You are on page 1of 17

Featured Articles

Behind the L ens R ichard Sab ol: When Mag ic Happ ens M ay Blues Bash: Pack ing the D ance Flo or

On the C over : R ichard Sab ol

By Amy Sass enb erg

In This Issue...

Celebrating 23 Years of Blues
June 2013 Bluesletter
Vol. XXV, Number VI
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
Amy Sassenburg, Robert Horn, Malcolm Kennedy, Rick Bowen, Jane Henderson and Eric Steiner

1989 - 2013

Letter from the President 9 Richard Sabol: When Magic Happens 10 Festival Preview: Withrop R & B 13 May Blues Bash 14 CD Reviews 16

Blues Stimulus 18 Talent Guide 19 Calendar 20 Blues on the Radio Dial 22 Jam Guide 22

Venue Guide Behind the Lens Behind the Lens: Laddy Kite Behind the Lens: Larry Williams Behind the Lens: Suzanne Swanson

22 25 26 27 28

Behind the Lens: Phil Chestnut Behind the Lens: Tom Hunnewell

29 31

Contributing Writers:

On the

Cover:
Richard Sabol by Amy Sassenberg
Margene Schotz is an award-winning blues photographer and long-time Washington Blues Society member and volunteer. Her photo of Super Chikan at the 2012 Safeway Waterfront Blues Festival earned an “Honorable Mention” in that festival’s photography contest last year. She’s also received a Washington Blues Society Best of the Blues Award (“BB Award”) for photography, and has traveled to Memphis and the Mississippi Delta to support local and regional artists competing in the International Blues Competition. Some of her more memorable covers include the popular “Women in Blues” photo shoot, The WIRED! Band winning the 2012 winners of the International Blues Challenge, and Miles Harris at the Washington Blues Society “Blues Bash” at Shoreline’s Red Crane restaurant. Margene’s attention to detail, love for blues music, and support of blues musicians is evident in her work behind the lens.

Contributing Photographers:

Amy Sassenburg,The Blues Boss, Suzanne Swamnson, Phil Chestnut, Tom Hunnewell, Laddy Kite and Larry Williams.

Cover Photo:

Robert Sabol by Amy Sassenburg

Letter from the Editor
Spring has slowly begun making it’s way into summer and in the lovely Pacific Northwest that means live blues moves outside and takes up residence in the world of the Festival. This next few months we have lots of amazing blues festivals to invest in: from Winthrop to Mount Baker to the Portland Waterfront and back around again. This is the time dig out your favorite lawn chair, dust off your dance shoes, lather up in sunblock and get the heck out there! This month we also wrap up one of my favorite

extended articles, Behind the Lens. (I wanted to have all self portraits and call it Photographers Who Shoot Themselves. But, who listens to the Editor anyhow. *hehehee...) I love that we are honoring the people who bring us the images of the blues - it’s an exceptional work and an amazing gift. And, from a designers perspective, the life-blood of the Bluesletter. Finally, I would like to send out a huge thank you to everyone who made this months Bluesletter happen - each of us, in our own way and in our

own worlds, have been so far past beyond busy with our “real lives” that the Bluesletter was a huge extra this month. And each and every one of you put your worlds on hold and pulled a last minute miracle. And I am grateful. Thank you team, for making a magazine we can all be proud of. Until next time, Jesse Phillips Editor/Art Director Washington Blues Society Bluesletter

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 2013 The Washington Blues Society is a nonprofit organization whose purpose is to promote, preserve, and advance the culture and tradition of blues music as an art form. Annual membership is $25 for individuals, $35 for couples, and $40 for overseas memberships. The Washington Blues Society is a tax-exempt nonprofit organization and donations are tax-deductible. The Washington Blues Society is affiliated with The Blues Foundation in Memphis, Tennessee.

Mission Statement

Washington Blues Society P.O. Box 70604 - Seattle, WA 98127 www.wablues.org
3

2

4

5

July 2013 DEADLINES:
Advertising Space Reservations: June 5th malcarken@comcast.net Calendar: June 10th calendar@wablues.org Editorial Submissions: June 5th - editor@wablues.org Camera Ready Ad Art Due: June 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 Music Co-Directors Membership Education Volunteers Merchandise Advertising Downtown Seattle West Seattle North Sound Northern WA Penninsula South Sound Central WA Eastern WA Ballard Lopez Island Middle East Eastside Webmaster Web Hosting WBS Logo Calendar 2013 Officers Eric Steiner Tony Frederickson Mary McPage. Chad Creamer Jesse Phillips 2013 Directors Cherie Robbins & Janice Cleven Gage Michelle Burge Roy Brown Rhea Rolfe Tony Frederickson Malcolm Kennedy president@wablues.org vicepres@wablues.org secretary@wablues.org treasurer@wablues.org editor@wablues.org

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%

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!

2013 Street Team Tim & Michelle Burge blueslover206@comcast.net Rev. Deb Engelhardt deb@revdeb.com Malcolm Kennedy & Joy Kelly advertising@wablues.org Lloyd Peterson freesprt@televar.com Dan Wilson allstarguitar@centurytel.net Cherie Robbins cherieerobins@gmail.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 Maridel Fliss calendar@wablues.org

Ad Rates Change-Effective in the July 2013 issue
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

ATTENTION BLUES MUSICIANS: WOULD YOU LIKE

Due to increased costs in both publishing and postal rates the Bluesletter needs to increase our advertising rates. This is the first increase we have implemented since February 2007 and our costs have gone up several times since then. You can take advantage of our current rates with a discounted pre-paid long term ad commitment. We are willing to negotiate payment terms for long term ads. Please contact me at advertising@wablues.org if you have any questions.

6

7

President

Letter from the

Hi Blues Fans! I wanted to encourage Washington Blues Society readers to learn more about the Blues Foundation, and to consider adding events like the Blues Music Awards and the International Blues Challenge to their calendars. Each of these Blues Foundation signature events attract a number of blues performers and fans from throughout the Pacific Northwest, and it was a real thrill to listen to Blues Music Award-nominee Nick Moss talk about the jam that he led at Rum Boogie during this year’s Blues Music Award weekend.

this restaurant about five years ago. As a result, I do my best to return to Alcenia’s for iced tea (unsweetened, thank you), and my lunches (yes, I returned the next day with Washington Blues Society and White Rock Blues Society member Suzanne Swanson) included lightly breaded catfish, greens, and black-eyed peas. I’m a creature of habit, and had that lunch twice. Nick told me about the line-up that got up with him on stage at the Rum Boogie the night before: Peter Dammann. Lloyd Jones. Multiple 2013 Blues Music Award winner Curtis Salgado, plus 13-time nominee Jimi Bott, too, and it was a thrill to listen to Nick as he gave each of these outstanding Oregon-based bluesmen props from Alcenia’s. The week of the Blues Music Awards has a number of other activities, including workshops, blues showcases, and opportunities to see “one-of-akind” performances. I enjoyed the Blind Raccoon and Earwig Music showcase at Purple Haze, but my favorite “dream team” of a blues band played at the Pinetop Perkins’ 100th birthday bash at the Hard Rock Café. It was a real thrill to see “Little Red” Clay Swofford play piano

with Tony Braunagel on drums, Chris James and Johnny Primer on guitar, Patrick Rynn on bass, Bob Corritore on harp, and “Mud” Morganfield on lead vocals. Probably one of the best blues bands – just thrown together – that I heard during my long weekend on Memphis. Well, I also enjoyed seeing Greg Nagy, E.G. Kight, Redd Velvet’s version of “Hound Dog” was certainly memorable, and seeing the Heritage Blues Orchestra perform during the Blues Music Awards was another great highlight. In future issues, we’ll learn more about the Blues Foundation’s plans to “Raise the Roof ” and build a Hall of Fame for blues music in Memphis, and I encourage Bluesletter readers to visit www.blues.org to learn more about how the Blues Foundation is working to preserve, nuture, and advance the culture of blues music as a uniquely American art form. Until next month, go see some live blues! Eric Steiner President, Washington Blues Society Member, Board of Directors, The Blues Foundation

Nick and Kate joined me for lunch at what has been my “go-to” destination for soul food in downtown Memphis, Alcenia’s. Alcenia’s just happens to be Charlie Musselwhite’s favorite lunch spot in Memphis, and Janiva Magness introduced me to

