You are on page 1of 17

S cientist and Artist : an Inter v ie w w ith Brian L e e A Giant Named Short y S on House: Arcola CD E xplores the L egac y of a Bluesman

Featured Articles

On the C over : Brian L e e

by L addy Kite

In This Issue...

Celebrating 23 Years of Blues
February 2013 Bluesletter
Vol. XXV, Number II
Publisher Editor & Art Director Secretary Calendar Advertising Printer Washington Blues Society Jesse Phillips (jesse@jessephillipsdesigns.com) Rocky Nelson Maridel Fliss (mflissm@aol.com) Malcolm Kennedy (advertising@wablues.org) Pacific Publishing Company www.pacificpublishingcompany.com Maher, Doug Bright, Pinetop Perkins Foundation and Son Jack, Jr.

1989 - 2013

Pinetop’s Centennial Birthday Letter from the President A Giant Named Shorty The Legacy of Son House Festival Preview: Walla Walla

5 7 8 10 12

Winterfest Blues Festival January Blues Bash Blues CD Reviews A Jones Family Christmas 34th Blues Music Awards Nominees

13 14 16 17 18

Calendar Blues on the Radio Dial Jam Guide Venue Guide Talent Guide

20 21 22 22 23

Jamboree @ the Beach Science and Artist: Brian Lee The Torch:Nolan Garrett BB Awards Nomination & Ballot

25 26 28 30

Contributing Writers: Robert Horn, Eric Steiner, Malcolm Kennedy, Rick Bowen, Tim Contributing Photographers:
Pinetop Perkins Foundation, Blues Boss, Suzanne Swanson, Laddy Kite Brian Lee by Laddy Kite

Cover Photo:

On the

Cover:
Letter from the Editor
January is the worst month of the year, at least for me. It’s dark out, the holiday decorations have all come down and the house just seems bare and lonely. Luckily, I had the blues to get me through. February can be hard too, in the dark Northwest winter, but this month we have so much going on there’s no time to sit on the couch and huddle under a blanket - there are places to go, bands to see and dancing to be done! A new venue (Top Shelf Broiler) has opened in Kirkland with live blues music on Thursday nights, Son Jack Jr. has whispered into the wind that his next single will be coming out soon and the new Arcola CD pays homage to the great Son House; there’s Jazz Alley, the New Orleans, Highway 99, H2O and the Scotch and Vine (with whiskey tasting guaranteed to knock you off your stool.) And of course, the Blues Bash (which I sadly struggle to get to each month) that is the high point of the blues community, in my opinion. Nothing like sitting around a room with blues lovers, good food, better drinks and live blues. And, of course, this is the time of year when the WBS heads to Memphis to support our bands at the International Blues Challenge- if you are able, you should be there to join the party. The stories that come back from that trip every year are fantastic! (I can even print some of them...) So, whatever you’re doing in February, make sure you get out and support the amazing bands that keep our toes a’tappin’. Until next time, Jesse Phillips, Editor Washington Blues Society Bluesletter

Brian Lee by Laddy Kite Laddy Kite is a longtime blues enthusiast who attends monthly Washington Blues Society Blues Bashes and blues festivals throughout the Pacific Northwest. He’s also a frequent contributor to the Bluesletter, and the shot of Brian Lee is Laddy’s first Washington Blues Society Bluesletter cover. After 33 years as a photojournalist at KING 5 TV in Seattle, Laddy Kite has retired. Now that Mr. Kite has retired from a day job that has taken him all over the world (he’s filmed and videoed presidents, deliveries of new Boeing aircraft, meetings of heads of state and the 1984 Papal Visit), we at the WBS all hope he’ll have time to volunteer more for the Washington Blues Society.

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, submitter’s 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 2012 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
3

2

Guides the Fourth Annual Master Class Workshops in 2013
The Pinetop Perkins Foundation is pleased to announce the leaders for the Master Class Workshops for 2013. Pinetop Perkins was a Grammy® Awardwinning blues pianist, who influenced scores of blues artists in his wake. He performed with Muddy Waters, among others, and his entrenched relationship with the blues catapulted him to the top. Though he died in 2011, his spirit and musical gift is indelibly tied to music. The Pinetop Perkins Foundation is pleased to host the fourth annual Master Class Workshops, where blues musicians can continue the legacy of the late Pinetop Perkins on the year of his centennial birthday. Held each year on the grounds of the Hopson Commissary and the Shack Up Inn, the master class workshops are open to both adults and youth over 12. This year it will be held from June 14-16, beginning with a reception on the evening of the 11th. The workshop features nightly jams and a final performance at the world famous Ground Zero Blues Club in Clarksdale. Bob Margolin returns to lead the guitar workshops and Gary Allegretto puts in his second year with the harmonica workshops. The piano workshops this year will be led by Daryl Davis. Scholarships are available for youth 12 to 21. Last year the Foundation gave out 21 scholarships to young musicians from 17 different states. The expectation is that scholarship applications will increase again this year, so the Foundation has launched several fund raising efforts. There will be a 100th birthday celebration in Memphis on May 10th--the weekend of the Blues Music Awards--to raise funds for both the Pinetop Foundation youth workshops and for the Blues Foundation Generation Blues. Donations for Pinetop Foundation Workshop scholarships can be directly from their website (www.pinetopfoundation.org) where you can also purchase merchandise to help support the Foundation’s efforts. Additional information, workshop leader bios, along with Registration and Scholarship forms can also be found on the website. The Pinetop Perkins Foundation is a tax-exempt non-profit organization. Its mission is to provide encouragement and support for youth and young people at the beginning of their musical career; and help provide care and safety for elderly musicians at the twilight of their career.

Pinetop Perkins’s Centennial Birthday

4

Photo Courtesy of the Pinetop Perkins Foundation

5

February 2013 DEADLINES:
Advertising Space Reservations: February 5th malcarken@comcast.net Calendar: February 10th calendar@wablues.org Editorial Submissions: February 5th - editor@wablues.org Camera Ready Ad Art Due: February 12th - editor@wablues.org Camera ready art should be in CMYK format at 300 dpi or higher.

Washington Blues Society
Proud Recipient of a 2009 Keeping the Blues Alive Award from The Blues Foundation President Vice President Secretary Treasurer (Acting) Editor 2013 Officers Eric Steiner Tony Frederickson Rocky Nelson Chad Creamer Jesse Phillips president@wablues.org vicepres@wablues.org secretary@wablues.org treasurer@wablues.org editor@wablues.org
Hi Blues Fans! I wanted to thank Bluesletter readers and Washington Blues Society fans who attended last month’s Blues Bash at the Red Crane Restaurant in Shoreline. The Norris and Nicely Duo and Sammy Eubanks, our 2013 International Blues Challenge competitors, provided us with great Memphis-ready sets as they continued to work on their “A-game” for Beale Street. In my eight years’ volunteering for the blues society, we’ve not had a more successful, standing-room-only monthly Blues Bash. I was also pleasantly surprised that our audience was very generous by donating a record amount of tips for our “tip guitar case” that we divided up by individual performer at the end of the meeting.

Advertising Rates:
Graphics: Text: Full Page: Half Page: Back Half Page: Quarter Page: Fifth Page: Business Card: ADD COLOR: 300 dpi PDF, TIF or JPG Plain .txt or Word $260 (8.5” x 11”) $150 (8.5” x 5.5”) $200 (8.5” x 5.5”) $90 (4.25” x 5.5”) $65 (4.25” x 3.5”) $25 (3.5” x 2”) ADD 25%

2013 Directors Music Co-Directors Cherie Robbins & Janice Cleven Gage Membership Michelle Burge Education Roy Brown Volunteers Rhea Rolfe Merchandise Tony Frederickson Advertising Malcolm Kennedy Downtown Seattle West Seattle Eastside Northern WA Penninsula South Sound Central WA Eastern WA Ballard Lopez Island Middle East Eastside Webmaster Web Hosting WBS Logo

music@wablues.org membership@wablues.org education@wablues.org volunteers@wablues.org merchandise@wablues.org advertising@wablues.org

We’ve Got Discounts! 20% off- 12 month pre-payment 15% off- 6 month pre-payment 10% off- 3 month pre-payment Contact: advertising@wablues.org We value your business. Please send all advertising inquriries and ad copy to advertising@wablues.org with a copy to Malcolm “Yard Dog” Kennedy at malcarken@comcast.net

THANK YOU FOR READING THE BLUESLETTER AND SUPPORTING LIVE BLUES IN THE EVERGREEN STATE!
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? We’d like to help. While we cannot predict when or if a review will land in the pages of the Bluesletter, we’d 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

2013 Street Team Tim & Michelle Burge blueslover206@comcast.net Rev. Deb Engelhardt deb@revdeb.com Vacant Lloyd Peterson freesprt@televar.com Dan Wilson allstarguitar@centurytel.net Smoke smkdrms@aol.com Stephen J. Lefebvre s.j.lefebvre@gmail.com Cindy Dyer cindalucy@hotmail.com Marcia Jackson Carolyn & Dean Jacobsen cjacobsen@rockisland.com “Rock Khan” rocknafghanistan@gmail.com Liz Caraway lizcares@juno.com Special Thanks The Sheriff webmaster@wablues.org Adhost www.adhost.com Phil Chesnut philustr8r@aol.com

Our all-volunteer Board of Directors and Officers work strive to provide the best service and value-add to our members, and I hope that many Bluesletter readers and Washington Blues Society members appreciate periodic email blasts from Vice President and Merchandise Director Tony Frederickson. Tony’s mastering a new email tool called Mail Chimp, and if the audience at last month’s Blues Bash is any indicator of its early success, I think it is a good way to keep members informed of Washington Blues Society events. Now, I know that blues society Secretary Mary McPage has a wellknown affinity for all things monkey, but this Mail Chimp tool may help us recruit new members, reconnect with former members, or just simply inform people about blues events from time to time. I’ll close my Letter from the President with a specific “ask:” this Spring, I’d like to recruit understudies for the Washington Blues Society Treasurer and Advertising Director positions. Chad Creamer has graciously returned after a short absence, but he’s interested in supporting the blues society in other ways (such as staffing our merchandise booth at select blues festivals). Same thing with Malcolm Kennedy: I mean no disrespect to the “Yard Dog,” but he’d like a volunteer with experience designing and selling advertising, as well as with higher-order skills in the right computer programs to add value for our valued advertisers. Our Board of Directors meetings are generally the first Thursday of every month, and we’ve rotated them from the Salmon Bay Eagles in Ballard or the Oso Restaurant inside Third Place Commons in Lake Forest Park. The Treasurer and Advertising Director are important behind-the-scenes positions at the blues society, and I encourage Bluesletter readers and members with experience in QuickBooks, PhotoShop, or InDesign to consider lending a hand. Until next month, go support live blues music! Eric Steiner, President, Washington Blues Society Member, Board of Directors, The Blues Foundation

6

President

Letter from the

7

a named Shorty
Article by Robert Horn Photos by Suzanne Swanson

giant

On September 8, 1939, David Kearny was born in Houston, Texas. When he was six years old, his parents split up, but they remained friends their whole lives. Actually, I like it when it goes that way. He moved to Florida with his dad, and he heard his uncle play blues music. David started learning guitar. He played on stage in clubs by the time he was 13, and he was in the Ray Charles Band by the time he was 17. At that age he also recorded a single under the direction of Willie Dixon on the Cobra label, “You Don’t Treat Me Right.”. When asked what Willie Dixon taught him, he said “He taught me how to create. I didn’t

know at the time how to put feeling into the music. He told me I had a lot of talent and he could see it. I’m very thankful that he took me under his wing.” Under such a wing giant eagles could be raised. David’s career exploded after that: he went on to play with Otis Rush, Guitar Slim, Johnny Guitar Watson, Sam Cooke, T-Bone Walker, Little Richard, Big Joe Turner, B.B. King, and John Lee Hooker. As David was younger and shorter than the giants he played with, a club owner called him “Guitar Shorty,” and it stuck. Nicknames like “Shorty” or “Fat” or “Slim” or “Big” are so common with blues greats that if someone wanted to create a real original blues name, it would most likely have to be something like “Average Size Sam” or “Medium Size Melvin.” Early in his career, he’d do somersaults and back flips to the delight of audiences across the world.

