Announcements

Keep scrolling down the page for our blog/program guide.

Pics, bios, reviews, album art and more! Learn lots about all the folks on the show!

Summer:
Summer Days- Bob Dylan- “Love and Theft”
So Nice (Summer Samba)- Carolyn Dolan and Peter Supersano- “How Deep Is The Ocean”
Summer Is Gone- Bonnie Lee- “I’m Good”
Summertime- Al Green- “Green Is Blues”
Summertime Is In Our Hands- Michael Franti and Spearhead- “Soulrocker”
Girls In Their Summer Clothes- Bruce Springsteen- “Magic”
Those Lazy Hazy Days Of Summer- Nat King Cole- “The Greatest Hits”

Hot New Music:

Pocket Change- Rob Baird- “Wrong Side Of The River”
Song Of The Spanish Moss Sirens- The Krickets- “Spanish Moss Sirens”
Cottage Grove Cruise- Dan Whitaker & the Shinebenders- “Truck Ride”
The Garden- Joe Hertler & The Rainbow Seekers- “Terra Incongnita”
Moving On- The Hitman Blues Band- “The World Moves On”
Dirty Overhalls- The Del McCoury Band- “Del and Woody”

Barbecue:

Barbecue Any Old Time- Brownie McGhee and Sonny Terry- “Greatest Country Blues”
Barbeque- Robert Earl Keen- “Gringo Honeymoon”
Hot Barbeque- George Benson and Jack McDuff- “George Benson and Jack McDuff”
Johnny Getting Out Of Jail Barbecue- Liz Talley- “More Than Satisfied”
Watermelon, Barbecue and Beer- Duncan Street- “Baptized By The Blues”
Barbeque Joe’s- Starline Rhythm Boys- “Honky Tonk Livin”
Texas Barbecue- Bela Fleck- “Crossing The Tracks”

** Keep scrolling down the page for our informative blog/program guide. Follow along as you listen! **

Summer Days- Bob Dylan

bob dylan- love and theft

Bob Dylan’s influence on popular music is incalculable. As a songwriter, he pioneered several different schools of pop songwriting, from confessional singer/songwriter to winding, hallucinatory, stream-of-consciousness narratives. As a vocalist, he broke down the notion that a singer must have a conventionally good voice in order to perform, thereby redefining the vocalist’s role in popular music. As a musician, he sparked several genres of pop music, including electrified folk-rock and country-rock. And that just touches on the tip of his achievements. Dylan’s force was evident during his height of popularity in the ’60s — the Beatles’ shift toward introspective songwriting in the mid-’60s never would have happened without him — but his influence echoed throughout several subsequent generations, as many of his songs became popular standards and his best albums became undisputed classics of the rock & roll canon. Dylan’s influence throughout folk music was equally powerful, and he marks a pivotal turning point in its 20th century evolution, signifying when the genre moved away from traditional songs and toward personal songwriting. Even when his sales declined in the ’80s and ’90s, Dylan’s presence rarely lagged, and his commercial revival in the 2000s proved his staying power.

 

For a figure of such substantial influence, Dylan came from humble beginnings. Born in Duluth, Minnesota, Bob Dylan (b. Robert Allen Zimmerman, May 24, 1941) was raised in Hibbing, Minnesota, from the age of six. As a child he learned how to play guitar and harmonica, forming a rock & roll band called the Golden Chords when he was in high school. Following his graduation in 1959, he began studying art at the University of Minnesota in Minneapolis. While at college, he began performing folk songs at coffeehouses under the name Bob Dylan, taking his last name from the poet Dylan Thomas.