8

9

Richard Sabol is dressed in buckskin trousers with fringe all the way down the sides. He wears a white flowing shirt, leather vest and long duster. His eyes dance, his smile charms. His silvery mane cascades over his broad shoulders and mingles with his long silver beard. He looks like a mountain man from days gone by. He looks like a rock star. And in the winter, dressed all in red at a children’s hospital or a Washington Blues Society event, he looks like Santa Claus. Richard has been the drummer for the Randy Oxford Band for the past 3 ½ years; the man in white behind the band dressed in black. Whatever he’s wearing, when Richard Sabol walks into a room, people take notice. Oxford describes this magnetism as an “aura.” If you don’t know who he is, you want to. Women lean into each other and whisper. Men come up to shake his hand, and say something like, “Best f-ing drummer I ever heard, man.” He has been described as a wildman, a Renaissance man, an animal and a lion-hearted teddy bear. Richard Sabol is what he appears to be: a professional musician, an artist, a friendly man, a family man, a phenomenal man. He is genuine. What you see is what you get. And what you get is a big man with a big smile, a big heart and big talent. Jonathon ”Oogie” Richards, of NWCZ’s Mighty Mouth Blues, has been really struck with Richard’s presence. “Keeping the beat, with style rarely seen behind the kit. Richard puts on a show that is memorable with showmanship and percussion prowess that is legendary.” Indeed, watching Richard play the drums can be an emotional experience. It’s subtle, controlled, meticulous, then all of a sudden dramatic, voracious, unpredictable. The eyebrows raise, the tongue comes out, the hands fly faster than the eye can follow. And then he raises up, off the seat, jumps, or turns and plays an appliance

the Certificate for Captain’s Advanced Coastal Navigation and a Presidential Sports Award for Sailing. His Facebook page is brimming with travel photos from around the world. He has visited more than 50 countries, a few of those while touring with The Randy Oxford Band. They just returned from Central America earlier this spring, where they played a jazz festival in Panama. Richard is also an artist on other fronts. While still a young teenager, he was a busker at Boston Commons, singing and playing folk songs with his acoustic Martin guitar. He carried an Easel and a flip chart for the speed drawings he would sell on the side. Most folks have never seen this softer side of Richard, but he gave them a peek last month when he and fellow drummer Rick Bowen did a singer-songwriter showcase on acoustic guitar at the Yuppie Tavern in Kirkland. Both have been nominated for the Chris Leighton Blues Drummer Award alongside Andrew Cloutier. Mutual friend and drummer Tommy Cook says both Ricks remind him of each other. “Both of those guys can’t stop smiling. It’s like they’re cut from the same cloth.” Before this, Randy Oxford had heard Richard play guitar only in his living room. “I actually said at the time ‘we should incorporate that into the show,’ but no,” he says, shaking his head, “He’s so humble.” Guitar was actually his first love, but that all changed when he was 15. When asked why he is not known as a guitar player, his answer is swift: “Buddy Rich.” Richard was raised on jazz in Newport, Rhode Island, the home of what was then known, in the 60’s, as the Newport Jazz & Folk Festival. His

one hand,” Richard says. He was truly inspired by Rich’s performance and his mom was able to get him backstage to meet him. Buddy Rich signed a pair of sticks and gave them to the 15 year-old. Richard felt an excitement and a kind of awesome responsibility, like he’d just been passed the baton. As he watched the master play that night, he noticed the insignia on the bass drum that had the initials BR inside a simple family crest shape. He went home and drew the same one and put the initials RS on the front head of his bass drum. At that point he was already learning jazz rudiments and reading sheet music. He was taking private lessons from David Pelletier, who was also his music teacher through junior high and into high school. It was Pelletier who helped push him toward excellence. “He would give other students a B if they missed three questions, but I would get a C if I missed two,” Richard laughs as he explains. When he’d bring the injustice to the instructor, he was told he was being held to a higher standard. To this day, it’s obvious to anyone who plays with him that he still holds himself to this higher standard. “He’s extremely professional. And he has an amazing memory,” says Randy Oxford. When Richard joined the band, he had little time to prepare, and learned everything in a matter of days. “He just got ready,” Oxford says. “He sounded like he’d been playing with us for a year.” These kinds of sentiments are echoed again and again when talking with his peers. Bass player and fellow BB Award nominee Patrick McDanel likes jamming with Richard. “When you get someone like Richard, who has a broad and excellent knowledge of a lot of different styles, it’s fantastic. It makes my life fun. I really enjoy playing with him, because I can throw anything at him and that’s a rarity.”

Richard Sabol:

When Magic Happens
or wall nearby. Richard plays with all he has, whether it’s an amphitheater, a pub or a church. “When I’m playing the drums,” he says, “I’m in my element. It’s my gift. When I’m using my gift I’m in line with the universe. I’m joyful. Happy.” His gifts don’t stop at the drums, though. He is also an accomplished sailor, having logged more than 3,000 hours behind the wheel, earning him father played jazz records at home. His mother worked at Leo’s First & Last Stop, a jazz club in Newport, and she was a good friend with the owner. So at a young age, Richard had the unique opportunity to see jazz greats in an intimate setting. It’s there that he witnessed the legendary Buddy Rich play the drums for the first time. “He was one of only two people in the world that could perform a double stroke roll with

By Amy Sassenberg

“He just turned my head as soon as he started playing,” says Oxford. “He’s the most versatile drummer I’ve ever played with.” That versatility is a direct result of seeking out a variety of experiences and playing in multiple genres. After literally growing up in the All City Orchestra in Newport, while still in high school he joined an acid rock power trio. (continued on page 12)

10

11

Richard Sabol:

When Magic Happens
Continued

FESTIVAL PREVIEW:
The 26thAnnual Winthrop Rhythm and Blues Festival
This year’s 26th Anniversary of the Winthrop Rhythm & Blues Festival is shaping up to be the best rhythm & blues PARTY yet! COME SEE WHY! The Award-Winning Winthrop Music Association presents the Festival July 19-21, 2013 at the Blues Ranch in Winthrop, Washington, nestled in the beautiful Methow Valley in the heart of the North Cascades, surrounded by some of the most spectacular scenery in the Pacific Northwest. This year’s line-up features: Johnny Winter, Ivan Neville’s Dumpstaphunk, Bonerama, Janiva Magness, Otis Taylor Band, Too Slim & The Taildraggers, Nikki Hill, Peter Karp & Sue Foley, Rosie Ledet, Marquise Knox, Chris O’Leary Band, Matt Hill Band, Doug MacLeod, and Lady “A” and her Baby Blues Funk Band. Three days packed full of Rhythm & Blues! Washington State’s largest and longest running blues festival kicks off 7pm, Friday, July 19th with its early show, the “Lowdown Hoedown”, in the Big Top Tent BEER GARDEN at the Blues Ranch featuring Winthrop favorites Too Slim & the Taildraggers, the Matt Hill Band and this year with her blues funk band, Lady “A” in a special fundraising concert for The Cove Food Bank in nearby Twisp. On Saturday and Sunday, the music starts at 11 AM and runs until 2 AM. On-site camping ($45 for the weekend), free showers, food and craft vendors, shade tents, and beer garden are all located on the Blues Ranch grounds on the beautiful Methow River. The Friday night Beer Garden Show is $10 or free with weekend pass. A weekend pass is $80 in advance, $90 at the gate. For complete schedule, tickets, and lodging information please visit www.winthropbluesfestival. org or www.facebook.com/winthropbluesfestival. The Winthrop Rhythm & Blues Festival is brought to you by The Winthrop Music Association, a 501(c)3 non-profit corporation. Proceeds from the Festival help support a number of cultural and civic organizations in the Methow Valley and beyond, including The Cove Food Bank, Methow Valley School District Music Program, Little Star Montessori School, Heart of the Methow Pow Wow, Oregon Food Bank/Waterfront Blues Festival, and Washington Blues Society Musician’s Relief Fund. WMA is a member/affiliate of The Blues Foundation, Inland Empire Blues Society, Cascade Blues Association, Washington Blues Society, Methow Valley Arts Alliance. The festival welcomes back long time festival sponsors DELTA MUSIC EXPERIENCE, Winthrop RED APPLE Market and Odom Distributing.

(continued from page 11) From there he spent two years in a pop rock cover band, a few more in a resort show band that covered Frank Sinatra AND Michael Jackson, before joining Smokin Joe to settle into some blues-tinged Southern rock. It was while with this group he had the opportunity to open for and tour with some major recording acts like Marshall Tucker Band, Black Oak Arkansas, Molly Hatchet and Johnny Winter. Which is what he was doing when Eddie Savage (Eddie Pineda) saw him at a club outside of Philadelphia and proposed they put together a metal band. They found two guitar players who looked a like Jon Bon Jovi and Nicki Sixx and formed Savage. They were approached by Atlantic Records and would play bills with Atlantic recording artists like Destroyer, Cinderella, Brittney Fox and Poison. He learned some valuable lessons during his years with Savage. It was the early 80’s and drugs were everywhere. Richard was not immune. He tells the story of when their manager called a band meeting and popped in a cassette tape and played them a recording of themselves. It was like one of those commercials, “this is your brain on drugs,” except it was “Here’s what you sound like when you do speed before a show,” or what they sounded like when they smoked before a show. Richard was stunned. The whole band was off, but he took it to heart. Since then he never plays a gig in a compromised state. “We can tell ourselves things and believe anything we want,” he says. “But when we can really see-see ourselves,--it’s the greatest teacher ever.”

“I got an education in Aqua-Net,” quips Richard. “Not me, the other guys. My hair was big enough on it’s own.” In fact, he refused the hairspray and makeup that the reps were pushing at the time, turning metal guys into glam bands. “I wasn’t going to let them dress me up.” It was around that time that Richard got off a plane in Denver one day and at first, his little girl didn’t recognize him. She’d had two teeth come in while he was on tour and he’d missed it. He decided then it was more important to be a dad than a drummer. He spent nights and weekends at home and took any blue-collar job he could get. Eventually, he began driving a bus. “I pretty much gave up music for two decades,” he says, only picking up a few gigs here and there, and playing at church. “I wanted to be a stay-at-home dad and see my little girl grow up.” Richard’s family and his faith have been constant guiding forces in his life, and during the years he did not play in an established band, he played with the worship teams of various churches. He even played Peter in the Passion Play and Santa Claus on TBN. He recently played an Easter service in Snohomish, and was so visibly moved while he was playing, that attendees kept coming up to him afterward and thanking him for moving them as well. The reactions to his playing are much the same in the clubs where he again plays on an almost nightly basis. Richard says when his daughter Faith graduated high school, she pulled him aside and said ‘I know what you gave up for me and I know if you’d stayed you’d be as famous as all the guys you played with. So please get out there and do what you love again.”