There were many great moments in his career and his early days. One of my favorites is about what happened when he was playing at a place called the Continental Showcase. A waitress came over one night and said “There’s a girl that wants to talk to you, she’s coming every weekend just to hear you sing She requested a song and gave a $20 tip to sing it, and passed a note to come to her table”. That got to be a regular thing and they started dating. They got married in 1962 and she kept telling him about her step-brother. Marsha Hendrix told “Guitar Shorty” to meet her step-brother. He was a guitar player from Seattle, too. His name was Jimi. When they met, Jimi said “welcome to the family brother. I’ve been watching you for a long time.” Hendrix would go AWOL from the Army and watch Shorty and have other guys cover for him. Jimi was learning from his brother in law and he was growing into one of the most recognized rock guitarists of all time. I pass a statue of Jimi Hendrix near my office every day in Seattle. In addition to influencing Jimi

Hendrix’ guitar wizardry, Guitar Shorty also mentored players like Buddy Guy. Guitar Shorty has been nominated for a number of Blues Music Awards (and its predecessor, the W.C. Handy Awards). Last year, he was honored in the “Song of the Year” category for “Please Mr. President,” from his Alligator release Bare Knuckle. At the 28th Blues Music Awards, he was nominated in the following categories: Contemporary Blues Album of the Year for We the People, Contemporary Blues Male Artist of the Year, and Instrumentalist, Guitar. At the 26th W.C. Handy Blues Awards, Blues Foundation voters nominated his Watch Your Back as Contemporary Blues Album of the Year. Guitar Shorty picked up his first statuette at the 13th Annual W. C. Handy Blues Awards for Best Contemporary Blues Album (Foreign) for My Way or the Highway, an honor he shared with Otis Grand on the British JSP label. He has produced new CDs prolifically and brings recent ones with him on the road. Guitar Shorty’s more recent releases include three critically-acclaimed discs on Alligator

Records: Bare Knuckle, Watch Your Back, and We the People. I had the good fortune to meet up with Guitar Shorty during his December 15th show at the Highway 99 Blues Club in Seattle. His set lists are diverse, and include a sampling of blues songs old and new. I was pleased to see a long line of blues fans buying CDs from him at that show. Before the first note was played, the Highway 99 Blues Club was packed. All the seats were full and extra people stood everywhere, including many on the dance floor that would soon be even more packed full of people. He had a drummer from The Who and a bass player from The Temptations, and I got a few minutes with his rhythm section. Speaking of the rhythm section in his band, while on the dance floor I noticed that we were all moving to their rhythm and looked at them as they looked at all of us on the floor. We were all moving as their music directed us to and the three of us nodded our heads to communicate that I knew they knew that, and they knew that, I knew that they knew that… ( In talking to band members later in the evening, we discussed the role of the rhythm section and how they did their work in this band).

Guitar Shorty’s set included a number of great blues songs, including “The Blues Have Got Me” and “Hey Joe”. With all the partying and dancing going on even a writer can get distracted from writing down all the song titles and start concentrating on a body dancing in front of him (or her). Guitar Shorty noticed the women too and walked into the crowd to have his guitar speak to them in perfect English. They would respond and his guitar would respond to that, and it went on and on. That was entertaining too. He was on the dance floor dancing with his guitar with people all around him too and the packed room loved it. In addition to the fun of the music I heard the soul of it enough to be reminded again that this music is not just entertainment, it goes deeper than that. The riffs of good blues guitar say that music understands the human essence and what we all need. The blues can be fun but it far more profound than fun. Guitar Shorty is the real deal. When he comes this way again, please come to where this giant is standing. And playing!

8

9

Arcola CD Explores the Legacy of Bluesman Son
In March 1968 the Seattle Folklore Society, less than two years old at the time, presented legendary bluesman Son House in concert. He had been located in Rochester, New York four years earlier by blues scholars after decades of musical inactivity and, due to the folk music revival that was sweeping North America and Britain, was now enjoying more fame and fortune than he could ever have imagined while coming of age in his native Mississippi. “I was not content anywhere long,” he recalled. “I was young and just loved to ramble.” “According to one reviewer, this performance is the best of his recorded powers after his rediscovery,” observed Bob West, who hosted a blues show on KRAB-FM at the time and helped produce the Seattle show. Thanks to West and his Arcola label, the performance is now available on a fascinating twodisc retrospective called Live in Seattle 1968, which also includes West’s 1968 interview with House and early recordings of his most relevant contemporaries. Eddie James “Son” House Jr. was born March 21st, 1902 near Clarksdale in Coahoma County, Mississippi. Following in the footsteps of his father, a part-time preacher, the younger House was preaching and singing in various Baptist churches by age sixteen. Although James Sr. played bass horn for dances in a brass band with his seven brothers, his namesake showed no instrumental inclinations until he took up blues guitar at the age of 25. “I didn’t like no guitar when I first heard it,” Son once recalled. “Oh gee, I couldn’t stand a guy playin’ a guitar!” House covered a lot of ground during his youth. When his parents divorced in 1910, he moved with his mother and brothers to Louisiana, returning to the Mississippi Delta around 1920 after his mother’s death. For the next six years he was on the move, doing plantation labor, tending cattle, and even journeying to St. Louis to work in a steel plant. By 1926, however, Son House was back home in Mississippi with a new attitude toward music. According to one story, it all started at a house party near Clarksdale in the town of Lyon when, under the inspiration of corn whiskey, he launched into a blues vocal rendition and was rewarded with some tip money. By the following year, he was ready to try his hand at blues guitar, and luckily, there were three good practitioners of the art nearby: James McCoy and Willie Wilson, who never recorded, and Rube Lacy, who is represented on Disc 2 of the Arcola package by “Ham Hound Crave,” cut for Paramount in 1928. A native of Rankin County near Jackson, Lacy had learned the blues as a teenager from an older musician and now, though only a year older than Son House, was a seasoned performer. Although McCoy was his main teacher, House apparently drew his initial inspiration for the slide-style guitar technique from Lacy. Like most exemplars of the art, Lacy and Wilson wore a bottleneck on one finger and slid it up and down the strings to produce a steel guitar effect, but House soon decided he preferred a metal bar of the type used by conventional steel players. “Rube Lacy, he’s the guy that gave me the idea, “House recalls in his interview with Bob West. “He’s playin’ with a medicine bottle. I started off tryin’ it and broke the thing and cut my finger. I liked the sound of it so well I says, I’m gonna think of a better remedy than this.” In 1929, after serving time for a shooting death in which he pleaded self-defense, Son house returned to the career he had started in local juke joints. By this time he had heard records by popular bluesmen Blind Lemon Jefferson and Charlie Patton and was probably performing their songs. In Early 1930, while visiting an aunt in the town of Lula, he sought Patton out and, as a result, was introduced to another Delta bluesman, Willie Brown. Brown, whose guitar skills put him in high demand as an accompanist, got along well with House, and they started working together. “We’d play all night long and get a dollar and a half or two-and-a-half and all the corn whiskey we could drink,” he told Bob West in the Arcola set’s interview. By the time Son House met him, Charlie Patton had achieved relative superstardom on Paramount Records, a budget label from Grafton, Wisconsin specializing in “race music” for the African-American market. So popular was he, in fact, that Paramount released a new Charlie Patton record every month from January through August despite the onset of the Great Depression. Willie Brown had backed him on some of these sides, so when Paramount invited them back to Grafton that summer for another session, they persuaded label executive, A.C. Laibley, to audition House and local barrelhouse pianist and singer Louise Johnson. As a result of the trip to Wisconsin, Son House cut at least nine sides for Paramount. The first release, the two-part “Dry Spell Blues” powerfully commented on , the plight of Southern farmers’ facing the summer’s uncommonly severe drought. “The people down south soon won’t have no home,” Son warned,”when this dry spell has marched on and come and gone.” House’s second release, the two-part “Preachin’ the Blues,” illustrated the deep inner conflict he had experienced between his religion and the harddrinking, womanizing life of the bluesman. “Oh, I went in my room, I bowed down to pray,” he confided, “but the blues came along and blowed my spirit away.” Part One of his next record, “My Black Mama,” is sampled on the second disc of Bob West’s Arcola package, and one insightful verse indicates a resolution to his conflict, at least temporarily. “There ain’t no heaven, ain’t no burnin’ hell,” Son summarized. “Where I’m goin’ when I die, can’t nobody tell.” House also appeared in a different capacity on two of the four sides recorded at the Paramount session by Louise Johnson, whose “All Night Long” can be heard on Disc 2 of the Arcola set. House had met her while working with Willie Brown in Robinsonville, Mississippi, and during the trip to Wisconsin he had become romantically involved with her. A native of rural Tennessee, the 22-year-old Johnson had been playing for dances at a place called Joe Kirby’s Plantation on Highway 61 and at first found it hard to adapt to the more sterile environment of a recording studio. “She was a good piano player,” House tells Bob West in the 1968 interview, “and she was nervous. I was doin’the cheer to back her up. Every now and then I says, “Oh yes! Play it, gal! “and that made her pick up a little bit. Willie and Charlie was settin’ off to the side, and I was right next to the piano.” Neither Son House nor Louise Johnson made any more records for Paramount, and after she moved to Stacy, Arkansas in 1931 he lost touch with her. By 1932, the record company had succumbed to the ravages of the Depression, but for House the trip to Wisconsin had been worthwhile indeed. “My check was forty dollars,” he tells West in the

interview. “I never will forget it: forty dollars and expenses! That was a lot of money then: I was a bigshot!” After their Paramount session, Son House and Willie Brown continued to play weekend dance parties from Mississippi to Arkansas to Tennessee, sometimes bringing in a trombonist and a drummer. It was at just such an event in Robinsonville that they met a teenager named Robert Johnson. “He could blow a harmonica good at that age,” House recalls in the interview, “but he got the idea that he wanted to play the guitar. His mother and father didn’t like for him to be out on a Saturday night. Well, he’d let them go to sleep, and he’d crawl out the kitchen window and find me and Willie Brown.” Instead of sitting in with them on harmonica, Johnson grabbed one of their guitars while they were taking a break. “He’d be bangin’, couldn’t play with it, just noise,” House recalls. After House and Brown reluctantly gave him a couple of lessons, he escaped the strictures of his parents and ran off to Arkansas, where he did farm work, bought himself a guitar with some of the proceeds, and found an older musician who helped him continue his studies. House didn’t see him again until he showed up, guitar in hand, at a gig. They were playing in Banks, Mississippi, just east of Robinsonville. Once again, with considerable skepticism, they allowed him to play during their break, but this time the result was quite different. “This is the Terraplane Blues,” he announced, and as he played, the two older bluesmen listened in open-mouthed astonishment to the improvement he showed. “Well ain’t that fast!” House marveled. Johnson grew

House
By Doug Bright

to become the most enduringly famous of the Delta bluesmen, and his classic recording of “Terraplane Blues”, which celebrated a short-lived but popular automobile of the day, appears on the second disc of the Son House Arcola package. Son House’s next session took place in 1941 while folklorist Alan Lomax was traveling through Coahoma County recording ethnic performers for the Library of Congress. One of the artists he discovered was young McKinley Morganfield, who achieved blues immortality after coming to Chicago and made a name for himself as Muddy Waters. When Lomax asked him the origin of one of the songs they had recorded, Morganfield directed him to Son House, who was driving a tractor by day and still playing dances with Willie Brown and other locals on weekends. Two recording sessions resulted: one in September 1941 and the second In July 1942. They documented Son House in a delightful variety of settings. Some tracks, like “Levee Camp Blues” and “Government Fleet Blues”, featured him singing an impassioned tenor and playing slide guitar in a band context with Willie Brown on second guitar, Fiddlin’ Joe Martin on mandolin, and Leroy Williams contributing some wailing harmonica. “Depot Blues”, on the other hand, was sung in a brooding baritone and played in the standard guitar tuning without the slide. On “Special Rider Blues,” the brooding baritone became a resonant bass. In 1943 Son House, by now a family man, moved north in search of better economic prospects and found a job with the New York Central Railroad. For the first nine years he made occasional trips to visit his friends in Mississippi, but after Willie Brown’s death in 1952, House severed his connections with the South altogether. By this time a young white folksinging group called the Weavers had scored a huge hit with “Goodnight Irene”, kicking off a folk

10

11

Festival Preview:
...Continued

The 2013 Coyote Kings Walla Walla Guitar Invitational

Arcola CD Explores the Legacy of
revival that would, in twelve more years, resurrect Son House’s musical career on an international scale. By 1964 several ethnic artists who had been recorded in the 1920’s,including House’s fellow Mississippian John Hurt, had been rediscovered and presented to eager collegiate audiences at venues like Rhode Island’s famed Newport Folk Festival. It was during the spring of that year that Al Wilson, who eventually co-founded the blues revival band Canned Heat, and Dick Waterman, editor of the folk music magazine Broadside, made a pilgrimage to Mississippi with another colleague. Unable to locate Son House there, they acted on a tip to call his stepdaughter in Detroit, and she, in turn, put them in touch with the master bluesman they were seeking. It had been many years since House had picked up an instrument and according to Allmusic.com historian Cub Koda, Wilson “literally sat down and retaught Son House how to play like Son House.” Nevertheless, the dawn of the following year found House ready to perform again. In an appearance on January 3rd at New York’s Gaslight Cafe`, which didn’t emerge on record until 2000, both his voice and guitar sounded rather tentative at the start, but as the concert progressed, most of the fire that had characterized his old recordings had returned, even if his voice was now pitched somewhat lower. On his first studio album, recorded in April for Columbia and entitled The Legendary Son House: Father of the Folk Blues, the intensity was more consistent. By the time he made his Seattle appearance in March of 1968, House had participated in two Newport festivals, played Carnegie Hall, and toured Europe. Consequently, the Seattle Folklore Society concert found him at the top of his game, compellingly reworking the material he had recorded for Paramount and the Library of Congress, often recombining verses with the spontaneity characteristic of the original folk blues. If it all seemed to hinge on a single theme, there’s a reason.

