Contemporary Blues Female Artist
Bettye LaVette Candye Kane Janiva Magness Ruthie Foster Shemekia Copeland
Contemporary Blues Male Artist
Derek Trucks Joe Louis Walker John Nemeth Michael Burks Tommy Castro
DVD
Delmark Records It Ain't Over! Delmark Celebrates 55 Years of Blues, Live at Buddy Guy's Legends
Eagle Eye Media Live at Montreux 1993 (B.B. King)
Jo Films& Roadside Productions Hot Flash - The Documentary (Saffire-the Uppity Blues Women)
Mojo Rodeo Records A Night in Woodstock (Paul Rishell & Annie Raines)
Vincent Productions Down to the Crossroads Vol. 1 (George Thorogood & the Destroyers w/ Eddie Shaw)
the late Sean Costello we played and hung out in the same clubs on Beale Street for years
Historical
Bear Family Records Taking Care of Business (1956-1973) (Freddie King)
What's up Blues fans! This week I am submitting photos of the elder statesman of British blues, Mr. John Mayall. John is also known as the Godfather of British Blues and righfully so. To anyone that's a fan of the Blues genre John needs no introduction. His career spans 50 plus years and it was his stint with John Mayall's Bluesbreakers in the 60's that helped launch Eric Clapton to stardom. Clapton, Peter Green, Mick Taylor, Coco Montoya, Walter Trout and Buddy Whittington have all spent time in the guitar player's chair with John. His guitarist for the Feb. 9, 2010 show that I caught was Rocky Athas and he was a crowd pleaser.
Most bands that play BB King's don't do two sets but John did and I caught the early show. The turnout was what you would expect for a bluesman of John's caliber. John sang, played harmonica, keys and guitar. The band was in fine form and lent superb support. Along with Rocky Athas rounding out the band were Greg Rzab on bass, Jay Davenport on drums and Tom Canning on keys. You can read J. Blake's review of the second set here. This was my second time catching John. Last time I caught him he had Buddy Whittington on guitar and opening that show for John was the late, great, Danny Gatton. If you like Blues and haven't seen John yet then do yourselves a favor and catch him. Even if you've seen him before, check out this living Blues legend again, you won't be disappointed.
I would like to thank Laura Becker of Big Machine Media for guest list/photo pass access.
Until the next go-round, keep supporting the Blues. As you can see these cats are working hard to lay it down for you.
Thank you Bob for sharing the news, though sad, in the blues world.
Wilroy Sanders RIP - Birthdate unkown - February 16, 2010 Beloved Memphis blues guitarist and singer Wilroy Sanders passed away after a battle with lung cancer. He was 76, Wilroy played in the Binghampton Blues Boys, formed and led The Fieldstones, and owned the Memphis blues bar, Green’s Lounge. Though a wonderful down home singer and guitarist, Wilroy would never achieve great fame. He did make some very memorable records which appeared on the XL, High Water, HighTone, and Shangri-La labels.
RIP Brian "B.B".Bruce - September 17, 1946 - February 24, 2010. Harmonica player, Brian "B.B." Bruce passed away Wednesday, February 24th, of colon cancer in his home of Baton Rouge, Louisiana. He was 63. Best known for his long association with Henry Gray, Brian and Andy Cornett co-founded Henry Gray & The Cats in the mid 1970s. Bruce also worked with the legendary Tabby Thomas, Rudy Richard, Larry Garner, Lil' Buck Sinegal, Harry "Big Daddy" Hypolite, Carol Fran and a host of other Louisiana artists. Bruce received a Slim Harpo Award from the Baton Rouge Blues Foundation in the mid 1990s. Cornett has this to say about his longtime friend and musical associate; "Brian"B.B." Bruce embodied a sense of delight and gratefulness, delivered 110% commitment, dedication, heart and soul in all of his performances no matter where he performed in the world. He touched and many people's hearts with his music and his life." Memorial services were held at Rabenhorst Funeral Home on Florida Blvd. in Baton Rouge, LA Saturday, February 27th, at 3:00 pm. Thanks to Andy Cornett for providing the biographical information.