And so he joined a Three Dog Night tribute band for three years, the only one endorsed by the actual band. He also helped form a few Southern rock bands. But ultimately, he wanted to play more than the other members. His friend RJ Knapp encouraged him to come out to a jam. “I don’t do them,” Richard said. But it was Knapp’s birthday, so Richard relented. This is funny to those who know him now, because he can be spotted at blues jams several times a week. At his first jam, 3 ½ years ago, he was paired with a guy on trumpet. It was Ron Hendee. Richard recalls Ron turned to him and said, “Who the heck are you and where have you been?” He played one gig with Hendee, Robert Baker on bass and CD Woodbury on lead guitar, and that’s when he met Randy Oxford. Oxford’s original drummer, Riky Hudson, who played with him six years, had a stroke, and Hendee’s band, with Richard on drums, was playing the benefit. “As soon as I heard him, I thought ‘Wow – that’s my kind of drummer,’” says Oxford. He called Richard the next day and asked if he could travel, have a passport and was ever convicted of a felony. “His aura onstage, it draws people in.” Oxford says. “He turns music into magic. And that’s rare.” Through his music, Richard developed and honed an incredible work ethic, an ease with people, a superior sense of timing and control under pressure, all of which have served him in multiple aspects of his life: music, family, faith, sailing, and now as a tenured driver and trainer for Community Transit, having driven 21 years and more than a million miles without incident. His elite status with the National Safety Council

graces his bus in the form of a rare Million Mile Driver Award. He has found purpose in helping others. He has served three terms on the Executive Board of the Amalgamated Transit Union where he represents and defends fellow workers and their rights. This is a man who’s always known where he’s going. He has studied the rules and knows the way. “I see things in my mind and I make them reality,” he says with conviction. He knows if he puts in the miles and the hours he can navigate through anything. He has always had goals, notes, roads, maps and charts. But he has also cultivated the ability to be spontaneous, to let go and see what happens. In this season of his life, nearing retirement and feeling the changes all around him, he finds himself a little adrift for maybe the first time. He is waiting to see where the wind takes him, where the music takes him. “I think that at this stage, at this age, I’m thankful for the opportunity to play live performances and be healthy enough to use the gift that I have.” Right now, he’s helping Oxford celebrate the 10th Anniversary of the Randy Oxford Band. And having a great time playing with its newest member, bass player Polly O’Keary. Oxford says the two together bring a very special energy to the band. “The way they have connected as a rhythm section in a very short period of time is simply amazing.” Richard knows how to connect to people. He has taught and mentored hundreds of drum students, throughout the U.S., Asia and Central and South America. Oxford says he’s a great clinician, as far as putting on a drum clinic. “He’s the best I’ve ever seen about getting people involved,”

Oxford says. “He’s able to communicate drum language to the average person who’s never played before, so they’re able to play right away. That’s a special talent.” There’s also a special connection between Richard and Randy, when they play together, that both men acknowledge. Richard lists what they’ve accomplished in tandem. “With Randy I’ve played Montreal to Vancouver, Maine to California. We’ve played Central America, and the Blues Cruise. We made the IBC finals in 2011 in Memphis.” For his part, Oxford says he hopes to keep working with Richard. “I can’t imagine another drummer in his place.” KSVR DJ Janice Cleven Gage, from The Blues Note, summed it up quite well when she remarked about Richard, “He has that ability to let the front man hold the stage while he holds it all together.” And he continues to hold it together, through whatever comes his way, like the consummate professional he is: watching, listening for the changes and then letting go. Richard recently saw a young guitar player at a show and recognized him from a jam they had both attended. Much to the boy’s delight, Richard moved in close to speak to him in hushed tones. The young man listened with reverence. “Once you learn the technical aspects of your instrument, let the music become an extension of you. Close your eyes and let the music come through you. Don’t worry about if you’re playing to one, 10 or 10,000. You have to get to the point where you let go and let it flow through you. That’s when the magic happens.”

12

13

Love Dogs NickVigarino

The May 2013

fast fingers. He had a good night pitching partly because he also threw some great change-ups By Robert Horn, Photos by Blues Boss before the swing band really got ready. Nick did a couple of his usual songs slow instead of the usual fast style. If I was to tell someone next to What a night! Boston met Seattle and a guy who me what was to happen next my timing would showed up with a Red Sox shirt was cheered have been way off, and I would have likely got by the crowd in Seattle. This did not happen called on it by the umpire. at Safeco Field though. It was at the monthly blues bash of the Washington Blues Society. Back Porch Stomp also brought a variety of The two bands were Back Porch Stomp from things for its heavy hitter to hold at the plate. the state of Washington, and The Love Dogs In addition to acoustic guitar, a Stratocaster, from Boston. and several basically normal looking ones, we saw one that knocked it out of the park: a gas Leading off in the first inning was Back Porch can made into a guitar sounded awesome and Stomp. First, there were a couple instrumentals would have set fire to the rain if any rain fell as they were getting warmed up. The crowd was inside that night. Nick picked it up on Beale still settling in but already noticing that the Street a few years ago when he was a finalist in band was as they usually are. That means they the International Blues Challenge. are good enough to get a stack of Certificates of Nomination for the Washington Blues Nick walked around in the crowd using Society’s Best of the Blues (“BB”) Awards. everything anyone handed him to use as a Those nomination certificates were handed out slide on a guitar (beer bottles, a knife, maybe in the 7th inning stretch after Tony and Amy handed out free CDs during the monthly blues bash’s free raffle. Always impressive was fast ball pitcher Nick Vigarino (that is an analogy to his lightningfast guitar-playing fingers). After the first few songs, he was throwing 105 mile an hour fastballs without what appeared to be any exertion to speak of. He pitched some usual songs like “ Bo Didley’s Money” and “32-20,” which took Robert Johnson and put him on speed. If you ever knew about 33 and 78 records (back in another era when Roger Maris and Mickey Mantle played for the New York Yankees) you may have put a 33 record on 78 to hear how fast it sounded. That is what Nick can do with his

at the Red Crane

Blues Bash

Three minutes into their performance the dance floor was packed and stayed that wall all nine innings.

band seemed like 9 (and others to spare) plus a full bull pen, and I was impressed. The Love Dogs were finalists in the International Blues Challenge, and returned to the Pacific Northwest on tour. If you combined Brian Setzer with Powder Blue with Muddy you may get the idea of what we heard. This swing band started off with a home run singing “Tossin’ and Turnin’” then another and another, with appropriate song titles like “Knocked Out” and “Gotta Move.” This is a jump blues band that brings to mind Tim Casey & the Blues Cats or Brian Lee around here, or Canada’s Powder Blue on the international blues stage. Their versatility was impressive, too. A lead guitar player who also plays saxophone and does both of them well, a lead singer who also does percussion, drummer and bass also do vocals as does the other sax player, and batting cleanup that night was Alizon Lissance who is the keyboard player who sings great. That talent is equal to people playing outfield and catcher at the same time or pitchers who bat 350 or a first baseman also running over to play shortstop. Three minutes into their performance the dance floor was packed and stayed that wall all nine innings. On lead vocals and percussion was Eddie Scheer, on Keyboard and vocals was Alizzon Lissance, on tenor sax and vocals was Myanna, on guitar and baritone sax was Glenn Shambroom, at bass and vocals was Randy Bramwell, and at drums and vocals was Steve Brown. Nobody in this band plays just one position at a time. Is this possible? Maybe not, but they accomplish it anyway.

a container of snuff or even a baseball bat) as he does in his nightclub act. He walked around the Red Crane after drummer Larry Dennis batted his Stratocaster with drum sticks with the power of Ken Griffey Jr in his prime. The crowd loved seeing Nick walk the bases. The Love Dogs, a great swing band from Boston, finished the night. This seven- piece

14

15

Blues Reviews
Luke Winslow King The Coming Tide (Bloodshot Records)

Joe Bonamassa and Beth Hart Seesaw (J&R Adventures) Seesaw is such a fitting title for the second collaboration album from Joe Bonamassa and Beth Hart as it not only demarks the hot title track but hints that you are about to hear these great artists head out for some musical recess away from their regular gigs and share the fun filled ride they had. The 11-song follow up to their much heralded Don’t Explain ,finds the duo once again paying tribute to the soul music they so love. Hart takes her vaunted vocal skills up to an even higher level as she tackles tunes from icons such as Aretha Franklin, Etta James, Billie Holiday, and Tina Turner, and she honors each with precision and passion. From her coquettish tease on “Them There Eyes,” to the flat out perfection of “A Sunday Kind of Love,” gritty fire of ”Nutbush City Limits,” Hart can do no wrong. Harts also pays homage to modern kindred spirits on two fairly straight up covers of tunes from Melody Gardot and German hipsters Anna Leyne and Slackwax. Bonamassa is his expected guitar god self throughout the songs demonstrating mastery of tone and style. He closes the seven minute down and dirty rendition of Blood Sweat and Tears classic “I Love You More Than You’ll Ever Know,” with a ripping solo that drives it on home. Then, he delivers on slide guitar for a boot-kickin’ run through of Lucinda Williams’ “Can’t Let Go.” Once again, the duo is expertly produced by Kevin Shirley who retained the gunslingers from the previous album: Anton Fig (drums, percussion), Carmine Rojas (bass), Blondie Chaplin (rhythm guitar), and Arlan Schierbaum (organ, piano). This time out, their mighty sound is augmented by a horn section, with Lee Thornburg on trumpets and trombones, and Ron Dziubla on saxophones. This mainly upbeat album does a 180 degree turn, and closes with the chilling denouement of ” Strange Fruit,” a dirge that brings the joyous recess time to a screeching halt and drags us back to harsh reality with much to contemplate. Rick J. Bowen JJ Grey & Mofro The River (Alligator Records)