>> Read more…

-Stephen Thomas Erlewine, AllMusic.com

 

 

 

Time Out of Mind was a legitimate comeback, Bob Dylan’s first collection of original songs in nearly ten years and a risky rumination on mortality, but its sequel, Love and Theft, is his true return to form, not just his best album since Blood on the Tracks, but the loosest, funniest, warmest record he’s made since The Basement Tapes. There are none of the foreboding, apocalyptic warnings that permeated Time Out of Mind and even underpinned “Things Have Changed,” his Oscar-winning theme to Curtis Hanson’s 2000 film Wonder Boys. Just as important, Daniel Lanois’ deliberately arty, diffuse production has retreated into the mist, replaced by an uncluttered, resonant production that gives Dylan and his ace backing band room to breathe. And they run wild with that liberty, rocking the house with the grinding “Lonesome Day Blues” and burning it down with the fabulously swinging “Summer Days.”

>> Read more…

-Stephen Thomas Erlewine, AllMusic.com

bob dylan


So Nice (Summer Samba)- Carolyn Dolan and Peter Supersano

carolyn dolan and peter supersano- how deep is the ocean

Carolyn Dolan has been entertaining audiences for over twenty-five years.  Her ability to cross over many genres of music has made her very versatile and in demand as a professional singer, harmonica player and performer.  She has a gift of combining her passion of American roots music in her soulful vocal style, matched by the country blues harmonica which is always by her side. She can dive into powerful R & B, deliver a smooth jazz standard or a gentle country ballad. As a vocal stylist and harmonica player, her career in music has landed her opening for Clarence Clemens, backing up The Gatlin Brothers and playing for the Western Swing Society with many of BobWills musicians. She was voted Best of Tahoe Female Singer 1995, and Best of Tahoe Country Band in 1995 and 1996.

 

 

Carolyn Dolan was born in Sacramento, California. She was the youngest of six children. Music was always playing in her house growing up in the sixties and seventies. Her parents both played piano and Carolyn naturally followed in their footsteps taking piano lessons at age eleven. This opened up the world of music to her.  In her teens, she took up guitar and later, harmonica. When she was eighteen, she was introduced to the local Sacramento blues band, Little Charlie and the Nights Cats. Their approach to the blues and Rick Estrin’s unique harmonica style, gave her a new avenue to explore. She was instantly drawn to the the blues. Carolyn developed her own harmonica style listening and studying the early roots music of Sonny Terry and Brownie McGee to the swinging-blues style of William Clarke, mixed with the Jazz influence of Toots Theilman.

>> Read more…

-carolyndolan.com

carolyn dolan


Summer Is Gone- Bonnie Lee

bonnie lee- i'm good-2

Bonnie Lee was a longtime fixture of Chicago’s contemporary blues scene as well as one of the last surviving links to its postwar heyday. Born Jessie Lee Frealls on June 11, 1931, in Bunkie, LA, Lee grew up in Beaumont, TX, where she studied piano and sang in her church’s choir. Gospel singer Lillian Ginn was sufficiently impressed to extend an invitation to join her on tour, but Lee’s mother refused to grant her permission. As a teen Lee nevertheless toured the South as a member of the Famous Georgia Minstrels, befriending blues legends Clarence “Gatemouth” Brown and Big Mama Thornton along the way. She relocated to Chicago in 1958, hitching a ride with a delivery van driver and settling at the West Side apartment of an aunt. After toiling in anonymity as a singer and dancer, in 1960 Lee signed to J. Mayo Williams’ Ebony label to cut her debut single, “Sad and Evil Woman,” credited at Williams’ insistence to Bonnie “Bombshell” Lane, a moniker she reportedly despised. The single fared poorly, and Lee continued touring the Chicago jazz and blues club circuit, developing a potent voice as earthy as it was electrifying.

>> Read more…

-Jason Ankeny, AllMusic.com

bonnie lee


Summertime- Al Green

al green- green is blues

Al Green was the first great soul singer of the ’70s and arguably the last great Southern soul singer. With his seductive singles for Hi Records in the early ’70s, Green bridged the gap between deep soul and smooth Philadelphia soul. He incorporated elements of gospel, interjecting his performances with wild moans and wails, but his records were stylish, boasting immaculate productions that rolled along with a tight beat, sexy backing vocals, and lush strings. The distinctive Hi Records sound that the vocalist and producer Willie Mitchell developed made Al Green the most popular and influential soul singer of the early ’70s, influencing not only his contemporaries, but also veterans like Marvin Gaye.

