Chicago/Portland

Mr. G and his fam fled Chicago for the Thanksgiving holiday - we went off to Portland OR to visit the eldest brother. Hey, I love Chicago and its muscular vastness, but Portland has to be one of the top urban locations in the U.S. Yes, it is small and still a little provincial, but what beauty! Trees! Hundreds of miles of hiking trails in the city limits! Powell's Books! Insane variety of tasty beers! Oh yez.

We stayed at a bed and breakfast joint, the Terwilliger Vista House. This is a terrific place, built in the 1940's situated in the hills above the city. The two innkeepers were a pair of 20-something youngsters that did a great job of hosting a broad variety of guests - families, old codgers, college kids, etc. We even had a fireplace in our room - a nice item to warm up the cold Oregon evenings.

We bought a smoker at Home Depot and prepared a 22 pound turkey outdoors. The hickory smoke eliminated the blandness of the bird; the overnight soak in brine kept the damn thing from drying out. I haven't shared a Thanksgiving meal with my brother and his family in over 20 years, so this was a wonderful event for ol' Mr. G.

We returned to Chicago on Saturday night - it was cold, but not much colder than Portland. The city is still fabulous, but everything looks flat and treeless here after five days in Portland. But Chicago has a larger, richer music scene (although Portland is pretty hip, with a decent blues community). There is a connection between the blues communities in Chicago and Portland - several ex-Chicagoans are playing the blues in Oregon now. In addition, Powell's Books traces its roots to Chicago - Michael Powell opened his first bookstore in 1970, in Chicago's Hyde Park neighborhood (his dad opened a Powell's in Portland in 1971, and they joined forces in Oregon in 1979).

I can imagine living in Portland, but I don't want to leave Chi-town.....yet.

Another Living Musician I Love - Susana Baca

Susana Baca is an Afro-Peruvian vocalist, probably one of Peru's best-known musicians. Like Bonnie Raitt, she has the ability to convey a wide range of emotions with her voice - it is a plaintive, keening instrument. She has recorded four CD's in the past ten years. To my ear, Susana is singing the Peruvian version of the blues - the landos, sambas and alcatraz song forms have that lamenting sound that I have always associated with the blues. This is great stuff, and Susana presents it with wonderful precision - almost like chamber music in a way.

Here is Susana's own description of her life, snipped from the her record label's web site:

“I was born in Lima and grew up in a small town in Peru called Chorrillos. My father was a chauffeur for a wealthy family and my mother worked as a cook and sometimes washed clothes. In Lima we lived in an alleyway, the kind where the servants lived, off the main streets past the fancy neighborhoods. My father played the guitar. He was the official musician of the alley. Whenever there was a party they called him. He played serranitas which are tales of the Golondrinos, people who came from Los Andes near the coast in the time of cotton-picking. My father learned the serranitas from them in his childhood. They are sung at Christmas: (singing) Ay, my dove is flying away, she’s gone. Let her go, she’ll soon return.

“I have an older sister and brother, and the three of us would sing together. My mother taught us how to dance. She’d say, "How can my children not know how to dance?" And so we sang and danced every afternoon. Later, my mother bought a record player, which was a big event. I imitated everything. My sister enrolled in a singing contest on the radio, and we went to watch the broadcast. It left a very strong mark on me. I saw her there and felt as though that was where I wanted to be. My brother made me a stick with a can on the end, which was the microphone. People came and we put on a show. I would drop anything for music.

“I tried not to become a professional singer, mainly for my mother’s sake. She thought I wouldn’t be able to earn a living. That’s my mother’s image of musicians. My mother told me many stories about musicians who were not famous like Felipe Pingo, a renowned musician and composer who died of tuberculosis. She said, "This is the destiny of my daughter," and she pushed me to become a teacher. I liked studying to be a teacher; I dedicated myself to being a singer later. When I first met my husband, Ricardo, I was active as a musician, but everything moved so slowly. I dedicated myself to music, and couldn’t devote myself to looking for work or figuring out how to record an album. I thought that if I worked hard enough, I’d find someone who was interested in working with me. I realized, after many years, that no one was interested in what I was singing, which was poetry. I was black, singing black music. It was a big problem. In Peru the black population is very small—you find mixed people, like me, or even lighter. But as a culture it is present everywhere. And another thing: blacks also segregate themselves. By class or by skin tone. I’ve heard my aunts say, "Marry someone lighter, even an Indian, so that your children will have hair they can comb."

“I would like to be remembered for my voice, of course. But also for helping to spread the music of my ancestors—all those people who were never recognized for their work or for their beautiful culture.

Blogging into the Void

So Derek Gordon, Vice President-Marketing for Technorati (the blog search engine), claims that his firm tracks 109.2 million blogs. He says that more than 99% of the blogs tracked by Technorati get no hits over the course of a year.

This confirms that blogging is not really about communication. For the vast majority of bloggers, it is like masturbation, but with no pay-off.