New Blues that you can Use

Luke Winslow King is a man born a century too late. His smooth, down-home tenor and seamless acoustic and slide guitar accompaniment to pre-war blues, Ragtime, southern gospel and Tin Pan Alley sing-alongs are straight out of 1913, not 2013. But, lucky for us, The Coming Tide was impeccably recorded, engineered and co-produced by Earl Scioneaux III at the fabled Piety Street Studios in New Orleans in a modern digital format instead of a scratchy old 78 rpm record . King is primarily accompanied by singer washboard-player Eshter Rose who duets with King throughout and bassist Cassidy Holden. The 10 originals feature classic Ragtime piano and trumpet from Ben Polcer in a traditional New Orleans styled horn section, and clever old-timey percussion from Rich Levinson. It only takes one listen to be enchanted by the infectious optimism of “Moving On (towards better days)” a sweet dulcet tune that rolls off of Bourbon Street as if delivered by Sachmo himself. The gospel-tinged call and response of the title track is straight out of the Carter family songbook. The trio swims up river to the Delta and delivers the swampy “Keep Your Lamp Trimmed and Burning,” which features some greasy slide work from King. The album takes a trip into the macabre for the haunting “Ella Speed,” before ending with the bonus of an inspired cover of George Harrison’s “I’ve got My Mind Set on You.” Rick J. Bowen.

1

The CD Woodbury Band Monday Night (Wide Willie Productions)

They call themselves The CD Woodbury Band, but make no mistake: this five piece band of seasoned pros is a fully collaborative unit and their new studio album Monday Night proves that the value of the whole is greater than the sum of the parts. This strong ten song set was recorded by Chip Butters at the REC Room studios; the band pays tribute to the happenings in this unique environment of live performance space and recording facility on the second line flavored “Monday Night.” CD calls out the vocal line “If the music makes me ,I’m gonna feel alright,” then the sax and guitar answer with a clever dual harmony line while the rhythm section cooks below then revving up to the solo trade off ’s and dynamic twists and turns of a hyper danceable groove. Thus is the essence of the CD Woodbury band lead by the deft guitar work of journeyman Mr. Woodbury, who sings lead vocals on six tracks and hands the lead to sax man Mike Marinig and Drummer Don Montana for a couple each. The hard luck narrative of “Pawn Shop,” feels genuine and autobiographical as Woodbury laments having to pawn his beloved Gibson 335 to pay the bills while the band churns on a classic slow blues adding clever ascending progressions to the form while he cries out one last time on that fat tone guitar. Montana gives us his best Gene Kruppa leading the band into the swinging “Ring A Ding,” captured in a natural aesthetic that makes the listener feel like you’re sitting right in the middle of the band. Marinig shows off his love of Steely Dan, on his witty progressive groover “Pleasure’s All Mine.” The real highlight of the album may be the final track “SauBall Blues,” a slow burner that features some skillful brush work from Montana, something of a lost art these days, the tasteful piano of Chris Kliemann, and slinky solos from Marinig and Woodbury. Monday Night may be the right time and this album should propel the CD Woodbury Band, who has laboring the trenches for some time, right up to the next level. – Rick J. Bowen

2

Clay Swafford Rooster (Lost Cause Records)

Clay Swafford’s debut on Lost Cause Records is a cause for celebration, especially for fans of old-school, upright blues piano. Clay coproduced the CD with Blues Foundation Charter Member, and fellow pianist Clint Morgan, at Exit 104 Media in Olympia, Washington, and I highly recommend Rooster as a must-have new release. I first discovered Clay at Clarksdale’s Ground Zero Blues Club in Gregory Sabatino’s “Falsifyin,’” a short documentary that explores boogie-woogie blues piano with Henry Gray, “Pinetop” Perkins, Marcia Ball, and Jerry Lee Lewis. He was just 20 years old when the Sabatino captured these blues legends in 2005, and it was amazing to see how this young man could hold his own amongst some of the true giants of blues piano. He’s called Little Red Clay in the film, and is billed as “the incredible newcomer who may bring boogie-woogie piano back into the national spotlight.” This CD features 14 songs with Clay behind an old upright piano with some pretty accomplished special guests – each of them have been recognized by Blues Foundation members with Blues Music Awards. Diunna Greenleaf lends her powerful pipes to a number of songs, including Big Joe Turner’s “29 Ways,” Big Mama Thornton’s “Sometimes I Have Heartache,” Little Walter’s “You Better Watch Yourself,” and Floyd Dixon’s “Hole in the Wall.” On “Tin Pan Alley,” Clay sits in with Bob Corritore’s Rhythm Room All-Stars in Phoenix, and he fits right in with “Big Pete” Pearson and the rest of the All-Stars. Finally, “Steady Rollin’ Bob Margolin and Clay join forces at the Hopson Plantation on “Mean Disposition” and “Fine Little Mama,” doing justice to the legacies of Muddy Waters and Elmore James, respectively. There is a nice balance of original instrumentals and well-chosen covers on Rooster. This summer, Clay will return to the Pacific Northwest and participate in the Pinetop Perkins Foundation Master Class Workshop at the Hopson Plantation, and at the Port Townsend Acoustic Blues Festival and Workshop in Washington State. – Eric Steiner

3

4

and his two earlier Fog City releases, Lochloosa and Blackwater were re-released on Alligator six years ago. Each time I listen to “Your Lady, She’s Shady” I hear something new: I hear a delightfully unpredictable cacophony that borders on a real gritty and urban sound. I won’t invoke descriptions like “hip hop,” “house,” or “rap,” ‘cause that will likely turn blues fans away. But, in all reality, they shouldn’t. Oft-described as “front porch soul” or “swamp funk,” JJ Grey’s sound has resonated with generations of fans of all types of music ranging from college students new to alt-rock, Americana and country, to greybeards that know how the blues crosses over into other genres of music. “Tame a Wild One” and “Somebody Else” offers up infectious soul grooves that reminds me of James Hunter or Paul Carrack, the full-tilt rocker, “99 Shades of Crazy” is a lot of fun. The sad ballad of “The Ballad of Larry Webb” tells the story of workers unrecognized for a lifetime’s work punching a clock, and “Harp and Drums” begins with a deceptively simple from blues lead by harp and drums, but Mofro quick joins the party, and this is one of the many songs that may attract younger listeners to Alligator Records with a vocal attack that reminds me of Fab 5 Freddy or Cool Herc. I will be the first to agree that The River isn’t a collection of pure blues; it’s not advertised as such. I will, however, ask listeners to open their minds to JJ Grey and Mofro’s latest CD that stretches many musical boundaries. – Eric Steiner

the working man the next. The Fidldeworms have certainly created a unique musical landscape with See The Light, and I hope that audiences will consider the depth of this southern gothic passion play from beginning to end. Rick J. Bowen.

Jeff Healey As The Years Go Passing By (Inakustik)

Fiddleworms See The Light (Self-Released)

JJ Grey and Mofro’s newest Alligator CD, The River, opens with a forceful “Your Lady, She’s Shady” that contains a number of intricate exchanges between JJ’s vocals and harp, Andrew Trube on guitar, Todd Smallie on bass, Art Edmaiston on sax, Dennis Marion on trumpet, Anthony Farrell on organ and piano, and Anthony Cole on drums. This “big band sound” informs JJ Grey’s eighth album,

5

The ambitious new album See The Light, from Alabama quintet Fiddleworms, is a cavalcade of styles with literally a parade of guest musicians including the University of North Alabama marching Band. The 11 originals are interspersed with snippets of radio sound effects and spoken word segments that flow from jazzy blues, to stomping country rock fusion, but all centered around the lazy everyman vocals Russell Medford. The level of production and instrumental performance is top notch as it weaves in the elements of classic Muscle Shoals R&B from the 70s reminiscent of Little Feat and NRBQ, with layers of superb guitar picking, hot horn jabs, retro keyboards and a rockin’ rhythm section. The album is lacking a single to hang its hat on as the band chooses rather to present this album as one continuous piece of music forming a type of neo progressive jam band opera, full of opaque twists and turns. Medford sings about the struggles of love one moment then laments the struggles of

6

The posthumous CD from the Healy Family Trust documents the career of a truly unique artist in three distinct periods in three different decades, each recorded in Germany, and heard now for the first time. Each show is remastered with crystalclear fidelity begging the question: “why did it take so long for them to surface?” The first disc finds a young hungry power blues trio in 1989 fresh off a guest starring role in the move Roadhouse pumping their hit single “Angel Eyes.” Healy mixes in deft interpretations of blues classics with tunes from his album See The Light, displaying firepower last must have been seen to believe it was coming from a seated blind guitarist. Disc two features the addition of guitarist Pat Rush to the Jeff Healy Band in a 1992 concert. This set is more cover heavy with the band clearly having a raucous time playing some old favorites from The Beatles, Stealer’s Wheel, and of course Roadhouse Blues from The Doors. The customary hit single “Angel Eyes,” is revisited again but this time as an acoustic duo feature. Healy is set free with a second guitar in the band with the lively extended solo filling each song. The third disc has a bit of a darker tone ,as the band then included Phil Sayce on guitar and lead vocals for the Albert Collins tune “Put The Show One the Other Foot.” Healy’s smooth baritone feels strained throughout and his mood was no doubt suspect as he banters with the crowd telling them to “clap on beat for god’s sake,” at one point. His guitar playing remains stellar but you feel the tension of a veteran player trying to keep in the game. The emotional arch of this collection, from fresh heady beginnings to joyful confidence and determined resistance against an eventual demise, plays out like a classic drama in three acts. At the center of all is the undeniable talent of Jeff Healy an artist who was taken too soon, but left us with so much great music to cherish and remember him by. Rick J. Bowen.

