Feature Articles: Lee Oskar: Celebrating 30 Years in Music Passing the Torch: Music Education Pays it Forward Blues

Festival Reviews and more!

On the Cover: Lee Oskar at the 2013 Westport Blues Festival Photo by Michael Bruce

In This Issue...

Letter from the President Lee Here Now: Lee Oskar Talking with a Legend Setting the Record Straight

2 4 8 10

Otter Blues Raffle Winners Listing Labor Day Blues Blues Bash Review

11 12 13 14

Membership Form CD Reviews Interview with Jonny Lang Talent Guide and Listings Poverty Bay Blues and Brews

15 16 18 19 21

Letter from the President (and Acting Editor)

Dear Bluesletter Readers, I wanted to welcome new Bluesletter readers, long-time supporters and members, and blues cruisers aboard the Legendary Rhythm and Blues Cruise to the October Bluesletter of the Washington Blues Society. Thanks to the leadership of veteran blues cruiser Tony Frederickson, this issue represents our society on the fall cruise, and I am very pleased that we are honoring Lee Oskars three decades as a professional musician. We have Michael Bruces cover photo of Lee from the 2013 Westport Blues Festival, and an outstanding profile from one of our newest contributors, Amy Sassenberg. We also welcome John Kriss to the pages of this publication with his observations on blues music during the Labor Day weekend in the Pacific Northwest, and frequent contributor Bob Horn sits down with the legendary Joe Louis Walker and takes us back to the Poverty Bay Blues Festival in Des Moines. Theres a lot to like in this months Bluesletter, including reviews of Blues for Food and the Taste of Music, an update on our blues education program called Passing the Torch, and a profile of young bluesman Micah Kesselring. Next month, the Bluesletter will highlight Seattles Highway 99 Blues Club in a cover article from Jane Henderson, and were working behind the scenes to include more CD reviews, and more coverage of blues destinations throughout the Pacific Northwest. Ill re-cap the 2013 Leavenworth Blues Festival, and Im confident that other contributors will make the next issue memorable and informative. Finally, I wanted to sign off with another request for help from potential writers and photographers. The Washington Blues Society post office box receives a number of stories and requests some handwritten, some typed and I am sad to say that we do not have the volunteer depth to respond to these types of submissions. Please submit stories electronically as attachments in Word, and know that we value all members and blues fans contributions. Many photographers also submit CDs to our PO Box, but wed prefer electronic copies of high resolution images sent by file sharing services such as Drop Box. Please also follow the following file name conventions so that we can give the photographer appropriate photo credits: 2013 Bluesletter Month Name of Artist by Name of Photographer instead of using the camera-generated computer identification code. Please enjoy the October Bluesletter, butmore importantly: go out and see live blues music (and please, bring a friend). Til November, Eric Steiner, President Washington Blues Society Proud Recipient of a 2009 Keeping the Blues Alive Award

Celebrating 23 Years of Blues

October 2013 Bluesletter
Vol. XXV, Number X
Publisher Acting Editor Secretary Calendar Advertising Printer Washington Blues Society Eric Steiner (president@wablues.org) Mary McPage Janie Walla (thewallas@juno.com) Malcolm Kennedy (advertising@wablues.org) Pacific Publishing Company www.pacificpublishingcompany.com
Eric Steiner, Amy Sassenberg, Suzanne Swanson, Robert Horn, Malcolm Kennedy, Rick Bowen, John Kriss

1989 - 2013

Self-Produced CD Notice The Torch Passing the Torch at Centrum Taste of Music Tips for Professional Musicians Blues for Food

24 25 26 28 28 30

Contributing Writers:

Contributing Photographers: Paul Brown, Tim and Michelle Burge, Michael Bruce, Michael
Winetrob, Robert Horn, Zab, and Blues Boss

Cover Photo: Lee Oskar at the Westport Blues Festival by Michael Bruce

On the Cover:
This months cover is the second Bluesletter cover from Westport photographer (and Mayor) Michael Bruce. This fall, Lee Oskar was one of the featured performers at the Westport Blues Festival, and Michael captured the intensity and passion of Lee Oskars performance. This month, the Bluesletter honors Lee Oskars third decade as a musician and artist, and Amy Sassenbergs profile is one of the many highlights of this issue

The Bluesletter welcomes stories and photos from WBS members! Features, columns and reviews are due by the 5th of each month in the following formats: plain text or Microsoft Word. Graphics must be in high-res 300 dpi .pdf, jpg, or .tiff formats. We encourage submissions. If a submitter intends to retain the rights to material (e.g., photos, videos, lyrics, textual matter) submitted for publication in the Bluesletter, or the WaBlues.org website, he or she must so state at the time of submission; otherwise, submitters rights to the material will be transferred to WBS, upon publication. We reserve the right to edit all content. The Bluesletter is the official monthly publication of the Washington Blues Society. The WBS is not responsible for the views and opinions expressed in The Bluesletter by any individual. WBS 2013 The Washington Blues Society is a nonprofit organization whose purpose is to promote, preserve, and advance the culture and tradition of blues music as an art form. Annual membership is $25 for individuals, $35 for couples, and $40 for overseas memberships. The Washington Blues Society is a tax-exempt nonprofit organization and donations are tax-deductible. The Washington Blues Society is affiliated with The Blues Foundation in Memphis, Tennessee.

Mission Statement

Washington Blues Society P.O. Box 70604 - Seattle, WA 98127 www.wablues.org

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Lee Here Now...

By Amy Sassenberg Theres a popular theory that says there are only really six degrees of separation between any two individuals: that everything and everyone in the world can be linked by less than six steps or connections. Lee Oskar may very well be one of those rare examples of only one degree of separation between him and most of the modern world. If you happen to be a person who doesnt enjoy music, there may be two degrees. If you live in Washington, youre back to one. He seems to be everywhere these days: festivals, art shows, workshops. When I hear myself trying to explain the things Im excited about, says Oskar, I realize Im an ambitious person. Ambitious may be an understatement. To think of Lee Oskar as just a harmonica player is to think of an apple as just a pie filling. He is such a diverse and gifted man that whole industries and businesses have been built around him. His name is a trademark. Lee Oskar Harmonicas is celebrating its 30th anniversary. If you dont own one you probably know someone who does. Oskar plays and tours with the popular Lowrider Band and his own group Lee Oskar and Friends. His paintings are featured at art shows, festivals and now on wine labels. Hum a few bars of the song Low Rider or Cisco Kid, and even people who think they dont know who he is get that instant look of recognition and nod, Oh yeah! Those are melodies created and popularized by the multicultural band, WAR, of which Oskar was a founding member in 1969. Those horn lines were recorded with the late Charles Miller on sax and Oskar on harmonica, helping to create that signature sound. Three more of the key members of the Low Rider Band were with Oskar in the early years of WAR. Guitarist Howard Scott and drummer Harold Brown had a band called the Creators in Long Beach, CA. in the early 1960s. Brown recounts how he met Oskar a few years later, at a place called The Ragdoll in North Hollywood in the spring of 69.This little skinny guy comes over and asks, Can I play harmonica with you? We played some blues, some African rhythms and then we went into this long jam, and next thing we know, people are dancing on the tables! The drummer still talks with excitement about what a magical experience that first night was. Oskar agrees. Barely old enough to play in a club, he went to hear the band with Eric Burdon and got up to play with the guys who would become his friends and collaborators for the next 44 years. Oskar laughs that hes known Brown, Scott and bass player B.B. Dickerson for decades, Ive known them longer even than my ex-wives! They had their first hit, Spill the Wine as Eric Burdon & WAR, and recorded two albums. The collaboration was beneficial to all concerned. Burdon segued back to his solo career and WAR continued on as a successful entity on its own, with Oskar on harmonica, recording more hits like, Slippin In To Darkness, The World Is A Ghetto and Why Cant We Be Friends. The songs he helped create are part of the collective history and vocabulary of American Music. And though hes Danish, there is something so American, so manifest destiny about Lee Oskar. He came to this country on a ship, with nothing, and lived on the streets. Someone dropped him off at the corner of Haight and Ashbury in San Francisco. He says he thought California was just like a big city, and that L.A and San Francisco were basically just down the road from each other. No More War There is still a band called WAR, with one original member that tours and plays those same songs. That band, trademarked and managed by Jerry Goldstein, is the one allowed to use the name. Oskar says he doesnt like to give too much energy to the legal issues that have created this confusing situation, holding up a peace sign, smiling and saying No more war. Peace. But his frustration is obvious. He describes the current lineup of WAR as homogenized, polished, squeaky clean. Its the opposite of a jam band. Its a total contradiction of what we stood for. He says the branding itself has a huge value. Because we dont call ourselves the three-letter word, people come up to me and say, I love your music. When are you going to get the band back together? Well, we ARE together. Its hard for people to understand. Lee says it goes deeper than just being misunderstood. There were seven people, he explains. (Charles Miller and Thomas Papa Dee Allen have passed.) We grew and developed together. Its not just the composition, its the sound. In the Lowrider Band, we have so many connections. Oskar, who also acted as art director for the WAR albums, cannot use the band name or the art. He says he could do a seminar on trademarks, copyrights and how to structure a platform of intellectual property. Packaging is very important. People judge packages. Now, if I re-release music, I dont have the rights to the image that people associate with it. They need to feel they are getting a similar product. It can be confusing. Listeners are catching on anyway. People are coming from out of everywhere with old albums for me to sign. We have a lot of fans. At the Westport Blues Festival, where Oskar recently performed, a sixty something grandmother was dancing next to two tween girls in tie-dye Lee Oskar shirts. We have a different name, but were feeling its our time, that people will know its us, Oskar says. Continued on next pag\e.

Top Two: Lee Oskar at Work Middle: Eric Burdon and WAR Bottom: The Lowrider Band

The fans are there for good reason. The Lowrider Band does it for love. We are playing from the heart, Oskar says. We have amazing chemistry between us. We dont rehearse. Were a jam band. We kick ass when we play music. Every time its different but always in the zone. Its just magic. Oskars overall philosophy is simple Anything good has got to be jammed. You have to be vulnerable; to let yourself experience things. Its like reciting a poem over and over again, he says, of artists who constantly repeat themselves. If you just get up and repeat a poem, youre keeping yourself in a rut, afraid to learn in a safe zone. You cant be good if youre afraid to be scared, says Oskar. Harmonica player Andy Koch says, When I watch him play, I can see hes totally in the moment. A Lee Oskar performance is a dynamic, living, thriving, thing of its own. He utilizes his entire being, rocking back and forth, twisting his torso from side-to side, beads of sweat draping his face. You can almost witness the music rippling through his muscle fiber, grooving down his throat through his chest, vibrating through his hips and lifting his knees, like hes stepping through each note. Its almost alarming how completely in motion he is. Dont be afraid to not be in total control, says Oskar. As much as hes experiencing the moment, its also clear to anyone whos watching that he knows exactly what hes doing. You get the feeling he is hyper-aware of everything, taking it all in and making rapid decisions every second so that when you ask him something he doesnt have to think, he already knows. or Lee Oskar & Friends, he surrounds himself with superior musicians capable of subtlety, improvisation and keeping up with him. Guitarist Tim Lerch says that Oskar can be precise and exacting and its made him a more creative and responsible player. Its helpful for me because hes so specific. I cant just phone it in. Ive got to be on my game. Its good to have a leader who knows what he wants. Once you give him what he wants, you have a great deal of freedom to play within those parameters, explains Lerch. By being clear, he creates a sense of freedom in the band. Oskar explains, If you are going to take a road trip, then you plan a few places where you want to go and then you just let it happen. Perhaps he knows the terrain so well, he doesnt have to think about where to go, but rather how to find new roads and explore new ways. As a master improviser, he inspires others. Lerch echoes Oskars philosophy about performing. Were not playing note-for-note copies of records, Lerch says. Were taking the basic grooves and melodies and allowing them to become something new every time we play. Andy Koch shakes his head in admiration. Lee, even with everything, he says, still has that fire to play. Its just in him. It seems always to have been there, according to Michael Shrieve, original drummer for Santana. Oskar had been living on the streets of San Francisco when they met by chance at a dance in Redwood City around 1967. There was a guy there playing harmonica, Shrieve says. And he was unbelievable. I stuck around and introduced myself. I asked Lee, Where

do you live? And he replied, Nowhere. So Shrieve took him to where he lived with his parents. The next morning we had traditional Sunday breakfast. My dad made bacon and eggs. I introduced him to my family and he was really grateful. He said, Id like to show my appreciation, and pulled out a harmonica and blew my familys mind. Oskar has other stories of kindnesses that befell him as a young man, lessons he learned, and gratitude he feels even now. He speaks of Dick Clark with reverence and becomes very animated when describing the man and his manner. For Now, Dick Clark Oskar seems to have gleaned much of his life philosophy from the most iconic non-musician in the music business. One of the nicest people I ever met in my life, Oskar says of Clark. An incredible human being. He had no airs. No matter what status you had, everyone got time with him. Oskar watched and learned. He would return phone calls the same day and would tell me, Never procrastinate, If you dont take care of it today, youre gonna have to do twice as much tomorrow. Dick Clark was a mentor in business, as a human being and as a professional, Oskar shares. He was attentive and hands on. But it never stopped him from being personable. When I started, he knew Hendrix, Morrison, all of them. Oskar found himself in a room with some of the same very famous company. I was a fly on the wall. I thought, Ive got a special opportunity to participate and nobody knows me. But Dick Clark talked to me. Here were all these big superstars and personalities in the room, but Dick Clark talked to me. I was important. Oskar has never forgotten the way that made him feel. It seems impossible now to chat with anyone in the local music community and not hear a story of how Lee Oskar approached them, mentored them, made them feel special. According to Bass Player Tom Jones, Oskar sought out bandleader Stacy Jones in Memphis and invited her along to a workshop he was giving, telling the class they could probably expect Stacy might teach it in the future. Andy Koch tells a story about playing onstage in Westport. One of the harmonicas I had was flat and I can see Lees looking at me. There was a vendor at the blues festival and he went and paid full retail price for another harmonica and ran it over to me and said, Here. Take this. The third hole is flat. Hes a great soul, says harmonica player Jay Mabin. He describes Oskar as one of his heroes for what hes done for the harmonica and for what he does for people. He heard of a blind harmonica player who had all his harps ripped off. Lee sent him a whole new set. Later, he did the same for Mabin. What are you doing right now? Jim McLaughlin, now a world champion harmonica player, tells a story that illustrates Oskars commitment to making time for everyone. As a young man in the 1970s, Continued on Page 7

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ATTENTION BLUES MUSICIANS: WOULD YOU LIKE YOUR LATEST CD REVIEWED IN THE BLUESLETTER? GOT A BLUES CD FOR US?
Need help in getting the word about your music? Wed like to help. While we cannot predict when or if a review will land in the pages of the Bluesletter, wed like to encourage musicians to consider the Washington Blues Society a resource. If you would like your CD reviewed by one of our reviewers, please send two copies (one for the reviewer and one for our monthly CD giveaways at the Blues Bash) to the following address: Washington Blues Society ATTN: CD Reviews PO Box 70604 Seattle, WA 98027