Five Living Musicians I Love

I am into the music of many people who have shuffled off this mortal coil. But there are lots of folks that I love who are still with us. I admire dozens of musicians - maybe hundreds. Here are five, not listed in order of preference (because I love them all):



Bonnie Raitt: I am Bonnie's loyal dog. Her voice is an unique, exquisite instrument, capable of expressing love, lust, anger, longing, joy, sorrow - and every other emotion that a human being can experience. I was a fan boy long before she broke through with the "Nick of Time" album in 1990 - I bought her first album in 1971 when I was a junior in high school. She was and is a frequent visitor to Chicago, and supported the blues people from whom she drew her inspiration - Robert Johnson, Son House, Sippie Wallace, Muddy Waters, A.C. Reed, John Lee Hooker, Junior Wells and all the rest. While her voice is what captures me and reduces me to a puddle of emotions, her slide guitar work is also outstanding - unhurried, tasty and instantly recognizable. Stevie Wonder is among the fans of her slide guitar prowess, adding her as a guest musician on his most recent album. She is also an individual with strongly-held convictions, and she devotes considerable time and energy to pursuing those convictions. Hard to come up with a more admirable person among the upper echelons of popular music....



Sonny Rollins: Miles, Dizzy, Bird, 'Trane, Monk, Duke, Dexter.....and Sonny. Sonny is surviving member of this exclusive club of jazz heroes. He is the Saxophone Colossus. Here is a link to an interview of Sonny, conducted by Clint Eastwood on the eve of the 2007 Monterey Jazz Festival (it is well-known that Clint is a dewey-eyed jazz fan, bless his heart). At the age of 77, Sonny is still blowing up a storm - in his sixth decade as a jazz giant. His exuberent and joyful music is a blessing for all humans. It was my great honor to play trombone in the UC Berkeley Jazz Ensemble that supported Mr. Rollins back in 1975 when he was the featured artist at the Pacific Coast Collegiate Jazz Festival in Berkeley. Listening to him play, working through the arrangements that he wrote, being in his presence...it was one of the peak experiences of my musical life. Sonny is a constantly striving musician - his practicing regimen is legendary. He is famous for dropping out at the peak of his bebop fame in 1959 to play alone for two years under the Williamsburg Bridge in Lower Manahattan. There are many things I love about this musician, but one of my favorite things about him is his affinity for unusual material - "I'm an Old Cow Hand, "Tennessee Waltz," "Someday I'll Find You" (which is the theme song from an old radio show called "Mr Keene - Tracer of Lost Persons"). Sonny gets my vote as the coolest man alive. His look, his way of speaking, his devotion to his craft, his focus and refusal to wallow in the fruits of his success are all very cool. The intensity, humanity, humor, and tenderness of his playing are absolutely unmatched by any other musician, living or dead.



Tom Waits: I discovered Tom Waits in 1974 when I bought his "Closing Time" CD at a used record store on Telegraph Avenue in Berkeley CA. I spent $1.50 for the record, and I got $150 worth of juice out of one cut - " Ol' '55" - a great song. And that is one aspect of Tom Waits - he writes great songs. Sentimental, heart-breaking, weird emotional songs. Bruce Springsteen covers Tom - "Jersey Girl" is the tune, if I remember right. This is my favorite "nice" Tom Waits song. And then he does some stuff that is WAY....OUT...THERE. Man - he can squeeze so much emotion and intensity out of a limited vocal range - but it isn't his range that is important. He can evoke a wide spectrum of tonal colors and craziness with his voice and his shenanigans.

Tom is also a terrific actor - his current movie role is in "Wristcutters - A Love Story" Can't wait to see that flick - it hasn't been released in Chicago yet.


Curtis Fuller: Back when I was a mediocre high school trombonist, I discovered Curtis Fuller. He is now 73 years old and still making the trombone do things that are hard to believe. He played 'bone with John Coltrane on the "Blue Trane" LP; he played with Art Blakey. Mr. Fuller was one of those cats that had talent that refused to be denied - his Jamaican parents died when he was a child, so he was raised in an orphange in Detroit during the WWII years. He joined the U.S, Army in 1953 - one of the few places where black men were treated like human beings. He was a J.J. Johnson protege, but he developed his own style - edgier, faster, crazier. When I used to play trombone, I would listen to his records and weep. He is the reason that I changed my major from music to economics at Cal Berkeley.



Kim Wilson: Kim is my blues harmonica idol. He is devoted to the post-war Chicago blues tradition. He is also an official rock star; has written major hits and fronted the Fabulous Thunderbirds for almost three decades. The royalties from "Tuff Enuff" and all of the T-Birds hits allow Kim the freedom to play straight-up blues with true believers like Rusty Zinn, Billy Flynn, and a long list of other blues fanatics. I feel deeply connected to this man due our similar histories - Kim is three years older than I am, he played trombone as a kid, he found the harmonica and the blues when he was a senior in high school (I bought my first harmonica when I was a junior in high school). I have had the honor to meet him a couple years ago at the Old Town School of Folk Music in Chicago. He is the best Chicago blues harp player alive today, in my opinion. He also is a very solid, skilled vocalist with a very flexible and powerful baritone voice.