7

16

Blues Reviews

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

17

Blues Stimulus
North Bend gets a
Boxley’s in North Bend Washington is one of the best Jazz clubs in the world according to Downbeat Magazine. They are also known for the Boxley Music Fund that promotes music as a 501 ( c ) 3 non-profit corporation. They are not narrowly promoting jazz either. On April 20th a lot of people came to the mountain town of North Bend for the 2013 Blues Walk. Downtown Northbend had 13 venues put on shows with 16 blues acts from late in the afternoon until late in the night. This special event was like a good summer blues festival, but happened in the early spring, and therefore it was indoors. The businesses in North Bend that were big enough for an audience to see a musician had exactly that. This festival not only had Boxley’s behind it, but it had a lot of co-sponsors and that included just about every business in the area (from Tanner Electric, Intek Integrated Technologies and Pony Boy Records, to State Farm and Farmers Insurance and the Snoqualmie Valley Hospital District), and it also had the Washington Blues Society and Blues to Do. Boxley’s itself was packed full all night as the wait staff were busy bringing hundreds of dinners to tables while people watched Blues Redemption and James King and the Southsiders. Those two bands from the South Sound are worthy of national attention, for sure. There was a large stage in the North Bend Theater. I heard that it was reserved for the new Tom Cruise movie, but it hosted two great blues bands during the Blues Walk: The T- Town Aces, and The Wired Band. Do you want to know the truth? As one of Tom Cruise’s more memorable characters asked Jack Nicholson: “Can you handle the truth?” As great as Tom Cruise movies generally are, I think the firm truth is that city made all the right moves by having the blues bands fill the theatre. The color of the money they brought to the city was green enough to make the last samurai play taps and fall in endless love with the music. You don’t need to show me the money, far and away this was no risky business bringing in a few good men to be on stage playing the blues. This would even be clear with one’s eyes wide shut. Putting on a better show would have been mission impossible. The top guns for these two bands, Steve Bailey and Kevin Sutton, are great, but their whole bands were hitting it hard and shattering glass and if you don’t believe me, ask the dust. A free cocktail will be given to whoever finds the most Tom Cruise movie references in this paragraph. You have one shot to get the right number. The places the various musicians played seemed fitting. I have heard women tell me how they like Mark Riley’s music. I guess it is fitting that he would play at a place called Birches Habitat which has women’s dresses, purses, aroma therapy and essential oils, and Mark Riley CD’s. He played guitar and talked to an audience that was 70% women. Emerald City Smoothie had Mo’s Barbeque as a dinner choice while the Dan O’Bryant Duo performed. I had the biggest plate of spaghetti I have ever tried to finish at Twede’s while watching Paul Green and Brian Butler. Keith Bakke gave a very favorable review of his meal in George’s Bakery while we were watching an amazing show from guitar monster Rod Cook. It was so crowded in the Sno Valley Moose Lodge that I didn’t try to get food but I did eventually get through the huge crowd watching Little Bill & The Blue Notes to get beer. They were selling pints of Manny’s for only three dollars and I felt so guilty getting that kind of a deal I gave a five and told them to keep the change. The car dealership didn’t have food that I saw but they brought in a bar for those watching Chris Stevens’s & the Surf Monkeys.

By Robert Horn

Pioneer Coffee had Nick Vigarino and I asked him if he was going to walk the bar and take shots of espresso while using coffee cups or biscotti cookies as a slide for his slide guitar. There were some stages upstairs and hard to find. Yes, North Bend has something like Speakeasy’s where you get the directions to the place by word of mouth on the street. That is how I found Eric Madis in the Euro Café, Brian Lee in the Valley Center Stage. At The Pour House the John Stephan Band played and Kim Field was at Scott’s Dairy Freeze. The streets were packed with blues fans walking from place to place asking each other what they just saw, where they were going, and how to find each venue. Some money was spent in North Bend by people from elsewhere along with some locals, and we all felt great about it. If a town wants to know how to bring a lot of money spenders in for a weekend, invite a whole bunch of well- known Washington blues bands and pay them what it takes to seal the deal. If they play it, we will come. It doesn’t matter if it may rain, man we would love more events like this, and if I was born on the fourth of July, I would call on everyone, without limits, to be at events like this from North Bend to Elizabethtown. OK, I am playing with those movie titles again, and I hope you have enjoyed one of my more fanciful articles on a great blues event in the Spring, the North Bend Blues Walk.

18

Richard Allen & the Louisiana Experience/Zydeco Trio/Solo Piano (206) 369-8114 AlleyKattz (425) 273-4172 AEK Abdelkder (425)232-8569 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 Blutopia (425)269-3665 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 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 el Colonel (360)293-7931 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 RJ Knapp and Honey Robin Band (206) 612-9145 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 Scratchdaddy Blues (425)210-1925 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 Steal Thunder (360)403-1048 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 Tom (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

19

Calendar
June 1 - Saturday Barrel Tavern, Seattle: Tim Turner Band Conway Muse, Conway: Randy Norris & Jeff Nicely, 7:30pm Engels: Dirty Rice Highway 99: Lee Oscar & Friends Orchestra Kalama Wine & Chocolate Festival, Kalama, WA: Bill Rhoades & the Party Kings New Orleans: Jeff Herzog & The Jet City Fliers Oxford Saloon, Snohomish: CD Woodbury Band - CD Release Party! Relay For Life, Stanwood High School, Stanwood: Moon Daddy Band, 8pm Repp, Snohomish: Nick Vigarino, 6:30pm Rockfish Grill: Scooch Cugno & the 88’s Rumor Mill, Friday Harbor: Blues on Tap, 7:30pm Scarlet Tree, Seattle: Lady “A” & the Baby Blues Funk Band, 8pm Triple Door: Sinatra at the Sands, a throwback to the Las Vegas Sands hotel 1966, Jim Kerl’s Swing Session big band & Joey Jewell Two Twelve on Central, Kirkland: Annie Eastwood w/guitarist Bill Chism, 8pm Upstage: Nick Moss & the Flip Tops Waldo’s North, Lynnwood, Brian Lee & the Orbiters Wild Hare, Everett: Mark Whitman band June 2 - Sunday Edmonds Waterfront Festiva: Tim Turner Band, 4pm Jazzbones, Tacoma, Randy Oxford Band, 6pm June 3 - Monday 88 Keys, Pioneer Square, Blues To Do TV: Jam Host Symposium New Orleans: New Orleans Quintet June 4 - Tuesday Red Wind Casino, Olympia:Alice Stuart & the Formerlys, 6:30pm June 5 - Wednesday 88 Keys: Blues on Tap, 8pm Engels Pub: Richard Allen & the Louisiana Experience, 8pm Highway 99: Drummerboy, Seattle Soul New Orleans: Legacy Quartet w/Clarence Acox, 8pm Pike Pl. Bar & Grill: John Stephan Band, 6pm Royal Lounge, Olympia: guest host LaMont Atkinson Band, 7:30pm Waterwheel Lounge, Ballard: Annie Eastwood, Larry Hill & Tom Brighton w/guitarist Bill Chism, 7pm 20 June 6 - Thursday New Orleans: Ham Carson Quintet Highway 99 Blues Club: Brian Lee & the Orbiters, 8pm June 7 - Friday Bridge: West Seattle High School All Alumni Party, Tim Turner Band, 8pm Elliot Bay Pizza, Mill Creek: Annie Eastwood w/guitarist Bill Chism, 7pm Engels Pub: T-Town Aces Highway 99: Curtis Hammond Band Jet Bar and Grill, Mill Creek: Randy Oxford Band w/RJ & Honey Robin 13 Coins, SeaTac, AstroCats w/Brian Lee, 8:30pm The New Orleans Restaurant, Gin Creek: 8:00pm June 8 - Saturday Conway Muse, Conway, WA: Mia Vermillion & Kevin Sutton Duo 7:30pm Engel’s Pub: Astro Cats Highway 99: Drummerboy All Star Blues Band feat. Mark Dufresne, the Seattle Firefighter Pipes & Drum, the Muddy Sons & the Modern Relics New Orleans: Stickshift Annie w/ Kimball & the Fugitives, 8:30pm Owl ‘n Thistle, Seattle: Randy Norris & Jeff Nicely, 10pm Scotch & Vine, Des Moines, Brian Lee Trio, 8pm Tulalip Resort, Marysville: Randy Oxford Band, 5pm Upstage: Jim Nyby & the F Street band The Oxford Saloon, Gin Creek: 9:00pm June 9 - Sunday Central, Kirkland: Tim Turner Band, 8:30pm Craven Farm, 13817 Short School RD Snohomish: Barn Dance & Chili Cook-off Fundraiser w/The WIRED! Band & CD Woodbury Band Locol Barley & Vine, W. Seattle: Annie Eastwood, Kimball Conant, Larry Hill - Fugitives Trio, 7:30pm June 10 - Monday China Harbor: Mark Whitman band playing for the Seattle Single’s Yacht club 88 Keys, Blues To Do TV: Richard Deguare June 11 - Tuesday New Orleans: Holotradband, 7pm Red Crane: WBS Meeting w/Annie Eastwood & Kimball Conant, 7pm, Boneyard Preachers Triple Door: Indigenous June 12 - Wednesday 88 Keys: Blues on Tap, 8pm Engels Pub: Lounge Vultures, 8pm Highway 99: Louisiana House Party New Orleans: Legacy Quartet w/Clarence Acox, 8pm Royal Lounge, Olympia: guest host LaMont Atkinson Band, 7:30pm Triple Door: Peter Tork of the MONKEES June 13 - Thursday Highway 99: James King & the Southsiders Jazz Alley: Ricky Skaggs & Kentucky Thunder New Orleans: Ham Carson Quintet Salmon Bay Eagles: Nick Vigarino June 14 - Friday Engels Pub: Mary Mcpage & The Assassins Highway 99: Bump Kitchen Match Coffee & Wine, Duvall: Annie Eastwood, Kimball Conant, Larry Hill - Fugitives Trio, 7:30pm New Orleans: Nick Vigarino Soap Lake Businessmen’s Club: Tim Turner Band, 8:30pm June 15 - Saturday Demetris Woodstone Taverna, Edmonds: Moon Daddy Band Edmonds Arts Festival: Stacy Jones Band 6pm Engels Pub: Fat Tones Highway 99: Too Slim & the Taildraggers Mac’s at the Vets,Eugene, Oregon: Bill Rhoades & the Party Kings Soap Lake Businessmen’s Club: Tim Turner Band, 8:30pm Upstage, Por t Townsend: Randy Oxford Band, 8pm Vino Bella, Issaquah, Brian Lee & the Orbiters, 7:30pm Washington Sips, La Conner, WA: Mia Vermillion Solo 7:30pm June 16 - Sunday Pony Keg, Kent, Brian Lee & the Orbiters at WBS IBC Competition, Time TBA , Lady “A” & the Baby Blues Funk Band June 17 - Monday 88 Keys, Blues To Do TV: Jeff Freeman & Seth Freeman Mr. Villa, Lake City: Annie Eastwood, Kimball Conant, Larry Hill - Fugitives Trio, 7pm New Orleans: New Orleans Quintet