Lee Oskar, Continued from Page 5 McLaughlin drove from Arlington to Seattle to see WAR and meet Oskar. When he arrived at Peaches Records, some of the band members were there, but not Oskar. He drove home deeply disappointed. But he called the hotel later and to his surprise he got through to Oskar. He told him how Id driven to meet him earlier and how he wished they couldve met. He says Oskar asked him, Well, what are you doing right now? To which McLaughlin replied, Just hanging at my house. He says Oskar asked to come over and then talked harmonicas with McLaughlin for much of the night. I had only been playing for a couple years, I was not good at all! McLaughlin, says. Guitar player David Bray tells how, after a brief conversation with Oskar, he was stunned when his son received in the mail an autographed Lee Oskar Harmonica engraved with his sons name. Almost everyone interviewed for this story gave heartfelt testimony of Oskars generosity with his time, money and energy. Oskar talks thoughtfully about the struggle to remain a private person while also embracing the fans. They connect with something youve done. Youre lucky if you have people supporting you. If they say hello, and youre going to the toilet, you cant just blow them off. You have to be sensitive. If you dont have the time, you have to know how to deal with it. Oskar makes it clear that the most important component in the arts is people. If I lived on an island alone, would I ever even play music or paint? That need to connect is so important. Its not just you being acknowledged as an artist, but the artist acknowledging the people. In addition to being a musician, Oskar has always been a visual artist. In recent years hes begun painting dramatic silhouettes and sunsets. Though the colors are often vibrant, the scenes are restful. He speaks about the process and likens it to other areas of his life. Constantly my style changes. I go wherever it takes me, just like music. I dont even know what Im painting when I start. Dreams We Share His art has brought many new connections, including local lavender farms and a winery, Wind Rose Cellars. This years Sequim Lavender Festival used an Oskar painting for the official festival image. Oskar says 100% of the profits from that image, along with a percentage of his Giclee prints, and some wine labels, are being donated to charities, one of which Oskar is extremely passionate about, the cancer research at Kirklands Evergreen Hospital. Oskars friend, Steve White, recently succumbed to throat cancer. White played guitar, harmonica and sang. Oskar says he was like a one-man band, and looked forward to meeting up with him at yearly trade shows in Frankfurt and Southern California. Oskar says the radiation he endured zapped everything. He could never sing or play harmonica again. That hit me really hard. A week later, Oskar was introduced

to another musician who had recently overcome stagefour throat cancer. So Oskar actually went to talk to an oncologist about this special kind of software and procedure he says they perform at Evergreen, allowing them to pinpoint cancer cells more accurately. He relates how the doctor told him it is so expensive, that even if he gave everything he owned, he wouldnt be able to pay for one persons therapy. Oskar said he felt helpless. His friend, like many musicians, didnt have insurance. I couldnt help him. But, he says, I had these paintings, which wont be enough, but I can talk about it. I can promote awareness. I can tell people about this great thing they are doing in Kirkland at Evergreen. Oskar calls the entity that provides proceeds for charity, Dreams We Share, Which is fitting because the proceeds go to important things we care about, he says. The only real truth is in how you care. So maybe you dont own a Lee Oskar Harmonica, but you went to the lavender festival or just admired the artwork on a flyer or a bottle of wine. You see? Only one degree of separation. For all his success in business and the arts, Lee Oskar is an everyman, which suits him. Jay Mabin says he is a hero for making the harmonica an instrument of the people. Oskar himself says his goal is to make it more accessible to more people, more musicians and to more styles of music. He is doing this by creating different harmonicas for different styles of playing, and including a quick guide with every harmonica purchase, and giving workshops around the country. Its a system, he says. The type of harmonica music you usually hear is between campfire songs and Chicago Blues. But I manufacture four different kinds. You can use harmonica on any kind of music, from reggae to ska to Latin to African. In celebration of the 30th Anniversary of Lee Oskar Harmonicas, Oskar is making time to promote the system to musicians. Its more intuitive, he says. They can play on the diatonic and incorporate the harmonica into many types of music. Koch says hes a Lee Oskar preferred player. Theyre the only harps I found that stand up. I play hard. The other ones they dont last. And Im a recycle kind of guy so I like that you can rebuild them. Lee Oskar Harmonicas offer replacement reed plates as well as a harmonica repair kit. Koch also explains the difference in keys. Some keys are naturally high and some are naturally low. He makes ones that are low if its naturally high. Harmonica player Neal Fallen says it creates the availability of a higher or lower octave. It gives you a wider spectrum. Vision without execution is hallucination. Thomas Edison Harold Brown keeps bringing up a quote and recalls that all those years ago Oskar would say, I want to make my own harmonica. He says, Lee had a dream. Oskar says that dream was born out of a need for a good working harmonica. He began playing at age 6 when he received one as a gift for his birthday and never tired of it. But when he began playing professionally he would get frustrated when they stopped playing correctly. He says after he began playing with Eric Burdon & WAR, the demands of playing on that level every night exhausted most of his instruments. Maybe one of 10 harmonicas would hold up. The lack

of quality and availability of the harmonicas he could purchase at that time was the driving force behind wanting to create his own. Later, when he was touring and began to research the manufacturing aspect, he went to Japan. From his hotel room one day he heard an amazing sound and followed it to the door of an elderly man playing a harmonica. It was there he learned of the Tombo family and began developing a relationship with them. They put out the first Lee Oskar labeled product in 1983. Theyve had five generations of family making harmonicas, Oskar says. They are very devoted to musical instruments. Their quality control is like nowhere else. He is excited that they have been in business together for 30 years and have the top selling major diatonic harmonica. I feel honoredwith my ideas and ambitionto be connected with what theyve established. You only have a handful of notes, so where you place them is everything. ~Andy Koch Of Lees playing, Brown says, American harmonica players, they hear those flats and slurs. Lee has that European background: Beethoven, Bach. He hears melody. He plays with clarity. He has pitch. He hits the notes! Jim McLaughlin says the music Oskar makes on the harmonica is far from ordinary. Its a whole different style than anyone I know. He has wonderful tone. Jeff Nicely says about Oskar, The music he made with WAR, as an aspiring harmonica player, he was one if those harmonica players I was looking up to. Lee Oskar has approached his life like a jam session. Hes done his homework. Hes prepared. Hes collaborative. Hes passionate. Aware. In the moment. He knows how to let go and get in the zone without losing his sense of direction. Hes there because he wants to be. He places notes with purpose. Its a continuum, not a repeat. We never played the same way twice, Oskar says. What I did was what I did, and what Im doing is what Im doing. And with the end of that statement he turns and talks intently to the warehouse guys about how they designed the cart on which theyre placing his paintings. He talks with the same tone and intensity with which he converses with a fan, or a friend or a reporter, without regard for their status. No airs. He turns back and speaks again of painting and music. If I was to play music, play every bar, I would be useless. Thats work. Oskar says that art loses its meaning without the conditions of how you feel. And you get the sense that he is always feeling a great deal. Im into everything that I do, says Oskar. Im always growing and changing. And that is probably the only thing that wont change, until the jam ends. Find out more at leeoskar.com and lowriderband.com

Talking with a Blues Legend: Joe Louis Walker

Joe Louis Walker has won a number of Blues Music Awards, played on a number of Grammy -winning records by B.B. King and James Cotton, and this year, he was inducted in the Blues Foundation Hall of Fame. I had the good fortune to talk to Joe Louis Walker at this years Safeway Waterfront Blues Festival in Portland, Oregon. He was one of the festivals 120 blues acts. He was the lone performer at the pre-festival media event, and it made sense to me that this Alligator recording artist was before the cameras and reporters to advertise this annual event in a big way. As a result, local TV stations and print media made Joe Louis Walker the story. On July 4th, Joe did a workshop in front of an audience, and about one hour later, he appeared on the main stage in front of thousands and thousands of blues fans. In between those two public events, I had an opportunity have a conversation with him. Walker and I exchanged emails, and as a result, we knew a little bit about each other. When we met, his first were: So, youre the writer, right? I was flattered. I pressed play on my recorder, which captured this conversation with an amazing musician and an amazing blues man. RH: I know that growing up in the Bay Area during the 1960s, and the church, influenced you. I also know that Willie Dixon said that you should find your own sound. How did those influences growing up help lead to your own sound? JLW: Well, I played Gospel music. I didnt think I was going to be a professional musician or be well known or anything like that. I just sang and played because all my cousins were musicians. My five cousins and I had a family band. We would play for motorcycle events and for teenager sock hops and stuff like that. So, you know, it was the background I had. It was all the influences I had that when I decided to become a professional musician,it was sort of like making a stew, they sort of came to the top, and I was fortunate because that is what it was that made differentiated me from a lot of other guys. RH: You said once that you feel the influence of Michael Bloomfield in your music. Can you expand on that? JLW: Because Michael was very versatile. He played with Bob Dylan on Like a Rollin Stone, he played with Sunnyland Slim, he played with Al Cooper on Supersession,but he was really known for one of the most transformational blues bands, the Paul Butterfield Blues Band. So, Michael was very versatile and that is what I got from it. He could play all kinds of stuff. RH: You have done a lot of things that are one the borderline between different genres, like blues and rock or blues and gospel. What do you foresee next in terms of trying some new things? JLW: At some point I am going to make a country record. Thats one of my projects in the future. With some of my friends Im also talking about making a big band record, like Count Basie and bluesy. I was going to go Mali last year to do a record with African musicians but the political climate got kind of strange, so that got put off. RH: You mentioned blues and country. What do you think are some of the common roots between them? JLW: Well, blues and country are cousins. Its just all about subject matter. George Jones is as unique as Howlin Wolf, Merle Haggard is as unique as Muddy Waters, Willie Nelson is as unique as someone like BB King, you know, its all the same thing, coming from the same fountain. RH: Blues and Gospel have a lot in common but what is different besides subject matter? JLW: When you are singing Blues you are singin for your baby, when you are singin Gospel you are singin for God. RH: So if you change the word baby to god or god to baby you have changed from Blues to Gospel or back again? JLW: Almost. There are other qualities too. I think Gospel is mostly quartets, groups, and a Gospel group will teach you how to sing, they teach you your range for your voice and how to project your voice, its a proving ground. I think that is unique to Gospel. RH: Ok. You mentioned some things about other cultures. What other cultures are you really curious about? JLW: I lived in France for three years. I like a lot of African music... a lot of Algerian. Like I said, I am a fan of good music. Interviewers note: During the workshop, Joe Louis Walker said something that I hear Mark Riley say time after time: there are two kinds of music: good music and bad music. These bluesmen are right. RH: When you talked yesterday, I was struck by how deep in the soul the music is. When you write songs what are you trying to say to people on a deep emotional level? JLW: Every song is different. It depends on what the subject matter is it could be out of the Bible, or relationships, or something my father told me, or grandmother told me, or that man over there. It all depends on exactly what I am doing. RH: Do you often start with lyrics first, music first, or does it matter? JLW: It doesnt matter. RH: So there is no certain pattern?

Interview by Robert Horn (Photo on next page by Tim and Michelle Burge)
JLW: I dont believe so. For me, there isnt. RH: In interviews I often ask guitar players, singers, and band leaders what makes a good rhythm section. What do you think? JLW: Well, obviously, musicianship. I think you want a like-minded soul in whatever it is you are trying to do. For me personally, because I play so many different styles, it has to be someone who is versatile, somebody who has an open mind, and somebody who has chops, somebody who can keep up. In a perfect world somebody who can bring something different out of me and can add to what I am trying to do. If you have to be on the road with someone you have to be able to get along on the road, too. RH: Your schedule is pretty busy. You are in a different city every day. So, you dont plan on slowing down it seems like, right? JLW: No, I think playing music keeps you young. At least its that way for me. RH: So being on the road doesnt tire you out? JLW: Well, you know, get used to it, as much as you can. RH: It doesnt physically wear on you too much? JLW: I think it wears on everybody. Especially travelling now days where you fly around, and there is so much airport security. RH: I guess families adjust? JLW: I have been a musician my whole life and my kids are grown now. My daughter sings with me sometimes. We schedule things together: were going to Hawaii together in September. They grew up with this. RH: When you are not playing music, what do you like to do? JLW: Nothin. We laughed a little together , and I turned off the recorder for a while. Shortly after our conversation, Joe Louis Walker got up on stage in front of thousands and thousands of blues fans, and had them all yelling for more when he was done. After more than 25 albums, perhaps more awards than any contemporary blues man, this Blues Foundation Hall of Famer has a lot more in store. Whether its world music from Mali or Algeria, or country inspired by Merle Haggard, or tried and true gutbucket blues, I look forward to what Joe Louis Walker will be doing next. One things for sure: it will reflect his exceptional versatility, first-class musicianship and considerable singing and guitar-playing talents.

October 2013 Blues Bash Tuesday, th Red Crane Restaurant 16716 Aurora Ave North Shoreline, WA 98133 (206) 546-4444 Acoustic 7PM Electric 8 PM

Remembering Curley Cooke Setting the Record Straight By Roy Brown

Maybe the beautiful early summer Saturday is what kept people away. For whatever reasons, the crowd at the 2013 Washington Blues Societys annual awards show this past June 22nd was smaller than I can remember. Maybe people just liked the Triple Door better than the Kirkland Performing Arts Center. No matter, for the many, many blues fans that didnt go missed another great Best of the Blues show (BB Awards). But this isnt about the ifs, ands or buts that have been dissected by the clearly-concerned Washington Blues Society Board of Directors. They will be dealt with long and often til the problem is on its way to resolution. This is about the waning moments of the show. The last award was the most important in my book. While everyone wants to know what band is the new best kid on the block, clearly being inducted to the Washington Blues Society Hall of Fame is of lasting and historical significance for the inductee as well as the blues society. Our membership voted to give the award this year, quite correctly in my opinion, to James Curley Cooke. It was pretty late in the show, and I noticed that everyone was ready to go home. When Curleys name was announced, President Eric Steiner accepted the award and said it would be passed on to the family. No one was there to accept the award on behalf of Curley. I wasnt, and I am not, angry. But, as Curleys name was announced, people were filing out into the sunshine as if election to our Hall of Fame wasnt really all that important. If I could have thought a little faster on my feet, I would have gladly jumped up and accepted the award. Curley was my friend. Seeing his induction into our Hall of Fame was somewhat tarnished by fans beginning to leave, and by no one standing up for Curley to receive this posthumous award. The whole thing makes me sad. Curley and I knew each other for eight or nine years, talking on the phone from time to time, always talking after gigs, talking at the Blues in the Schools board meetings for the year I served on that board. Sadly, Curley had health issues which took his musical genius away from us long before his time. Curleys attitude, while ebbing and flowing just like the rest of ours, was upbeat and positive a lot of the time. I wondered out loud with him once, how he could keep on moving forward when he had the complete taste of success in the music business, making lots of money, touring the world, having groupies attempting to grab a little piece of a star wherever he went so long ago. He was a founding member of the Steve Miller Band, and while he joked that those gold records in his living room were just like some guys old bowling trophies, I could still see that spark in his eye that those days were very, very special for him. Curleys response was eye opening into Curleys take on his life. He said basically that most people who make it in life, however that is defined, get there when they are old and have diminished capacity to enjoy it. In the music business, the vast majority of players never taste success at all; they simply resign themselves to playing local gigs for small amounts of money regardless of how much talent they have and for the appreciation they find at home. He told me he was the luckiest guy in the world because he had it all when he was young and could take full advantage of what was set before him, and take advantage he did. Curley said that what other talented musicians strive for their whole lives and most never attain, he found at a time in his life when he could enjoy it most. So, there was nothing left for him to prove. I think that is what made him humble as a musician during those eight or nine years that we were friends. Back at the blues societys award show at the Kirkland Performing Arts Center this past June, I just wished I could have been fast enough in my brain to send a signal to my feet to get up on stage on Curleys behalf and honor my friends memory. I really would have appreciating sharing this little piece of James Curley Cooke with my extended blues family. It saddens me that I wasnt, but I am grateful that I have the opportunity to share this remembrance of my friend with Bluesletter readers. We are fortunate enough to have a plethora of premier guitarists who live here in our blues community. Just a few of the names that make up that elite list are Rod Cook, Mark Riley, Nick Vigarino, Henry Cooper, Tom T-Boy Boyle and Billy Stapleton. Each of these bluesmen have rightfully been honored by Washington Blues Society members, their peers, and youth. However, riding on the top of that list, in my opinion, is James Curley Cooke. I remember him one day singing about wanting to be a guitar player in heaven. He got his wish. Perhaps more importantly, Curley now he does it from the perspective of an elite group of players: his fellow members of the Washington Blues Societys Hall of Fame.