>> Read more…

-Stephen Thomas Erlewine, AllMusic.com

 

al green


Summertime Is In Our Hands- Michael Franti and Spearhead

michael franti and spearhead- soulrocker

Michael Franti is a musician, filmmaker and humanitarian who is recognized as a pioneering force in the music industry. Long known for his globally conscious lyrics, powerful performances, and dynamic live shows, Franti has continually been at the forefront of lyrical activism, using his music as a positive force for change.

 

“I make music because I believe it can change people’s lives and make a difference in the world,” enthuses Franti, “music gives us new energy and a stronger sense of purpose.” 

>> Read more…

-michaelfranti.com

 

 

 

Since his days as a member of the Beatnigs while in his early twenties, Michael Franti grew from an angry young hip-hopper with a political, socially conscious bent (the Disposable Heroes of Hiphoprisy, Spearhead) to a man who channeled his seriousness, social unease, and desire for change and merged them with his love of music, particularly old-school R&B, soul, and hip-hop. What he left behind in brash, make-some-noise aesthetic, he gained in compassion. And through his use of his own raw power — charisma, sex appeal, sense of social injustice — he carried out in his music a community-generated passion in much the same way as Gil Scott-Heron or Marvin Gaye.

>> Read more…

-Travis Drageset, AllMusic.com

michael franti- photo by james minchin III

Photo by: James Minchin III


Girls In Their Summer Clothes- Bruce Springsteen

bruce springsteen- magic

In the decades following his emergence on the national scene in 1975, Bruce Springsteen proved to be that rarity among popular musicians, an artist who maintained his status as a frontline recording and performing star, consistently selling millions of albums and selling out arenas and stadiums around the world year after year, as well as retaining widespread critical approbation, with ecstatic reviews greeting those discs and shows. Although there were a few speed bumps along the way in Springsteen’s career, the wonder of his nearly unbroken string of critical and commercial success is that he achieved it while periodically challenging his listeners by going off in unexpected directions, following his muse even when that meant altering the sound of his music or the composition of his backup band, or making his lyrical message overtly political. Of course, it may have been these very sidesteps that kept his image and his music fresh, especially since he always had the fallback of returning to what his fans thought he did best, barnstorming the country with a marathon rock & roll show using his longtime bandmates.

 

Bruce Springsteen was born September 23, 1949, in Freehold, New Jersey, the son of Douglas Springsteen, a bus driver, and Adele (Zirilli) Springsteen, a secretary. He became interested in music after seeing Elvis Presley perform on The Ed Sullivan Show in 1956 and obtained a guitar, but he didn’t start playing seriously until 1963.

>> Read more…

-William Ruhlmann, AllMusic.com

bruce springsteen- photo by danny clinch

Photo by: Danny Clinch


Those Lazy Hazy Days Of Summer- Nat King Cole

nat king cole- greatest hits

For a mild-mannered man whose music was always easy on the ear, Nat King Cole managed to be a figure of considerable controversy during his 30 years as a professional musician. From the late ’40s to the mid-’60s, he was a massively successful pop singer who ranked with such contemporaries as Frank Sinatra, Perry Como, and Dean Martin. He shared with those peers a career that encompassed hit records, international touring, radio and television shows, and appearances in films. But unlike them, he had not emerged from a background as a band singer in the swing era. Instead, he had spent a decade as a celebrated jazz pianist, leading his own small group. Oddly, that was one source of controversy. For some reason, there seem to be more jazz critics than fans of traditional pop among music journalists, and Cole’s transition from jazz to pop during a period when jazz itself was becoming less popular was seen by them as a betrayal. At the same time, as a prominent African-American entertainer during an era of tumultuous change in social relations among the races in the U.S., he sometimes found himself out of favor with different warring sides. His efforts at integration, which included suing hotels that refused to admit him and moving into a previously all-white neighborhood in Los Angeles, earned the enmity of racists; once, he was even physically attacked on-stage in Alabama. But civil rights activists sometimes criticized him for not doing enough for the cause.