Blues

June 18 - Tuesday New Orleans: Holotradband, 7pm June 19 - Wednesday Central Club, Kirkland: CD Woodbury Band 88 Keys: Blues on Tap, 8pm Engels Pub: Junction Sixty-One Forty-Nine, 8pm Highway 99: Dirty Rice New Orleans: Legacy Quartet w/Clarence Acox, 8pm Royal Lounge, Olympia: guest host LaMont Atkinson Band, 7:30pm June 20 - Thursday Highway 99: Hot Rod Holman Blues band New Orleans: Ham Carson Quintet June 21 - Friday Dawsons, Tacoma, Steve Cooley & the Dangerfields Elliot Bay Pizza, Mill Creek: Annie Eastwood w/guitarist Bill Chism, 7pm Engels Pub: Guy Johnson Band Highway 99: Randy Oxford Band with international guests, Pat Pepin, Deb Rhymer & LA Smith, 8pm Village Inn, Marysville: Moon Daddy Band, 8:30pm June 22 - Saturday Brew Five Three Festival, Tacoma: Alice w/Snake Oil, 7pm Elmer’s, Burien: Tim Turner Band Engels Pub: Tweety & the Tom Cats Gorge Blues & Brews fest, Stevenson, Wa: Stacy Jones Band, 7pm Highway 99: Karen Lovely Kirkland Performing Arts Center: Brian Lee & the Orbiters @ WBS BB Awards Show, 3pm Leif Erikson Hall: Steve James & Del Rey (with Suzy Thompson on fiddle) & the band “Four” w/Steve Stusser & Steve Grimes, 7pm Prohibition Gastropub, Everett: Randy Norris & Jeff Nicely, 7pm Rumor Mill, Friday Harbor: Blues on Tap, 7:30pm Upstage: Seth Freeman band Village Inn, Marysville: Moon Daddy Band, 8:30pm

June 22 - Saturday (continued) Vino Bella Wine Bar, Issaquah: Lady “A” & the Baby Blues Funk Band, 7:30pm Wild Hare: Boneyard Preachers June 23 - Sunday Central Club, Kirkland, John Stephan Band, 8:30pm H2O Club, Anacortes, Randy Oxford Band, 6pm Highway 99: the Vanilla Mustache Presents a fundraiser for Candye Kane June 24 - Monday 88 Keys, Blues To Do TV: NW BLUES FORUM w/Marlee Walker & Jonathan “Oogie” Richards & ‘Sweet’ Danny Ray from NWCZ Radio!! nwczradio.com Swiss, Tacoma, Steve Cooley & the Dangerfields, 8pm June 25 - Tuesday New Orleans: New Orleans Quintet June 26 - Wednesday 88 Keys: Blues on Tap, 8pm Engels Pub: Boneyard Preachers, 8pm New Orleans: Holotradband, 7pm Pike Place Bar & Grill at the Market: Stickshift Annie w/ Kimball & the Fugitives, 6pm June 27 - Thursday Crossroads Center, Bellevue: Eric Madis Acoustic Trio, 7pm Highway 99: Monster Road Jazz Alley: Booker T. Jones New Orleans: Selbred/Jackson Upstage: Montana Skies June 28 - Friday Engels Pub: 44th St. Blues Band Highway 99: Lee Oskar & Friends Jazz Alley: Booker T. Jones New Orleans: Ham Carson Quintet Slider’s, Carnation: Eric Madis & Blue Madness, 7:30pm Wild Hare Bar & Grill, Everett: Moon Daddy Band

June 29 - Saturday Engels Pub: CD Woodbury Band 1st Street Cabaret & Speakeasy, Mount Vernon: Mia Vermillion Solo, 8pm Highway 99: Hot Wired Rhythm band Jazz Alley: Booker T. Jones Rockin’: the Low Boy Festival, Walla Walla: Randy Oxford Band 5pm Triple Door: Irma Thomas Upstage: Todd Wolfe band Waldo’s North, Lynnwood: Stacy Jones Band June 30 - Sunday Jazz Alley: Booker T. Jones Taste of Tacoma Wine Garden: Stickshift Annie w/Kimball & the Fugitives, 1:30pm Triple Door: Irma Thomas

July 1 - Monday 88 Keys, Pioneer Square, Blues To Do TV: July 2 - Tuesday New Orleans: Holotradband, 7pm July 3 - Wednesday 88 Keys: Blues on Tap, 8pm New Orleans: Legacy Quartet w/Clarence Acox, 8pm

july

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

attention all music people:

21

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

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

Washington Blues Society

Peninsula

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

Tacoma, Burien, Federal Way, etc

South Sound

CC’s Lounge, Burien (206) 242-0977

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

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) 852-7287rr Pick & Shovel – Wilkeson (360) 829-6574 The Pony Keg - Kent (253) 395-8022 Riverside Pub, Sumner (253) 863-8369 Silver Dollar Pub – Spanaway (253) 531-4469 The Spar – Tacoma (253) 627-8215 The Swiss – Tacoma (253) 572-2821 Tugboat 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

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

Mondays

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

Washington Blues Society
Sundays

Blues Jams

Caffe Mela, Wenatchee, 7pm (first Mon. of the month) 88 Keys, Pioneer Square: Star Drums & Lady Keys host Blue Monday Jam, 8pm 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

Thursdays

Wednesdays

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

Tuesdays

22

Barrel Tavern: hosted by Doug McGrew, 8pm Dawson’s, Tacoma: hosted by Shelley & Jho, 8pm Elmer, Burien: hosted by Billy Shew Engels Pub, Edmonds: Jam Session with Lou & Don, 8pm 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 Uncle Thurms, Tacoma: Blenis, Ely Band, 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 June 5 Seth Freeman June 12 C D Woodbury June 19 Jammy jam night, Scott Drexler June 26 - Jeff Menteer & Stacy Jones Salmon Bay Eagles: Broomdust presents Blues of the Past jam (1st Wed.), 8pm Yuppie Tavern, Kirkland (Totem Lake), HeatherBBlues Acoustic jam, 8pm

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 June 6 - Randy Oxford O’Callahan’s: Tim Hall, 7pm Oxford Saloon: Jam Night w/ CD Woodbury, Don Montana, & Mike Fish Top Shelf (formerly Olive You), Kirkland: hosted by Chester Dennis, 8pm June 13 - Brian Lee Oxford Saloon: Invitational Jam w/Steve Ater, 8pm

Fridays

New Orleans Restaurant: All Star Jam, hosted by Leslie “Stardrums” Milton & Lady Keys, 7pm (1st & 3rd fri.’s)

23

Behind the Lens
By Jane Henderson

Part 2

{ Pages 25 through 31 }

This month, The Bluesletter concludes its presentation honoring some of the fine photographers who have contributed to the Bluesletter over the years. Please note that the subjects of these articles are a sample of the talent we in the Pacific Northwest have

come to depend on to preserve and share the magic that happens on stage, not by any means an exhaustive list. Last month, I profiled Jef Jaisun, Dennis “ The Blues B oss” Dudley, and Margene

Schotz. This month, I am grateful for the cooperation and insights from Laddy Kite, L arr y Williams, Suzanne Swanson, Phil Chesnut, and Tom Hunnewell.