So that is five that I love...the list of living musicians that slay me is much longer than this. Watch for more profiles in future posts....

Mystery Band Hits Buddy Guy's Legends - 11/4/07

So E.G. McDaniel called me at 9:15 PM on Sunday night. I was winding down from a pleasant day with the fam, thinking about hitting the sack. E.G. is one of the "go-to" bass players in the Chicago blues community, an absolutely awesome musican, and he anchors the Mystery Band for most of its gigs. So E.G. opens with, "Mr. G - we can play Buddy Guy's tonight - the band that was booked didn't show up." Whaaaa!? Now why on earth would a blues band blow off a gig at Buddy Guy's Legends? This is the top blues joint in Chicago, probably one of the best in the world - you don't want to mess with these guys. Getting black-balled at Legends is not a positive career event for a blues musician.

Well, it turns out the the booking agent for Studebaker John & the Hawks made a little boo-boo. He booked the band at Legends at the same time as their European tour. Studebaker John was in Belgium Sunday night - a bit too far away to allow him to make the gig at Buddy Guy's place. I hope Studebaker John can make things right with the Legends folks...he is a great performer.

This snafu provided an opening for the Mystery Band. All the cats were available; E.G. whipped them together. E.G. on bass, Cool James on drums, DC on keyboards and vocals, the Fretburner on guitar, yours truly on harmonica and vocals. We hit the first tune at around 10:15 last night - the debut of the Mystery Band at Buddy Guy's Legends!! I was stoked!! Thank God I have an understanding family that didn't freak when I went dashing out the door on a Sunday night.

Legends is Mecca for blues fans and blues musicians from around the world. Even on a Sunday night in the face of a busted booking, there was a decent crowd in the club. And the folks that come to Legends on a Sunday are generally knowlegeable, not casual, blues fans. We did our best to give the folks their money's worth. The sound mix and size of the club caused some problems for the band - our volume crept up and my harp was getting squashed by the rest of the band. The amp I brought along was too small for the task at hand - the cherry old Princeton wasn't cutting through, even when miked to get into the PA system. I shifted to a larger house amp. That allowed the harp to be heard, but served to bring the volume up even more. But the first set was pretty successful; the crowd seemed happy.

E.G. had also called a guest star for the last-minute gig - Wayne Baker Brooks, the son of the great Lonnie Brooks. He came up for the second, late set. WBB is an awesome guitarist, can hold his own with my man, Anthony "the Fretburner" Palmer (most guitarists pale when compared to the Fretburner). But WBB comes from the School Of Maximum Volume. Yikes! It is now 34 hours after the WBB set and my ears are still ringing. I am a fan of restrained volume and dynamic variety. But, hey, I am a grumpy old man, what do I know?

So I heard from E.G. McDaniel again today - Buddy Guy hisself heard our set on Sunday night!
Glad I didn't know he was in the audience - I would have shit my pants in fright. He wants us to come back and play again. Huh! So I have the mobile number of Harvey (aka "H-Bomb") the house manager at Legends. I am going to call him today.


Maybe I need to get a little more serious about this blues hobby of mine.....

L'il Ed and the Blues Imperials at Bill's Blues Bar (Evanston IL) , 10/13/07

L'il Ed Williams and his terrific band, the Blues Imperials, hit Evanston Illinois on Friday night, October 13. This past weekend was the fourth anniversary celebration of Bill's Blues, and what a tough road it has been for this wonderful club. In this era of DJ's, iPods and free downloads, it is not easy to keep a live music venue open. Bill Gilmore, the operator of this club, has persisted in the face of great difficulties. I didn't think this place would see its fourth birthday.

In celebration of this milestone, Bill's Blues booked two superstars - L'il Ed on Friday night and Eddy (the Chief) Clearwater on Saturday night. I have seen Eddy Clearwater perform many times and I love him. I haven't seen L'il Ed very often, so I was eager to catch up with him. He is a bona fide blues star these days, still riding the bump in name recognition created by his appearance on "Late Night with Conan O'Brien" several months ago.

L'il Ed is a practioner of the "house-rocking" form of blues music, which was established by artists such as Elmore James, Hound Dog Taylor and L'il Ed Williams' uncle, the great J.B. Hutto. The house-rocking band specializes in high-energy music and flashy, crowd-pleasing showmanship. A house-rocking blues band often includes a slide guitarist in a predominant role, usually as front man. Ed is an awesome front man. He has a perpetual smile on his face and enough energy to light up a medium-sized metropolitan region. His slide guitar work is appropriately raucous, his voice ranges from rough to sweet, he executes duckwalks and backbends, walks through the house and dances with fans while playing his guitar - you name it, this guy can do it. He may be small in stature, but his heart and his talent are huge.