 

Such controversies do not obscure his real talent as a performer, however. The dismay of jazz fans at his abandonment of jazz must be measured against his accomplishments as a jazz musician. An heir of Earl Hines, whom he studied closely as a child in Chicago, Cole was an influence on such followers as Oscar Peterson. And his trio, emerging in the dying days of the swing era, helped lead the way in small-band jazz. The rage felt by jazz fans as he moved primarily to pop singing is not unlike the anger folk music fans felt when Bob Dylan turned to rock in the mid-’60s; in both cases, it was all the more acute because fans felt one of their leaders, not just another musician, was going over to the enemy. Less well remembered, however, are Cole’s accomplishments during and after the transition. His rich, husky voice and careful enunciation, and the warmth, intimacy, and good humor of his approach to singing, allowed him to succeed with both ballads and novelties such that he scored over 100 pop chart singles and more than two dozen chart albums over a period of 20 years, enough to rank him behind only Sinatra as the most successful pop singer of his generation.

>> Read more…

-William Ruhlmann, AllMusic.com

nat king cole


Pocket Change- Rob Baird

rob baird- wrong side of the river

Rob Baird is a thinker, a seeker, a man who surveys the scene, decides what he aims to accomplish and sets it in motion. Sure, over the past five years the Memphis-born musician, who broke out with 2012’s critically-acclaimed I Swear It’s The Truth and built a dedicated fanbase as a result, steadily earned a reputation as a no-frills, earnest singer, songwriter and performer — one able to tear through the Texas live-music circuit with ease.

>> Read more…

-robbairdmusic.com

 

 

 

To me, music becomes art when it is based in soul. Rob Baird’s newest album Wrong Side Of The River (WSOTR) is art. The 10 track LP is 100% a record based on where he is and wants to be in life. It is an album for every human being that understands the pains and joys of being vulnerable.

 

. . .an album for every human being that understands the pains and joys of being vulnerable.

 

The biggest question we all face in life is “Where do I belong?” Not many want to face this question and especially dedicate an album to it. Hence, Baird’s newest record feels like your own heart is speaking to you. He taps into the mass human sentiments of confusion, loneliness, depression, and resilience. The album is both a scary and courageous effort from the country-blues star, whom took four years of soul-searching to create this masterpiece.

>> Read more…

-Diandra Rivera, May 13, 2016, nytheatreguide.com

rob baird


Song Of The Spanish Moss Sirens- The Krickets

krickets- spanish moss sirens

Female swamp-folk band that just released their debut album, Spanish Moss Sirens. Produced by Ben Tanner of the Alabama Shakes an recorded at SunDrop Sound in Florence, Alabama. Debuted at #1 on Amazon’s Beller Sellers list, Hot New Releases List and Folk Release charts.

 

Band members:
Melissa Bowman (guitar, banjo), Emily Stuckey (guitar, percussion, mandolin), Lauren Spring (guitar, fiddle, mandolin, harmonica) and Katrina Kolb (bass)

 

To make a very long story shorter: Yes, we all were raised on music, would rather play than eat, came out of the womb singing, blah, blah, blah.

 

Basically somewhere between 2011-2015:


2011 – Melissa + Emily had a band in Fairhope Alabama together. 2014 – Melissa moves to Fl and formed a duo with Lauren after  playing a cancer benefit for Sacred Heart’s Cricket Fund, hence ‘the Krickets’ came to be. (with a K as to not be confused with Buddy Holly’s Crickets) 

>> Read more…

-thekrickets.com

krickets


Cottage Grove Cruise- Dan Whitaker & the Shinebenders

dan whitaker and the shinebenders- truck ride

Dan Whitaker, a seasoned songwriter, singer and guitarist, leads The Shinebenders on a honkytonk excursion through the past, present and future.  Whitaker’s songs mix fiction with truth, either stripped from his personal diaries or dreamed up and personified. Founded in 2003 Dan and the Shinebenders have been entertaining audiences with countless performances in Chicago and the Midwest while supporting their independent releases.