24

25

Laddy Kite
4
“The music came before the photos…”

Tokyo, and Madonna up-close and personal – to name just a few of his adventures. Fast forward three decades - Laddy has left the television station and is free again to let his interests guide where he chooses to put that camera. Just as his love of the outdoors drew him to document the beauty he saw, his growing admiration for blues music (especially Chicago Blues) and its players has led him to seek out opportunities to capture the emotion and drama of live music performances. As he says, “The music came before the photos.” Laddy’s images of bands and individual artists appear regularly within the pages of the Bluesletter, and his work has resulted in at least one cover photo,

Larry Williams
5
“Looking for what isn’t there.”

as well as wide use in band promotional materials and websites. As he’s photographing these artists, he’s looking for a “strong” image, one that not only transmits an emotion, but also evokes one. He pays attention to the phraseology of the song, his understanding of the song’s structure, the places in the music where one might expect a solo or impromptu interaction between musicians - all so his “selective 100 shots” might result in something good and true. He applies his experience with the “small screen,” i.e. TV, often shooting “tightly,” capturing emotions that might otherwise be lost if he “stepped back.” One of his favorite photos is of Duffy Bishop sneaking up on an unsuspecting Tom Eric (bass), a demonic look on her face. The look was not there when he aimed the camera.

Laddy has not abandoned nature photography and continues to look to the outdoors to find images that match a recurring theme for him, that of reclamation. One of his personal favorites is a photo of a truck out in the middle of nowhere, overcome with blackberry vines – reclaimed by the wild. The fact that he can view something wonderful and strange - be it in nature or on a stage - capture the image with his camera, and then relive the moment again and again has the same appeal it had when he first placed a viewfinder to his eye – sheer satisfaction.

Laddy Kite has spent most of his life with a viewfinder pressed to his eye. As a photojournalist for KING-5 television, Laddy recorded the images that accompanied new stories about anything and everything - Sonics games, crime scenes, visiting dignitaries and rock stars, human-interest stories– for 33 years. Upon his retirement from the station, the news team put together a video in honor of Laddy, which opens by panning a wall covered with press passes, a testimony to the places he’s been and the people he’s seen as a photojournalist. Growing up in Aberdeen – a thriving mill town at the time– Laddy never considered photography as a career. As a youth, he loved being outdoors, and the town’s proximity to the mountains and ocean beaches inspired a passion for the beauty he found there. So, although the family’s Kodak Brownie camera was just a novelty to him at first, it soon became an important tool that enabled him to “solidify” whatever caught his eye, a fact that has had lasting appeal for him. Photography remained a hobby throughout junior high and high school, albeit a very private one, well suited to what he describes as his solitary nature. He continued his education at Grays Harbor Community College, then transferred to the University of Washington. After two years he became so disillusioned with his major (Urban

Development), he ditched school and went back to Aberdeen to work in the pulp mill and to mull over his options. “I knew I wanted a college degree and a career, but in what?” It was, he says, a turning point in his life and the beginning of his career as a photographer. He could have stayed at the mill like many of his friends, where the pay was good and the work was tolerable, but he realized that his true love, the passion to which he devoted all of his free time, was shooting pictures. Once he made that decision, Laddy threw himself into learning all he could in order to make his hobby a career. After much deliberation, he chose to enroll in Everett Community College, whose photography program is considered top-rank. He credits Lloyd Weller, a respected instructor there, with teaching every aspect of basic photography, from beginning to end, top to bottom – an excellent foundation, Laddy says. Laddy was hungry to learn more and was accepted into an elite, experimental program in Rochester, New York. The Visual Studies Workshop was founded by photographer Nathan Lyons as an “artist-run, educational and support center for photography and other media arts”. As part of the workshop, Laddy experienced all that was new and much that was old, and he speaks earnestly

about the contrast between learning how to use cutting-edge equipment and his visits to the George Eastman House International Museum of Film and Art, where he could study pictures from the time photography was invented to the present day. He absorbed it all, but never had the urge to imitate, forming his own style as a variety of influences and experiences accumulated. In the late 70’s, cutting-edge also meant the use of the then-new video technology and Laddy, who was hired to run the media center at the Workshop, got in on the ground floor of the transition from still photography to video, not only at the Workshop, but also through a part-time job he stumbled upon at the local PBS station. After receiving his Master’s Degree in Fine Arts, Laddy moved back to Washington State, his family preceding him by almost a year, while he finished a couple of important projects for the PBS station, most memorably a video profile of actress Lillian Gish. He did freelance work for KING-5, eventually landing a full-time job there, just as they too were making a transition - from shooting movies on film to video. When asked to recall some memorable moments from his years as a photojournalist, Laddy replied, “Well, I’ve been under fire.” Also - mowed down on the sidelines by Shaq O’Neal, flown around the world in 43 hours, and called on to cover the Olympics in Leningrad, the Sonics in

Larry Williams can be found plying his craft at shows and festivals throughout Western Washington and Oregon. He’s a quiet, unassuming man, usually wearing his trademark cap and a face rapt with concentration. Watching him in action, you’ll notice that he spends as much time studying the scene he hopes to capture than snapping photos. He is looking, he says, for what isn’t there. Larry bought his first camera in 1969 at age 19 - a Yashica Rangefinder that he found in a pawnshop on Market Street in San Francisco. A Navy man, he had received his orders to serve in Pa Nang, Vietnam, and simply wanted

to capture some images of the most exotic and foreign place he had ever visited. He knew absolutely nothing about how to operate the camera, let alone set up a shot, but he read the manual, bought some books on photography at the exchange on base and enrolled himself in the school of trial and error. Whenever he could, between his daytime mission of training South Vietnamese soldiers to maintain security and the nights he spent on patrol on the Han River, he took pictures of nature, the landscape, the markets, and the city. No pictures of individuals, he says, given the nature of war. He’d deliver the pictures to the base to be developed and wait with great anticipation to see the results of his

efforts. Then began the process of critiquing his photos – what worked, what didn’t, how the lighting could be improved, the film speed, the aperture - then back he’d go to his books and, his bible at the time, the magazine “Popular Photography.” About a year later, Larry returned to San Diego, thinking that his photography “hobby” was at an end, but his wife at the time admired the work he had done and encouraged him to continue. He discovered the work of Ansel Adams and visited his gallery in Carmel frequently, puzzling over his use of light and shadow. (continued on page 28)

26

27

(Larry Williams - continued from page 27) Art Wolfe was also an important influence, and Larry himself came to specialize in nature and landscape photography, a love that continues to this day. He set up a tight little darkroom in a bathroom – and with the help of every book and article he could find –learned to develop his own black and white pictures. This is when the magic of photography really hooked him the moment when the image starts to appear in the developing tray. This was also the moment when he discovered the importance of “what isn’t there.” Larry shared this story to explain what he discovered. He and his wife were out and about, when he noticed a snail making its slimy way

across a sidewalk. His wife questioned the value of a picture of a snail, but Larry found it interesting, so he photographed the creature. Later, as he developed the picture, he was amazed to see that his camera had not only caught the snail, but also the iridescent trail following it, unseen as he took the picture, but beautifully evident in the photo. That’s what he looks for in every photo opportunity, and that’s why he studies a shot long before he takes it. This habit has served him well in capturing many memorable images of blues artists. Larry says that he tries to anticipate the interactions between the performers and/or the audience and pay attention to what’s happening in the

music, so he can bear witness to the emotional peak. He credits musician and bandleader Randy Oxford for encouraging him to use all that he’s learned over the years to bring the blues alive in a photographic format. Larry’s work has appeared on the cover of the Washington Blues Society Bluesletter (Kevin Sutton at the Oxford) and inside the pages of the magazine. He is frequently asked to provide images for band promotional kits and is a popular contributor to blues society fundraisers. Larry continues to explore landscape and nature photography and has developed a reputation as someone who actually enjoys photographing weddings. To him, the challenge “to find what isn’t there” presents itself in every photo opportunity he’s presented.

Years of experience, as well as being a musician herself, have taught Suz the technical mechanics of songs. She says that if you follow the story and energy of any given tune, you know where it is going and can anticipate a good “capture.” “My style is to show the musician’s pure love and joy for what they do. Even if they are posing for me, I want to show the happiness they derive from playing music. If there is a bit of whimsy sometimes that makes it all the better.” Susanne recognizes that all of the members of a band are important. “It is a team effort and I like to show that each musician has a particular strength to make ‘the whole’ work seamlessly.” She has special favorites in the Pacific Northwest, but also loves to meet and photograph new young players, knowing that a good picture can help them draw some important public notice. As for her own public notice, Suzanne first realized that her photos were seen as worthy

of attention was on a flight from Dallas to Toronto, when she discovered that the in-flight magazine featured a picture she had taken of Ronnie Van Zant. “There was no credit of course, as we were all treated like furniture in those days.” She is now credited with photos in Blues Matters, Elmore Music magazines, American Blues Scene,Washington Blues Society Bluesletter, Washington Blues Blog, and other internet music sites. Her dedication to the blues genre, her knowledge of blues music, and her ability to connect with the artists have earned her recognition by the Blues Foundation itself. Suzanne regrets that the relationship between the artist and the photographer has become “muddied” over the last few years, with management, promoters, and the venue directing what a photographer can and cannot do. Suzanne tries to neutralize this adversarial attitude by reaching out to the individuals. “When I shoot large festivals, I make sure the promoters know

me well. I introduce myself to the artists, if they have not met me, or make a courtesy visit to the green room of players I know so they are aware I am there. It is very important to make the necessary contacts before you take the camera out of your bag. Also, I always thank everyone involved after the show - the players, the venue staff, and the sound tech, because without their co-operation nothing would happen.” Many folks have noticed that Suzanne smiles while she’s shooting pictures. “That is because I enjoy every tune, absorb the energy of the music, and focus on what is played. There is nothing to compare with the adrenalin you get from capturing the right moment, when the artist is totally absorbed in what they are playing and you feel the dynamic flowing into the audience. There is a lot that goes into that special groove. When you feel it in your gut you know it. The trick is having the lighting on stage and the musician in your viewfinder at the exact magic moment.”