Bluesman Son House

The 2013 Coyote Kings Walla Walla Guitar Invitational kicks off on Friday, March 8th at 7 PM at Sapolil Cellars and the Walla Walla Elks, with Kevin Selfe & the Tornadoes, Billy Stoops & the Rectifiers, Tommy Hogan Band, The Wasteland Kings, The Randy Oxford Band, and Iguana Hat. On Saturday, the acoustic showcase begins at noon at Vintage Cellars with The Dakota Brown Band, and Pat Coast will play at Sapolil Cellars. The “Large” Show begins at two o’clock at the Walla Walla Elks with the Coyote Kings w/Mush, Bakin’ Phat, Alice Stuart & The Formerlys, and Snake Oil Blues Elixir. The Guitar Crawl begins at eight o’clock at Sapolil Cellars with The Randy Oxford Band, Pappa Frita & the Hot Mustard, at VFW Post 992 with Franco Paletta & the Stingers and the Tommy Hogan Band. The Walla Walla Elks features Lisa Mann & Her Really Good Band along with the Winston Barrett Project. The party continues with Franky Joe Stiffler at Vintage Cellars at nine with an allstar jam from midnight ‘til 1:45 AM. Everyone who buys a ticket to the festival will also receive one ticket in the drawing, with more available for purchase! Prizes include: two guitars, a weekend BnB getaway, tickets to other Pacific Northwest blues festivals, a gift certificate at Lotus Clothing and Jewelry, food, plus many, many, many bottles of Walla Walla wine! The Coyote Kings Invitational Walla Walla guitar festival is brought to you by Coyote Kings with Mush Morgan, Wee Willy’s Music Enterprise, The Walla Walla Blues Society, Tourism Walla Walla, The Marc, CH2M Hill, Abajian Motors, Blazing Guitars, Lotus Clothing & Jewelry, The Fischer House, The Maple Counter, Coyote Cabs, The Cascade Blues Association, The Washington Blues Society, The Inland Empire Blues Society, The South Sound Blues Society, Blues Therapy Radio Show, Big Groove Blues & Roots Show. The venues for this year’s festival are: Sapolil Cellars at 15 E Main Street, Walla Walla Elks Lodge at 351 E Rose Street, the Walla Walla VFW at 102 North Colville Street, and Vintage Cellars at 10 North 2nd Avenue. The Walla Walla Guitar Festival has extended a special discount to Washington Blues Society members: the discount code is MEMBERS and this code will save $2 per ticket when ordered online!

2013 Winter Blues Festival Preview:

Bigger & Better!
By Eric Steiner (special thanks to LeeAnn Gibbons)

“It ain’t but one blues,” he told his listeners. “It’s only one, and it consists of between male and female.” The Seattle audience also discovered some new songs in the Son House repertoire: “Empire State Express”, first issued on the 1965 Columbia album, begins here with a disclaimer: “I used to work for the New York Central, but this didn’t happen to me. I worked for the company that same time, and that’s why I made this song about the Empire State Express.” On the other hand, “I Want to Live So God Can Use Me,” sung with great conviction and accompanied by House’s vigorous hand-clapping backbeat, may well be the most powerful gospel rendition of his recorded career. The concert was recorded with a microphone placed on or near the stage rather than being taped directly from the sound system. Since House didn’t always speak up when he reminisced or commented on life, love and the blues that graced this concert, the listener has to crank up the volume and treble controls to hear them clearly, but the effort is well rewarded. House was obviously quite comfortable with his audience at this show, and it could be argued that the ambiance of the room on this recording actually enhances its intimacy. The detailed biographical liner notes, cowritten by Dick Waterman, complete an in-depth portrait of one of blues music’s most influential legends. Live in Seattle 1968 is available from, Seattle’s www. arcolerecords.com, www.barnesandnoble.com, www. amazon.com, and other blues resources. Special thanks to Doug Bright for allowing the Bluesletter to reprint this article from the Seattlebased Heritage Music Review. Please visit www. heritagemusicreview.com for more information and to subscribe.

The second annual Winter Blues Festival in Portland, Oregon, features 16 bands on two stages. It’s also an opportunity to celebrate the 36th anniversary of Portland-area promoters’ Positively Entertainment and Dining. You might have heard the buzz about this new blues festival in the Pacific Northwest: it’ll be held February 15-16 at the Bob White Theatre, 6423 S.E. Foster Road in the Rose City. Last year’s inaugural festival featured 12 bands over the two-day period, and this year’s event builds on the success of last year’s blues festival. “This year’s Winter Blues Music Festival shaping up to be bigger and better,” says LeeAnn Gibbons, coordinator of the Winter Blues Festival. “This year’s national headliners include Alligator Recording artist Janiva Magness and young St. Louis blues sensation Marquise “Man Child” Knox. We also have International Blues Challenge competitors like Lisa Mann’s Really Good Band (with Diane Blue, Karen Lovely, and Vicki Stevens (joined by fellow Northwest Women in Rhythm and Blues artist Sonny “Smokin” Hess).” The event also features a ‘who’s-who’ of Portland-area bluesmen and blueswomen, including Kenny Lee & The Sundowners, Stillwater Vibes, Deep Blue Soul Revue, James Clem, Ellen Whyte, Joanne Broh and Jerry Zybach, Rich Layton & The Troublemakers, and AC Porter & The Livewires. As the February Washington Blues Society Bluesletter was going to press, many of the artists on the bill were in the process of inviting some special guests to join them onstage, and when that happens… blues magic is sure to happen. There are plenty of reasons to enjoy the 2013 Winter Blues Festival: not only to shake off those wintertime

blues with some great music, but also to tide blues fans over ‘til the 2013 Safeway Waterfront Blues Festival. This year’s Winter Blues Festival benefits three charities this year: the Oregon Food Bank, the Children’s Healing Arts Project, and the Oregon Music Hall of Fame. The Oregon Food Bank takes a holistic approach to ending hunger by bringing our community together to provide food, education and hope to our neighbors in need. The food bank provides emergency food to people who are hungry through a cooperative statewide network of hunger-relief agencies, helping one in five households fend off hunger. The Oregon Food Bank also leads statewide efforts to increase resources for hungry families and to eliminate the root causes of hunger by advocating for fair public policies, strengthening community food systems and providing nutrition and garden education to help people become more self-sufficient and resourceful. In fiscal year 2010-2011, the four regional branches operated by Oregon Food Bank distributed 21.6 million pounds of food to 351 agencies throughout Multnomah, Clark, Clackamas, Washington, Malheur and Harney counties The Children’s Healing Art Project provides opportunities for children with medical challenges the chance to express themselves through creative projects like the Monthly Art Club. As part of its innovative “Art in Portland’s Children’s Hospitals Project, the Children’s Healing Art Project offers one-on-one classes for children in isolation and group classes in playrooms, lobbies and waiting rooms. Classes include drawing, painting, sculpture, computer animation, beading, mask making and jewelry. These classes offer a place where nervous energy is transformed into creative energy. Our

common language is based in the creative process of making art, which crosses all gender, age, and cultural, religious and ethnic boundaries. The Children’s Healing Art Project classes offer an art experience that engages and inspires -- where children can be seen for their artistic talents and not for their diseases, diagnoses or disabilities. This charity also has a number of other arts activities for children, including Animation Camp, Art Birthday Parties, the Holiday Bizarre, Art Rugs, Helping Hands, and the Million Bead Project. The Oregon Music Hall of Fame is a non-profit organization that was created to help preserve Oregon’s unique musical heritage. The Hall of Fame recognizes and promotes the legacy of exceptional Oregon musicians of the past, promote promising new Oregon musicians of today, and to enrich Oregon music education programs in order to train musicians of tomorrow. The Hall of Fame supports young musicians through music education scholarships for Oregon residents and the organization’s web site has this year’s scholarship application online with a February 11, 2013 deadline. Auction and raffle items will be available throughout the blues festival to help blues fans further support these exceptional Oregon charities. Specially-priced early bird tickets, more information, and supporter packages are available on www. winterbluesfest.net and www.tickettomato.com.

12

13

Sammy Eubanks Band

NicelyNorris

The January 2013

Tony Frederickson brought in a bag the size of Santa’s (Oh, now I figured out who Santa is it’s Tony!). It was full of CDs to give away. “Ho Ho Ho, By Robert Horn, Photos by Blues Boss blues CDs to all, and to all a good night.” It took The Bluesbash: A Great Blues Beginning for 2013 longer to give the CDs away than I think it would take reindeer to fly world-wide, but that was OK Washington Blues Society President Eric Steiner because nobody was leaving and Santa deserved told me he thought that the first Blues Bash of a break after the work he did a few weeks earlier. the New Year may have been the largest monthly The crowd was so big it took a little longer than “meeting” of the blues society’s general membership usual for many people to get their dinners in the ever. We haven’t called these events “meetings” for restaurant so there was time. Some announcements years though because they are parties. It was a big were made about upcoming events and then the full one. The seats were taken, and standing anywhere blues band on the way to Memphis took the stage. was like a big slow dance. I remember the late 1990s when all the attendees of these get-togethers actually sometimes sat at one table. This night I stopped counting people after the first hundred or so. Our blues society has grown a lot over the past 10 to 15 years.

at the Red Crane

Blues Bash

then you can save some money by catching this local Delta blues act.

on the floor to move a little bit myself. I did write down that he sang “Sweet Little Angel” and “Big Boss Man” and later when he performed “Texas Flood” it showed off his guitar monster credentials. He played “Black Cat Bone” and his singing stood out well on that too. One other song of his worked a miracle. He plays a song called “Dancin’ Like a White Guy” and for the first time I know of in the last 10-15 months, when he played it at this event it got the Bluesboss on the dance floor. I told Bluesboss I was going to mention that in the article and he didn’t threaten me as far as I can remember (but it was noisy in there). He said something I thought sounded like “Butternut man ory kaluah” so I said “Oh, drinks can be ordered over there, but I’m glad you are OK with me mentioning that ‘Dancin’ Like a White Guy’ is the one thing that got you on the dance floor.” Eric Rice from The Dirty Rice Band was hanging out with a bunch of the guys but lucky for him, Mrs Dirty Rice, (I called his wife that and both of them chuckled politely like even my dumb jokes are OK)came too. Eric Rice has known Sammy Eubanks for many years, and Eric was invited on stage to play guitar. He sounded great too. Sammy had the microphone and vocal controls and Eric showed that he is another outstanding local guitar player well worth discovering. It was a fun way to kick off the New Year with a great Blues Bash. Second Tuesday of every month at the Red Crane in Shoreline. This month, we’ll have Billy Stoops open the show, and we’ll have Alice Stuart and the Formerlys play the electric set.

“I figured out who Santa is - it’s Tony!”