The Blues Imperials consists of three skilled players who have been with L'il Ed for a long time. Mike Garrett, the band's second guitarist, is long, lean and unflappable. His guitar solos consisted of strong, "meat and potatoes" blues; he also stepped up to the mic and laid down some convincing vocals on a couple of old Little Walter tunes. James "Pookie" Young is Ed's half-brother and he is a tall, big guy - quite a contrast to L'il Ed! Pookie just LOOKS the way a bass player is supposed to look. He is a "pocket master" as well. Kelly Littleton's work on the drums is just right - not too loud, not too busy, he never loses the pulse. This band is very skilled and well-rehersed, but not slick - they retain that pure, animal spirit that is a must for all great blues and funk bands.

It is always great to see a top act in a small venue like Bill's Blues Bar. The house was full. It should be full every night. To anyone reading this, don't forget to get out and support your local blues club!!

George Carlin Talks About White people and the Blues

Man! George is still a edgy dude after all these years. And he's talkin' about me, yo! And people like me. It's cool, I can take it. I probably deserve it.

Here is George's Rant .

Billy Paul and Barack Obama

This classic soul/funk tune should become Barack Obama's campaign theme song. It is called "Am I Black Enough for You?"

Billy Paul is still delivering awesome soul vocals at the age of 73. He caught the world's attention in 1972 with the tune, "Me and Mrs. Jones," but his musical legacy extends far beyond one hit record. He has those wonderful Philly soul pipes and he writes terrific songs. The cat is killer!! Check him out and buy his records.

Good bye, Eddie Berner

Eddie was the type of guy that usually falls through the cracks in today's world. He was afflicted with a high fever as a small child, his brain was damaged, he was institutionalized, he was released into a halfway house and his cognitive skills were child-like. Not the type of person that one would expect to have an impact on a large city like Chicago. But he did.

Eddie was the Chicago blues "superfan." And to the credit of the Chicago blues community, he was embraced and shown loving respect by the musicians and the club owners. Yes, he was not a regular guy, but he had a deep devotion to the music and the musicians; he was in the clubs almost every night until his health gave out, he drank his soda pop and danced and sang. So he became a beloved person, and an inspiration.

Eddie died last week; I missed the news because I was on a business trip. I hung with him a few times at B.L.U.E.S. on Halsted and at Bill's Blues Bar in Evanston. Eddie made people happy. That places him in a pretty small group.

There is a memorial service this evening at B.L.U.E.S. Eddie would be very pleased by this.

Jazz/Blues and Literature - James Baldwin

I re-read one of my favorite short stories last night. It was buried in an anthology on the top shelf of my library - James Baldwin's "Sonny's Blues." I last read this story when I was in college, I think. It is a terrific story that evokes the pain and difficulty of being a black American in the late 1950's. Baldwin was living in France by the time he wrote "Sonny's Blues;" he found the atmosphere in the United States too poisonous. Baldwin was also gay, so he had an additional set of biases to battle against.

In "Sonny's Blues," there are the best passages I have ever read about jazz and blues. Here they are:

All I know about music is that not many people ever really hear it. And even then, on the rare occasions when something opens within, and the music enters, what we mainly hear, or hear corroborated, are personal, private, vanishing evocations. But the man who creates the music is hearing something else, is dealing with the roar rising from the void and imposing order on it as it hits the air. What is evoked in him, then, is of another order, more terrible because it has no words, and triumphant, too, for that same reason. And his triumph, when he triumphs, is ours………….

………..Then Creole stepped forward to remind them that what they were playing was the blues. He hit something in all of them, he hit something in me, myself, and the music tightened and deepened, apprehension began to beat the air. Creole began to tell us what the blues were all about. They were not about anything very new. He and his boys up there were keeping it new, at the risk of ruin, destruction, madness and death, in order to find new ways to make us listen. For, while the tale of how we suffer, and how we are delighted, and how we may triumph is never new, it must always be heard. There isn't any other tale to tell, it's the only light we've got in all this darkness.

Sonny's Blues, 1957

Hanging with Barrelhouse Chuck and Betsy

In late August, I received an e-mail from Mr. H. Charles Goering (aka Barrelhouse Chuck) which contained a gracious invitation to a Labor Day barbecue at the Goering estate in Libertyville IL. Any fan of blues piano will know that Barrelhouse Chuck is the "keeper of the flame," the true believer and the immensely talented practioner of the Sunnyland Slim/Otis Spann/Little Brother Montgomery school of Chicago blues piano thumpin'. I have been a fan of BH Chuck for a long time, and I wrote a little about his exploits back in January (here is the link.) I have seen him play live a couple of times also - always a treat - and I have tried to convince him to be a guest star with the Mystery Band (his schedule and mine haven't quite jived yet). I was honored to get that invite to the barbecue.