New Live William Clarke CD now available! Jeanette Lodovici, the widow of the late West Coast harmonica master William Clarke, has lovingly been releasing her late husband's recorded work in a series of collectors CDs. The latest installment is called William Clarke / Live Bootleg Cassette Anthology, and features surprisingly good sounding board tapes of live shows from 1991 and 1996. The 1996 shows were recorded on his last tour just weeks before William's untimely passing at the age of 45, with a band consisting of Paul Bryant, Rick Reed and Brian Fahey. This CD is a wonderful reminder of the powerful talent of this harmonica great.
BOB'S BIO:
Bob Corritore is one of the most active and highly regarded blues harmonica players on the scene today. His style passionately carries forward the old school of playing that Corritore learned as a young man directly from many of original pioneers of Chicago Blues. His sympathetic, yet fiery harmonica playing is featured on over 25 releases to date, on labels such as HighTone, HMG, Blue Witch, Blind Pig, Earwig, Putumayo, Random Chance, and the VizzTone Label Group. Many of these acclaimed releases have been nominated for various Handy, Grammy, and Blues Music Awards. Bob is also widely recognized for his many roles in the blues, as band leader, club owner, record producer, radio show host, arts foundation founder, and occasional writer. His amazing website www.bobcorritore.com and his weekly e-newsletter reflect a life thoroughly invested in the blues.
Born on September 27, 1956 in Chicago, Bob first heard Muddy Waters on the radio at age 12, an event which changed his life forever. Within a year, he was playing harmonica and collecting blues albums. He would see blues shows in his early teens, including attending a Muddy Waters performance at his high school gymnasium. He would cut his teeth sitting in with John Henry Davis on Maxwell Street until he was old enough to sneak into blues clubs. He hung around great harp players such as Big Walter Horton, Little Mack Simmons, Louis Myers, Junior Wells, Big John Wrencher, and Carey Bell, and received harmonica tips and encouragement from many of them. He would regularly see the Aces, Howlin' Wolf, Muddy Waters, Billy Boy Arnold, John Brim, Sunnyland Slim, Smokey Smothers, Eddie Taylor, and in many cases became personal friends with these blues veterans. Corritore worked with Tail Dragger, Big Moose Walker, Willie Buck, Louis and Dave Myers, and Eddie Taylor in the late 70s and early 80s. He also produced his first recordings during that time, taking unheralded harmonica greats such as Little Willie Anderson and Big Leon Brooks into the studio to produce their now classic debut albums.
In 1981, Bob ventured southwest to live in Phoenix, Arizona. Within months, his Chicagoland friend Louisiana Red joined Bob, and the two played together around Phoenix for about a year until Red went to live in Germany. Bob quickly joined up with Big Pete Pearson, who was and is the reigning King of Arizona Blues in a musical relationship that continues to this day. He also worked around the southwest with Buddy Reed, Tommy Dukes, Chief Schabuttie Gilliame, and an emerging Janiva Magness in one of her earliest bands. In 1984, Bob supplemented his performances with a blues radio show called Those Lowdown Blues on KJZZ, which is still going strong. In 1986, former Howlin' Wolf drummer Chico Chism moved to Phoenix at Bob's invitation to start a 20 year partnership that lasted until Chico's passing in 2007. In 1991, Bob opened the now famous Blues and Roots Concert Club, The Rhythm Room. Having a club created yet another catalyst for Bob's musical projects. Often he would invite great artists to come to Phoenix, and Bob's band, the Rhythm Room All-Stars would back them on shows and in recording sessions. Bob's archives of these sessions are now famous, and include sessions with Bo Diddley, Little Milton, John Brim, Jimmy Rogers, Henry Gray, Pinetop Perkins, Henry Townsend, Honeyboy Edwards, Big Jack Johnson, Ike Turner, Smokey Wilson. Lil’ Ed, Willie "Big Eyes" Smith, Nappy Brown, R.L. Burnside, Robert Lockwood, Jr., Sam Lay, Barbara Lynn, and numerous others.