This event drew the crowd it did partly because of the two acts that performed. Word got out about that. The two acts were the same two acts the Washington Blues Society is sending to Memphis. The opening act was the duo of Norris and Nicely. Great guitar, harmonica, vocals (including some harmony) and, while they play some great classic Delta blues, they write a fair number of original songs as well. One of the originals that night were “Full Moon Rising,” and they always do a great job on one their fans have come to expect, “Nothin’ Left But Pain.” Songs like “Mr Jailer Man” and “Death Letter Blues” fit their backporch country blues style. If you can’t go down to Mississippi, and don’t mind subtracting the southern accents,

From the far eastern end of the state came the Sammy Eubanks Band. Three seconds into the first sounds from Sammy’s guitar and I said to myself, “He is even better than I remember from the last time I heard him.” The vocals were great as well as the rhythm section and the dance floor filled up fast. The dance floor was full the rest of the night. The rhythm section includes Jake Barr on bass and Michael Hays on drums. The first song was from Sammy’s “Riding Alone” CD which I have and listen to. Later on, Sammy mentioned it was Elvis’s birthday and sang “Hound Dog.”. Sammy is a big strong guy, but no man sounds sweeter singing “I’ll Be There ‘till The Last Teardrop Falls.” I didn’t write down all the titles because I got to get

14

15

Blues Reviews
Willie McBlind Live Long Day (FreeNote Records)

And Still I Rise Heritage Blues Orchestra (Raisin’ Music)

New Blues that you can Use

Steve Dupree & The Delta Flyers Dr. Dupree’s Love Shop (Soulbilly Music Group) Who said the blues can’t be fun? Especially when done Texas style. Steve Dupree .aka Dr. Dupree created just that when he took his band The Delta Flyers to Wire Recording studio in Austin Texas for a three day marathon recording session, with owner/engineer Stuart Sullivan at the controls and Mark “Kaz” Kazanoff producing. The band of outstanding players; Travis Stephenson on guitar, Quentin “Q” Calva on bass guitar, and Steve Bundrick on drums, where recorded hot off the floor on 12 originals Dupree that run the gamut of modern rhythm and blues. But the common thread throughout Dupree’s fun loving lyrical wit. The Flyers were joined by some great guest players, including Marcia Ball who gave an authentic barrelhouse feel. The Texas Horns; Al Gomez, John Mills, and Mark “Kaz” Kazanoff are featured on several tracks including the funkified title track. The Northwest’s own Alice Stewart adds vocals to “Love Shop,” along with Lisa Tingle, playing the foil against Dupree’s machismo. The infectious “Soulbilly Music,” mixes just enough cornball fun with a danceable hook and the blazing slide guitar from Stephenson on the double shuffle “Aint Gonna Be Your Dog,” gives it a classic feel. Dr. Dupree only misses the mark on the album’s overly schmaltzy ballads, but you can certainly expect a good time if you visit his “Love Shop.” - Rick J Bowen

1

2012 Willie McBlind is Jon Catler on guitars and vocals, Babe Borden on vocals and autoharp, Mat Fieldes on bass and Lorne Watson on drums. Live Long Day is their 3rd CD, and it’s full of train songs and was released on National Train Day, May 12th last year. Cartler plays on fretless and microtonally fretted guitars playing something dubbed “Harmonic Blues.” Microtonal means the notes between the notes employing 64 notes per octave. Willie McBlind is an intriguing mix of elements from both contemporary blues and modern rock. The music is edgy, brooding and the song choices are inspired. You will recognize the lyrics to some of the songs; but the delivery is something new and completely different. Borden is a classically trained vocalist and brings interesting and divergent aspects to her vocals from near screaming to lush harmonies she brings a lot to the overall impact of their music. One of my favorite tracks is “Live Long Day” which borrows a couple of lyrics from the traditional American campfire song “I’ve Been Working on the Railroad.” The insistent driving beat of and slashing guitars of “One Thing” also got my attention. “Down The Road” has a double time rhythm of a train going down the tracks and Robert Johnson’s “Love In Vain,” although unrecognizable, except the lyrics has vocals and guitar that reach out and grab you. My favorite cut is “The Train That Never Came” which has a cool laid back groove and great harmonies; however I could do without the nine minute droning fade out. Willie McBlind’s Live Long Day will not be everyone’s cup of tea; but I believe that many Bluesletter readers will enjoy it as I did. Besides, what’s not to like about a CD devoted to train songs? Malcolm Kennedy

2

George Smith & the Chicago Blues Band Blues with A Feeling-A Tribute to Little Walter (BGO Records) This tribute album to Little Walter Jacobs, who had been murdered only seven months prior to the recording, was originally released in 1969 by Liberty Records. Now in 2012 Blues With A Feeling has been re-released by England’s Beat Goes On Records and re-mastered with the addition of three bonus tracks. George “Harmonica” Smith laid down these 14 tracks from the Little Walter catalog in Los Angeles, in 1968 backed by The Chicago Blues Band. Over half of these tracks were written or co-written by Jacobs, who had died from the after-effects of a street fight. On this release, the Chicago Blues Band was Muddy Waters on guitar, Otis Spann on piano, Lawrence “Little Sonny” Wimberley on bass, and S.P. Leary on drums. Additional band members include Luther Johnson and Marshall Hooks on guitar, and Lucille Spann on vocals. I’ve always considered that George Smith, despite having played in Muddy’s band twice, was under-recorded, and this CD displays some of his adroit harmonica playing and commanding vocals backed by some of the best in the business. Little Walter’s big hits “My Babe” and “Juke” are both included as well as James Cotton’s “West Helena Woman,” Jacobs’ “Tell Me Mama” and “Last Night,” both of which were Top Ten R&B hits in the 1950s. The other two bonus tracks are “St. Louis” Jimmy Oden’s timeless classic “Goin’ Down Slow” and Jacobs’ “Just A Feelin.’” For fans of blues harp, Chicago blues or George Smith I recommend this re-issue and bonus tracks very highly. - Malcolm Kennedy

3

The Heritage Blues Orchestra looks back to the history that has shaped traditional blues, and looks forward to the future of a new way to present levee camp moans and traditional blues songs. The Raisin’ Music debut from the six-piece Heritage Blues Orchestra weaves contributions of some pretty non-traditional instruments (trumpet, trombone, tuba and sousaphone) into the narrative of the blues, and it is one the most adventurous blues records I have ever heard. If you’ve appreciated the way that Tangle Eye, Mighty Sam McClain, R.L. Burnside, or Lightnin’ Malcolm have expanded the boundaries of the blues, or marveled like I have at how Corky Siegel’s Chamber Blues has melded Chicago blues with the symphony, you’ll warm to And Still I Rise like the way 2013 Grammy and Blues Music Award nominators have. The Heritage Blues Orchestra has been nominated for a GRAMMY® Award for Best Blues Album, and the CD is up for two Blues Music Awards this year for Best Album and Best Traditional Blues Album. The orchestra features Chaney Sims on vocals, Bill Sims and Junior Mack on guitar, Vincent Bucher and Matthew Skoller on harmonica, and the GRAMMY® award-winning (and 2013 Blues Music Award-nominated) Kenny “Beedy Eyes” Smith on drums. The inventive horn section includes Bruno Wilhem on sax, Kenny Rampton and Steve Wiseman on trumpet, and Clark Gayton on trombone, sousaphone and tuba. In addition to some out-the-box blues experiments, And Still I Rise has some pretty solid (I’d rather say definitive) versions of “Get Right Church” and “Levee Camp Holler.” - Eric Steiner Reviewer’s Note: The Heritage Blues Orchestra’s Sims Sims, Jr., his daughter Chaney and Junior Mack will be at Immanuel Presbyterian Church in Tacoma on March 3rd for a Blues Vespers benefit for the church’s Habitat for Humanity Guatemala Trip. For more information: http://ipctacoma.org/. Please join Blues Vespers for an unforgettable night of music supporting a worthy cause!

4

A Jones Family Christmas
By Malcolm Kennedy

The Old Village Pub has been hosting an annual Toys for Tots event for many years, and in 2012, it featured The Stacy Jones Band with special guest performers Ayron Jones (pronounced A-Ron) and Chester Dennis Jones. The Stacy Jones Band opened with a six song set led by Best Female Vocals BB Award winning vocalist Stacy Jones playing guitar, harmonica and keyboards. Stacy included crowd favorites like the original “Heavy Water” and a cover of the Rolling Stones’ “Miss You” featuring stellar harp playing (while the Stones themselves were on tour playing in Brooklyn). Both of those songs and “You Upset Me Baby” sung by Jeff Menteer are on their newest CD Live and Untapped. While Ayron set up his gear, Rick Bowen on drums and Tom Jones on bass retook the stage, and then award winning DJ for KSER Jonathan “Oogie” Richards introduced the proud new Papa. “Cousin” Ayron started to play and quickly discovered that having his guitar tuned two steps low wasn’t going to work, so he avoided that train wreck and quickly retuned to be in synch with Tom. Ayron played a seven song set opening with a couple of originals followed by some covers including “Texas Flood” and “Hey Joe” with Stacy called back on stage starting with “High Cost Of Living” to add harp or keys to a few numbers. Ayron’s fiery playing featured an abundance of fretboard pyrotechnics blowing the stage’s main power fuse near the end of “Hey Joe” which he performed nonplused a cappella until the power could be reset. The fuse blew a second time as he finished his set. The SRO crowd had filled the large box for Tots Toys

to overflowing and dancers like Joy & Chris and Pete & Leslie. Bluesletter readers may not recognize the latter two names; but would certainly recognize their blues dance moves that they lay down at the monthly Blues Bashes. They kept the ample dance floor full most of the time since Stacy’s opening notes. Between sets Rick reminded the crowd that it was the Old Village Pub’s annual Toys For Tots event and for those who did not bring toys there was a cash donation jar at the bar where they collected over $250. Next to take the stage with Stacy and her rhythm section was master blues guitarist “Uncle” Chester Dennis Jones who opened with “Pa Rum Pum Pum Pum” for solo blues guitar and he followed with “Going Down,” “Sky Is Crying,” a funky take on “Born Under A Bad Sign,” “Born In Chicago” and ending his set with an instrumental take on “Little Wing.” This was a wonderful night of entertainment provided by the “Jones Family” for a marvelous cause in Toys for Tots, hosted by a great club, in Lynnwood. The event was well staffed by an exceptional crew, the cold libations were reasonably priced, and the pub food looked quite tasty. I would call it a complete and total success on all levels. A thanks to the Stacy Jones Band, “Uncle” Chester Dennis Jones, “Cousin” Ayron Jones, the club, staff and all in the packed house supporting this worthy annual event.

16

Blues Reviews

Make sure you check them out at wablues.org for all the Blues you can use.

17

34th Blues Music Award Nominees Announced
DVD
The Blues Foundation is pleased to announce the nominations for their annual Blues Music Awards, which the international organization will present at the Cook Convention Center in downtown Memphis, TN, on May 9, 2013. The Blues Music Awards are universally recognized as the highest accolade afforded musicians and songwriters in Blues music. The annual Blues Music Awards ceremony is the premier event for Blues professionals, musicians, and fans from all over the world. The focus of this celebration is to recognize superior achievements in Blues performance, songwriting, and recording while honoring a rich cultural tradition. Leading the list of nominees for the 34th Blues Music Awards are Janiva Magness and John Nemeth, each with five nominations. Janiva is nominated in artist, album, entertainer and song categories on the strength of her CD Stronger for It, a moving and intimate declaration of independence after coming through an intensely difficult period in her life. John’s five nominations exceed the total previous nominations of his young career. John release two live albums in 2012, Blues Live and Soul Live, which pretty much sum up his twofold approach to music, whether on record or in performance. Each CD was nominated and John was nominated for entertainer of the year as well as in both contemporary and soul artist categories. Alligator Records had a stellar year. Joining Janiva, Alligator artists Curtis Salgado, Joe Louis Walker and the late Michael “Iron Man” Burks each received four nominations. Rick Estrin and the Nightcats received three nods and Lil’ Ed and the Blues Imperials received two nominations. Each was nominated for their 2012 release as well as in artist, band, entertainer or instrumentalist categories. The husband-wife team of Susan Tedeschi and Derek Trucks teamed for four nominations, either individually or as a band. Other blues acts with three nominations are guitarist Joe Bonamassa, soul blues man Mighty Sam McClain, Muddy Waters’ son Mud Morganfield and Delta Groove’s supergroup The Mannish Boys. (The full nominee list is below.) “It is not uncommon in any arts genre for beloved artists with strong releases to pull in a number of nominations, and that is one of the factors at work this year,” Jay Sieleman, The Blues Foundation’s President said. “Yet there are also more than a dozen first-time nominees, plus the six Best New Artist nominees. It is gratifying to see both groups rewarded—those who have been near the top for a while and those who are getting the recognition they have been long seeking.” Online voting is open for members now and ticket sales began December 13. Blues Foundation members are the only fans who vote to decide which nominees will actually take home the Blues Music Award. Members also receive seating preference at the Awards show. Of course, anyone can become a member. Every year, the Blues Music Awards ceremony itself proves to be one of the best shows of the year. After all, almost every nominee not only attends, but also performs – creating a lineup comprised of the best of the best in blues all in one evening. A complete nominee list, as well as membership, voting, ticket and host hotel information can be found at The Blues Foundation’s website. For more information, call 901.527.2583. For the seventh consecutive year, The Blues Music Awards will be broadcast live in their entirety on Sirius XM’s B.B. King’s Bluesville channel – the next best thing to being there. They will be subsequently broadcast on public television. The Blues Music Awards are universally recognized as the highest honor given to Blues artists. Major funding is provided by ArtsMemphis and the Tennessee Arts Commission. The 34rd Blues Music Awards are also sponsored by BMI, Catfood Records, Eagle Rock Entertainment, FedEx, First Tennessee Foundation, Gibson Foundation, Legendary Rhythm & Blues Cruise, Memphis Convention and Visitors Bureau, Sierra Nevada Brewing Company and Sony/Legacy.