Suzanne Swanson
6
“Conveying the energy of the music”

Phil Chestnut
7
“Waiting for that perfect shot.”

Suzanne Swanson, familiar to many in these parts as “house photographer” at the Mt. Baker Rhythm and Blues Festival, has had many careers. She partnered with her former husband in a color photofinishing lab in Dallas, worked as a district (five-state) manager for Fuji Photo Film USA, and was a concert photographer for MCA Records for many years. She has shot more album cover photos than she can remember, including Lynyrd Skynyrd’s (pronounced ‘lĕh’nérd ‘skin-’nérd). The most satisfying experience for her, she explains, has always been to record the history of the moment. “Shooting music fulfills two passions for me; being able to convey

the energy of the musicians and to enjoy the creative efforts performed.” Suzanne’s interest in photography began when she was eight years old. “My mother used to drive into the country every weekend, set up an easel, and paint landscapes. To keep me occupied she bought me a little Kodak Brownie camera. Wandering around the fields and rivers I would take photos of what I liked, sometimes taking double exposures just to see what I could do. As the years went on, I learned how to develop my own film and print the negatives.”

Suz has worked thousands of live gigs and become close to many players, who appreciate her work and trust her. “Shooting Lynyrd Skynyrd when they first toured was a dream. We were all so young and eager at the time. It was also true of The Band. When Billy Powell (Skynyrd) and Rick Danko (The Band) died, it felt as if members of my family had gone. The players with Ten Years After are another band I care for. David Honeyboy Edwards was such a beautiful person. I am humbled that at his funeral a photo I took of him was displayed above his casket.”

28

Phil Chesnut approaches photography from a different “angle” than most of his colleagues. Phil is an illustrator. Or a photographer. Or both. He uses photography to create art, and he uses art to “illustrate” his photography. Looking at samples of his work, you see a variety of different of applications and techniques that are a signature of his work. He often captures an image with his camera, then uses the image to create a handmade pen and ink

illustration. If color is desired, he uses watercolors. Old school and new school. An example would be his illustration of Janis Joplin – two photo-based illustrations - one showing her singing, the other in the foreground smiling and pointing at the photographer – both in soft sepia, suggesting the past. Sometimes he uses an untouched photo or series of photos, but designs a special background. A poster for the Blues Cruise is titled “Chicago

Blues Legends” and features photos of Pinetop Perkins, Bob Margolin, Hubert Sumlin, Willie Big eyes Smith, and James Cotton- against one of Phil’s trademark brick walls. Sometimes Phil just lets a great photograph do the talking, as in the cover of the Bluesletter, August 2007 – a photo of Hubert Sumlin and James Cotton backstage at the Portland Waterfront Festival. (continued on page 30)

29

(Phil Chestnut - continued from page 29) And then there are the photo-montages, like the one of Duffy Bishop. Phil arranged three images of Duffy that give the appearance of being in sequence, so that you almost feel the motion and the melody. Phil grew up in Omaha, Nebraska, and majored in art at the University of Nebraska, where he was first introduced to the blues. The Zoo Bar in Lincoln is a regular stop for musicians heading in or out of Chicago and Phil took advantage of the opportunity to hear some great blues artists like, Big Walter Horton, Albert Collins, John Lee Hooker, and Magic Slim. It wasn’t until he transferred to a private art school, the “Studio Academy of Design” in Omaha, that Phil first picked up a camera. Certain photography classes were required for graduation, so he begrudgingly took them –later realizing that photography had become integral to his art. Phil started taking his camera with him to the Zoo Bar and the Howard Street Tavern in Omaha and eventually became house photographer and poster designer for the two clubs. In 1984, a photo he took of Buddy Miles went out on the AP wire, netting him $100 and he was “hooked” on concert photography. A change in ownership at the bars resulted in Phil’s move to Washington State. His buddy Doug Lynn Caulkins, a great harmonica player, let him live in his basement while Phil scrambled to find work,

bartending in Snoqualmie for a while. He landed a job in Portland, as art director for a furniture company, stuck with it for a few years and, he says, “That was the last regular job I’ve had!” Since then, Phil’s art has become nationally recognized. His painting of John Lee Hooker is the focal point of the Hooker’s exhibit at the Delta Blues Museum in Clarksdale, Mississippi. Phil designs amazing beer labels for craft brewers and won the national beer label contest twice, with blues based artwork. He’s won a handful of BB Awards for best image and best writer, as well as a 2003 Congressional Award for Excellence in Blues Imagery. Besides a half dozen regional monthly magazines, he’s been published in Blues Revue, the Blues Festival Guide and the European magazine, the Blues Art Journal. He also ran the Snoqualmie Blues Festival for seven years. As for his gear, Phil says that for years he used a Nikon F3s, widely considered the best professional quality film SLR camera ever made. He finally went digital in 2004, switching over to Canon. He currently shoots with a Canon, Rebel xs, with a 2 -battery power pack and some “interesting” lenses. Phil gives tribute to technology for improving the quality and ease of what he does. “There isn’t a shot that goes out from me that hasn’t gone through Photoshop first. I have a great iMac G5 with a 24 inch screen that is not only superb at photo enhancement,

it’s also made for layout and design and even digital illustration. After creating montages and collages for years with an x-acto knife, it sure is a pleasure, these days, to knock one out on my Mac. Although the tools have changed, the style has stayed the same.” Phil says that he “looks through the viewfinder, not as a photographer, but as an artist.” But sometimes a special moment happens when you’re not even looking. Phil shared a “killer” moment in April 2008 when he and Jef Jaisun, fellow photographer, found themselves in the green room between shows at Jazz Alley with a legendary group of former band mates of Muddy Waters, including Willie Big Eyes” Smith and Pinetop Perkins. The men were all friends, and Phil recalls how natural and relaxed everyone was, as they perused photos from the earlier show. Being photographers, Phil and Jef had to snap some photos of that experience, as well! Phil believes that “capturing that raw emotion of a live performance is essential to that great photograph. Almost all great shots are no-flash. Using a flash is easy but so much subtle emotion is lost by the way flash flattens everything.” He also advises, “Make sure the subject is looking up and make sure if the subject is singing, that their mouth is open. Sounds simple? It ain’t! I can’t explain the hours I’ve spent with my camera pressed up to my eye, cheek and forehead... waiting for that perfect shot.”

Tom Hunnewell
8
“Not my career - my passion”

The first thing one notices about Tom Hunnewell is his just-short-of-outrageous handlebar moustache. The next thing is his smile, which happens to exactly match the arc of the handlebar. Yes, Tom exudes the relaxed manner of a man who knows his way around, and he does, having followed blues music in clubs and festivals throughout the state since 1993. When you watch him shooting at one of his familiar haunts, like Highway 99, you see that he has his spotsplaces he positions himself, where he knows the light will be OK, the angle promising. He is clearly enjoying himself and his work as a “performance photographer.” Over the years, Tom has photographed an estimated 60 blues festivals, provided many photos to performers for CD covers and tray cards, as well as having images on over 100 artist websites. In 2000, he had a photo published in the book “Living The Jazz Life” (Oxford University Press), written by renowned jazz writer and critic William Royal Stokes. Some of his best images of blues greats are currently on display in the photo gallery at the Highway 99 Blues Club. For Hunnewell, photography seems to run in the family. His father was an avid photographer, and Tom has archived about 1700 images of family holidays and vacations taken from 1948

to 1970. Now, one of his sons, Cory, frequently joins him at festivals and events to carry on the family passion. Tom says he developed his technique by experimenting, and like his dad, developed a talent for recognizing the body language, facial expressions and emotions that make a memorable photograph. Tom says that he studies his subjects “to see how they express themselves, and if they smile, grimace, or close their eyes while they perform. Some guitar players never look up while they play until they complete a solo. Then they might look up and smile in acknowledgement of the crowd’s cheers.” It is evident why Tom is known for both his eye and his timing. Tom considers himself extremely lucky to have met and photographed so many great artists over the years. One of his most memorable experiences involved an image he captured at the Winthrop R & B Festival in July 2001, of “Little Milton” Campbell performing. Tom saw him again in 2002 and showed him three of the images from that earlier show. Milton signed one of them and told him what photographers love to hear from their subjects: Tom’s photos were some of his favorite images of himself performing. So they swapped cards and addresses, and Tom sent Milton the three 8x10 images.

After Milton passed away in 2005, Tom received a phone call from the wife of Joe Campbell, who was Milton’s nephew, as well as his bass player. She had discovered Tom’s photos in a box of old photos, with a note from Milton attached that said,”Tom is one of a very few of my favorite photographers.” Tom’s photos of Milton were framed and given to his wife, who displays them in their living room, as a lasting memory of Little Milton and a tribute to the photographer who captured the images. Fellow photographer, Margene Shotz, tells a story that reveals a lot about how Tom, as part of the community of great photographers in this region, approaches his job: “At the Mt Baker Blues Festival a few years ago I was standing with a group of photographers during Shane Dwight’s set, the last set of the night. Shane had been playing for at least an hour. He’s quite an energetic performer, as anyone who’s seen him knows, and he had worked up a sweat. I came up with an idea, just for the fun of it, and announced to my fellow photographers, “Photographers challenge, everyone. Try to get a photo stopping the sweat dripping off of Shane’s face.” Some started shooting, Tom Hunnewell, in particular, went for it with zeal. He got a great stopped sweat shot and came to show me, very pleased. It was just good fun…”

30

31

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

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

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