I pulled up to the Goering residence and met Chuck's wife, Betsy - a kind, generous woman of great good humor (and a formidable bass player, according to my blues buddies). I also met the four Goering canines - a quartet of Boston terriers full of friendly energy. The rest of the guests were all new acquaintances - a combination of musicians, blues fans and Goering friends and family. Since I am now in my fifties, my ability to recall names has eroded somewhat (ah, Hell - I have always been forgetful about names, even when I was a kid). But I remember the musicians, because I jammed with them after we were done eating - Justin on bass and Gerry Hundt on mandolin. Justin is a guy who played with BH Chuck back in the day; he has been off the scene for a while now but plays with Little Arthur on occassion. Gerry Hundt is a scary multi-instrumentalist/vocalist who is a major reason why Nick Moss and the Flip Tops is such a terrific band. Gerry plays guitar, bass, mandolin and harmonica and he kicks ass on every instrument. He also has a very strong and tuneful voice, and he knows how to use it. During our jam, Chuck rocked on his old Steinway upright. Ol' Mr. G had fun blowing harp and trying to hang with these talented professionals.

Now here is the word on Barrelhouse Chuck. Yes, he can play that awesome blues piano, he has a super-strong left hand that most keyboard players can't come close to matching and he is a soulful blues singer. But he is also a huge blues fan, and he backs this with a museum's-worth of out-of print blues LP's (all stored in a loving archival fashion, with heavy plastic sleeves and careful labeling), an astonishing collection of posters, photographs and autographs and an extremely intense collection of personal effects from deceased Chicago blues heroes (well-known and unknown). Chuck has put in tons of effort, love and money to assemble this collection. He also has a few non-blues heroes, such as Stevie Winwood and Question Mark and the Mysterians. I was speechless after he gave me a tour. BH Chuck is a man passionately committed to good music; he has a huge heart and strong opinions. Whatta guy!

Thank God for the true believers! May their efforts succeed.

Clyde "Lightning" George - Steel Pan Monster

Jam sessions can always be a surprise. I went to Mike Finnerty's jazz jam at Bill's Blues Bar in Evanston IL last night. A very fit fellow showed up and started to unpack his instrument - he wheeled in a bass drum case. I was puzzled for a while as he assembled his kit, then realized that he was setting up a set of two steel pans - the tenor set, to be precise. In no time, this fine musician (Clyde "Lightning" George) was tapping out bebop and blues on steel drums! The sounds of the steel pans are associated with the islands of the Caribbean and calypso music. Lightning jumps genres like a rabbit - yes, he can play the lilting themes of the islands, but he can also bang out "A Night in Tunisia" at breakneck speed. Lightning was born and raised in Trinidad (the birthplace of the steel drum and steel bands), but now spends quite a bit of time in Chicago's western suburb, Oak Park (the famous birthplace of Ernest Hemingway). Clyde George and Mike Finnerty (the locally-famous tenor sax man) have great musical rapport. It was a special night at Finnerty's jam.

I went to a college with a fellow named Andy Narell - Andy was a New York kid that took up the steel drums and moved to California to attend UC Berkeley. You can hear Andy from time to time on the "smooth jazz" radio stations that Clear Channel has established in most major metropolitan areas of the U.S.; he is probably the best-known steel pan player in the world. Clyde George can definitely hang in there with Andy. The sound of this instrument is part of America's musical stew now, and that is a good thing.

Society for the Advancement and Preservation of the Harmonica

Yes, there is actually a national organization dedicated to harmonicas, once again proving that the United States is home to an infinite number of odd sub-cultures that lurk below the radar. And I attended the national convention of the Society for the Preservation and Advancement of the Harmonica (aka "SPAH") from Tuesday through Saturday. A couple hundred harmonica nuts assembled in a Sheraton in suburban Milwaukee to ponder the mysteries of the instrument - rapid tongue switching, over-blows, pros/cons of alternative tunings and dozens of other obscure topics. It was a true geek-fest, and I fit right in.

There were very many awesome harmonica players at the conference, ranging from the great jazz musician Howard Levy (he just stopped in to play at the jazz jam) to Charlie Musslewhite, the legendary bluesman (headliner for the Friday night concert). In the crowd were fantastic players like my teacher, Joe Filisko, Irish harmonica God James Conway, New York Bluesman/college professor Adam Gussow, jam band rock star Jason Ricci, elderly ass-kicking classical chromatic players like Stan Harper, the legendary Milwaukee blues harp stars Steve Cohen and Jim Liban, 13-year old harmonica phenom L.D. Miller and the larger-than-life Superman of the Blues, Buzz Krantz. I connected with one terrific player that I have heard about for years, Rosco Selley, who plays harmonica for a fabulous alternative rock band called Maybe August. Here is a picture of Rosco, rocking out:



Rosco combines blazing technique with a high level of musicianship - a combination rarely seen in a harmonica player. He lives in Bay City MI and he operates a small business to pay the bills (harmonica honking is generally not a high-paying profession). Pick up a copy of the Maybe August CD - it is great stuff.

The one really strange aspect of the SPAH convention was the lack of African American harmonica players. Some of the best players around are black, particularly blues players like James Cotton, Billy Branch, Sugar Blue and the rest of the "real deal" guys. It would be great if they would join the geeky world of SPAH - we need them.

Mystery Band Pictures from the Harlem Avenue Lounge Gig

One of the finest blues photographers in the Chicago area, Lordy, was in attendance at the Mystery Band show at the Harlem Avenue Lounge on August 11 - he took some wonderful shots, which he has posted on his website. Here is the link. Thanks. Lordy, for your talent and genrosity.