 

Their new album Truck Ride delivers studio versions of 16 Dan Whitaker tunes that have become staples at their live show over the past decade.

 

Long-time band mates The Shinebenders bring feeling and musical context to Whitaker’s narratives.

>> Read more…

-danwhitaker.com

dan whitaker


The Garden- Joe Hertler & The Rainbow Seekers

joe hertler and the rainbow seekers- terra incognita

Joe Hertler & The Rainbow Seekers will make a sprightly young groove doctor out of anyone. With spectacular energy pulsating from every member of the band, the Rainbow Seekers could illuminate the very chambers of Heaven. Lead singer Joe Hertler splashes through lyrical puddles of golden rain, leaving his audience wearing flowery crowns and bubbling smiles. A ride on the Rainbow will take you across the mountains of Motown, through the fjords of folk, over the archipelagos of Americana, and-at last-into a funky firth, where only the fiercest of friendships can be found.

 

The Rainbow Seekers began their quest beneath the fingertips of songwriter Joe Hertler.

>> Read more…

-joehertler.com

 

 

 

Vibrant indie pop ensemble Joe Hertler & the Rainbow Seekers formed in 2010 in Mount Pleasant, Michigan. Hertler, a student at Central Michigan University at the time, began performing his songs acoustically around mid-Michigan, collecting bandmates along the way. Splitting time between his songwriter and DJ’ing electronic sets, Hertler’s eclectic influences can be heard in his band’s diverse sound, which pulls elements from folk, funk, ’90s R&B, soul, and dynamic indie pop.

>> Read more…

-Timothy Monger, AllMusic.com

joe hertler and the rainbow seekers


Moving On- The Hitman Blues Band

hitman blues band- the world moves on

The Hitman Blues Band is getting worldwide recognition. Their previous release, “Blues Enough”, was in the running for two Grammy nominations. “Two Minute Warning” (from “Angel In The Shadows”) is available as an add-on to RockBand. The new release “The World Moves On” is being hailed as “the best yet!”

>> Read more…

-ourstage.com

hitman blues band

Photo by: Joanne Alexander


Dirty Overhalls- The Del McCoury Band

del mccoury band- del and woody

Vince Gill says it simply, and maybe best: “I’d rather hear Del McCoury sing ‘Are You Teasing Me’ than just about anything.” For fifty years, Del’s music has defined authenticity for hard core bluegrass fans-count Gill among them-as well as a growing number of fans among those only vaguely familiar with the genre. And while the box set Celebrating 50 Years of Del McCoury, like its distilled companion, By Request-both in stores on May 12th-provides an opportunity to look back on a unique legacy, it’s also one that Del McCoury’s rolling past with a wave and a grin and some of the best music he’s ever made.

 

“It gives hope to everybody-fifty years is a long time to be playing music in any field,” says another fan, Elvis Costello. “But to keep the purity that you need to do this kind of music, and the drive and the energy takes a special kind of guy.” And indeed, McCoury is something special, a living link to the days when bluegrass was made only in hillbilly honkytonks, schoolhouse shows and on the stage of the Grand Ole Opry, yet also a commandingly vital presence today, from prime time and late night talk show TV to music festivals where audiences number in the hundreds of thousands. “Here’s a guy who has been playing for fifty years, and he’s still experimenting-still looking to do things outside the box, to bring other kinds of music into bluegrass form,” says Americana music icon Richard Thompson, who saw his “1952 Vincent Black Lightning” turned into a bluegrass standard when McCoury brought it into the fold. “I think that’s the best bluegrass band, period. That’s it.”