Contemporary Blues Male Artist Contemporary Blues Female Artist
Bettye LaVette Janiva Magness Shakura S’Aida Shemekia Copeland Susan Tedeschi Gary Clark, Jr. Joe Louis Walker Michael Burks Robert Cray Tab Benoit

Contemporary Blues Album

Blak & Blu - Gary Clark, Jr. Blues Live - John Nemeth Candy Store Kid - Ian Siegal & the Mississippi Mudbloods Hellfire - Joe Louis Walker Show of Strength - Michael Burks Stronger For It - Janiva Magness

Pinetop Perkins Piano Player
Barrelhouse Chuck Chuck Leavell David Maxwell Deanna Bogart Mike Finnegan Victor Wainwright

Blackbird Music/55 for Arts Club Production for The Lucky Peterson Band feat. Tamara Peterson: Live at the 55 Arts Club Berlin by Lucky Peterson Cat Head Delta Blues & Folk Art/Broke & Hungry Records for We Juke Up in Here! Mississippi’s Juke Joint Culture at the Crossroads Delta Groove Music for That’s My Thing - Elvin Bishop Live in Concert by Elvin Bishop Instrumentalist-Drums Eagle Rock Entertainment for Live at Checkerboard Lounge by Muddy Waters & The Rolling Stones Cedric Burnside J&R Adventures for Beacon Theatre - Live from New York by Joe Bonamassa Cody Dickinson Jimi Bott Gibson Guitar Kenny Smith Derek Trucks Tony Braunagel Historical Album Joe Bonamassa Bear Family Records for Plug It In! Turn It Up! Electric Blues by Various Artists Joe Louis Walker Instrumentalist-Bass Real Gone Music for Complete Hit Singles A’s & B’s by Little Willie John Kid Andersen Bill Stuve Rock Beat Records for Raw Blues: Magic Sam Live 1969 by Magic Sam Michael Burks Bob Stroger Silk City Records for Someday... by Otis Spann Patrick Rynn Universal Music Group for Ladies & Gentlemen... Mr. B.B. King by B.B. King Richard Cousins Scot Sutherland Instrumentalist-Harmonica Koko Taylor Award (Traditional Blues Female) Willie J. Campbell Billy Boy Arnold Diunna Greenleaf Bob Corritore Instrumentalist-Horn Jewel Brown John Nemeth Maria Muldaur Al Basile Kim Wilson Rock Blues Album Ruthie Foster Big James Montgomery Mark Hummel Blues for the Modern Daze - Walter Trout Tracy Nelson Eddie Shaw Rick Estrin Driving Towards the Daylight - Joe Bonamassa Kaz Kazanoff Everybody’s Talkin’ - Tedeschi Trucks Band Terry Hanck Here I Am - Nick Moss Royal Southern Brotherhood - Royal Southern Brotherhood

Song

Acoustic Album

Billy Boy Arnold Sings Big Bill Broonzy - Billy Boy Arnold Blues on Solid Ground - John Primer Deeper in the Well - Eric Bibb Not Alone - Ann Rabson w/ Bob Margolin Talking Guitar - Paul Rishell

Acoustic Artist

Carolina Chocolate Drops Doug MacLeod Eric Bibb Harrison Kennedy Paul Rishell

B.B. King Entertainer
Curtis Salgado Janiva Magness Joe Louis Walker John Nemeth Rick Estrin

Soul Blues Album

“I Won’t Cry” - Janiva Magness & Dave Darling - Stronger for It - Janiva Magness “Lemon Pie”- John Hahn & Oliver Wood - 33 1/3 - Shemekia Copeland “She Didn’t Cut Me Loose” written by Curtis Salgado, Marlon McClain & Dave Duncan on Soul Shot by Curtis Salgado “The Devil Ain’t Got No Music” written by Matthew Skoller & Lurrie Bell on The Devil Ain’t Got No Music by Lurrie Bell Too Much Jesus (Not Enough Whiskey) written by Sam McClain & Pat Herlehy on Too Much Jesus (Not Enough Whiskey) by Mighty Sam McClain

Blues Heart - Dorothy Moore Soul Live - John Nemeth Soul Shot - Curtis Salgado Soul Survivor - Johnny Rawls Too Much Jesus (Not Enough Whiskey) - Mighty Sam McClain

Soul Blues Female Artist
Barbara Carr Denise LaSalle Dorothy Moore Irma Thomas Sista Monica

Soul Blues Male Artist
Bobby Rush Curtis Salgado John Nemeth Johnny Rawls Mighty Sam McClain

Album

Band

Lil’ Ed & the Blues Imperials Phantom Blues Band Rick Estrin & the Nightcats Best New Artist Debut Tedeschi Trucks Band 24 Hour Blues - Charles “CD” Davis The Mannish Boys They Call Me Big Llou - Big LLou Johnson Turning on the Naughty - Paula Harris Uphill from Anywhere - Brad Hatfield Wanna Feel Somethin’ - Mary Bridget Davies

And Still I Rise - Heritage Blues Orchestra Double Dynamite - The Mannish Boys Show of Strength - Michael Burks Son of the Seventh Son - Mud Morganfield Stronger For It - Janiva Magness

Traditional Blues Album

18

And Still I Rise - Heritage Blues Orchestra Double Dynamite - The Mannish Boys Milton Hopkins with Jewel Brown - Milton Hopkins with Jewel Brown Son of the Seventh Son - Mud Morganfield Traditional Blues Male Artist Spider Eating Preacher - Eddie C. Campbell Bob Margolin John Primer Lil’ Ed Magic Slim Mud Morganfield

19

Calendar
February 1 - Friday Bill’s Tavern, Yakima: Ravinwolf, 6pm Highway 99: Curtis Hammond band Jazz Alley: Dr. John Rockfish Grill: Badd Dog Blues Society Snoqualmie Country Club: Keith Scott Upstage: Rick Estrin & the Nightcats February 2 - Saturday Dave’s, Milton: Alice Stuart & the Formerlys Engel’s, Edmonds: Dirty Rice Highway 99: Rick Estrin & the Nightcats H2O: Chris Eger band Jazz Alley: Dr. John Northwest Brewery, Pacific, WA: Keith Scott Rockfish Grill: Boneyard Preachers February 3 - Sunday Jazz Alley: Dr. John Johnny’s Dock: Steve Cooley & the Dangerfields February 4 - Monday Jazz Alley: Kelly Harland band REC Room, Everett: Keith Scott 88 Keys, Pioneer Square, Blues To Do TV: The Thing and The Stuff Jazz Band February 5 - Tuesday Jazz Alley: 3 Brave Souls, Miles Davis alumni, keyboardist John Beasley and master drummer Ndugu Chancler, joined by Yellowjackets bassist Jimmy Haslip New Orleans: New Orleans Quintet February 6 - Wednesday 88 Keys, Pioneer Square: Blues on Tap, 8pm Highway 99: Drummerboy, feat. Billy Stoops Jazz Alley: 3 Brave Souls, Miles Davis alumni, keyboardist John Beasley and master drummer Ndugu Chancler, joined by Yellowjackets bassist Jimmy Haslip New Orleans: Holotradband, 7pm North Seattle Community College: Keith Scott Royal Lounge, Olympia: Fishtrap, 7:30pm Waterwheel Lounge, Ballard: Annie Eastwood & Larry Hill w/guitarist Bill Chism, 7pm February 7 - Thursday Highway 99: Timmons Wall band New Orleans: Selbred/Jackson Salmon Bay Eagles: Jeff & the Jet City Fliers Two Twelve On Central, Kirkland: Annie Eastwood w/guitarist Bill Chism, 8pm Top Shelf Broiler & Tervelli Lounge, Kirkland: 20 Chester Dennis Jones Band 8pm February 8 - Friday Highway 99: Doctorfunk Match Coffee & Wine, Duvall: Annie Eastwood, Kimball Conant, Larry Hill - Fugitives Trio, 7:30pm New Orleans: Ham Carson Quintet Rattlesnake Brewery, Richland: Keith Scott Repp, Snohomish: Randy Norris & Jeff Nicely, 7pm Upstage: Alice Stuart & the Formerlys February 9 - Saturday Barrel Tavern: Moments Notice Eddie’s Trackside, Monroe: Ravinwolf Finaughty’s Irish Pub Snoqualmie: Keith Scott 5:30pm Highway 99: Hot Wired Rhythm Band Madison Pub,Everett: James King & the Southsiders, 8pm Rockfish Grill: Ron Hendee Band Yuppie Tavern: Joseph Barton Trio February 10 - Sunday Siren’s Point Port Townsend: Keith Scott February 11- Monday 88 Keys, Pioneer Square, Blues To Do TV: Women Mentoring Women with Janiva Magness, PLUS live session with Stickshift Annie with Kimball & The Fugitives Triple Door: Hot Tuna February 12 - Tuesday Jazz Alley: Janiva Magness New Orleans: Holotradband, 7pm Red Crane, Shoreline: WBS Blues Bash featuring Billy Stoops and Alice Stuart & the Formerlys! February 13 - Wednesday 88 Keys, Pioneer Square: Blues on Tap, 8pm Highway 99: Louisiana House Party Zydeco dinner & dance Jazz Alley: Janiva Magness New Orleans: Legacy Quartet w/ Clarence Acox, 8pm Royal Lounge, Olympia: John “Scooch” Cugno & the 88’s, 7:30pm Triple Door: Victor Wooten Rockfish Grill: Stilly River band February 14 - Thursday Highway 99: James King & the Southsiders Jazz Alley: En Vogue New Orleans: Ham Carson Quintet February 14 - Thursday (continued) Top Shelf Broiler & Tervelli Lounge, Kirkland: Chester Dennis Jones Band 8pm Salmon Bay Eagles: Acoustic House concerts Featuring Billy Spaulding & Reggie Miles Port Gardner Bay Winery Tasting room, Everett: Mark Holt & Kimberlee Holt Tully February 15 - Friday Elliot Bay Pizza, Mill Creek: Annie Eastwood w/guitarist Bill Chism, 7pm Highway 99: Sweerheart’s Blues Bash feat. the NW woman in R&B” Lisa Mann, Sonny Hess, Diane Blue, Kelly Pierce, Vicki Stevens, & Tracy Ferrara Jazz Alley: En Vogue New Orleans: Flexicon w/Thomas Marriott Port Gardner Bay Winery Tasting Room, Everett: Mark Holt & Kimberlee Holt Tully Under the Red Umbrella, Everett: Randy Norris & Jeff Nicely, 7pm Tula’s: Dave Peck Trio, 7:30pm Upstage: Janiva Magness February 16 - Saturday Barrel Tavern: Junkyard Jane Celtic Bayou, Lynnwood: Ravinwolf Highway 99: Valentine’s Day Bop: the 1 Uppers, the B-Stars, the Roy Kay Trio, Liam Fitzgerald & the Rainieros Jazz Alley: En Vogue Oasis, Sequim: Keith Scott Port Gardner Winery, Everett: Annie Eastwood w/guitarist Bill Chism, 6pm Scotch and Vine, Des Moines, Brian Lee Trio, 7pm Third Place Books, Lake Forest Park, Alice Stuart & the Formerlys, 7:30pm Tula’s: Dave Peck Trio, 7:30pm February 17 - Sunday Highway 99: “NW Legends of Rock n’ Roll”, benefit for the documentary “Her Aim is True” the story of Jini Dellaccio, pioneer Rock n’ Roll photographer, feat. Merrilee Rush, Buck Ormsby, Mark Whitman, Barry Curtis, Freddie Dennis, Daily Flash & more Immanuel Presbyterian Church, Tacoma:Blues Vespers, featuring Lisa Mann & Diane Blue, 5pm Jazz Alley: En Vogue February 18 - Monday 88 Keys, Pioneer Square, Blues To Do TV: Surprise Guest, Reggae Band at 10pm Mr. Villa, Lake City: Annie Eastwood, Kimball Conant, Larry Hill - Fugitives Trio, 7pm