The Harlem Avenue Lounge

The Mystery Band played its first gig at the Harlem Avenue Lounge in Berwyn IL on Saturday, August 11. This is a great club owned and operated by a true blues afficianado, Mr. Ken Zimmerman. Ken is the captain of the HAL and he runs a tight ship - he knows what works in his club, and he helps the bands to understand the formula. He is a solid businessman and also manages a small number of Chicago area blues artists.

For this gig, the Mystery Band was a collection of great musicians that knew each other, but had never played together in this configuration before. The great Sammy Fender joined the Mystery Band for the night and added his unique and highly entertaining brand of blues to the proceedings. OSee Anderson, who played in Sammy Fender's band many years ago, held down the other guitar slot. Harland Terson, who has also played with Sammy before, was belting out the bass. And Twist Turner, who has played with Sammy occassionally for many years, was banging out the beat.

Karen Hanson, author of the recently published guide book, "Today's Chicago Blues," was in the house. I have corresponded with Karen for the past year or so, but had not met her until she showed up at the Harlem Avenue Lounge to hear the Mystery Band. Karen was kind enough to write about the show on her blog. If you are interested in the current state of the blues in the Chicago area, buy Karen's book - it is complete and full of insider tidbits on the scene.

Hash Brown's Blues Jam at the Mardi Gras - Dallas TX

Hash Brown is one of the busiest blues players in Dallas. He slings a mean guitar; he is also an outstanding harmonica player and a convincing vocalist. He served as best friend/driver/helpmate for Sam Myers, the legendary Texas bluesman, during his final years with us (Sam passed a year ago). Hash Brown is a big-hearted man who loves the blues, and whenever I am in Dallas, I try to find one of Hash Brown's jams. He runs at least two jams each week. The jam that he used to run at The Bone on Tuesday nights was unbelievable - full of great players, serious dancers and hard drinkers. The picture of Hash at the top of this entry was taken at The Bone at a jam back in 1998. The Bone was a great club - in the heart of the Deep Elum district of Dallas; a funky honky-tonk full of music-loving Texans.

Well, the Bone decided to kill its jam last year, and the other venue that hosted Hash Brown's Wednesday night jam (The Hole in the Wall) also decided that they couldn't afford to pay the band anymore. But Hash Brown never gives up - he found new venues. I attended the new Wednesday night jam venue during my last trip to Dallas in mid - July. The joint is called the "Mardi Gras," obviously a New Orleans - themed place. I have to say that this was one of the weirdest locations for a music venue I have ever seen - it is on the ground floor of a high-rise office tower located next to the I35E highway. The good news - there is lots of free parking. The bad news - it is in a nightlife desert; nothing else is open in the area because it is all office towers.

Hash kicked off the jam with a set of instrumentals, including a rousing version of "Honky Tonk" and a passable version of "Blue Bossa." Hash also threw in a number of Dick Dale-style tunes, with lots of glissandi from his guitar and jungle beats from the drummer. The drummer in Hash's band was just right - a Texas blues beat guy, well-versed in West Texas and East Texas shuffles, swing, blues rock, latin and jump blues beats. I sat in with the group and blew out a reed on my "A" harp on the first tune. I had hit the road with just two harmonicas in my bag, (A and A flat), so my ability make music was pretty limited.

The jam was sparsely attended. The bartender sat in the back at a table with some regulars since business was slow behind the bar. Two heavyset women got up and danced together, shaking their ample asses a little too hard. A couple sitting at the bar were alternating between drinking martinis and necking. They were really going at it, lots of spit-swapping and groping. They would break for a little air and more alcohol, then go right back into their clinch. I wanted to yell, "Get a room!"

I guess the lunch trade sustains the Mardi Gras; the evening business seems pretty pathetic.

I stayed to listen to one of the jammers, a young guy (teenager?) with a guitar. He was an intermediate player, not quite there yet, but his instincts were good. He sang, too. His singing was a little less successful than his guitar work. He could turn into an excellent player if he keeps working.

I rolled out and headed back to the hotel. It was great to see Hash Brown and I enjoyed sitting in with the band, but the Mardi Gras jam couldn't hold a candle to the Hash's old sessions at the Bone.

Bill Perry, Blues Guitarist, Passes Suddenly

Very sad news. I just received this in an e-mail from Blind Pig Records:

GUITARIST BILL PERRY DIES AT AGE 49

With great sadness, Blind Pig Records announces that New York guitarist Bill Perry died on Tuesday, July 17th. According to Greg Schwark, Perry's road manager for seven years, the musician was found at his apartment in Sugar Loaf, NY. Emergency medical personnel tried to revive Perry, but he died on the way to the hospital, an apparent heart attack victim, although no official cause of death has been determined.

Perry was known as an outstanding guitarist whose go-for-broke technique combined effortless fluidity and incredible attack. Guitar One magazine called him a "six-string superman more powerful than a locomotive." He was also gifted with a distinctive, raspy voice full of grit and gravel that particularly suited the drama and emotion so essential to blues music.