Curley Cooke in a promotional photo from Double Cookin with Rod Cook - Photo Courtesy of the Blues Boss

Honoring the Memory and Contributions of James Curley Cooke

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At the July meeting of the Washington Blues Society at the Red Crane in Shoreline, owner Mike Borfitz announced the creation of Otter Blues, a new bluesspecific record label to support blues artists of the Pacific Northwest.

Otter Blues Debuts as the New Seattle Blues Label!

Otter Blues is affiliated with multi-genre label River Otter Records (www.riverotterrecords.com), but unlike its cousin, is dedicated to blues specifically, and has begun its search for outstanding blues artists in the Pacific Northwest. Otter Blues has partnered with The Hive Recording Studio (www.thehiverecordingstudio.com) and serves as a one stop shop for all artists seeking superior recording quality and a comfortable, creative, and satisfying studio experience. Working together, Otter Blues and The Hive Recording Studio can facilitate recording, editing, mixing, and mastering of an artists work, as well as CD and online distribution of their music. The partnership offers an affordable and seamless progression from the first drumbeat to the CD release party. Through this partnership, Otter Blues and The Hive are pushing forward with the design for a brand new recording studio space on the shores of Angle Lake in SeaTac, with an opening date projected for early summer of 2014. While already up and running, Otter Blues is currently focusing on the design and construction of the new studio. Once The Hive and Otter Blues complete the move to their new space, projected for the summer of 2014, the search for northwest blues talent will intensify. Otter Blues owner Mike Borfitz (www.borfitz.aero) is an aeronautical engineer who has retired from both Boeing and the Federal Aviation Administration, and is still active in the aerospace industry as a regulatory consultant. Regarding the differences between his lifelong career and his blues musical endeavor, Mike says, Im an engineer, not a musician, but the music is in me and I gotta get it out somehow. Blues is my passion; I want this music to last forever and feel a need to contribute. The Otter Blues label is how I intend to accomplish that. Mike Borfitzs future career path will be in the Seattle music scene. With such passion for blues, Mikes dream is to support and promote the blues, and make Otter Blues the hub for blues artists throughout the Pacific Northwest. He says, I want Otter Blues to be the Seattle blues label, I expect the label to survive and thrive, so I can enjoy my final career bathed in my kinda music. The staff at The Hive Recording Studio are excited and eager to help Mike achieve success. Owner Robert Fox, Marketing Director Christine Conway, and Recording Engineer Chris Pyle all have a passion for music, and work diligently to ensure the highest standard of quality and service for all clients. For information and booking, visit www.thehiverecordingstudio.com or call 206-2499842. Speaking about Otter Blues partnership with The Hive Recording Studio, and plans for the future, Borfitz remarked, I see an incredible opportunity to support our blues community by joining forces with The Hive Recording Studio and the Washington Blues Society.Were very serious about this. It may take awhile, but it will happen.

(Left to Right): Washington Blues Society President Eric Steiner, The Hive Recording Studios Bob Fox, Office of Film and Music Director James Keblas and Otter Blues Records Mike Borfitz (Photo by Paul Steiner)

Please see Our CD Reviews This Issue:

Lady A How Did I Get Here (Masterlan Music) Brian Lee and the Orbiters In Orbit (Open Century Music) Walter Trout & His Band Luthers Blues (Provogue) Trampled Under Foot (Telarc) Randy Scott (Favored Nations) Jim Allchin (Sandy Key Music)
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Congratulations to our 2013 Washington Blues Society Raffle Winners!

The Washington Blues Society would like to thank each member and guest who supported our 2013 raffle, and we congratulate the winners listed below. The tickets were drawn at the Taste of Music in Snohomish, Washington, on August18th from the Main Stage in historic downtown Snohomish.

Dale Bennett - Grand Prize, Cabin for Two - October 2013 Legendary Blues Cruise Paul Kauf Pair of tickets to the 2014 Mount Baker Rhythm and Blues Festival Barbara Shadoy Pair of Tickets to the Spring Sunbanks Festival M Dominique Kastle Pair of Tickets to the 2014 Untapped Brews and Blues Festival Doug Wickre Pair of tickets to the Winthrop 2014 Rhythm and Blues Festival Dave Girts - Pair of Tickets - Jazz Alley

Grand Prize and Top Winners

Papa Ron Meek Pair of Tickets - Jazz Alley Curtis J Middleton Pair of Tickets to the Highway 99 Blues Club M Norden Pair of Tickets - Highway 99 Blues Club Janice Saulewicz One 8G mp3 Player Liz C One 8G mp3 Player

CD Winners (alphabetical by first name)

Albert Hill Alison Cook Alphonso Sampson (2) AlRosane Cardis Amanda Buchanan Amy Sassenberg Andrea York Annie Sayers Arlene Downie Bill Davis Billie Hasenwine Bob Knapp Bobbi D Brian Guest Carolyn Boyle D Nickels Darcy Wagner Dave Mathews David Odom Debbie Smith Delcia Dinnetz iana Evans Dolly Richardson (2) Don Polson Doug Goodman Duane Noble Gary Boardman Gary Wickham Gene Hoetlins George Jordy Sigler George Thomas Guy Sparks Honey Robin Mahaffey Ivanna Wood Jan Clayton Jane Henderson Jaye Payne Jayni Petters Jeannie Jeff Smith Jesse James Montana (2) Jim Harvill Joane McIntyre/Parker Joanne Mayhen Jody Gunn Joe Engberg Kathy Andrea Kathy Jacobson Kay Miller Keith Bakke Kim Pickett L H Gale III Laddy Kite Larry Williams Laura Swalley Laveron Vetter Leo Liz Caraway Lloyd Guenther Lloyd Peterson Lori McClintock Marcus Coldsmith Marie Reddout Mark Kreiman Michael Gallory Michael H Mike Christianson (2) Mike Schacht Myrna Bostwick Papa Ron Meek Philip Lane R J Knapp Randy Norris Robert Fox Robin Knutson Rocky Pool Rosanne Cordes Russell Gee Sandy Nakano Scott Allan Scott Blair Sheila Cook Shelly Key Sherry Malone Steve Kinney Susan Bradbury Ted Dempsey Terry Wilson Tim Koschney Tim Maher Tony Saulewicz Tracy Dieno Tuesday Kimball Val Cuthbert Vicki Coe Vitaliy Momotok

Labor Day Blues: A Great Weekend of Blues Music!

By John Kriss
What a magnificent Labor Day weekend we had in the Pacific Northwest this year. I was blessed to have spent this long weekend absolutely immersed in some of the very best blues music played anywhere at any time. There were incredible performances by some of the most gifted singers and musicians I have ever heard in all my years of seeing as many of the greats and the near-greats at venues all over the USA. This sunny weekend began for me early on Friday at the four-day Freedom Fest on just east of Everett on Ebey Island at the home of Jim Harpman McLaughlin and his lovely wife, Donna Marie. These hosts continue to have the welcome mat always ready for all their blues bands friends and the ever-increasing number of dedicated blues fans. Their kindness, generosity and love is shared with everyone who attends this annual blues event. It is provided absolutely free by the McLaughlins. The bands and the fans always contribute enough to cover Jims and Donnas costs to put on this fantastic event each year. Jim and Donna make each person feel like a part of their ever-increasing family of fans, musicians, writers and singers from not only our state and the Pacific Northwest, but from the rest of the states, Canada and from as far away as Japan and Australia. This years festival featured over 40 bands, including Blutopia, Rich Chapman, The High Council, Moon Daddy, the Cindy Lang Band, Road Dogz, Cavernous Grove, Simply Shameless, Ryan LaPlante, Red Hill, the fabulous Fatback featuring N.W. legend Fat James, Richard Allen, Lou Echeverri, Southern Comfort, Reggie Miles, Gary Bs Blues Church, Blues Junkies, Vaughn Jensen, The WIRED! Band, GFB, Tom and Jill Hudon, Scratch Daddy, 44th Street Blues Band, Town Hall Brawl, Mary McPage, the incredible Nick Vigarinos Back Porch Stomp. Add to his line-up the endlessly energetic Jim McLaughlin and Breadline, the superbly talented harmonica cool-cats: Jim Filisko, Grant Dermondy and Kim Field, the Alley Katz, Unbound, C.D. Woodbury, the outrageously fun R.J.Knapp and the Honey Robin Band, Sleep Til Noon, Dakota Bob featuring the multi-talented Andy Badd Dog Koch (who did a hilarious tribute to the Harpman in a song about the joys of being a bald-headed stud); Big City; a replacement band made up of dozens of players who hadnt had an opportunity to perform accompanying Jim in a rocking hour-long set; Letters from Traffic; a jam by a dozen musicians that featured the overwhelmingly talented vocalist Suzie Chrysler; the fabulous funky soul of bluesman Mack Daddy; John Congo and the 88s, Phil Donahue; Steve Currier; and the final evening ending with a totally rockin performance by the fabulously fun Blues Playground. Each of these bands and individuals play just for the love they have for the music, the fans there,and especially for Jim and Donna. After four days of peaceful harmony and stunning performances by each of these talented bands and these gifted individual performers, several of the musicians wanted to keep on rockin, so they assembled on the beautiful ferryboat docked on the water just around the corner from the McLaughlin property for a late night jam that went beyond the stroke of midnight. This late night jam was highlighted by Mack Daddy tearing it up on his guitar that inspired the fabulous Suzie Chrysler to improvise a song about Freedom Fest in an you just had to be there moment that was another of those absolutely special happenings that filled this magical weekend. Every person I saw leaving this island haven (and Saturdays Blues for Food Benefit) had such satisfied smiles on their faces as they headed back to their everyday lives after a full weekend of incredible music and song. It is without a doubt as close to the atmosphere of peace, loveand the overwhelmingly positive energy that was generated all those years ago at the original Woodstock festival because I was able to see, hear and actually feelthat again for myself all weekend. I did take a break on Saturday from the Freedom Fests feast of food and song to travel south to Seattle because I couldnt miss the another magnificent show from noon until 9:00 PM - Blues for Food Benefit at Magnuson Park. It was another simply fantastic annual show put on by that always energetic rocker, the Reverend Deb Rock, and we are so very fortunate to have the forever funny and outrageously entertaining Billy Roy Danger Stoops as the MC each year. As usual, Billy did simply a great job of introducing the bands, telling whoppers, narrating some of his hilarious tall tales and supplying interesting background information about the benefit and about the performers. He informed the fans that even though he had left his moonshine at home this year, he was still going to have a great time anyway. He even took the time to bake his own special pecan pie as his annual contribution to the pie auction that is such a delicious part of this yearly fund-raiser. Those pies draw an incredible number of bids for donations to help provide necessities for the less fortunate ones in our community. Billy thanked all of this years contributors of so many mouth-watering desserts. The music began with a rollicking 11-song acoustic set by KENOVA, comprised of: the Rectifiers/Junkyard Janes Billy Stoops, the always amazing Nick Vigarino of Backporch Stomp and the superbly talented Chris Hambone Wilson, who created the name for the band from a clever acronym made up of Billys KEN-tucky, Nicks O-hio and his own V-irgini-A roots They even have their own KENOVA theme song written by Hambone. All of us have to hope that these three highly inspired/inspiring writers, vocalists, and guitarists will have a KENOVA CD for us to enjoy as soon as possible. Having seen these showmen perform numerous times I am always amazed that no two shows are ever the same because they simply have an unending playlist of not only acoustic songs, but outrageous rockers too. This great beginning was followed by a rockin 11-song set by the T-Town Aces. The next band to play was Polly OKeary and the Rhythm Method in a 10-song set featuring Paulys sensational vocals and her nonstop dancing at the mic performance. She is so much fun to listen to and to watch as she never stops moving. Her superb set was followed by the rollicking fun of a super-charged 12-song set by the energetic Carly Taylor and Zydeco Trouble, which was preceded by a fivesong set for zydeco dance lessons given to a very large contingent of smiling, laughing audience participants, who absolutely loved this bands ragin Cajun set. Next up was the soulful Delgado Brothers featuring that forever young Pacific Northwest legend, Patti Allen. Patti has been stunning ever since I first saw her when I was in high school in 1965. She still looks and sounds like she did back in the day. This extraordinary day came to an even more extraordinary end as the fabulous Fatback featuring Pacific Northwest legend Fat James and theoutrageous Johnny Brewer brought the show to a close in a superb 11-song set. Every Labor Day weekend is also host Seattle Centers Bumbershoot arts festival, so I had a choice to make: Do I spend the big bucks to attend an event that has a few big name bands that draw huge crowds of too often obnoxiously loud and rude fans or head back north to attend a special event with an atmosphere that is best described by Elvis Costello when he sang: Whats so funny about peace, love and understanding ? I didnt hesitate for a second because I immediately headed north with a smile on my face as I left the horrendous Seattle traffic far behind. And I did not regret my choice for even an instant because a friend of mine later told me that Eric Burdon and then the Zombies were worth seeing, but the crowds were too large and as rude as they usually were when so many young people and even some wiser ones, who should know better, have the mistaken idea that their loud screaming all during a show is something the rest of us likes to hear. The fans really are there for the performer and not to hear so many loud boors interrupt the performer with their caterwauling. In my opinion, too many spectators, especially too many young female fans, think they are an essential part of the show when anyone with any common sense and any sense of etiquette claps politely, whistles a bit and may even scream, but only after the performer is finished. They are also always politely attentive and silent during an artists performance. A strictly blues audience is always that way and it makes it so much nicer for both the fans and the performer. Personally, I think that it is time for us, the silent majority, to voice our displeasure with this kind of obnoxious, ignorant misbehavior and require those in charge of the event to do something about it. Thats why I so seldom will buy a live album because it is so common for the songs to be marred by background screaming and talking by these ill-mannered, misinformed miscreants. As a teacher for over thirty years I am simply amazed at the lack of manners displayed by so many of our students/fans nowadays, who too often lack even the bare essentials of everyday common courtesy and decency. And, with that final rant, I now must carefully and quietly step off my soap box and get back to work supporting the blues in our magnificent state. My Labor Day 2013 was a musically memorable one, thanks to the McLaughlins Freedom Fest and Deb Rocks Blues for Food.