Blues

February 19 - Tuesday New Orleans: New Orleans Quintet Rec Room, Everett: Lisa Mann & Diane Blue 8pm New Orleans: Holotradband, 7pm Triple door: Eric Bibb & Habib Koite February 20 - Wednesday 88 Keys, Pioneer Square: Blues on Tap, 8pm Highway 99: John “Cugno” Scooch & the 88”s New Orleans: Legacy Quartet w/Clarence Acox, 8pm Royal Lounge, Olympia: Blues County Sheriff, 7:30pm February 21 - Thursday Highway 99: Hot Rod Holman’s Blues band Jazz Alley: Tower of Power New Orleans: Ham Carson Quintet Salmon Bay Eagles: Blue 55’s Seven Cedars Sequim: Keith Scott Two Twelve On Central, Kirkland: Annie Eastwood w/guitarist Bill Chism, 8pm Top Shelf Broiler & Tervelli Lounge, Kirkland: Chester Dennis Jones Band 8pm February 22 - Friday Highway 99: Lee Oskar & friends Jazz Alley: Tower of Power (the)Laurelthirst, Portland: Alice Stuart, 6pm Vogue Lounge, Chelan: Ravinwolf, 8pm Wine 101, Mukilteo: Mark Holt & Kimberlee Holt Tully February 23 - Saturday Barrel Tavern: T-Town Aces Highway 99: Karen Lovely band Jazz Alley: Tower of Power Old Schoolhouse Brewery, Winthrop: Ravinwolf, 8pm

February 23 - Saturday (continued) Wine 101, Mukilteo: Mark Holt & Kimberlee Holt Tully Yuppie Tavern, Kirkland, Brian Lee Trio, 8:30pm Rockfish Grill: Mia Vermillion Upstage: David Jacobs-Strain February 24 - Sunday Jazz Alley: Tower of Power February 25 - Monday 88 Keys, Pioneer Square, Blues To Do TV: NW Blues Forum simulcast with NWCZ radio’s Jonathan ‘Oogie’ Richards and Sweet Danny Ray and musical guests The Jelly Rollers February 26 - Tuesday New Orleans: Holotradband, 7pm February 27 - Wednesday 88 Keys, Pioneer Square: Blues on Tap, 8pm Engels: Ravinwolf Highway 99: Little Ray & the Uppercuts New Orleans: Legacy Quartet w/Clarence Acox, 8pm Triple Door: Robben Ford Royal Lounge, Olympia, Alice Stuart & Friends, 7:30pm February 28 - Thursday Highway 99: Monster Road New Orleans: Ham Carson Quintet Salmon Bay Eagles: Sweet Talkin’ Jones & the Muscletones Top Shelf Broiler & Tervelli Lounge, Kirkland: Chester Dennis Jones Band 8pm

March
March 1 - Friday Rockfish Grill: Snake Oil March 2 - Saturday Highway 99: Nathan James & the Rhythm Scratchers Rockfish Grill: Mark DuFresne March 3 - Sunday Central Club, Kirkland, Brian Lee & the Orbiters, 8:30pm March 4 - Monday 88 Keys, Blues To Do TV: New Orleans: New Orleans Quintet

attention all music people:

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, your calendar girl, Maridel

21

Blues on the Radio Dial
PLEASE SEND ANY RADIO UPDATES TO CALENDAR@WABLUES.ORG

Venue Guide
KPLU 88.5FM Tacoma: All Blues 6:00PM - 12:00AM www.kplu.org - DJ, John Kessler KAOS 89.3FM Olympia: “Blues For Breakfast” 8:00AM - 10:00AM www.kaosradio.org - DJ, Jerry Drummond KSER 90.7FM Everett: Audio Indigo 7:00PM - 9:00 PM www.kser.org - DJ, Robin K KPBX 91.1FM Spokane: Blues Kitchen 10:00PM - 12:00AM www.kpbx.org - DJ, Tina Bjorklund 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 KEXP 90.3 Seattle Preaching the Blues with Johny Horn Sunday Mornings 9am to Noon KYRS 92.3 FM, KYRS.org Blues Now and Then 6-8 PM. DJ, 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.kwcw.net - DJ, “Biggdaddy” Ray Hansen and Armand “The Doctor” Parada KKZX 98.9FM Spokane: Blowtorch Blues 7:00PM - 10:00PM www.kkzx.com - DJ, Ted Todd Brion Foster. KSER 90.7FM Everett: The Juke Joint 1:00PM - 3:00PM www.kser.org - DJ, Jon Noe

Washington Blues Society

Monday

KUGS 89.3FM Bellingham: Highway 61 8:00AM - 10:00AM www.kugs.org - DJ, Chalkie McStevenson KAOS 89.3FM Olympia: “Blues On Rye” 1:00PM - 3:00PM www.kaosradio.org - DJ, Val Vaughn Mighty Mouth Blues on NWCZ Radio - www.nwczradio.com Monday 8:00-11:00PM Pacific Northwest Convergence Zone Online Radio: NWCZradio.com: Dave Samson’s BluesShow 7:00pm - 10:00PM

Saturday

Tuesday

KBCS 91.3FM Bellevue: Eh Toi! 11:00PM - 1:00AM www.kbcs.fm - DJ, DJ Marte’

Wednesday

KEXP 90.3FM Seattle: The Roadhouse 6:00PM to 9:00PM www.kexp.org - DJ, Greg Vandy KSVR 91.7FM Mount Vernon: “The Blue Boulevard” 8:00PM - 10:00PM www.mail@ksvr.org - DJ, Jackson Stewart KSVR 91.7FM Mount Vernon: “The Blues Note with Janice” 10:00PM - 12:00AM www.janice@ksvr.org - DJ, Janice Gage

Sunday

Thursday

KSER 90.7FM Everett: Clancy’s Bar and Grill 8:30PM - 10:30PM www.kser.org - DJ, Clancy Dunigan

Friday

KEXP 90.3FM Seattle: Shack The Shack 6:00PM - 9:00PM www.kexp.org - DJ, Leon Berman

Washington Blues Society
Sundays

Blarney Stone Pub and Restaurant (206) 448-8439 China Harbor Restaurant (206) 286-1688 Dimitriou’s Jazz Alley (206) 441-9729 x210 EMP Liquid Lounge (206) 770-2777 EMP Sky Church (206) 770-2777 Fiddler’s Inn (206) 525-0752 Bellingham, Anacortes, Whidbey Island, etc Grinder’s (206) 542-0627 China Beach – Langley (360) 530-8888 Highliner Pub (206) 283-2233 Just Moe’s – 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 Bake’s 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 Café & Club – Fall City (425) 222-6669 BBQ & Blues – Clarkston (509) 758-1227 Rockin’M BBQ, Golf Range & Lounge - Everett (425.438.2843) Breadline Café – 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 Lakey’s 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 Ram’s Ripple – Moses Lake (509) 765-3942 Rattlesnake Brewery – Richland (509) 783-5747

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 Siren’s – Port Townsend (360) 379-1100 Upstage – Port Townsend (360) 385-2216

Peninsula

Al Lago, Lake Tapps (253) 863-8636 2 Wheel Blues Club – Tacoma Barnacles Restaurant, Des Moines (206) 878-5000 The Barrel – Burien (206) 244-7390

Tacoma, Burien, Federal Way, etc

South Sound

CC’s Lounge, Burien (206) 242-0977

North Sound

Capitol Theater/Olympia Film Society – (360) 754-3635 Cascade Tavern – Vancouver (360) 254-0749 Charlie’s – 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 O’Toole’s – Lakewood (253) 584-3278 Magnolia Café – Poulsbo (360) 697-1447 Mint Alehouse – Enumclaw (360) 825-8361 Pat’s Bar & Grill – Kent (253) 852-7287 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 Annie’s – Olympia (360) 943-1850 Uncle Sam’s 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 Bubba’s 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 Engel’s Pub – Edmonds (425) 778-2900 Historic Spar Tree – Granite Falls (360) 691-6888 Madison Pub - Everett (425) 348-7402 Mardini’s – Snohomish (360) 568-8080 Mirkwood & Shire Café – 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 Stewart’s – Snohomish (360) 568-4684 Timberline Café – Granite Falls (360) 691-7011 Tracey’s Place – Everett (425) 259-0811 Wicked Rack BBQ – Everett (425) 334-3800

(Lynnwood, Everett, Edmonds, etc.):

North End

Blues Jams

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

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

Mondays

Alki Tavern: Jam hosted b y Manuel Morais Dawson’s, Tacoma: Tim Hall Band, 7pm Castle’s, Sedro Wolley: Gary B’s Church of the Blues, 6-10pm Eastlake Zoo Tavern: Eastlake Zoo Social Club & Jam featuring the Seattle Houserockers, 7pm Pony Keg, Kent: Rafael Tranquilino Jam Raging River: Tommy Wall Silver Dollar: Big Nasty, 8pm Two Twelve, Kirkland: hosted by HeatherBBlues, 7pm

Caffe Mela, Wenatchee, 7pm (first Mon. of the month) 88 Keys, Pioneer Square: Star Drums & Lady Keys host Blue Monday Jam, 8pm JR’s Hideway: Malcolm Clark, 8pm Opal Lounge, South Tacoma Way: Tim Hall, 8pm Oxford Saloon: All ages open jam, 7 - 11pm Ten Below: hosted by Underground Blues Jam, every 1st Monday of the month, Wenatchee

Wednesdays

Tuesdays

22

Dawson’s, Tacoma: hosted by Shelley & Jho, 8pm Elmer, Burien: hosted by Billy Shew J & M Cafe Jam: Pacific Rim Marysville Best Western: Mike Wright & the Blue Sharks, 7 - 11pm Snohomish Spirits & Sports: Sean Denton & friends Summit Pub: Tim Hall & the Realtimes, 7:30pm Wild Buffalo, Bellingham: hosted by Rick Baunach, 6:30 - 9:30pm

Charlies Olympia: Blues Attitude Daman’s Pub, 8 PM Dogghouse Tavern, Mt. Vernon Alan: Hatley Trio, 7pm Eddie’s Trackside Bar & Grill, Monroe: every 1st & 3rd Wed., 8pm 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 February 6 - Rafael Tranquilino February 13 Billy Stoops February 20 - Dan Newton February 27 - Ryan LaPlante Salmon Bay Eagles: Broomdust presents Blues of the Past jam (1st Wed.), 8pm Yuppie Tavern, Kirkland (Totem Lake), HeatherBBlues Acoustic jam, 8pm

Thursdays

Bad Alberts: Invitational w/Annieville Blues Barrel Tavern: hosted by Tim Turner, 8pm Club Flight Nightclub: w/Cory Wilde, 9pm Conway Pub Dawson’s, Tacoma: Billy Shew, 8 pm Eddie’s Trackside, Monroe: Tommy Cook, Patrick McDanel & Teri Anne Wilson, 8:30pm O’Callahan’s: Tim Hall, 7pm Top Shelf (formerly Olive You), Kirkland: hosted by Chester Dennis, 8pm Oxford Saloon: Invitational Jam w/Steve Ater, 8pm