Perry first made his mark in the clubs of New York City in the 1980's, where he was spotted by folk-rock singer Richie Havens. Perry spent four years on the road as the featured guitarist in Havens' band. During the same period, he also did some touring with The Band's Garth Hudson and Levon Helm. In 1995 he signed a deal with Pointblank/Virgin and released two albums for them. In 1999 he released a live album recorded at New York's blues hotspot, Manny's Car Wash. In 2001 Perry released the first of four titles for Blind Pig Records, with Jimmy Vivino, music director of "The Conan O'Brien Show" serving as producer on the first two CDs.

Good friend and labelmate Popa Chubby produced Perry's next two releases for Blind Pig, the most recent being 2006's Don't Know Nothin' About Love. Upon hearing the news while on tour in Germany, Popa said, "The best thing about Bill was that his talent was effortless. He was a natural. He could sing the phone book and draw you in. He didn't have a mean or a bad bone in him. I never heard him say a bad word about anyone. He was a brother and I'll miss him dearly."

Richie Havens issued a statement, saying, "I'm shocked and saddened to hear the news. Billy was a great friend, a truly gifted guitar player, and one of the funniest people I've ever known. Our times on the road together were some of best times I've ever had." Havens recorded a haunting acoustic duet version of the Rolling Stones' "No Expectations" with Perry that appeared on Bill's 2002 album Crazy Kind Of Life.

Buddy Fox, Perry's manager for four years and the long time booking agent for Manny's Car Wash, said, "Bill was a very singular and unique talent. He had a natural blues voice, and an uncanny ability to sing at the same time that he was playing a virtuoso guitar solo."

Blind Pig President Edward Chmelewski said, "We are indeed saddened by the loss of Bill and his incredible talent. His intensity on the guitar was frightening. He was a mesmerizing performer who played with passion and excitement, and he had that wonderful sandpapery voice that you could listen to forever. Truly a unique artist that will be missed."

Perry, age 49 at the time of his death, is survived by his only son, Aaron, 25, three brothers, and a sister. Details of a memorial and funeral have not been announced.

May this Texas Character Rest in Peace

I am in Dallas for a few days and saw this obituary in the local paper. I think I would have liked this guy...

Edgar "Heavy" Clayton Jr.: Junkman became a legend

08:03 AM CDT on Saturday, July 14, 2007
By JOE SIMNACHER / The Dallas Morning News
jsimnacher@dallasnews.com

Edgar "Heavy" Clayton Jr. refused to conform during his 75 years of freestyle living. The Cedar Hill junkman became a small-town legend in the process.

Seemingly oblivious to convention, Mr. Clayton lived his life without a public school education, a driver's license or insurance, among other things.

Mr. Clayton died Sunday of complications from lung cancer at a Cedar Hill nursing home. Friends plan to organize a memorial. His body was donated to MedCure Inc. for medical research.

"He was a fixture to the city," said Cedar Hill Mayor Rob Franke. "He had been here forever, and people knew him and liked him in so many ways."

Mr. Clayton picked up the nickname Heavy as he grew into his powerful 300-pound, 6-foot-3-inch frame as a teenager.

In 1989, Mr. Clayton cemented his legendary status by physically breaking up an armed robbery of P&S Foods in Cedar Hill.

Mr. Clayton was taking part in a backroom game of dominoes when two men tried to rob the convenience store.

"I told them I didn't think it was a real gun and started to fuss with them," Mr. Clayton told The Dallas Morning News at the time.

Mr. Clayton was shot while trying to wrest the gun from one of the robbers.

"The bullet went in my neck and came out in my mouth," he said. "I chewed on the bullet a bit, then spit it out. ... It didn't knock me out."

The robbers were apprehended, and life went on for Heavy after a stay in the hospital.

Mr. Clayton was the youngest of the eight children in his family.

"He was the baby; he did what he wanted to do," said his sister-in-law Dorothy Clayton of Cedar Hill.

Born in the former Florence Hill community south of Grand Prairie, Mr. Clayton moved with his family to Cedar Hill when he was 11 or 12 years old, his sister-in-law said.

He never learned to read, but he knew math for calculating scrap transactions, friends said.

Mr. Clayton held a number of jobs before settling into his role as the beloved but regulation-ignoring junkman.

Mr. Franke said conflicts with Heavy grew along with Cedar Hill.

"The sad part about it was that as the town was growing around him, having a junk business just didn't work quite the same way," he said. "The city had to become involved from time to time."

Mr. Clayton inherited a home on Hickerson Street from his mother. His property became home to his junk business, which was a problem for the city and neighbors.

The house fell into disrepair and was set afire by what friends say was an adolescent who liked to torment Mr. Clayton. He rebounded by living in a camper on the property until 2005, when he moved into a nursing home.

G.W. Gorman, a friend of more than 60 years, said Mr. Clayton was an independent person of great physical strength.

"He was always trying to help people; he was good at that," he said. "He was a great fellow."