LIVE BLUES ON 9/10:

By Robert Horn, Photos by Blues Boss

at the Red Crane

Blues Bash

Andy did some other classic, downhome front porch renditions of Back Door Man, and the Canned Heat version of On the Road Again. He conquered the front porch and took us from the Mississippi Delta to the South Side of Chicago by the time he finished his set. During intermission, blues society president Eric Steiner asked award-winning blueswoman Stacy Jones to join him onstage to pass out 10 CDs through the monthly free raffle. After the raffle, there was another special musical treat. I first learned about Red House a couple years ago at the Yuppie Tavern, and I also liked their show at the Mt Baker Blues Festival, too. When they performed, I heard some audience members debate about whether it was blues or jazz. There was no debate at the September Blues Bash, because they did a great blues set that had blues dancers on the floor the whole time and the crowd cheering in triumphant blues fan celebration of the healing power of the blues. The world was perfect at this point. The three-part harmony of this four-part band is one of the best I have heard anywhere. The fourth member does not sing very much, but he is a guitar monster. Red House features Mark Nofsiger on guitar, Tim Scott on bass and lead vocals, Jimmy Holden on keyboards and vocals, and Robin Crane rounds out the band on drums and vocals. hey started by singing about a penny going down a wishing well and got to Dr Feelgood fast enough. Along the way they sang Before You Accuse Me, and sang the common story of Dont Know Why I Love You Like I Do. I was very impressed by the sound of the band together as well as collective and individual vocals. The guitar playing is Best of the Blues Award-nomination quality, and this band sure sounds like it is ready for the big time. This should be a national act: you cannot only quote me on that, but have me say it in print, on the air waves, online, or on stage, anytime. They should be not only return to the Mount Baker Blues Festival, but also debut at the Safeway Waterfront Blues Festival, New Orleans Jazz and Heritage Festival, the Chicago Blues Festival, or the Intergalactic Blues

On September 10th, the world was a pretty heavy place: it was one day before the anniversary of September 11th and the President addressed the nation about his plans to respond to the situation in Syria. Just minutes after the President spoke in Washington, D.C., the world seemed more perfect in the other Washington at the Red Crane in Shoreline when Andy Bad Dog Koch and Red House played at our all-ages Blues Bash. While it was a warm and sunny day outside in Shoreline, it was near-capacity at the Red Crane inside when Andy Baddog Koch put his metal slide up against the strings of his guitar and started the events acoustic musical therapy. The first song was Breakfast Burrito, and many of us were ordering supper. Andys next song sounded at first like it may be Hurts Me Too, but it was actually Sittin on Top of The World. That is how we felt when the dinner plates came. You dont have to be Eric Two-Scoops Moore to think of music and food at the same time. About music: the vocals and slide worked great together, and when Andy added the harmonica, I like it even more. His rendition of Iko Iko was so different it was hard to recognize. It was a blues, and not a Zydeco, version. The uniqueness of the style was there in Little Red Rooster, also: a slower, sultry, and sexier version of the classic song about a barnyard rooster with a slow claw and approach to various types of barnyard activitiues with the hens.

Andy Badd Dog Kock

festival aboard the International Space Station sponsored by Richard Branson and Jeff Bezos in their super-secret space-tourism ventures. News headlines like those about the conflict in Syria that ran on the day of the Blues Bash reminded us that the world can be a very harsh place. However, one night before the anniversary of September 11th last month, the Washington Blues Society brought blues fans of all ages together at the Red Crane in Shoreline to show that blues music can provide opportunities to connect, reconnect, and heal through a shared love for blues music.

Red House at the Red Crane Restaurant in Shoreline for the September Blues Bash! (Photo by Blues Boss)

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15

Blues Reviews
Brian Lee and the Orbiters In Orbit Open Century Music The Washington Blues Societys 2013 Best Traditional Blues BB Award winners Brian Lee & the Orbiters highly anticipated follow up to highly acclaimed Identity Theft (2012 BB Awards for Best Blues Album and Best Songwriter) is here and it lives up to the standard set by Brians highly acclaimed previous releases. The Orbiters are Brian Lee lead vocals, harp, guitar, slide guitar and keys; Steve Yonck lead guitar, Hank Yanda bass and Russ Kammerer on drums. The dozen selections on In Orbit include five originals mixed in amongst an interesting selection of covers like Jody Williams Lucky Lou and Billy Boy Arnolds I Wish You Would. Brian Lee is all about variety from Brians multi-instrumental abilities to the styles of the blues he plays and this makes In Orbit a very interesting and enjoyable release. From the slide guitar rave up of Shake Your Money Maker to the harp fueled I Wish You Would or guitar driven instrumentals Lucky Lou and the slinky original Playing In The Dark variety is abundant. Pee Wee Craytons Texas Hop struts and jumps while, one of the bands favorite cuts to perform, the laid back swampy original Bucket of Chicken Wings slithers. My favorite selection is the original Knock It Off which is high lighted by the sharp guitar and big fat toned blues harp solos. I give In Orbit my highest recommendation so go see Brian Lee & the Orbiters live and pick-up a copy. Malcolm Kennedy Trampled Under Food Badlands Telarc Kansas City, Missouris Trampled Under Foot is a three piece band of Schnebelen siblings Nick on guitar and lead vocals, Danielle on bass and lead vocals and Kris-on drums. TUF were winners of the 2008 IBC representing the KCB with Nick also winning the Albert King Gibson Guitarist Award and since then have only built on that success. Recent accolades include 2011 and 2012 Band of the Year at the Blues Blast Awards. Badlands was produced by Tony Braunagel and in addition to the Schnebelen trio is augmented by the deft keyboard skills of Mike Finnigan (Phantom Blues Band, Curtis Salgado and more) rounding out and adding additional depth to the TUF sound. Danielles power house vocals are prominently featured starting with the opening track Bad, Bad Feeling. Interestingly enough as strong as her vocals are many of my favorite tracks feature Nick on lead vocals like Dont Want No Woman with the line dont want no woman to tell me that she cares/ I just want my woman to show me that she loves me/ It might be a labor of love with Mikes organ driving and Nicks guitar solo clearly demonstrating the Albert King Award was well earned. Danielle puts lush vocals to the slow paced Mary and Nick comes back with slightly raspy vocals and rich toned guitar on the title track. Danielle, Kris and Mike give I Didnt Try a sturdy rhythm to support he vocals and Nicks guitar. Nick breaks out the slide some nasty slide for Down To The River sharing vocals with Danielle and he tears it up on both vocals and guitar on my favorite cut, the slow grooving Desperate Heart. This is a song that I feel is destined to become a classic. Danielle unleashes her full vocal power for the Father of Soul, James Browns Mans, Mans, Mans World. TUF put on a fantastic show at the Mt Backer Rhythm & Blues Festival this summer and with releases like Badlands I am certain their star will show brightly for quite some time into the future. Very highly recommended. Malcolm Kennedy

New Blues that you can Use

Randy Scott Out Of The Blue Favored Nations Randy Scott has burst onto the blues scene with his debut release Out of the Blues produced by multi Grammy winner Pete Anderson and featuring 13 original tunes. Randy Scott was born and raised in Detroit and moved to Los Angeles to seek his fortune where he graduated from the Guitar Institute. After years paying his dues he became disillusioned with the music industry so he sold his guitars off and got a job working in the computer industry. Nine years passed and while waiting on a friend he wandered into a Guitar Center, the manager heard him play and suggested he enter the annual King of the Blues competition. Out of 4,000 plus entrants Nationwide, Scott was one of six entrants who made their way into the finals at the Los Angeles House of the Blues and Scott was declared the winner, becoming Guitar Centers 4th Annual King of the Blues. Out of the Blues is part of the outcome of that. Two things that stuck me right from the start were Randys strong and pleasing vocals and that his guitar playing is very restrained not flash and bombast. Sure he can play a lick; but he never over plays. Songs like the blues shuffle Whiskey From The Bottle with the lyric .drinking whiskey from the bottle when you walked out my door and the contemporary blues of Mean Hearted Woman with its laid back solo stand out. Dont Call It Love is radio ready and would fit right alongside the best classic rock. My favorite track is the slow burning Cant Quit On You, again the guitar solo is strong; but not too much so, in fact at times it reminds me of Jimmy Page on You Shook Me. From blues shuffles to rockers to the final acoustic track Randy adds a lot of variety and he plays it all well. Out of the Blue is a very strong debut release and I expect to hear much more from Randy Scott in the years to come. Malcolm Kennedy

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Jim Allchin Q .E. D Sandy Key Music You knew Jim Allchin would be back with plenty of furious fretwork to satisfy the legions of guitar heads and tone junkies out there, but his new album Q.E.D also has a few surprises in the mix of thirteen new tracks of blues, rock, salsa and jazzy soul. Allchin joined forces with Rock and Roll Hall of Fame member Ben Smith from Heart, tasking him as co-producer and drummer for the project. Smith takes the reins with gusto taking charge of the rhythm section by driving each track and kicking the New York Brass horn section with power. The album kicks off with the revved up boogie Stop and Go, then hits with the self deprecating tongue n cheek shuffle Getting Old, both featuring hot solos from Allchin and keyboardist Brooke Lizotte. While the time shifting instrumental Chime Blues, feels very Roben Ford like. Allchin then invites vocalist Mycle Wastman, who was recently a contestant on NBCs The Voice, to strut his stuff on the horn driven blues Trust Me, doing his best Al Green. The calm piano guitar duet Thinking of You, offers a quiet respite in the albums center before returning to more house rockin blues. Allchin and Smith then take the ensemble southward stopping first in New Orleans to play some blues for Dixie on the swingin Come on Home. Then they head to Acapulco for the Latin rock instrumental No Way Out, dancing until the albums frenetic flamenco finale. - Rick J Bowen

Lady A How Did I Get Here MasterIan Music

How Did I Get Here the new release from Seattle blues

diva Lady A plays like the soundtrack to the biopic of her colorful life as a woman of song and healer of souls. Beginning with the comical intro from producer and jack of all trades John Oliver, that sets the stage for the panorama of blues funk and soul. The first track is the slow burning My Kind of Blues, in which Lady A uses her hyper stylized vocals to declare her intentions on winning you over while guitarist Dexter Allan rips up a hot lead. She then shifts gears to a sweet emotional neo soul ballad, How Did I Get Here featuring outstanding keyboard backing from Paul Robertson, and paying tribute to her late bass player Gary L. Smith. The narrative travelogue Moan Instead of Sing, has Lady A recounting her travels to the Delta over top a modern blues funk gumbo. Oliver along with bass man John Studamire lay down a fat funk groove as Lady A recounts the fond memories of her childhood on the Cabbage and Cornbread. The hyped up zydeco track If Mama Aint Happy, is full of fire and brings to mind a scene from a musical theater production like Hairspray or Chicago. Lady A co wrote the slinky track 24 Carat Man, with fellow Northwest icon guitarist Teri Wilson, a tune that could have easily been a part of Koko Taylor or Ruth Browns repertoire. On the gospel flavored barrelhouse blues Rockin The Roads with DME, Lady A testifies to the power of love and music that is the Delta Music Experience, the unique musical vacation created to bring people to Louisiana and The Mississippi Delta. The album ends with the special bonus track Future ExHuzbun a southern fried boogie recorded at Sun Studios in Memphis with guitarist Super Chikan Johnson and drummer Cedric Burnside. The spontaneous energy filled session must have been a thrill for all involved and leaves us with a dream of what could be an amazing super group. - Rick J Bowen

Walter Trout & His Band Luthers Blues Provogue On the closing track of his amazing new album, Luthers Blues, Walter Trout testifies to the power and passion of one of his heroes when he boldly sings, leave your ego, play the music, love the people, thats the way he lived, when Luther played the blues he gave us all he had to give. This simple sentiment is the guiding principle behind this stellar tribute album to one of the more unsung icons of the blues and electric guitar Luther Allison. In his twenty five plus year career Walter Trout has also become a bit of an icon, forging a reputation as a fire breathing guitarist after his tenure with Canned Heat and John Mayalls Bluesbreakers, so he seems the natural choice to be the one who could take the Allison catalog up a few more notches. Trout enlisted producer Eric Corne to capture the raw, seat of the energy of live takes with his crack road band of keyboardist Sammy Avila, bass man Rick Knapp and drummer Michael Leasure. The quartet blazes through the eleven song greatest hits collection from Allisons lexicon of hard driving blues and soul burners, taking each to new heights of pyrotechnic musical orgasms. Trout goes so completely over the top on Cherry Red Wine, one of Allisons signature tunes, making it hard to believe such gut wrenching vocals are coming from a sixty two year old. The band recasts Allisons protest song Big City, over a Voodoo Chile groove giving a nod to Hendrix and Stevie Ray as well with his wailing Stratocaster. The muscular funk of tracks Chicago, and Freedom, is propelled by a rhythm section steaming at mach one flaying out a fusillade of notes, but then turn on a dime to give a tasteful reading of the gospel infused Just As I Am. Trout then trades barbs with Luthers son Bernard Allison on the turbo charged Texas boogie Low Down and Dirty. The albums other guest star is a short recording of Luther speaking of his lifes philosophy of wanting to be part of the universe of nature and make friends everywhere he went. Luthers Blues succeeds on many levels as it will no doubt lead many to discover the music of Luther Allison as well as showcase the power and precision of Walter Trout and his stellar band, who deliver what may prove to be the electric blues album of the year. Rick J. Bowen

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Jonny Lang - Soul Singer Faces His Fears and Follows His Heart
By Rick J. Bowen

it helped. And if youve got this vision, a bunch of time can go by and you can return to it and know what context to put it in. RB: And Tommy Simmons helped drive that bus. JL: Tommy is one of my heroes. Besides being everything that he is musically his solo project was one most inspiring things to me in my whole life. Getting to make a record with him has been a dream of mine for fifteen years or so. I met him thirteen years ago and we hung out together and wrote, but had never done a record together. It is a dream come true. RB: Obviously he is one of the influences for this record, who else influenced the record because it has such a broad sound and covers many genres. JL: With each record I have become less afraid to be myself. I guess what I mean is that Ive been afraid to do what is naturally coming out of me because a lot of the time its not just guitar centered and most definitely never blues. I tried to ease into this, but I figured on this record Im not gonna be laying on death bed saying to myself im sure am glad I never did that record I wanted to. I just let the songs and the writing go where they wanted and they dictated the direction of it. RB: This is defiantly not a guitar slinger record, its you being a soul singer and doing your own Al Green, Keith Sweat, Stevie Wonder thing. Is that were you feel your going with your music and career? JL: You mentioning me with those guys is pretty wrong. (Laughs) Thank you anyway. RB: Well the vocals are front and center on this album. JL: Yeah they are and it is decidedly more about the songs. The vocal is the center piece of the song and its defiantly more about the singing than the guitar playing. In fact we made an effort to try and create more space for guitar solos and lead guitar parts. and tried to do it in a way that didnt sound forced. That is a part of me I dont want to just totally ditch that. RB: There are some monster solos on there. Dont get me wrong. JL: Instead of it being a song built around the guitar solo its the other way around. RB: Blues, Gospel, Soul its all in there do you think this record is gonna open up a new audience for you at the risk of losing the old. Its a bit of a departure are you ready for that? JL: I hope that everybody loves it. (laughs) I know that isnt going to be the case. Truly I tried not to think about that .I just wanted to make the best music I knew how to make, and then hopefully because of that people would enjoy it. I love golf so Ill make a golf analogy. I hear guys talk about when they think about winning the tournament is when they start screwing up. When they just concentrate on making the shot, in the moment and go shot by shot and then you can pile a bunch of good shots together and youve won the tournament. That was the approach with this one. RB: That totally makes sense. JL: There is gonna be people who wanted that blues record and who are gonna be totally hacked off Ill be getting some emails. But you know you gotta grow up. Everybody grows and some people grow in different directions.