 

Born in York County, PA seventy years ago, Del McCoury would once have seemed an unlikely candidate for legendary status. Bitten hard by the bluegrass bug when he heard Earl Scruggs’ banjo in the early 50s-“everybody else was crazy about Elvis, but I loved Earl,” he says with a chuckle-McCoury became a banjo picker himself, working in the rough but lively Baltimore and D.C. bar scene into the early 1960s.

>> Read more…

-delmccouryband.com

 

 

 

About the time Woody Guthrie would have been singing lullabies to his daughter Nora, a preteen Del McCoury was sitting in a pew at the Missionary Baptist Church listening to his mom and dad sing.

 

Occasionally, when she got a second away from caring for Del and his five siblings, Del’s mother might also play a little harmonica and piano to accompany her own pretty mountain voice. McCoury remembers: “I hear my mother’s voice in mine, but I also hear my dad’s. You know my mother taught my brother how to play some guitar chords, and she could play a little bit of everything, but by the time I came along she was too busy. She had six kids to chase after! I guess that’s where I got it from though, hearing the two of them sing.”

 

That voice he got, that beautiful sweet Appalachian tenor 77 years in the making, is on full display on his new release Del and Woody (out April 15 on McCoury Music).

 

Like McCoury, Nora Guthrie is still considering her mom and dad’s collaborative efforts as she tirelessly interprets and reinterprets the voice of her iconic father. Almost 25 years into a run of wide-ranging projects meant to keep her father’s memory alive, Guthrie’s inspired choices have instead kept his work absolutely vital in understanding America. With her direction, projects as expansive as Billy Bragg and Wilco’s Mermaid Avenue records as well as more specific projects like Jonatha Brooke’s meditation on Woody’s love songs or the Klezmatics’ take on his Hanukkah songs, have shown the giant canvas that Guthrie’s writing and life provides.

 

Her newest project was to give Del McCoury a set of 26 unrecorded lyrics and allow him to choose, create, and record the music.

>> Read more…

-Mike Mannon, April 10.2016, nodepression.com

del mccoury band

WoodyGuthrie_3_PhotoByAlAumuller_CourtesyOfWoodyGuthriePublications

Photo by: Al Aumuller, courtesy of Woody Guthrie Publications


Barbecue Any Old Time- Sonny Terry and Brownie McGhee

brownie mcghee and sonny terry-greatest country blues

The joyous whoop that Sonny Terry naturally emitted between raucous harp blasts was as distinctive a signature sound as can possibly be imagined. Only a handful of blues harmonica players wielded as much of a lasting influence on the genre as did the sightless Terry (Buster Brown, for one, copied the whoop and all), who recorded some fine urban blues as a bandleader in addition to serving as guitarist Brownie McGhee’s longtime duet partner.

 

Saunders Terrell’s father was a folk-styled harmonica player who performed locally at dances, but blues wasn’t part of his repertoire (he blew reels and jigs). Terry wasn’t born blind, he lost sight in one eye when he was five, the other at age 18. That left him with extremely limited options for making any sort of feasible living, so he took to the streets armed with his trusty harmonicas. Terry soon joined forces with Piedmont pioneer Blind Boy Fuller, first recording with the guitarist in 1937 for Vocalion.

 

Terry’s unique talents were given an extremely classy airing in 1938 when he was invited to perform at New York’s Carnegie Hall at the fabled From Spirituals to Swing concert. He recorded for the Library of Congress that same year and cut his first commercial sides in 1940. Terry had met McGhee in 1939, and upon the death of Fuller, they joined forces, playing together on a 1941 McGhee date for OKeh and settling in New York as a duo in 1942. There they broke into the folk scene, working alongside Leadbelly, Josh White, and Woody Guthrie.