Mr. Gorman said he once saw Mr. Clayton pick up a flathead V-8 truck engine with the transmission attached and place it in the bed of a truck. But Mr. Clayton used passive cooperation rather than brute force to deal with confrontations with civil authority.

"He was the only guy I know who pretty much had the system his way," said Jan Sorok, a longtime friend.

While many others might not want to be jailed, Mr. Clayton was always willing to do his time, Mr. Sorok said.

"'OK, when do you want me to show up?' " Mr. Clayton would say, Mr. Sorok said.

Mr. Clayton is survived by two brothers, Thomas Clayton of Cedar Creek and Alton R. "Pete" Clayton of Cedar Hill; and two sisters, Willie Mae Justin and Janie Pogue, both of Mesquite.

Nick's Beer Garden - Saturday July 14, 2007

I found out the regular guitarist for the Mystery Band, Anthony Plamer, was going to miss the July 28th gig at the Morseland. OSee Anderson was confirmed, so I had one hot guitarist - I wanted another player. I have been thinking about adding a keyboard player for some gigs, so I called my bass player, E. G. McDaniel, last Saturday for a recommendation. He mentioned Daryl Coutts, a young long-haired fellow who has played with Ronnie Baker Brooks for several years. And Daryl was appearing with vocalist Katherine Davis at Nick's that very evening. I resolved to go and check this fellow out.

Nick's Beer Garden is in Wicker Park, on Milwaukee near North Avenue. Wicker Park is one of Chicago's biggest party neighborhoods on a Saturday night. Traffic is miserable and the sidewalks are crowded. The three - way intersection of North Avenue , Milwaukee Avenue and Damen is the congested heart of the neighborhood, and Nick's is near that intersection. This is not a neighborhood that is generally associated with blues bands, and Nick's is a bar first and a music venue second. There is no stage at Nick's, and bands must bring their own P.A. systems.

But the crowd at Nick's comes to party.

Katherine Davis is a seasoned performer, in her early '50's I would say. Most of the folks in the audience were half her age, but she had them in the palm of her hand throughout the evening. As the evening progressed, some of the audience members became seriously impaired. The musicians were at risk of collision as drunken dancers lurched perilously close to the band. But no accidents occurred while I was there.

Katherine used the Jimmy Burns Band plus Dary Coutts. Daryl had two sets of keys - a piano/synthesizer and an organ keyboard. He brought out a B3 set up, with the spinning horn. Daryl is a killer player, and he did take the Mystery Band gig at the Morseland. I am very excited about adding this fine musician to the Mystery Band mix.

I sat in with Katherine and the band, using my little Fender Princeton amp. The Princeton was overwhelmed by the heavy firepower that the other players brought to the gig. It was LOUD! The crowd was even louder than the band. Whew!

I hope to get the Mystery Band booked into Nick's Beer Garden. I know we would do well.

Friday Night Crawl - Lubriphonic and Jimmy Burns

Well, I had to talk to Ken Zimmerman, owner of the Harlem Avenue Lounge last Friday night. The Mystery Band will be playing at the HAL on Saturday August 11 (BE THERE!!!) so I had to drop off some promo materials to Ken. The band that was holding down the fort was Lubriphonic. This group falls into the "jam band" category - they cover the same terrain as Phish and String Cheese Incident, but they are much blusier. The band includes two brass players - Johnny Cotton on trombone and Ron Haynes on trumpet. I always like a horn section in a band - reminds me of my misspent youth playing trombone in funk bands in the San Frnacisco Bay Area. Lubriphonic is the brain child of guitarist Giles Corey and drummer Rick King. These two guys played with many of the major name blues stars in Chicago - Koko Taylor, Junior Wells, Bo Diddley,and Otis Rush. They are tied into the Chicago blues tradition, although they don't have traditional Chicago blues backgrounds (Giles is a econ graduate of the University of Chicago). Bassist J.R. Fuller is a young fellow (early thirties, tops) and he has backed a ton of major names - Albert King, Ziggy Marley and Branford Marselis to name a few. So yes, this is a group of musicians with serious chops. I caught about half their first set, delivered to a virtually empty club, and had to leave. I was early - I hope the joint filled up for these talented cats later in the evening.

On the way from Berwyn to Evanston, I stopped by Andy's to catch the Jimmy Burns Blues Band. Jimmy's sidemen are the guys I try to hire for my Mystery Band gigs - I can't always get them because they are in such demand. Jimmy Burns is underappreciated - he is the real deal, a guy who can handle Delta blues and jazzier versions of the blues. He has a rich baritone voice and he plays soulful, spare guitar lines. It is always terrific to see my Mystery Band brothers - James Carter on drums, E.G. McDaniel on bass and Anthony Palmer on guitar. Jimmy connected with the audience - he had beautiful women dancing between the tables (there is no dance floor at Andy's).

I was back home by midnight or so. I had a busy family day on Saturday, then headed out again Saturday night to hear Katherine Davis at Nick's Beer Garden. More on this in my next post...