RB: How does a kid from Fargo, North Dakota turn into a soul singer like you? JL: I grew up with my parents listening to a lot of Motown records. I was always singing along to those guys, and girls, so Ive got that music hard wired in there. I ve spent a long ,long time studying soulful music and artists, not just Motown and what you would consider soul music, but like James Taylor and a lot of different folk artists and I feel like there is a thread that runs through all of those people. Its just honesty. They are all plugged into the same thing. RB: Singing from your soul, that is reflected in the title track Fight For My Soul, a very intense song, whos story is that? JL: I remember the day I started writing that, I had this image of this young girl in my head that grew up in a certain situation and she is only gonna turn out one way. She going to be a product of that environment and there is nothing she can do about it. It got me thinking that is what we all are really. We can only do what we see being done when we are kids. RB: You being a parent now must make you reflect on that and see the world differently now. JL: Exactly .Man, I am a hundred times more patient than I used to be. Its been a good thing. I started thinking about myself and how I grew a certain way. And at some point I was given the opportunity to challenge those things that I thought were always just true for everybody. Really they were only true for me. And you sort of start becoming your own person. So the song Fight For MY Soul is about that, and who are you. There is somebody in there that is trying to shape their own outcome and how much do you listen to that voice that is leading you. And how much do you just stay where youre at whether that is a good thing or a bad thing. How many good things do you take with you, how many bad things, all of that it adds up to this struggle. I guess thats what the song is about. RB: No wonder you made it the title track. It doesnt get more intense than that. JL: I feel like it sums up where I am in my life. RB: Then the beautiful love song Ill Always Be, who is that for? JL: The song Ill Always Be, is a little bit of my idea of how god sees us. The song is sung from the point of view of God. Put in terms of this guy who is a composer and concert master and there is this woman, who he has been in love with forever, and she leads him on and is non committal, and he is desperate to win her love. I see that guy in the song as God looking at us. Not just about a guy and a girl. RB: A much bigger love story. We miss those things without the liner notes. Thanks for the back ground story. JL: Its fun to let people interpret it themselves. Then you get a great chance of a song helping someone and becoming relevant to them .doing that thing that music can do for us sometimes. Helping us out of a tough spot and being a blessing somehow. RB: Isnt that our job as writers and artists? Continued no page 24

It has been seven years since Jonny Lang released a new studio album. This year, he has signed a new recording deal with the Concord Music Group and last month, he released Fight For My Soul; the follow up to his Grammy Award-winning Turn Around in North America. Lang has been working on the release for three years with producer Tommy Sims, who co-wrote Eric Claptons Grammy-winning Change the World. The new album defies categorization by a single genre as it encompasses pop, rock, R&B gospel and soul. Lang and his seasoned touring band deliver broad textured arrangements accompanying his tremendous vocal skills and solid guitar playing. I spoke to Lang about the new album and gained some insight into the world of this one-time teen idol who has grown into a mature artist. Rick J Bowen: Ive been listening to the new album Fight For My Soul, its fantastic. Jonny Lang: Really? Thank you so much. RB: Its totally surprising, lets talk about that and this nonstop tour youre on. JL: Yeah this lifelong tour, with just little two week breaks between shows. I just got home late last night. RB: Three years to make this record, holy cow. JL: Yeah, Some of the stuff on the record was done about six years ago. Its been quite a process. I mean 80% was done in the last two three years. RB: Just done song by song in between tours. JL: Yeah, exactly , when youre out on the road a lot and then the little bit of time I have at home I m wanting to spend that with my family that is relatively new, the kids are little and I dont want to miss that , so finding time to record is very challenging. We got some good traction last couple years and got to block out time close to home and get the record done. RB: Where did you do the record? JL: We did most of it in L.A and for a couple tunes the basic tracking was done in Nashville. RB: How did you keep the focus over three years to get the project done?

18 Having and innate sense of where I wanted to go with JL:

A.H.L. (206) 935-4592 Richard Allen & the Louisiana Experience, and Richard Allens Zydeco Trio (206) 3698114 AlleyKattz (425) 273-4172 Annieville Blues (206) 994-9413 Author Unknown (206) 355-5952 Baby Gramps Trio (425) 483-2835 BackGround Noise (425) 931-8084 Back Porch Blues (425) 299-0468 Backwoods Still (425) 330-0702 Badd Dog Blues Society (360) 733-7464 Billy Barner (253) 884-6308 Bay Street Blues Band (360) 731-1975 Norm Bellas & the Funkstars (206) 722-6551 Black River Blues (206) 396-1563 Blackstone Players (425) 327-0018 Blues Attitude (360) 701-6490 Blue 55 (206) 216-0554 Blue Healers (206) 440-7867 Blues To Do Monthly (206) 328-0662 Blues Playground (425) 359-3755 Blues Redemption http://www.bluesredemption.com (The) Blues Sheriff (206) 979-0666 Blues to Burn (253) 945-7441 Boneyard Preachers (206) 755-0766/ 206-547-1772 Bill Brown & the Kingbees 206-276-6600 Bump Kitchen (253) 223-4333, (360) 259-1545 Brian Butler Band (206) 361-9625 Charlie Butts & the Filtertips (509) 325-3016 Ellis Carter - 206-935-3188 Malcolm Clark Band (253) 853-7749 Colonel (360) 293-7931 Kimball Conant & the Fugitives (206) 938-6096 Jack Cook & Phantoms of Soul (206) 517-5294 Rod Cook & Toast (206) 878-7910 James Curley Cooke (253)945-7441 Cooke & Green (253) 945-7441 Coyote Blues (360) 420-2535 John Scooch Cugnos Delta 88 Revival (360) 352-3735 Crossroads Band (206) 935-8985 Daddy Treetops (206) 601-1769 Sean Denton Band (425)387-0620 Double Cookin (253) 945-7441 Double Scotts on the Rocks (206) 418-1180 Julie Duke Band 206-459-0860 Al Earick Band (253) 278-0330 Sammy Eubanks (509) 879-0340 Richard Evans (206) 799-4856 Fat Cat (425) 487-6139 Fat Tones (509) 869-0350 Kim Field & the Mighty Titans of Tone (206) 295-8306 Gary Frazier (206) 851-1169 Free Reign Blues Band (425) 823-3561 Fil Gumbo (425) 788-2776 Nicole Fournier & Her 3 Lb Universe (253) 576-7600 Jimmy Frees Friends (206) 546-3733 Gin Creek (206) 588-1924 Charlene Grant & the Love Doctors (206) 763-5074 Paul Green (206)795-3694 Dennis Juxtamuse Hacker (425) 512-8111 Heather & the Nearly Homeless Blues Band (425)576-5673 Tim Hall Band (253) 857-8652 Curtis Hammond Band (206) 696-6134) Ryan Harder (253) 226-1230 Scotty Harris & Lissa Ramaglia/Bassic Sax (206) 418-1180 Terry Hartness (425) 931-5755 Ron Hendee (425) 280-3994 JD Hobson (206) 235-3234 Hot Rod Blues Revue (206)790-9934 Bobby Holland & the Breadline (425)681-5644 James Howard band (206) 250-7494 David Hudson / Satellite 4 (253) 630-5276 Raven Humphres (425) 308-3752 Hungry Dogs (425) 299-6435 Brian Hurst (360) 708-1653 K. G. Jackson & the Shakers (360) 896-4175 Jeff & the Jet City Fliers (206) 469-0363 Junkyard Jane (253) 238-7908

Talent Guide

Attention Blues Talent: Please send your updated contact information by the 10th of the month to calendar@wablues. org. Thank you!

Stacy Jones Band (206) 992-3285 Chester Dennis Jones (253)-797-8937 Harry The Man Joynes (360) 871-4438 James King & the Southsiders (206) 715-6511 Virginia Klemens / Jerry Lee Davidson (206) 632-6130 Mick Knight (206) 373-1681 Bruce Koenigsberg / Fabulous Roof Shakers (425) 766-7253 Kolvane (503) 804-7966 Lady A & the Baby Blues Funk Band (425) 518-9100 Brian Lee & the Orbiters www.brianleeorbiters.com Brian Lee Trio (206) 390-2408 Scott E. Lind (206) 789-8002 Little Bill & the Bluenotes (425) 774-7503 Dana Lupinacci Band (206) 860-4961 Eric Madis & Blue Madness (206) 362 8331 Bill Mattocks Band (206) 601-2615 Albritten McClain & Bridge of Souls (206) 650-8254 Brian Jelly Belly McGhee (253) 777-5972 Doug McGrew (206) 679-2655 Mary McPage Band (206) 850-4849 Miles from Chicago (206) 440-8016 Reggie Miles (360) 793-9577 Michal Miller Band (253) 222-2538 Rob Moitoza / House of Reprehensibles (206) 768-2820 Moon Daddy Band (425) 923-9081 Jim Nardos Boogie Train Blues Band (360) 779-4300 Keith Nordquist (253) 639-3206 Randy Norris & The Full Degree (425) 239-3876 Randy Norris & Jeff Nicely (425) 239-3876/(425) 359-3755 Randy Oxford Band (253) 973-9024 Robert Patterson (509) 869-0350 Dick Powell Band (425) 742-4108 Bruce Ransom (206) 618-6210 Red Hot Blues Sisters (206) 940-2589 Mark Riley (206) 313-7849 Gunnar Roads (360) 828-1210 Greg Roberts (206) 473-0659 Roger Rogers Band (206) 255-6427 Roxlide (360) 881-0003 Maia Santell & House Blend (253) 983-7071 Sciaticats Band (206) 246-3105 Shadow Creek Project (360) 826-4068 Tim Sherman Band (206) 547-1772 Billy Shew Band (253) 514-3637 Doug Skoog (253) 921-7506 Smoke N Blues Allstars (253) 620-5737 Smokin Js (425) 746-8186 Son Jack Jr. (425) 591-3034 Soulshaker Blues Band (360) 4171145 Star Drums & Lady Keys (206) 522-2779 John Stephan Band (206) 244-0498 Chris Stevens Surf Monkeys (206) 236-0412 Steve Cooley and the Dangerfields (253)-203-8267 Stickshift Annie Eastwood (206) 522-4935 Alice Stuart & the Formerlys (360) 753-8949 Richard Sysinger (206) 412-8212 Annette Taborn (206) 679-4113 Dudley Taft (206)795-6509 Tahoma Tones (253)851-6559 Ten Second Tom (509) 954-4101 Tone Kings (425) 698-5841 Leanne Trevalyan (253)238-7908 Tim Turner Band (206) 271-5384 T-Town Aces (206)935-8985 Two Scoops Combo (206) 933-9566 Unbound (425) 258-4477 Uncle Ted Barton (253) 627-0420 Nick Vigarinos Meantown Blues (360) 387-0374 Tommy Wall (206) 914-9413 Mike Wright & the Blue Sharks (360) 652-0699 / (425) 327-0944 Charles White Revue (425) 327-0018 Mark Whitman Band (206) 697-7739 Michael Wilde (425) 672-3206 / (206) 200-3363 Rusty Williams (206) 282-0877 Hambone Wilson (360) 739-7740 C.D. Woodbury (425) 502-1917 Beth Wulff Band (206) 367-6186, (206) 604-2829

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Blues Calendar
Note: Please confirm with each venue the start time and price. We also apologize in advance for any errors as we depend on musicians and venues to send in their information and sometimes, changes happen after we go to press. Tuesday, October 1 Jazz Alley The Yellowjackets Wednesday, October 2 Bakes Place, Bellevue Bill Englehart/Rod Cook duo 6PM Highway 99 Blues Club The Soul of John Black 8PM Jazz Alley The Yellowjackets 88 Keys Blues on Tap 8PM Kent Senior Center Bubbles Blues w/Norm Bellas 12:30PM Pike Place Bar and Grill John Stephan Band 6PM The Triple Door - Wed/October 2 Earshot Jazz Festival: John Scofields Uberjam 7 & 9:30 PM Elliot Bay Pizza & Pub, Mill Creek James Bernhard 7PM Thursday, October 3 Highway 99 Blues Club Brian Lee & the Orbiters 8PM Jazz Alley Karrin Allyson Salmon Bay Eagles - Dr Z & The M.D.s 8PM Bakes Place, Bellevue The Side Project Trio 7PM Friday, October 4 Bakes Place, Bellevue Rod Cook & Toast 8PM Highway 99 Blues Club Curtis Hammond Band 8PM Jazz Alley Karrin Allyson Dogghouse, Mt Vernon Black River Blues 9PM Elmers Pub, Burien Moon Daddy Band 13 Moons at the Swinomish Casino & Lodge, Anacortes Mia Vermillion solo 6PM The Conway Muse Mia Vermillion/Kevin Sutton Duo -9PM Saturday, October 5 Highway 99 Blues Club Franco Paletta & the Stingers w/ Steve Kerin 8PM Jazz Alley Karrin Allyson Salmon Bay Eagles - Roy Kay Trio 8PM Issaquah Salmon Days - John Stephan Band 1:15 PM, The Fabulous Roof Shakers 3PM Enumclaw Music and Arts Festival Mia Vermillion 2PM, Palmer Junction 3:30PM 13 Moons at the Swinomish Casino & Lodge, Anacortes Mia Vermillion solo 6PM Bakes Place, Bellevue Doctorfunk 8PM Sunday, October 6 Jazz Alley Karrin Allyson Johnnys Dock,Tacoma Little Bill trio 5PM The Triple Door - Earshot Jazz Festival with Vinicus Cantuaria 7:30 PM Bakes Place, Bellevue Jovino Santos Neto Quinteto 7PM The Central Club, Kirkland, Gin Creek: 8:00pm Monday, October 7 Kent Senior Center Koffee Klach w/Norm Bellas The Triple Door Bob Schneider and Gabriel Kelly Tuesday, October 8 Red Crane, Shoreline: Washington Blues Society Blues Bash 7 - 9 PM Wednesday, October 9 Bakes Place, Bellevue Bill Englehart/Rod Cook duo 6PM Highway 99 Blues Club -High and Lonesome Band 8PM 88 Keys Blues on Tap 8PM The Triple Door Dave Simonett 7:30 PM Elliot Bay Pizza & Pub, Mill Creek James Bernhard 7PM Thursday, October 10 Highway 99 Blues Club - James King & the Southsiders 8PM Salmon Bay Eagles - Jeff Herzog & Rusty Williams 8-10PM, Andrew Norsworthy 10-12PM Third Place Books, Lake Forest Park The Fabulous Roof Shakers 7:30PM Friday, October 11 Highway 99 Blues Club Nearly Dan 8PM The Central Saloon, Pioneer Square Black River Blues 9PM Twin Dragon Sports Bar, Duvall Moon Daddy Band Bakes Place, Bellevue Patricia Lee 8PM White Center Eagles, White Center, Gin Creek: 8:00pm Saturday, October 12 Highway 99 Blues Club Mark Dufresne 8PM Salmon Bay Eagles - Harp Hysteria 8PM Scotch and Vine, Des Moines - Brian Lee Trio 8PM The Red Bicycle, Vashon Black River Blues 8PM Madison Ave Pub, Everett Wired! 8PM Bakes Place, Bellevue Johnny Bulldog 8PM Tuesday, October 15 - The New Orleans Restaurant: Gin Creek: 5:00pm White Rabbit - Phil Berkowitz/ Eugene Huggins/ Brian Lee harp show 7:30PM Wednesday, October 16 Bakes Place, Bellevue Bill Englehart/Rod Cook duo 6PM Highway 99 Blues Club Dirty Rice 8PM Jazz Alley - Halie Loren 7:30PM 88 Keys Blues on Tap 8PM Elliot Bay Pizza & Pub, Mill Creek James Bernhard 7pm Thursday, October 17 Highway 99 Blues Club Elliot Bay Music Group 8PM Salmon Bay Eagles - Kimball & The Fugitives w/Annie Eastwood 8PM Friday, October 18 Bakes Place, Bellevue Little Bill & the Blue Notes 8PM Highway 99 Blues Club Hot Wired Rhythm Band 8PM Elliot Bay Pizza & Pub, Mill Creek -Annie Eastwood w/Bill Chism 7PM Village Inn Restaurant, Marysville Moon Daddy Band