>> Read more…

-Bill Dahl, AllMusic.com

sonny terry and brownie mcghee- backwater blues


Barbeque- Robert Earl Keen

robert earl keen- gringo honeymoon

Among the large contingent of talented songwriters who emerged in Texas in the 1980s and ’90s, Robert Earl Keen struck an unusual balance between sensitive story-portraits (“Corpus Christi Bay”) and raucous barroom fun (“That Buckin’ Song”). These two song types in Keen’s output were unified by a mordant sense of humor that strongly influenced the early practitioners of what would become known as alternative country music. Keen, the son of an oil executive father and an attorney mother, was a native of Houston. His parents enjoyed both folk and country music, and his own style would land, like that of his close contemporary Nanci Griffith, between those genres. Keen wrote poetry while he was in high school, but it wasn’t until he went to journalism school at musically fertile Texas A&M that he learned to play the guitar. He and Lyle Lovett became friends and co-wrote a song, “This Old Porch,” which both later recorded.

 

Keen made a splash in Austin with his debut album, No Kinda Dancer, self-financed in 1984 to the tune of $4,500. He moved to Nashville during the heady experimentalism of the ’80s that saw Lovett and k.d. lang hit the country Top Ten, but he soon returned to Austin. Texas landscapes and residents provided Keen with creative inspiration, as his second album, West Textures, made clear; that album yielded one of Keen’s signature numbers, an ambitious crime-spree song called “The Road Goes on Forever.”

>> Read more…

-James Manheim, AllMusic.com

robert earl keen- show 239


Hot Barbeque- George Benson and Jack McDuff

george benson and jack mcduff- album cover

Simply one of the greatest guitarists in jazz history, George Benson is an amazingly versatile musician, whose adept skills find him crossing easily between straight-ahead jazz, smooth jazz, and contemporary R&B. Blessed with supreme taste, a beautiful, rounded guitar tone, terrific speed, a marvelous sense of logic in building solos, and, always, an unquenchable urge to swing, Benson’s inspirations may have been Charlie Christian and Wes Montgomery, but his style is completely his own. Not only can he play lead brilliantly, he is also one of the best rhythm guitarists around, supportive to soloists and a dangerous swinger, particularly in a soul-jazz format. Yet Benson can also sing in a lush, soulful tenor with mannerisms similar to those of Stevie Wonder and Donny Hathaway, and it is his voice that has proven more marketable to the public than his guitar. Benson is the guitar-playing equivalent of Nat King Cole — a fantastic pianist whose smooth way with a pop vocal eventually eclipsed his instrumental prowess in the marketplace — but unlike Cole, Benson has been granted enough time after his fling with the pop charts to reaffirm his jazz guitar credentials, which he still does at his concerts.

>> Read more…

-Richard S. Ginell, AllMusic.com

george benson

George Benson

A marvelous bandleader and organist as well as capable arranger, “Brother” Jack McDuff has one of the funkiest, most soulful styles of all time on the Hammond B-3. His rock-solid basslines and blues-drenched solos are balanced by clever, almost pianistic melodies and interesting progressions and phrases. McDuff began as a bassist playing with Denny Zeitlin and Joe Farrell. He studied privately in Cincinnati and worked with Johnny Griffin in Chicago. He taught himself organ and piano in the mid-’50s, and began gaining attention working with Willis Jackson in the late ’50s and early ’60s, cutting high caliber soul-jazz dates for Prestige.

>> Read more…

-Ron Wynn, AllMusic.com

jack mcduff

Jack McDuff


Johnny Getting Out Of Jail Barbecue- Liz Talley

liz talley- more than satisfied

Texas singersongwriter.

Liz_Talley


Watermelon, Barbecue and Beer- Duncan Street

duncan street- baptized by the blues

Dave Duncan has played guitar music professionally for over 35 years now. He has dug deeply into the the roots of Americana..playing pedal steel guitar with cowboy singer Johnny Western,rockabilly 6 string with piano great SE Willis, deep blues with Jack Pearson & The Nationals.. and spankin’ the plank with jam band cult favorites GooseCreek Symphony.