23

A.H.L. (206) 935-4592 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 Badd Dog Blues Society (360) 733-7464 Bare Roots (206) 818-8141 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 on Tap: 206 618-6210 Blues To Do Monthly (206) 328-0662 Blues Playground (425) 359-3755 Blues Redemption http://www.bluesredemption.com Blues County 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) 878-7910Z Coyote Blues (360) 420-2535 John Scooch Cugno’s Delta 88 Revival (360) 352-3735 Daddy Treetops (206) 601-1769 Sean Denton Band (425)387-0620 Double Cookin’ (253) 945-7441 Double Scott’s 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 Filé Gumbo (425) 788-2776 Jimmy Free’s Friends (206) 546-3733 Gin Creek (206) 588-1924 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 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 Vaughn Jensen Band (509) 554-6914 Stacy Jones Band (206) 992-3285 Chester Dennis Jones (253)-797-8937 Harry “The Man” Joynes (360) 871-4438 Junkyard Jane (253) 238-7908

Talent Guide

Washington Blues Society

James King & the Southsiders (206) 715-6511 Virginia Klemens / Jerry Lee Davidson (206) 632-6130 Mick Knight (206) 373-1681 Bruce Koenigsberg / the 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 Rob Moitoza / House of Reprehensibles (206) 768-2820 Moon Daddy Band (425) 923-9081 Jim Nardo’s 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 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’ Jays (425)746-8186 Son Jack Jr. (425) 591-3034 Soulshaker Blues Band (360) 4171-145 Billy Spaulding (206) 310-4153 Star Drums & Lady Keys (206) 522-2779 John Stephan Band (206) 244-0498 Chris Stevens’ Surf Monkeys (206) 236-0412 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 Steve Cooley and the DangerfieldsTom (509) 954-4101 Tone Kings (425) 698-5841 Too Slim & the Taildraggers (425) 891-4487 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)212-7608 Uncle Ted Barton (253) 627-0420 Nick Vigarino’s 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

Jersey Rock,

New Orleans Rhythm & Blues

Jamboree@The Beach!
Jersey Shore Rock ‘n Roll fans, New Orleans Jazzfest enthusiasts and long time Blues Cruisers will come together to celebrate the beauty of American music and cuisine at a 5 day festival set in the comfortably hip surroundings at the Hard Rock Hotel and Casino on the Gulf of Mexico in Biloxi, Mississippi from March 6 through 10, 2013. Many of today’s greatest performers of classic rock, New Orleans rhythm and blues/funk and authentic blues roots music, including Eric Burdon and the Animals, the original “Eddie & the Cruisers” soundtrack artists, John Cafferty and Beaver Brown, Cyril Neville, Dave Malone and Camile Baudouin from New Orleans’ legendary Radiators, Tab Benoit and the Voice of the Wetlands Allstars, Bonerama, Vini Lopez from Bruce Springsteen’s original E Street Band, Terrance SImien, Susan Cowsill, Walter “Wolfman” Washington, Jumpin’ Johnny Sansone, James Andrews (brother and mentor to Trombone Shorty) Jimmy Thackery, Curtis Salgado, Vasti Jackson, Chubby Carrier, Anthony Gomes, Lil’ Ed and the Blues Imperials, Southside Johnny’s guitarist Billy Walton and The Billy Walton Band, Pittsburgh’s Queen of the Blues, Jill West and Blues Attack have already been announced but several artists are yet to be named as there will be 67 performances and over 25 artists during the course of this 5 day, 5 night extravaganza of food, music and fun. Jamboree @ the Beach centers on the unique combination of the excitement of a world class music festival and the comfort and luxury of the host sponsor, Hard Rock Biloxi Hotel and Casino, it’s gorgeous pool and whirlpool area on the Gulf of Mexico, the white, sandy “Palms Beach” and festive Town Green along Biloxi’s beautiful Beach Boulevard. Venues will include the phenomenal, state of the art, “Hard Rock Live!” The Palms Beach, a weekend Jamboree complete with food purveyors, celebrity chef demonstrations and family fun at the Green across from the Hard Rock, the cozy Hard Rock Café hosting special midnight shows and jams and the swinging piano bar at the intimate “Vibe”. The Party begins at 4:30pm on Wednesday, March 6th and continues with multiple shows midday through the wee hours of the next morning every day for 5 days and nights with 5 venues happening on Friday, March 8th and 6 venues, including the Festival on the Green with culinary demonstrations, Saturday and Sunday and headline performances at “The Palms Beach” on Saturday and Sunday. Fans of the classic rock movie “Eddie & the Cruisers” should note that the incredibly exciting John Cafferty and Beaver Brown will perform the hits songs from the movie on Friday afternoon March 8th at 4PM and again at the Hard Rock Live! on Saturday night at 11PM. Following the opening reception party Jamboree @ the Beach will present it’s Mississippi Blues Lifetime Achievement Aw a r d t o t h e Legendary Bobby Rush who will headline with his full review in a 90 minute show that evening. Other festival highlights include a performance on “Palms B each” Saturday, March 9th by one of the greatest recording artists in Rock History, Eric Burdon and the Animals, famous for their iconic hit, House of the Rising Sun and many others. Day and night the excitement will pulse through t h e c om for t abl e surroundings of the Hard Rock and the Biloxi beach front. For 5 days and nights friends and fellow music enthusiasts will gather to “Have a Jamboree @ the Beach!” More information is available at www. BeachJamboree.com. Complete all access 5 day VIP packages, as well as 3 and 4 day General Admission packages can be reserved by sending emails to Tonymarto@aol.com, the sales and registration information posted on the website or by calling 609-927-3241. VIP packages at the Hard Rock, Sheraton Four Points, IP Resort and Best Western Plus are limited so registration by phone, email or on the web is strongly advised to secure reservations.

& Blues Roots Music
will come together at

24

25

Brian Lee has been leading the popular Pacific Northwest bands known as The Brian Lee Trio and Brian Lee & the Orbiters (previously Blues Orbiters) for over a decade. The ‘Trio is built on the veteran rhythm section of Hank Yanda (bass, vocal) and Russ Kammerer (drums). When veteran NW guitarist Steve Yonck is added in, the band becomes the ‘Orbiters., I invited Brian to a series of lunch meetings in 2009 to learn more about his background and how it influences his music, which culminated in the in-depth interview “Seattle’s Brian Lee—Scientist & Artist”. To help you get better acquainted with Brian, I’ll first present some excerpts from that interview before interviewing him about more recent developments in his career (see http:// tinyurl.com/BrianLee-Interview). TM: Brian, tell us about your family and where you’re from. BL: I was born in San Francisco in 1955. My wife Suzanne and I met in high school and after graduating we moved north to study at the University of Oregon in Eugene. We have been married now [2009] for 35 years. We have two lovely daughters. We came to Seattle in 1988, where I’ve lived ever since. TM: What did you study at the University of Oregon, and what kind of work have you been doing? BL: I got a B.A. and M.A. in Physics, with a specialization in the field of low temperature Quantum Fluid Dynamics. From 1995 to 2008, I was the VP of Engineering for companies that make ultrasound devices such as Phillips and Siemens. TM: How did you prepare for your new career as a full time musician, bandleader, and audio engineer? BL: I studied Music Technology at Shoreline Community College near Seattle, which included working on several software and hardware platforms for digital recording … This knowledge helped me choose appropriate software and hardware for my recording studio TM: What was the first musical experience that had a profound impact on you? BL: When I was about 12 I heard a Little Walter song followed immediately by an Elmore James tune and I was instantly hooked! It was a classic “hair on the back of your neck standing up” moment. I loved the sounds of the blues harp and the slide guitar TM: What was the first instrument you learned to play?

BL: When I was about 13 my Dad pulled my Grandfather’s dusty old 1957 Martin D21 acoustic guitar from a closet. I learned slide first and then I learned regular chords I was also teaching myself [blues] harp. I started doing the band-oriented playing that led to the formation of the Blues Orbiters in 1999. In the 2011-2012 period, Brian Lee’s ‘Orbiters really took off, as is fitting for an ensemble that identifies its work with imagery of rocket launches and orbiting spaceships! Most significantly, with the help of band mates past and present they released the long awaited Identity Theft album, which won the coveted Best Blues Recording award from the Washington Blues Society (WBS) in 2012. Adding to his accolades, Brian was also recognized as Best Blues Songwriter by the WBS for 2012. Proving their gravitational pull reaches far beyond Seattle’s orbit, Brian Lee and the Orbiters’ Identity Theft album has soared as high as #15 on Living Blues Magazine’s Radio Chart, which tracks blues radio airplay worldwide! In early January of 2013, I met with Brian to discuss these impressive developments in his career. TM: What’s it like to have your music singled out for such prestigious awards? BL: The Best Blues Recording award was an unexpected and greatly appreciated recognition of all our hard work. To receive a separate award for my songwriting was especially cool! My band members and I have all been really pleased with the favorable response to the album. TM: Were you surprised at the worldwide reception Identity Theft received? BL: We promoted Identity Theft to radio stations all over the world, so although we weren’t exactly surprised we were very pleased when it charted #15 for Blues airplay (Feb. 2012). Radio program directors are constantly inundated with CD’s to consider for airplay, so when so many around the world select our CD, that’s very rewarding. And of course it’s fun to know that folks are enjoying our tunes all around the globe! TM: Has your album’s success widened your fan base? For example, are you receiving CD orders or performance bookings from far-flung places you’ve never heard of before? BL: Most of our sales are to the Northwest USA but we’ve also had a steady trickle of sales from all around the globe for both CDs and digital downloads, which are available from

http://brianleeorbiters.com, iTunes, CD Baby, Amazon, Facebook, and so forth. TM: What’s the significance of that tiny house surrounded by the huge building on the album cover and where did you get that stunning photo? BL: I had written the album’s title song “Identity Theft” a few years ago. While the song’s title evokes thoughts of financial crime, its theme is actually more broadly about alienation in our modern society. It also has a redeeming theme of personal relationships helping to overcome those challenges. I live in the Ballard neighborhood of Seattle Washington and had been watching a large construction project going on near the Ballard Bridge. One morning, I read an article in the paper about an elderly woman whose home was being surrounded by that project, but who refused to sell it. Her name was Edith Macefield and her story echoed the themes of the “Identify Theft” song at many levels—it’s pretty alienating having your home walled in with concrete. But her story also included the relationship theme in that the foreman on the job befriended her and was providing a lot of support in the way of grocery trips, driving to doctors appointments etc. The photo of the construction scene also connected to the thought of the changing identity of Ballard—from industrial, to gentrified condos. I thought using an image of the in– progress construction on the album cover would portray the changing identity of the community, indirectly adding another layer of meaning to the lyrics. With these ideas formed, I drove down to the bridge and shot photos for the album cover. The construction scene and brooding sky captured the sense of encroachment that ties into the mood and theme of the song. The photos in the interior liner notes of the album are sunny shots of the same location, after the construction completed. The contrast of the photos creates some ambiguity; the construction had positive outcomes in addition to the negatives at its inception.

Brian Lee’s Desert Island Albums List 1. T-Bone Walker, T-Bone Blues 2. Elmore James, King of the Slide Guitar (boxed set) 3. Little Walter, The Complete Chess Masters (1950-1967) 4. Sonny Boy Williamson, Essential Sonny Boy Williamson 5. Johnny Guitar Watson, Hot Just Like TNT—The Best of his Early Years 6. Fleetwood Mac, The Complete Blue Horizon Sessions 7. Miles Davis, Kinda Blue 8. Ry Cooder, Mambo Sinuendo 9. Los Lobos, Kiko 10. Charlie Christian, The Genius of the Electric Guitar

An Updated Interview with Seattle’s Brian Lee
Article by Tim Maher Photos by Laddy Kite
Text © 2010–2013 Tim Maher. All rights reserved

Scientist & Artist
27

26

To learn more about Brian Lee and his bands: www.brianleeorbiters.com

An occasional series on the blues of the future and the blues of the past.
By Son Jack Jr.