Grazie, Bothell James Bernhard Blues Fusion Band 7PM Elliot Pizza & Pub, Mill Creek James Bernhard 7PM Saturday, October 19 Elliot Pizza & Pub, Mill Creek James Bernhard 7PM Bakes Place, Bellevue Mark Dufresne Band 8PM Jazz Alley - Halie Loren 7:30PM Sunday, October 20 The Spar, Tacoma Little Bill & the Blue Notes 7:30PM Monday, October 21 Mr. Villa - Annie Eastwood, Kimball Conant, Larry Hill - Fugitives Trio 7PM Triple Door Savoy Brown 7:30PM Wednesday, October 23 Bakes Place, Bellevue Bill Englehart/Rod Cook duo 6PM Highway 99 Blues Club Little Ray& the Uppercuts 8PM Pike Place Bar & Grill at the Market -Annie Eastwood w/Kimball & the Fugitives 6PM Engels Pub Moon Daddy Band 88 Keys Blues on Tap 8PM 212 on Central, Kirkland James Bernhard 8PM Thursday, October 24 Highway 99 Blues Club - Deems & Seattle Groove 8PM Salmon Bay Eagles Scratchdaddy 8PM Friday, October 25 The Repp, Snohomish Rod Cook solo 6:30PM Highway 99 Blues Club - Kalimba Band 8PM CCs Lounge, Burien Moon Daddy Band 212 on Central, Kirkland James Bernhard 8PM Wild Vine Wine and Bistro, Bothell Mia Vermillion/ Kevin Sutton Duo 8PM Bakes Place, Bellevue Geoffrey Castle Quartet 8PM Saturday, October 26 Destination Harley Tacoma Little Bill Trio 12:00PM Highway 99 Blues Club- Sugaray Rayford w/Kevin Selfe & the Tornadoes 8PM CCs Lounge, Burien Moon Daddy Band Vino Bella, Issaquah The British Beats w/Rod Cook 7:30PM Sunday, October 27 The Central Club John Stephan Band 8:30PM Bakes Place, Bellevue Tayla Lynn 7PM Wednesday, October 30 Bakes Place, Bellevue Bill Englehart/Rod Cook duo 6PM Highway 99 Blues Club Chris Stevens Surf Monkeys 8PM 88 Keys Blues on Tap 8PM Pike Place Bar and Grill John Stephan Band 6PM Elliot Bay Pizza & Pub, Mill Creek James Bernhard 7PM Thursday, October 31 Highway 99 Blues Club Monster Road Halloween Show 8PM Salmon Bay Eagles - All Stars No Stripes 8PM

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Attention: Music People!

Last month, a majority of emails sent by our Calendar Editor bounced back to us as undeliverable. We do not (yet) have the volunteer depth to respond to this volume of undelivered emails. Please send in your calendar listings by the dates listed on page 6 of the Bluesletter - that is October 10th - for listing in the November Bluesletter. We regret an inconvenience that this may have caused any musician or reader. With this issue, we are welcoming and training a new Calendar Editor, Janie Walla, and we hope that our calendar will be more complete as she grows into this important volunteer role for the Washington Blues Society. If you would like to add your music schedule to our calendar please send it to: wbscalendar@ yahoo.com It is greatly preferred to be sent in this format: (Arial, 8pt). date - venue, city(if other than Seattle): band name, time(if other than 9pm) please no bold or Caps. Thank you!

Blues Festival Review: Poverty Bay Blues & Brews

By Robert Horn Dont let the name fool you. Poverty Bay is luxurious. The setting is nature is at its best! If you are looking for a place to watch sunsets and sailboats, I recommend it highly. I think that the setting just may be the best of any blues festival in terms of natural beauty. This festival provides many opportunities to help us meet many essential human needs: the need to connect with nature, and the need to connect with like-minded people. We also need the arts and sustenance, and the Poverty Bay Blues Festival helped many blues fans meet these needs on Saturday, August 24th in Des Moines, Washington. One of the many nice things about this festival is that it highlights the products of Pacific Northwest microbreweries, wineries and cider makers. The admission ticket included a few tokens to sample some great, locally-produced food and drink. The Rotary Club of Des Moines provided a great public service by having this as a fund raiser again this year for the Highline School District Music4Life Program. They did a good job of picking bands, and I think that this Rotary Club has good taste. The first act was Lisa Mann and her band. Lisa Mann is a big enough act to be on the main stage at the Safeway Waterfront Blues Festival, and she has been cheered by tens of thousands there. Having her at a local event in Des Moines was something special. She has big-time vocal talent, and is a solid bass player. She stayed long after her set ended to sign CDs in the Washington Blues Society merchandise booth, and whenever she plays in the greater Seattle area, shes always well-liked. One of the most popular Puget Sound area bands associated with the blues scene today is the Stacy Jones Band. They have released a number of successful CDs, and have been playing regionally more and more. They put on another great show at the Poverty Bay Blues Festival. Stacy, as usual, played harmonica, keys, and guitar while being the lead singer. Lead guitarist Jeff Menteer also sang as did drummer Rick Bowen. Stacys dad, Tom Jones, is the only band member that didnt sing, but I have been told (by usually reliable sources) that he actually can sing. A week later, the Stacy Jones Band was one of the acts featured at the second annual Bothell Blues Festival. Like Lisa Mann, Stacy Jones is one of many young bandleaders who write a lot of her

own music. One of my favorite songs Stacy wrote and sang was Lets Do it Again, and I hope that they will do it again at their next gig. The Coyote Kings with Mush Morgan were up next, and like each act featured at the Poverty Bay Blues Festival, they could easily play the Miller Stage at the Safeway Waterfront Blues Festival. Curtis Johnson, Mike Cook and Robin Barrett play the instruments and could sing if they need to but Mush Morgan is in a different league than anyone at Poverty Bay in terms of vocal greatness. Mush did take one short break from singing while on stage. She paused and told the audience to turn around and take a look at the sun setting. It was a stunning sight, and no postcard or magazine cover could ever do that image justice. She, like everyone else at the Poverty Bay Blues Festival, was blown away by the setting of the Poverty Bay Blues Festival. The closing act was as big as the stage. Randy Oxford has not just a drummer (Richard Sabol) but an additional percussionist (LA Smith). Randy Oxford plays trombone, and Polly OKeary plays bass as well as sings. Polly OKeary, like Lisa Mann before her in the lineup, is a female vocalist who plays bass while she sings. The featured vocalist after the band warmed up was, as usual, Jada Amy. Jada performed a few of her own songs, and Polly did at least one of her originals, too. The two guitar players for the current Randy Oxford Band are Manuel Morais and Randy Norris. Manuel sang a few songs, but mainly played a blazing guitar playing that music photographers could catch in dramatic points in time. What a show! Randy Norris also sings, and does a lot of that with his other act, International Blues Challenge competitors Randy Norris and Jeff Nicely. To use a college football analogy, the Randy Oxford Band is loaded with vocal talent like a University of Oregon backfield is loaded with tailbacks. Each of this years Poverty Bay Blues Festival Bands featured women bandleaders, each of these women showed how they have earned this privilege. Next summer, please add the Poverty Bay Blues Festival to your blues festival calendar. The festival is an unforgettable experience and provides opportunities to reconnect with nature, friends, food, drinks and fun. Perhaps more importantly, the Des Moines Rotary Club seems to know how to pick great blues band for a great blues event.

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Blues on the Radio Dial

MONDAY KSVR 91.7FM Mount Vernon / KSVU 91.9FM Hamilton Blues in the Night (automated) 2:00 AM 5:00 AM Monday through Friday www.ksvr.org DJ, Janice Clevin Gage KUGS 89.3FM Bellingham: Highway 61 8:00AM - 10:00AM as.wwu.edu/kugs/ - DJ, Chalkie McStevenson Mighty Mouth Blues on NWCZ Radio - www.nwczradio.com Monday 8:00-11:00PM Pacific TUESDAY KAOS 89.3FM Olympia: Blues On Rye 1:00PM - 3:00PM www.kaos.evergreen.edu - DJ, Val Vaughn WEDNESDAY KEXP 90.3FM Seattle: The Roadhouse 6:00PM to 9:00PM www.kexp.org - DJ, Greg Vandy KSVR 91.7FM Mount Vernon / KSVU 91.9FM Hamilton - The Blues Note with Janice 8:00PM - 10:00PM www.ksvr.org - DJ, Janice Cleven Gage KSVR 91.7FM Mount Vernon / KSVU 91.9FM Hamilton - Lesters Blues Tour 10:00PM -Midnight www.ksvr.org - DJ, Les Anderson THURSDAY KSER 90.7FM Everett: Clancys Bar and Grill 8:30PM - 10:30PM www.kser.org - DJ, Clancy Dunigan FRIDAY KEXP 90.3FM Seattle: Shake The Shack 6:00PM - 9:00PM www.kexp.org - DJ, Leon Berman SATURDAY KAOS 89.3FM Olympia: Blues For Breakfast 8:00AM - 10:00AM www.kaos.evergreen.edu - DJ, Jerry Drummond KPLU 88.5FM Tacoma: All Blues 6:00PM - 12:00AM www.kplu.org - DJ, John Kessler KSER 90.7FM Everett: Audio Indigo 7:00PM - 9:00 PM www.kser.org - DJ, Robin K PLEASE SEND ANY RADIO UPDATES TO CALENDAR@WABLUES.ORG KBCS 91.3 FM Bellevue College: Living the Blues 8:00 PM 10 PM www.kbcs.fm DJ Kevin Henry, Kevin Morris, Oneda Harris, Winona Hollins-Huage KPBX 91.1FM Spokane: Backwater Blues Hour 10:00PM - 11:00PM www.kpbx.org - DJ, Frank Delaney KPBX 91.1FM Spokane: Beal Street Caravan 11PM-12AM www.kpbx.org - DJ, Pat Mitchell KZPH 106.7FM Wenatachee: The Blues 11:00PM - 12:00AM www.therock1067.com - DJ, Dave Keefe KSER 90.7FM Everett: Blues Odessey 9:00PM - 11:00PM www.kser.org - DJ, Leslie Fleury Sunday KBCS 91.3FM Bellevue: Beal St. Caravan 5:00AM 6:00AM www.kbcs.fm KEXP 90.3 Seattle: Preaching the Blues 9:00AM - NOON www.kexp.org DJ, Johnny Horn KUGS 89.3 FM Bellingham: Exposure NOON 2PM www.kugs.org KYRS 92.3 FM Spokane: Blues Now and Then 6:00PM - 8:00 PM www.kyrs.org - DJs Patrick Henry and Jumpin Jerry KPLU 88.5FM Tacoma: All Blues 6:00PM - 12:00AM www.kplu.org - DJ, John Kessler KWCW 90.5FM Walla Walla: Blues Therapy 7:00PM - 9:00PM www.kwcwradio.tumblr.com - DJ, Biggdaddy Ray Hansen and Armand The Doctor Parada KSER 90.7FM Everett: The Juke Joint 1:00PM - 3:00PM www.kser.org - DJ, Jon Noe

Mondays

Washington Blues Society

Sundays

Blues Jams

Caffe Mela, Wenatchee, 7pm (first Mon. of the month) 88 Keys, Pioneer Square: Star Drums & Lady Keys host Blue Monday Jam, 8pm JRs Hideway: Malcolm Clark, 8pm Opal Lounge, South Tacoma Way: Tim Hall, 8pm Ten Below: hosted by Underground Blues Jam, every 1st Monday of the month, Wenatchee

Dawsons, Tacoma: Tim Hall Band, 7pm Castles, Sedro Wolley: Gary Bs Church of the Blues, 6-10pm Raging River: Tommy Wall Silver Dollar: Big Nasty, 8pm Two Twelve, Kirkland: hosted by HeatherBBlues, 7pm

Tuesdays

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PLEASE HELP US KEEP OUR LISTINGS CURRENT: please send in jam listings to calendar@wablues.org. As of press time, we are looking for a new volunteer who will help compile our calendar, jam guide, band listings, and radio station listings. Please email volunteer director Rhea Rolfe: volunteers@wablues.org if you are interested!

Barrel Tavern: hosted by Doug McGrew, 8pm Dawsons, Tacoma: hosted by Shelley & Jho, 8pm Elmer, Burien: hosted by Billy Shew October 22nd - Elmers Pub Jam night w/Billy Shew & Rod Cook 8PM October 29th - Elmers Pub - Billy Shew Jam w Billy Shew & Brian Lee 8PM Engels Pub, Edmonds: Jam Session with Lou & Don, 8pm Pacific Rim Marysville Best Western: Mike Wright & the Blue Sharks, 7 - 11pm 907 Bar and Grill Snohomish Sean Denton & Richard Williams 8 PM Summit Pub: Tim Hall & the Realtimes, 7:30pm Uncle Thurms, Tacoma: Blenis, Ely Band, 7:30pm Wild Buffalo, Bellingham: hosted by Rick Baunach, 6:30 - 9:30pm

Venue Guide
Seattle
Clearwater Casino Suquamish (360) 598-6889 Destiny Seafood & Grill Port Angeles (360) 452-4665 Halftime Saloon Gig Harbor (253) 853-1456 Junction Tavern Port Angeles (360) 452-9880 Little Creek Casino Shelton (360) 427-7711 Seven Cedars Casino Sequim (360) 683-7777 Sirens Port Townsend (360) 379-1100 Upstage Port Townsend (360) 385-2216

Washington Blues Society

Peninsula

Al Lago, Lake Tapps (253) 863-8636 2 Wheel Blues Club Tacoma Barnacles Restaurant, Des Moines (206) 878-5000 The Barrel Burien (206) 246-5488

Tacoma, Burien, Federal Way, etc

South Sound

CCs Lounge, Burien (206) 242-0977

Blarney Stone Pub and Restaurant (206) 448-8439 China Harbor Restaurant (206) 286-1688 Dimitrious Jazz Alley (206) 441-9729 x210 EMP Liquid Lounge (206) 770-2777 EMP Sky Church (206) 770-2777 Fiddlers Inn (206) 525-0752 Bellingham, Anacortes, Whidbey Island, etc Grinders (206) 542-0627 China Beach Langley (360) 530-8888 Highliner Pub (206) 283-2233 Just Moes Sedro Woolley (360) 855-2997 Highway 99 Club (206) 382-2171 LaConner Tavern LaConner (360) 466-9932 J & M Cafe (206) 467-2666 Little Roadside Tavern Everson (360) 592-5107 Lock & Keel (206) 781-8023 Old Edison Inn Edison (360) 766-6266 Maple Leaf Grill (206) 523-8449 Rockfish Grill Anacortes (360) 588-1720 Mr. Villa (206) 517-5660 Stump Bar & Grill Arlington (360) 653-6774 New Orleans (206) 622-2563 Watertown Pub Anacortes (360) 293-3587 Paragon (206) 283-4548 Wild Buffalo Bellingham (360) 312-3684 Pike Place Bar and Grill (206) 624-1365 Viking Bar and Grill Stanwood (360) 629-9285 The Rimrock Steak House (206) 362-7979 Salmon Bay Eagles (206) 783-7791 St. Clouds (206) 726-1522 Third Place Commons, Lake Forest Park (206) 366-3333 Triangle Tavern (206) 763.0714 Bellevue, Kirkland, etc. Tractor Tavern (206) 789-3599 Bakes Place - Bellevue (425) 454-2776 Triple Door (206) 838-4333 Central Club Kirkland (425) 827-8808 Crossroads Shopping Center Bellevue (425) 644-1111 Damans Pub Redmond Forecasters Woodinville (425) 483-3212 Raging River Caf & Club Fall City (425) 222-6669 BBQ & Blues Clarkston (509) 758-1227 RockinM BBQ, Golf Range & Lounge - Everett (425.438.2843) Breadline Caf Omak (509) 826-5836 Time Out Sports Bar Kirkland (425) 822-8511 Club Crow Cashmere (509) 782-3001 Top Shelf Broiler & Tervelli Lounge - Kirkland (206) 239-8431 CrossRoads Steakhouse Walla Walla (509) 522-1200 Vino Bella Issaquah (425) 391-1424 Ice Harbor Brewing Co - Kennewick (509) 582-5340 Wild Vine Bistro, Bothell (425) 877-1334 Lakeys Grill Pullman (509) 332-6622 Wilde Rover Kirkland (425) 822-8940 Main Street Tavern Omak (509) 826-2247 Valhalla Bar & Grill, Kirkland (425) 827 3336 Peters Inn Packwood (360) 494-4000 Yuppie Tavern - Kirkland (425) 814-5200 Pine Springs Resort - Goldendate (509-773-4434 Rams Ripple Moses Lake (509) 765-3942 Rattlesnake Brewery Richland (509) 783-5747