>> Read more…

-facebook.com

dave duncan

Dave Duncan

Cajun chefs, bluesmen and red-haired women people the art of Stan Street. On his canvas, New Orleans’s Delta and Florida’s Big Cypress Swamp blend into a stew of red hot licks and blazing notes. It was only after years as a recognized blues musician in Florida that he took up brush and paint. Street’s earliest art celebrated the blues pioneers in wide slashes of brilliant color on slabs of discarded wood, rescued from anonymity with portraits of the likes of Muddy Waters, Elmore James, Robert Johnson.

>> Read more…

-stanstreet.com

stan street

Stan Street


Barbeque Joe’s- Starline Rhythm Boys

starline rhythm boys- honky tonk livin'-2

Billy Bratcher, born in Bennington in 1962, thought late-’70s punk bands like the Clash were going to change the world. He told his father so, but his father wasn’t buying it. In fact, the elder Mr. Bratcher’s tastes ended up influencing Billy more than either ever imagined.

 

“I would fall asleep hearing him downstairs listening to Roy Orbison and Johnny Cash on the eight-track,” Bratcher recalls. “And Waylon Jennnings. He was into those guys heavy.”

 

Bratcher encountered live rockabilly music as an underage patron in a Hoosick Falls, NY, nightclub, where a performer named Jack Smith took his breath away. “The visual was wild. He wore sharp duds and white bucks. He took the microphone on top of the bar and belted out this rockabilly music.”

 

Still a youngster, Billy was recruited by a locally well known band called Visible Twitch, who took him to Albany and bought him his first bass. In 1987, Bratcher decided to move to Burlington because it was a more happening place. Soon after his arrival, fate stepped in. “I was at Nectar’s one night listening to the Throbulators.” Bratcher pauses, then emphasizes each word. “And a vibrant… blistering… wild man… behind the microphone was belting out this Jerry Lee Lewis song, ‘High School Confidential.’ I was so excited. I was with my girl and I said, ‘One of these days I’m going to play in a band with someone like him, or him.'”

 

Bratcher had just had the Danny Coane experience.

 

But fate took its sweet time.

>> Read more…

-starlinerhythmboys.com

starline rhythm boys


Texas Barbecue- Bela Fleck

bela fleck- crossing the tracks

Premier banjo player Béla Fleck is considered one of the most innovative pickers in the world and has done much to demonstrate the versatility of his instrument, which he uses to play everything from traditional bluegrass to progressive jazz. He was named after composer Béla Bartok and was born in New York City. Around age 15, Fleck became fascinated with the banjo after hearing Flatt & Scruggs’ “Ballad of Jed Clampett” and Eric Weissberg and Steve Mandell’s “Dueling Banjos,” and his grandfather soon gave him one. While attending the High School of Music and Art in New York, Fleck worked on adapting bebop music for the banjo.

 

Premier banjo player Béla Fleck is considered one of the most innovative pickers in the world and has done much to demonstrate the versatility of his instrument, which he uses to play everything from traditional bluegrass to progressive jazz. He was named after composer Béla Bartok and was born in New York City. Around age 15, Fleck became fascinated with the banjo after hearing Flatt & Scruggs’ “Ballad of Jed Clampett” and Eric Weissberg and Steve Mandell’s “Dueling Banjos,” and his grandfather soon gave him one. While attending the High School of Music and Art in New York, Fleck worked on adapting bebop music for the banjo.

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– Sandra Brennan, AllMusic.com

 

 

 

Crossing the Tracks was Béla Fleck’s first solo album, released on LP by Rounder Records in 1979, featured an inspired and forward-thinking string band consisting of Bob Applebaum on mandolin, Russ Barenberg on acoustic guitar, Sam Bush on fiddle, Mark Schatz on acoustic bass, and Fleck, then a 20-year-old banjo player with brilliant chops and a bebop heart.

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-Steve Leggett, AllMusic.com

bela fleck


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