“Playing in your garage won’t get you anywhere. Get out, be seen, and be heard”
There is obviously something special about the water in this region, as the Pacific Northwest seems to have more than its fair share of young up and coming blues players. This first issue of The Torch focuses on a young man who, in my opinion, is at the forefront of this next wave and towards that style of music, plus I like the freedom and flexibility that blues presents. Also, the blues community is very supportive of all musicians and we all learn from each other, and appreciate each other’s’ talents. SJ: What are your main musical influences? NG: I listen to all sorts of music with influences coming from all areas. The few that really made an impression are Jimi Hendrix, John Mayer, Led Zeppelin, Stevie Ray Vaughn, to name a few. Musicians I really admire include John Mayer and Joe Bonamassa because they are both out playing bluesy music, but presenting it in a way that a wide variety of audiences like it. Plus, they are great guitar players. SJ: What are some of your musical career highlights so far? NG: Learning to play guitar (ha ha). Seriously though, the “Kids Got Talent” competition was great and led to a performance at the Paramount Theatre when I was only 12. I also won a video contest voted by fans on Facebook. More recently, getting to play with and perform for numerous well-known musicians has been awesome. SJ: Any plans to release a CD in the near future? I’m currently working on finishing up my first album being produced by Jeff Kossack/Other Hand Studios in LA, set to release in the late spring or early summer of 2013. It will have 10-12 original tracks and the music is my own style that is influenced by many of the people I mentioned earlier. SJ: What are your goals? NG: I’m working towards being a successful touring musician, playing in front of tens of thousands of people. Location doesn’t matter – I’m flexible and Mom can drive until I’m old enough (ha ha). As of now my immediate need is more paid gigs to help with

Nolan Garrett
studio, travel, recording expenses, equipment, lessons and the list goes on. I’m hoping that I can make some impact and connections while at the IBC to help drive this. If music wasn’t my focus then I would like to be some kind of teacher. Both my parents are teachers and I love working with younger kids. SJ: In closing, any words of wisdom for other younger and older musicians? NG: I’m still working on stuff myself, but for younger players I would say play as much as you can and as often as you can, especially in front of people. Playing in your garage won’t get you anywhere. Get out, be seen, and be heard. I started to practice about 2- 6 hours a day after I realized it was what I wanted to do. I don’t think I am in any position to give advice to more experienced musicians. Although, I do appreciate all of the older musicians who have helped me along the way and have taken the time for one on one advice. Nolan typifies the ambitious young player and maintains a schedule that many a pro/semi-pro would kill for, and hopefully will start to get more paid gigs (hint, hint to any promoters reading this). He will represent the South Sound Blues Association at the 2013 International Blues Challenge in Memphis and we all wish him the very best of luck!

yet only turned 15 last month. Ladies and gentlemen, please welcome Nolan Garrett… SJ: How did you get started in music? NG: My Mom was the one that really got me started. I was trying to do something new every year and sports wasn’t my thing. Music was next on the list so I started taking guitar lessons at 8 years old from Daniel Harris at Ted Brown Music in Tacoma. I didn’t initially want to take guitar lessons, but Mom made me go, and it turned out that I really enjoyed it and found out I was good at it. From there I started performing with a family friend around town. I really enjoyed performing and being on stage. I realized then this is what I want to do. Now that my voice has changed I’ve been taking voice lessons from Sue Carr based out of Seattle. SJ: Why play the blues? NG: I started going to a lot of Jams. They were mostly blues jams so I started to naturally gravitate

Contact Information: www.nolangarrett.net

28

29

The following guidelines were drafted by Malcolm “Yard Dog” Kennedy with input from the 2012 Board of Directors. These guidelines attempt to clarify questions raised by many blues society members and artists about our annual awards show.

Best of the Blues (“BB Awards”) Nomination Guidelines
society’s primary method of verifying membership. You can mail your nomination ballot to the Washington Blues Society post office box, or deliver it to a Board member on or before February 15, 2013 – one day after our monthly Blues Bash. Nomination ballots received after this date will not be counted. Ballots received without the mailing label attached will not be counted unless membership has been verified by the Board of Directors. Only one ballot per member.

Official 2013 Washington Blues Society

Who can nominate? Only current Washington Blues Society members are eligible to nominate artists or other nominees in our annual awards process. Please see your membership card or check the date on your Bluesletter label to make sure your membership is current. Two privileges of Washington Blues Society membership include the right to 1) nominate potential BB Award recipients, and 2) vote for nominees on the final voting ballot. Without your participation the process is broken. To nominate, simply write the name of the Washington artist, nominee, or party in the category on the ballot on page 31 of the January 2013 Bluesletter. We encourage members to nominate in as many categories as possible. There is no requirement to fill in each slot; leaving some categories blank will not disqualify your nomination. Your nomination must be on the Bluesletter mailed to you with your mailing label attached. For couple’s nominations, a photocopy for the second ballot should be included in a sealed envelope along with the original ballot that has the mailing label attached. This is our

PLEASE NOTE: Previous recipients of both the Lifetime Achievement Award and Artist the Blues Musicians Hall of Fame The Wired! Band are ineligible for a second award The Stacy Jones Band in those categories. Mark Whitman There are also three categories that the Board of Directors has named in honor of artists who have won these awards a number of times. The Male Vocalist, Blues Harmonica, and Blues Drummer awards have been renamed honoring Mark DuFresne, Paul Green, and Chris Leighton. Mark, Paul, and Chris are ineligible for an award in these categories, so please do not waste your vote.

release we missed. The band must be from Washington, and the CD must have been released between November 1st, 2011 and October 31st 2012. This eligibility period aligns with the Blues Foundation Best Self Produced CD competition. If you wish to nominate a CD not on this list please send an e-mail to merchandise@ wablues.org or any other Board member listed on page two your WBS Bluesletter. We will be happy to try to verify release date with the artist for eligibility. Special note to musicians- if your CD is not included on the list please e-mail editor@wablues.org so that CD Washington Blues Live and Untapped Always Be The Blues Broken Halo More Peas Pushed On Down the Road New Sheriff In Town Vivid Live at Untapped 2012 Long Live Live Records Off Leash Nothin’ But Trouble Moonlighting In Vermont Don’t Blame the DYNAMITE… If you can ‘t light the fuse

2013 Washington Blues Society Best of the Blues Nomination Ballot
You must be a member of the Washington Blues Society to nominate! All ballots must be received at our PO Box or by a board member no later than Wednesday February 13th. Nominations received after February 13th won’t be counted. Please Mail Your Nomination Ballot to: WBS, PO Box 70604, Seattle, WA 98127 PLEASE NOMINATE BB AWARD NOMINEES BY FEBRUARY 15, 2013! Mark Dufresne Male Vocalist Award ______________________ Blues Female Vocalist ______________________ Electric Blues Guitar ______________________ Slide Blues Guitar ______________________ Blues Bass ______________________ Chris Leighton Blues Drummer Award ______________________ Blues Horn ______________________ Paul Green Blues Harmonica Award ______________________ Blues Piano/Keyboard ______________________ Acoustic Blues Guitar ______________________ Blues Act ______________________ Little Bill & the Blue Notes Traditional Blues Act ______________________ Solo/Duo Blues Act ______________________ New Blues Band ______________________ Blues Performer ______________________ Blues Songwriter ______________________ Washington Blues Recording ______________________ Blues Club ______________________ Blues Writer ______________________ Blues Image ______________________ Blues Graphic Artist ______________________ Blues DJ ______________________ Keeping the Blues Alive Award ______________________ Lifetime Achievement Award ______________________ Blues Hall of Fame ______________________ Non-Festival Blues Event ______________________ Best Blues Festival ______________________ Best Open Blues Jam ______________________ Eligibility Period for Washington Blues CDs November 1, 2011 through October 31, 2012.

Too Slim Charlie Butts & the Filter Tips Muddy Sons Blues Sheriff Candice Brown Sammy Eubanks Ravin’ Wolf Badd Dog Blues Society Kathi McDonald John “Scooch” Cugno RJ Knapp & Honey Robin

Regarding the Best Washington Blues Recording category, our 2013 guidelines contain a list of CDs that are eligible. Although we try to list all eligible Washington Blues CDs, you may have discovered a

we might include it in the Bluesletter next month. The following is a partial list of Washington blues recordings that were released during the eligibility period.

General Guidelines for Blues Image and Graphic Artist BB Award Categories
For nominations in the Blues Image category, please include a description of the image. Prior nominations include “Stacy Jones and Honeyboy Edwards, December 2010 Bluesletter on page 17” or “Big Rockin’ Blues cover photo from Becki Sue & Her Big Rockin’ Daddies’ CD.” For the Graphic Artist category, please also use specific examples, like “Denise St. John – Jam for Cans T-Shirt and Poster” or “Unknown Artist, Highway 99 to Highway 61 International Blues Challenge Fundraiser Poster.” These examples are old but should give you the idea of the information we are after. What If I Forgot the Name of an Incredible Supporting Player? If you cannot remember the names of nominees in the bass, drum or keyboard categories, ask some of the musicians you know to name several to jog your memory. It is likely they will know the first name the musicians that regularly share the stage with them, but ask them to also name some other players. There is a wealth of talent in Washington and many local blues musician can probably list five to ten performers in each each category that may be worthy of the nomination. We strongly encourage members to consider nominating artists that have played “under the radar” as there are a great number of players who have not received recognition from Washington Blues Society members. Please also keep this in mind when voting for the other performer categories (e.g., Electric Guitar, Acoustic Guitar, Slide Guitar, etc). In the festival category, and in fairness to each of the other festivals that occur only once a year, please consider the Spring Sunbanks and Fall Sunbanks as two separate festivals. Please vote for one or the other as they are separate festivals. Hall of Fame and Lifetime Achievement Awards Here are the lists of recipients of the Lifetime Achievement Award and the inductees of the Washington Blues Hall of Fame. As stated earlier, CURRENT MEMBERS OF THE HALL OF FAME AND RECIPEINTS OF THE LIFETIME ACHIEVEMENT AWARD ARE INELIGABLE FOR A SECOND NOMINATION IN THAT CATEGORY. The Washington Blues Society Hall of Fame began at the first annual BB Awards in 1991, and the first Lifetime Achievement Award was awarded 1996. Please Note: Traditionally, each of these two awards have been reserved for performers. Nominations for non-performers will not be counted. Year 1996 1997 1998 1999 2000 2001 2002 2003 2004 2005 2006 2007 2008 2009 2010 2011 2012 Lifetime Achievement Bobby “Blue” Bland & John Lee Hooker John Mayall Little Bill Engelhart & Luther Allison Dick Powell & Buddy Guy Isaac Scott & Taj Mahal Patti Allen Dave Conant Rich Dangle Patti Allen Randy Oxford & Mark Whitman Tommy Morgan Fat James Grosvenor Alice Stuart Kirk “KT” Tuttle Lee Oskar Charles White Tim “Too Slim” Langford continued from page 30 Year Hall of Fame 1991 Isaac Scott 1992 Dick Powell 1993 Little Bill Engelhart 1994 Buck England 1995 Leslie Milton 1996 Patti Allen 1997 Duffy Bishop 1998 Rich Dangle 1999 Charles White & Kathi McDonald 2000 Nick Vigarino/Dave Conant 2001 Mark DuFresne 2002 Randy Oxford 2003 Mark Whitman 2004 Alice Stuart 2005 Dave Conant 2006 Jack Cook 2007 David Brewer 2008 Paul Green 2009 Kirk “KT” Tuttle 2010 Nick Vigarino, Chris Leighton 2011 LJ Porter 2012 Tin “Too Slim” Langford

The Keeping the Blues Alive award is open to performers and nonperformers alike and can be won multiple times. This award is intended to honor the recipient for their achievements above and beyond the ‘call of duty” to keep the blues music alive. Examples include a promoter of a benefit, a special show a festival; maybe as a volunteer or a historian, possibly doing work to present and pass the music on to new generations or in other ways sustaining the blues. This award was first given in 1993 and the following list is presented as a reference and as a reminder of the hard work and dedication to this American art form by individuals in your community. 1993 1994 1995 1996 1997 1998 1999 2000 2001 2002 Patrick Lynch Cholo Willsin Rod Downing Rikki & Kevin Cates Raven & Sheri Humphres Robert & Carol Sawyer Marlee Walker Marlee Walker Ken Page & Frankie Lee Randy Oxford 2003 2004 2005 2006 2007 2008 2009 2010 2011 2012 Leslie Fleury Rev. Dave Brown Randy Oxford Jeff Hayes & Lloyd Peterson Jimie Jean Tuttle Rhea Rolfe Dennis “Blues Boss” Dudley Highway 99 Blues Club Tim & Michelle Burge Tony Frederickson

Keeping the Blues Alive Award

30

31

Non-Profit U.S. Postage Paid Seattle, WA Permit No. 5617

P.O. Box 70604 Seattle, W 98127 A Change Service Requested

The WBS is a proud recipient of a 2009 Keeping the Blues Alive A ward