North Sound

Capitol Theater/Olympia Film Society (360) 754-3635 Cascade Tavern Vancouver (360) 254-0749 Charlies Olympia (360) 786-8181 Cliff House Restaurant Tacoma (253) 927-0400 Destination Harley Davidson Fife (253) 922-3700 Blues Vespers at Immanuel Presbyterian (253) 627-8371 Jazzbones in Tacoma (253) 396-9169 (The) Junction Sports Bar, Centralia (360) 273-7586 Lighthouse Des Moines (206) 824-4863 Maggie OTooles Lakewood (253) 584-3278 Magnolia Caf Poulsbo (360) 697-1447 Mint Alehouse Enumclaw (360) 825-8361 Pats Bar & Grill Kent (253) 852-7287rr Pick & Shovel Wilkeson (360) 829-6574 The Pony Keg - Kent (253) 395-8022 Riverside Pub, Sumner (253) 863-8369 Silver Dollar Pub Spanaway (253) 531-4469 The Spar Tacoma (253) 627-8215 The Swiss Tacoma (253) 572-2821 Tugboat Annies Olympia (360) 943-1850 Uncle Sams Bar & Grill - Spanaway (253) 507-7808 Wurlitzer Manor Gig Harbor (253) 858-1749

Eastside

Central & Eastern

Anchor Pub Everett (425) 252-2288 Balefire Everett (425) 374-7248 Bubbas Roadhouse Sultan, (360) 793-3950 Canoes Cabaret Tulalip (888) 272-1111 The Conway Muse in Conway (360) 445-3000 Demetris Woodstone Taverna, Edmonds (425) 744-9999 Diamond Knot Brewery & Alehouse Mukilteo (425) 355-4488 Engels Pub Edmonds (425) 778-2900 Historic Spar Tree Granite Falls (360) 691-6888 Madison Pub - Everett (425) 348-7402 Mardinis Snohomish (360) 568-8080 Mirkwood & Shire Caf Arlington (360) 403-9020 North Sound:Star Bar, Anacortes (360) 299-2120 ( Prohibition Grille, Everett (425) 258-6100 Stanwood Hotel & Saloon Stanwood (360) 629-2888 Stewarts Snohomish (360) 568-4684 Timberline Caf Granite Falls (360) 691-7011 Traceys Place Everett (425) 259-0811 Wicked Rack BBQ Everett (425) 334-3800

(Lynnwood, Everett, Edmonds, etc.):

North End

Red Lion Hotel Wenatchee (Tomasz Cibicki 509-669-8200)

Tumwater Inn Restaurant and Lounge Leavenworth (509) 548-4232

Wednesdays

Thursdays

Charlies Olympia: Blues Attitude Damans Pub, 8 PM Dogghouse Tavern, Mt. Vernon Alan: Hatley Trio, 7pm 88 Keys, Pioneer Square: Blues on Tap, 8pm Half Time Saloon: Billy Shew & Billy Barner Locker Room, White Center: Michael Johnson & Lynn Sorensen, 8-12pm Madison Pub, Everett: hosted by Unbound w/special guests 7:30pm Wednesday, October 2 Manuel Morais and Angelo Ortiz 7:30PM Wednesday, October 9 Randy Norris and Randy Oxford 7:30PM Wednesday October 16 Martin Fieber Wednesday October 23 Scott Drexler Wednesday October 30 Steve Bailey Oxford Saloon, Snohomish: hosted by Rick J Bowen Ages Open Jam 7-11pm Salmon Bay Eagles: Broomdust presents Blues of the Past jam (1st Wed.), 8pm Yuppie Tavern, Kirkland (Totem Lake), HeatherBBlues Acoustic jam, 8pm Ould Triangle Pub: hosted by Jeff Hass, Open Mic Blues Jam, 9pm

Bad Alberts: Invitational w/Annieville Blues Barrel Tavern: hosted by Tim Turner, 8pm Club Flight Nightclub: w/Cory Wilde, 9pm Conway Pub Dawsons, Tacoma: Billy Shew, 8 pm OCallahans: Tim Hall, 7pm Oxford Saloon: Jam Night w/ Tommy Cook Trio 8PM Petes in Carnation Bootleggers Jam with Teri Wilson 8PM

Fridays

New Orleans Restaurant: All Star Jam, hosted by Leslie Stardrums Milton & Lady Keys, 7pm (1st & 3rd Fridays) October 18 - Dawsons Tacoma Jam w/Billy Shew & Rod Cook 8PM

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Washington Blues Society Update: The 2014 Blues Foundation Best Self-Produced CD Competition and the 2014 Best of the Blues (BB Award) Best Washington Blues Recording
By Malcolm Kennedy If you are a Pacific Northwest-based or Canadian Lower Mainland blues band, and have released a CD between November 1 2012 and October 31, 2013, you may be eligible to submit your CD for the 2014 Blues Foundation Best Self-Produced CD Competition. All releases after November 1, 2013 may be eligible for consideration in the 2015 awards processes in each competition. Mirroring the Washington Blues Societys attempts to be regionally inclusive through its International Blues Challenge competition, blues bands from the following states and provinces are eligible to submit CDs for these competitions: Washington, Oregon, Idaho, Montana, British Columbia, and Alberta. The Washington Blues Society Board of Directors opted to utilize this time frame for our BB Award eligibility which is used by the Blues Foundation as well for several reasons, including the opportunity to reduce confusion on which CDs are eligible, and that we could start the BB Award nominations earlier to streamline the voting process. Blues Foundation Best Self Produced CD If you are interested in entering the Washington Blues Society to enter a CD into the Blues Foundations Best Self-Produced CD, please submit five (5) copies to the Washington Blues Society Post Office Box, or submit them to a WBS Board member by October 20th. Our review panel will then select one winner to submit to the Blues Foundation to comply with the foundations deadline of November 1st. Our CD needs to arrive at the Blues Foundation in Memphis on or before November 1, 2013. If you are interested, we encourage all artists to review the rules and guidelines posted at the Blues Foundation website. In keeping with Blues Foundation guidelines, compilations are not eligible. Unless a live CD has all-original material, almost all live CDs are likely ineligible as well. Please read all Blues Foundation rules carefully prior to submitting CDs. Washington Blues Society 2014 Best of the Blues (BB Award) Washington Blues Recording If your band is from Washington, or a band that you know of, released or will be release a blues CD between November 1st. 2012 and October 31st, 2013 please let us know so that I can include them on our list of eligible CDs for the BB Awards Best Washington Blues Recording, please include official release date (date of CD release party, if applies, is adequate.) Unlike the Blues Foundation entry which we have opened to regional talent the BB Awards is only available to Washington based bands. Compilations and live CDs are BB Award eligible. Please e-mail Malcolm Kennedy at advertising@wablues.org to be included on this list. --------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------

Jonny Lang Continued from Page 18 RB: : Ok. Lets talk about guitar stuff now. You are hitting the Ellnora Guitar You are now Ellnora Guitar Festival in Urbana Illinois. Does it feel crazy being in the guitar hero category with these kinds of events? JL: Yeah its weird for me because I dont think of myself as that. Although I play guitar and its one of the main things I express myself on. To me there are guys, and girls out there that are more fitting for that title. You know, theres a lot of people out there with a better facility than me. Its flattering to be considered that. RB: Classic question; what was your first guitar? JL: My dad got me a guitar for my thirteenth birthday a 1962 re-issue Stratocaster. I was like whoa! I played that for a while, and then I heard Albert Collins that made me a Tele guy. And then I heard a guy named Tab Benoit, and I wanted a semi hollow Telecaster. I was stuck on teles ever since then. Later I discovered this Les Paul and got it. Now I go back and forth between the two. RB: Give us the lowdown on your gear. What amps do you play? JL: I use two Fender Deluxe amps. They are fairly new ones that have been gone through and re-wired and are

now like older ones. Very much like a 60s Deluxe. Ive been using those for a long time. For Pedals, well for years I only had three or four pedals now Ive gotten a few more. I use a Wah Wah pedal. Actually the one I use right now is the Joe Bonamasa signature model. Its funny my old one broke and my guitar tech went out and got it. I was a couple shows in and looked down and said Hey I need to send Joe a picture of this. So I did. RB: Nice you sent Joe a photo of you with his pedal. What did he say? JL: Yeah, he was like when you get a signature pedal I gotta put it on my board. He is great. Ive got a Route 66 pedal, its like a tube screamer. A boss dynamic wah, I use that quite a bit. A few other things in there like a fuzz octave pedal I use quite a bit. Thats about it. RB: On the track The Truth, from the new album you open it up with a total Carlos Santana sounding solo. Was that intentional? JL: What I was really going for there was more like Jeff Beck. His whole bending in and out of all of the notes thing, instead of just hitting them straight on. But because of the chords and the melody it sounds like a Spanish Latin thing. So its like Santana in that respect. There is one more pedal I Should mention because these guys are so nice to us. I use a pedal made by Roland called The Bomb its a clean boost. I tried a bunch of clean boost

type pedals and that one was by far the best one. RB: We could talk guitars all day, but we are out of time. Have safe travels on the rest of your tour. You are headed all over the states and to Europe. JL: Yeah it should be fun!

24

The Torch: An occasional series on the blues of the future and the blues of the past.
By Son Jack Jr. (Photo by Zab) Set your goals high. Think you can, or think you can't. Either way, you'll be right." The first time I heard Micah, my jaw dropped. This was in 2009 at Centrums Country Blues workshop where this talented kid was being dutifully chaperoned by his parents on account of the fact he was only 15. Since then hes performed at the Blues Music Awards, shared the stage with the likes of Otis Taylor and Sean Carney, and been a three time IBC semi-finalist. He typifies the new breed of torch bearers that are honoring and carrying forward the musical legacy of the blues. SJ: How did you get started in music? MK: I got started in music when I was about six years old. I used to play drums, and my dad used to hit the kick drum with his hand because I was too short to reach it with my feet. I was into drumming until I got my first guitar at age nine, and I played a couple of different genres until I discovered the blues at about 14. The blues bug bit me and I became obsessed with slide guitar, then I started playing shows around that time and Ive been playing blues music ever since. SJ: Why play the blues? MK: I play blues music because I feel like its the most honest outlet for the musician that I am. Its completely real, unlike a lot of the music that exists nowadays, and its always just felt completely natural to me. I really enjoy the variety that blues music offers, and while Ive never been a fan of playing electric blues, there has always been a vast selection of acoustic blues to play, whether its delta, piedmont, ragtime, country, trance, etc.. Theres a style of blues for almost any emotion that you can feel, whether youre happy, heartbroken, poor, angry.. Honestly, there are just so many answers to the question that its almost impossible to give a complete answer, but all in all, Ive never quite felt like it was ever even my choice to play blues music. I feel that I was born to do it. SJ: What are your main musical influences? MK: My main musical influences tend to be acoustic blues musicians in the Delta and Piedmont regions who

recorded between 1926 and 1940.. The first who come to mind would be Charlie Patton, Son House, The Mississippi Sheiks, Blind Willie Johnson, Blind Blake, Big Bill Broonzy, and Blind Boy Fuller. I am also majorly influenced by the modern blues artists who keep this style of music alive: men like Corey Harris, Guy Davis, Rich DelGrosso, Otis Taylor, Alvin Youngblood Hart, and the wonderful Mary Flower.
SJ: What are some of your musical career highlights so far? MK: Being a three time semi-finalist in the solo/duo category at the International Blues Challenge has made feel very proud, also, performing with Otis Taylor multiple times in Port Townsend, WA and at the Blues Music Awards in 2009 was incredible as well. I have graciously received the John Cephas Foundation scholarship to the Centrum Acoustic Blues Workshop twice, and Im really looking forward to some main stage performances at a couple of festivals this year and to be involved with Project Blues in Columbus, OH. SJ: Any plans to release a CD in the near future? MK: I am currently recording my debut album Log Cabin Blues in my home studio with no outside help. I have been recording everything, playing every instrument, producing it, mixing it, designing the artwork and

spending many sleepless nights working to make it the best possible album I could create. Its planned to be a summer release and Im really excited about it! SJ: What are your goals? MK: My goal is to be the best possible me that I can be, and to always innovate, not imitate. I strive to constantly refine and improve my craft, and I want to continue to preserve and carry on the tradition of acoustic blues music for many, many years. I plan to shop my album to a couple of independent blues labels that Im interested in, and while working with my manager, try to attract the attention of a blues booking agency that will assist me in booking tours for several months out of the year.

SJ: In closing, any words of wisdom for other younger and older musicians?
MK: No matter how old you are, never stop refining your craft. Always seize the opportunity to perform with your elders, because they arent going to be around forever. If youre going to perform blues music, make sure you feel it, and dont put on an act, because everyone will know. Play from the soul, make every note meaningful, and give it everything youve got 100% percent of the time. Lastly, set your goals high. Think you can, or think you cant. Either way, youll be right.

25

It was really inspiring to be in a program with other kids my age with the same interests as I have, and that are all so talented. Anabella Bird Cooley The great thing about Centrum is that it doesnt matter how old or young you are, or how much or how little you know. There is really a niche for everyone there; you always have the feeling that you belong, and the reassurance that - no matter what, the blues lives on. Jesse James

Cooley, her sister Annabella Bird Cooley, Mason Turner, and Isaac Hollandsworth. I arrived at blues camp on Thursday after it started the previous Sunday. Jesse and Ian were there again on their own dime, and as part of the crew made sure the newbies were on track and having a good week. By the time I found and met the new youth musicians, they were well ensconced in the rigors of Blues Week. They were also getting a bit worn down. Blues camp does that to you. Sleep doesnt happen on a regular basis for a week.

focus on the fun in the short term. Heres how this happens: we all get involved at whatever level we can, and together, we Pass the Torch. We sent three youth to Centrum last year. We sent four this year. It is already paying dividends. Even those kids we send who do not become blues musicians will carry the blues with them wherever they go. Will you join us? Will you help our program grow with either your hands-on support or your generous donation, or both? Two years ago Zab and I committed to ten years of development of Passing the Torch. We cant do it alone. We need to send 10 young musicians, then 20, then even more if we are to have a lasting impact on the future of blues music in the Pacific Northwest. If nothing else, why not commit to sending $10 each and every month to Washington Blues Society and earmark that donation to help us Pass the Torch? If everybody waits for the other guy to help out we will have let slip by the opportunity to help todays youth become tomorrows northwest musicians and tomorrows Blues Society. This isnt the other guys responsibility. It is ours. Join us, please. We dont care who gets the credit. We dont even care if there is any credit. We just want to Pass the Torch.