In 1999, Bob released his first CD as a national recording artist, combining some of the highlights of his vaults. The CD was called All-Star Blues Sessions, and was released on the HighTone record label to great fanfare. This momentum created a long series of CDs on HighTone with Bob in the harmonica player/producer role. Bob started breaking into the national circuit in festival appearances with Henry Gray and Louisiana Red. In 2005, Bob brought the Rhythm Room All-Stars Featuring Big Pete Pearson to The Marco Fiume Blues Passions Festival in Italy, which opened a whole new world of European interest in Bob's harmonica artistry. This led to return visits to Europe for various festivals and performances, as well as an ever-growing world-wide fan base. In 2007, the Mayor of Phoenix officially proclaimed September 29, 2007 to be "Bob Corritore Day" in honor of Bob's musical contributions to his community. Also that year, Bob received a "Keeping The Blues Alive" award from the Blues Foundation. Bob's 2007 collaboration with Dave Riley, Travelin' The Dirt Road, was nominated for a Blues Music Award. Bob also contributed harmonica work on the 2008 Grammy®-nominated CD/DVD by Pinetop Perkins, On The 88s. Bob 's prolific activity with the Blue Witch record label as label producer/harmonica player has garnered him additional notoriety. Bob performs regularly with The Rhythm Room All-Stars Featuring Big Pete Pearson, and numerous side projects with Dave Riley, Louisiana Red, Henry Gray, Sam Lay, Tomcat Courtney, Paris James, and others.
(Washington DC) A few weeks ago I interviewed Bob Margolin for this site, and he mentioned Laura Chavez as being one of the top young guitarists. Having the respect I DO have for Bob and his musicianship, I went straight to google Laura's name. This search led me to Candye Kane. Laura is now the lead guitarist for Candye's band, and she just makes a good thing better.
I've read the reviews: The next SRV, best female guitarist, and many more. I asked Laura how she felt about these comments, and she isn't as fond of them as the people that wrote them apparentely are. She doesn't want to be compared to SRV or anyone else for that matter. Personally, I'm a bit worn out with female musicians/vocalists etc being compared to other females of their class. Laura would like to just be appreciated for who she is, and I was very pleased to see that she is very humble about her abilities.
Candye Kane and Laura Chavez
Laura's influences early in her career spanned from The Rolling Stones to Led Zeppelin to Eric Clapton. She says she became more interested in the Blues as she got into high school, and listed some of her Blues influences as BB King, Hubert Sumlin , Jimmy Vaughan, TBone Walker, Hubert Sumlin and the great Freddie King.
One of Laura's first professional gigs was with The Lara Price band in San Jose, California. She started playing in Lara's band at the age of 18, and stayed with the band for approximately 8 years. She played gigs with The Lara Price Band, and played on three CD's. She expressed to me that she enjoyed playing in Lara's band, and stayed with the band until she left to play in Candye Kane's band.
Laura Chavez
Laura possesses a strong talent for the Blues. There isn't much she can't do on the guitar, and she quickly made an impression on many people in the Blues world, including one of the better Blues guitarists in the world today, Sue Foley. Candye was in the market for a hot new guitarist, and Sue Foley recommended Laura to Candye, and she hired her without seeing her or hearing her. A recommendation from a guitarist of Sue Foley's class made an impression on Candye, and the quality of Candye's band was elevated to a new level with the addition of Laura.
Superhero, Candye Kane's new CD, has Laura's influence all over it. Guitar virtuoso Laura Chavez co-wrote 6 songs with Candye and she also co-produced the CD which is getting great reviews all across the globe. Pick this CD up and give it several listens. Laura is showcased on this CD as well as Candye's amazing voice, and her stellar band. Do I hear a touch of Duane Eddy on the title track? I'm not sure if that sound was intentional or not, as Laura wasn't even born when Duane was riding high on the charts with his amazing style of play, but you gotta like it!
Laura Chavez and Candye Kane
Laura Chavez is going to be showing off her blazing guitar style with Candye Kane on tour this year. Watching her play, you get the feeling that you are seeing something very special early in her career. I am looking forward to following Laura's career, and watching a young budding guitar player grow with her craft. Laura is here to stay, and soon will become a household name, not only in the Blues world, but in the "main stream" of music as well.
All pictures are used with the permission of Laura Chavez
For more information on Laura Chavez, visit the following site: http://www.candyekane.com/bio.html
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