Impact! The Future of Pacific Northwest Music

By Roy Brown (Photos by Zab) I can still recall when I was a kid: my folks scraping together the dough to send me to a summer camp that sounded waaaay cool. It wasnt some camp to learn math or Spanish. There was going to be fires at night, swimming during the day and classes on stuff I really wanted to do, like fly fishing, and canoeing as well as lots of hikes in the woods or along the beach. My eyeballs were glued to the ceiling all night long the week before, cause I was just too excited to sleep. As the years that used to go by at a leisurely stroll now go by with the galloping thunder of thoroughbred steeds, I have a sense of urgency to pass on what I know so that it isnt lost. I still like to fly fish, but its hard to see well enough to tie the damn fly on the leader. Now I know other things too. What I know now is a bit more than when I was just a pup. For one thing, there is an art form that is so precious I cant watch it slip away, descending Alices rabbit hole into oblivion. It is not just good drinking music. It is precisely the beginning of culture in my country. To lose the blues would be to lose a part of who we are, maybe a more precious part than an arm or a leg. As I begin to feel the years pass, paying it forward is not an obligation. It is a passion bordering on addiction. Two years ago, Dennis Zyvoloski and I sat with several others around a table at the Salmon Bay Eagles and began to talk about paying it forward. Out of those early talks came Passing the Torch. We eventually hooked up with Jon Scherrer of Seattle Teen Music and Mary Hilts at Centrum in Port Townsend. The outcome is developing every day as we find more people who are interested and want to help. We finished our second attempt to make money on St Patricks Day with a killer fundraiser at the Red Crane. We used the money we made for the second year in a row to send multiple youth musicians to the Acoustic Blues Week at Centrum in August. I would like to think our Passing the Torch youth experienced the same kind of electric anticipation of their week at Centrum that I felt as a boy on the eve of my first summer camp. I want you to meet these young musicians. I want you to understand what a special and unique week you have given them. I want you to understand what just this one short week did for them as musicians and people. Last year, you sent Ian Sandico, Nolan Garret and Jesse James Russell to Centrum. This year you added Tigerlily My most joyous impression from meeting our scholarship students was their understanding of how precious a gift this was for them; and, how grateful they were for the experience. Mason says that he met his new drummer at blues camp. That was Ian Sandico, who also plays with Jesse James. Ian and Jesse were scholarship winners last year; both were back for a second year. Mason came to camp with Tigerlily Cooley, a friend already whom he describes as a good folk guitarist. By the end of camp, Tiger was playing blues, and in fact is now playing with Mason in his band. She and her sister are also in the studio working on another ongoing project. These kids mix and match like the most professional of our Pacific Northwest musicians. Tigerlily was encouraged to pick up a bass, which she had never played before; Centrum does that to musicians: it expands horizons.

I expected Blues Camp would broaden my musical skills; what I didnt expect is how much I could grow in one week, said Annabella Bird. Her sister, Tigerlily found the experience exhilarating and maybe a bit intimidating at first. She began to find the emotional aspect of blues music in the jam sessions, and parlayed that into improving vocal success; a singer has to first find meaning and emotion in the lyrics and make them real. What the experience taught her overall was to learn to experiment and play outside her comfort zone.

You will have a chance to watch these young musicians perform in the fall or winter. The plan now is for Jesses Band to back the other youth musicians at an upcoming major WBS event. They will also be featured in the upcoming fundraiser to send more kids next year. These kids arent beginning musicians learning the ropes by doing the simplest of music. They are young, professional musicians capable of captivating your interest while they learn and ply their trade on stage.

Our youth students are the future of a legacy going back to the 1940s in the Pacific Northwest. If we are to remain a hotbed of musical talent and variety, we (meaning you and me and all of our friends and fellow blues fans) have an obligation to pay it forward. We are the responsible adults and have to understand the long term and not just

Tigerlily Cooley and and Annabella Bird Cooley (Photo by Zab)

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Above: Giordan Montero and Jesse James Left: Rafi Goldstein, Alex Hewko, Cheyanne, Ian Sanico and Issac Hollandsworth (Photo by Zab)

From Left to Right: Mason Turner, Tigerlily Cooley, Annabella Bird Cooley, Ian Sandico and Issac Hollandsworth (Photo by Zab)

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By Robert Horn

The Taste of Music 2013

end included blues acts, and some straddled the fence between blues and rock, or rock and jazz fusion. The second day of the 2013 Taste of Music featured a diverse line-up of music. A band called Shoot Jake is not an advocacy group, but a band that borrows from rock, soul, blues and funk. They are getting better known and more airplay as time goes along. This is a young band, and it will be interesting to see what they do as time goes by. Dana Osborn & Three Miles High did a great job on a lot of rock and pop cover songs, but with their own unique sound. The electronic violin and great vocals was a pleasure for music fans not demanding a rigid genre choice. They did some original songs, too, and I watched people walk over to buy their CDs with big smiles on their faces. Next up was rising blues star Karen Lovely, who is a frequent Safeway Waterfront Blues Festival performer. She is known internationally and her CDs enjoy worldwide airplay. She did some original material and some blues and jazz classics. Karens voice is especially noteworthy. The biggest name to appear was up next. Michael Shrieve is in the Rock & Roll Hall of Fame. He was Santanas drummer and legend has it that he was the youngest professional performer at Woodstock in 1969. Michael Shrieves Spellbinder includes great guitar, and keyboards, and trumpet. It also includes Farko Dosumov who is a well-known bass player in the greater Seattle and Tacoma area. There are only a few bass players who can steal a show from good lead guitar players, and Farko is one of them. With Michael Shrieve on drums and Farko Dosumov on bass, the rhythm section of this band is world class. Well, the crowd appeared to have agreed. They didnt have to sing one note to get a standing ovation after each song. IClosing the show that night was the Puget Sounds Funk and Soul band that often draws good crowds at Seattles Highway 99 Blues Club. They have a horn section and good vocals too. This band caused people to dance, and I can testify to that.

Yes, the music tasted good at the 2013 Taste of Music in Snohomish during the third weekend in August. The BBQ sauce, chicken and beer did, too. This years main stage was moved to 1st Street and Avenue A, where bands performed in front of a crowd for three days and three evenings. Friday August 16th was a perfect opening with three regionally popular blues bands. The music began with the CD Woodbury Band. CDs latest CD made the national charts, and it is starting to attract a great deal of welldeserved, national attention. Monday Night is getting national air play, his guitar playing is respected by those who have heard it. He has played in Snohomish a number of times, and like The WIRED! Band, CD Woodbury is celebrated as a local blues band making it to the next level. The second band was Delta Groove recording artist Kevin Selfe & the Tornadoes from Portland, Oregon. The power outage that temporarily delayed their show was not caused by a tornado but perhaps the ghost that is part of The Oxford Saloons legend a block away. Kevins band got going fairly soon and put on a great show. This band has a new CD called Long Walk Home, and they recently signed a contract with Piedmont Talent to be booked nationally. Kevin told some great stories introducing songs, and that added to both the humor and the drama of the music. Since it is the blues, these stories added to the songs about the joy and the pain of being alive. The third act represented the Washington Blues Society well at the 2013 International Blues Challenge (IBC) in Memphis. Sammy Eubanks performs a lot of music on the borderline between blues and country. I compare him to Delbert McClinton, and that is certainly an apt and respectable comparison. He is from the eastern part of the state where country and western music is pretty popular, too. Some of the other bands performing during the week-

At the clubs along Main Street, the music continued well into the night with more bands than any printed promo material mentioned. Walking eight to ten blocks back to my car that night, I heard live music (most often blues) coming out of places that do not usually have live music. However, I was very pleased that each club that featured live music was hoppin. Historic downtown Snohomish was as alive as Pioneer Square was in Seattle was back in its heyday. Sunday featured the grand finale, the finals of the 2013 Washington Blues Society International Blues Competition. The competition was held in accordance with Blues Foundation rules, and MC Tony Frederickson frequently reminded blues fans that the volunteer judges were applying a score sheet from the Blues Foundation to each act and that the acts were not competing against each other. CD Woodbury has performed in two different acts in Road to Memphis competition: Wide Willie Washburn (as a solo act) and the CD Woodbury Band. There was a solo/duo competition and fulll band competition. Bobby Lindstrom, Blue Mud, and the Road Dogz Duo were the solo/duo acts. The bands were Tuck Foster and the Mossrites, Bakin Phat, the CD Woodbury Band, James King & the Southsiders, Blues Playground, Brian Lee & The Orbiters, and the James Howard Band were the full bands. All these bands had the crowd cheering The band that won the judges points and went on to represent the state of Washington in Memphis came from the area east of the Cascade Mountains. With musicians that have a history worthy of the state, Bakin Phat is on its way to Memphis. Yes, that is spelled correctly. If anyone in Mempis thinks that they are from Thailand they will get a different flavor when they taste their music. The Road Dogz Duo-Sweet Danny Ray and Rafael Tranquilino-will represent the Washington Blues Society in the solo/duo competition at the 2014 International Blues Challenge. This will mark Sweet Danny Rays debut as a performer in Memphis while Rafael has toured extensively as part of the Randy Oxford Band representing Pactific Northwest blues societies at the IBC.

Acting Editors Note: The following is an initial installment in a series of upcoming articles for musicians from Suzannne Swanson, who has more than four decades experience in the music industry. By Suzanne Swanson What is about to be shared here are simple, easy to follow steps to assist all musicians. Whether you are a single, or a band, there are certain aspects in our industry that never change. Nothing new is shared here. What I have complied comes from my years of observations judging at the International Blues Challenge, held in Memphis every year, managing bands, holding an agents license, as well as filming thousands of music acts over the course of my life. Having cut my first single when I was fourteen and more of less growing up in this business, I have a certain perspective. Not all of what is given here may apply to you. The bottom-line, for me, is that I would really like to give some basic ideas that I honestly hope will generate more income for musician and, in some cases, a different way to polish your act so you get more gigs.

Tips to Show You are a Professional Musician

In no particular order, here are the suggestions. Do not be afraid to appear successful. Go see and hear popular acts in your area. You will find their production refined and as a unit, not individuals. They engage the audience, do not look at their feet, chew gum, and look as if they wish they were anywhere else. They work the crowd. When you take the stage do not wander in separately, take your instrument, and play a few riffs. That wastes the benefit of surprise. Do your sound check beforehand, entire quietly and together. Count the song in, hitting the lights at the same time, and be prepared to begin showing high energy thus making audience conversations stop. It gives a dynamic first impression that lasts. It is a given that you cannot control stages when you are travelling place to place. It is recommended that you invest in a black backdrop, making what lights are there far more effective. It can be very distracting to an audience to play in front of glass or gaming panels. You want to be the centre of attention. If you carry a lighting system with you, have everything in A-1 condition. For a non-LED system, make sure the gels are clean or new, the PAR cans should be knocked out of any dents if aluminum. Black cans can be painted should be painted if they are dirty or scratched. Keep the stage as orderly as possible. Stage clothes are important. You do not have to look like an act from Las Vegas show lounges but you do have to look as if there was care and thought put into how you separate yourself from the audience. The clothes do not have to be expensive either but co-ordinating them with your fellow band mates is important. Color draws attention to you. You do not want to appear to have just fallen out of bed or been out working on vehicles all day even if you have. Dress pants are preferable over jeans any day. The successful blues/gospel/country acts always wear suits and look as if they have already achieved success in their genre.

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Blues for Food 2013: Good Music, Good Food Good Friends
The 7th Annual Blues for Food Festival was held on Saturday August 31st at Magnuson Park along Lake Washington in North Seattle at the former Sand Point Naval Air Station. There are P-Patch gardens at this location, and that is no accident as Seattles P-Patch Trust is supported by this event. The event also assists Lettuce Link, which distributes tons of fresh produce from 80 community gardens to area food banks. Years ago Bumbershoot de-emphasized blues in its lineup, but the demand for blues music during Labor Day weekend remained strong. Blues fans were talked about creating their own event. Regarding a potential location, many Washington Blues Society members talked about the success of the Safeway Waterfront Blues Festival in Portland - and these conversations began about ten years go. Over time, the property at Magnuson Park grew to host a number of blues events, and this year, Blues for Food staged its most successful one-day blues festival yet in its seventh year. Deb Rock had been coordinating the Giving Garden program for many years, and with Cholo Wilson and Billy Stoops, they launched the plan for Blues for Food. This year looked like the biggest crowd so far. It sure looked like a success. The advanced tickets went for $20 and day of show tickets were $25. Will there be a Blues for Food Festival next year? I have been told that this could be the last one. If it is to be continued, it depends not only on corporate sponsorship, but also community support. Some of the sponsors this year included Whole Foods, DML Insurance, Nikos Gyros, Sierra Nevada Brewery (and people loved their beer in the beer garden) among others. If you have a corporation that wants to make sure this event continues, please contact Deb Rock. The music was good as usual with three guys opening the show: Billy Stoops, Nick Vigarino, and Hambone Wilson formed the opening act Among serious blues fans who are partial to genuine blues music and insist on a high level of talent, the T-Town Aces are a favorite. It has a solid rhythm section with David and Egor, and four of these guys have all the skills that a band leader needs. Dennis Ellis (Sax and vocals) is starting a restaurant in Tacoma and there will be music there when it opens. Steve Baily (harmonica, vocals, and guitar) has a history as one of the premier blues front men in the area. Tom Boyle (who got a couple years of guitar lessons from the legendary Ronnie Earl before getting on stage years ago) is one of the great rhythm guitar players on the West Coast. The T-Town Aces did both original and blues classics like usual. Polly OKeary and The Rhythm Method put on a show that had people come up to her afterwards to tell her how they loved her performance. Seattle Slim was on guitar and Polly did the vocals while playing bass. A special treat came from Louisiana: Curley Taylor & Zydeco Trouble brought out people who are into Zydeco dancing and all available dance space was full. There are people who call each other when a genuine Zydeco dance band is in the Seattle area and by now I recognize familiar faces among them when that happens. This is one of the countrys great Zydeco bands so it was significant they were at this event. The Delgado Brothers had a couple events this weekend in the area and one of them was at Blues for Food. If you like great guitar playing in front of a great rhythm section with both drums and percussion this is a band you may love. They also had a special guest that Blues for Food has had the pleasure of featuring many times before. The timeless Patti Allen is one of the great entertainers in the blues scene and put on a great show. Her vocals are fine but her stage presence and act with the bands she gets on stage with is at a level worthy of the national stage. The closing act was from northern Washington State, Fat James and Fatback. This band featured two exceptional guitar players: Fat James and Johnny Brewer. Fat James is one of the most respected guitar players among good guitar players around this region and always has been. During Blues for Food, Bothell hosted its second first blues festival. Every weekend during the spring and summer in Washington State there is some good blues somewhere. Hopefully, there will be many Blues for Food Festivals to come, and I hope it will grow and grow to become bigger and bigger. The cavalry has to come to the rescue, and you (the reader) may need to volunteer to enlist to help Blues for Food succeed for many well-deserved years to come.

By Robert Horn Photos by the Blues Boss

and

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Page 30: Curley Taylor (top), Dennis Ellis (bottom) and Nick Vigarino (lower right) Page 31: Billy Stoops (Upper Left), Patti Allen (Upper Right), Joey Delgado (Lower Left) and Fat James (Lower Right) - Photos by Blues Boss

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