Sara K

Sara K - What Matters - 2001 - Chesky Records

From the time she first performed in front of an audience when she was 17 years old, singer/songwriter Sara K. knew she wanted to live her life making music. She followed her dream and stayed true to her desire, despite the fact that demand for acoustic solo performers was falling off as the end of the '70s approached. Several avenues remained open to her, including fronting her own band, studio work, and backing country music artists, which she did in her hometown of Dallas, TX. She also found work locally singing jingles. From her childhood years on, music played an important part in her life. Her mother belonged to a choir at church, while her father sang bass as part of a barbershop quartet. She first took up the guitar at the age of 15, although her instrument wasn't the standard one on which most youths begin. She started with a basic flamenco guitar and added four strings meant for a bass. The resulting hybrid didn't produce notes as low as those normally produced by a bass, yet they were definitely lower than those made by a guitar. After the early years in Texas, she took her band, Sara K. and the Boys Without Sleep, to Los Angeles and New Mexico. Beginning in 1973, she led the band for about ten years and she followed that up by spending more than two years on tour with country singer Gary Nunn. The experience was a good one, but she longed to concentrate on crafting songs and performing her own compositions. She settled down in Santa Fe to work on her songs, putting together an album that eventually became Gypsy Alley and was released by Mesa/Bluemoon Records in 1982. The New Mexico Music Industry Coalition honored the release with an award for Best Album. Chesky Records signed her to a contract, and Sara K. went on to release four well-received albums: Hobo, Tell Me I'm Not Dreamin', Play on Words, and Closer Than They Appear. The singer/songwriter toured Germany in 1997 with Hui Cox, an arranger and guitar player. That same year, she also contributed to the soundtrack for The Postman. Two years later, No Cover was issued featuring Chuck Mangione on one of the tracks. The live album was recorded in New York City inside St. Peter's Episcopal Church, making the most of the soaring interior's dynamite acoustics. What Matters followed in 2001. © Linda Seida © 2013 Rovi Corp | All Rights Reserved http://www.allmusic.com/artist/sara-k-mn0000298165

An extraordinary musical and lyrical album of country, jazz, folk, and blues. The album has been termed a “Southwestern-dust portrait of love and life”, and Sara's rich, beautiful voice is evocative of the hot, desolate and beautiful American Southwest that she calls home. Sara penned ten of the album’s poignant tracks. She also covers Stephen Stills' "Johnny's Garden" and Procol Harum's unforgettable "Whiter Shade of Pale." This is a great album by a highly original and also very underestimated vocalist and songwriter and HR by A.O.O.F.C. Why are these artists not better known? Probably a stupid question, as we all know what the music industry is like nowadays. Buy Sara’s wonderful "Water Falls" album and support great music. Listen to some of James McMurtrys’s albums which are also full of beautifully written and evocative songs [All tracks @ 320 Kbps: file size = 109 Mb]

TRACKS

1.He Got You
2.Johnny's Garden
3.Bebe's Waltz
4.What Matters
5.Because
6.Tierra Contenta
7.I Want You to Come In
8.Bebe's Dream/Armor
9.Whiter Shade of Pale
10.Ivory Cage
11.Bebe's Wake

All tracks composed by Sara K. except Track 2 by Stephen Stills, and Track 9 by Gary Brooker, Keith Reid, Matthew Fisher, Johann Sebastian Bach

MUSICIANS

Bruce Dunlap - Acoustic Guitar, Dobro
Paul Socolow - Acoustic Bass
Todd Turkisher - Drums, Percussion
Gil Goldstein - Accordion, Bass Accordion
Sara K. - 4 String Guitar, Vocals

BIO (WIKI)

Sara K. (full name Sara Katherine Wooldridge) is an American singer-songwriter based in Santa Fe, New Mexico. Her music includes genres like blues, folk as well as jazz. She has released audiophile albums and used to play a custom 4-(bass)-string acoustic guitar. She withdrew from music business in 2009. Born and raised in Dallas, Texas, she grew up in a family surrounded by music: her mother sang in a church choir, her father in a barbershop quartet, her brother played in a band, and her sister also played the guitar. However, her family considered music a hobby, not a job option. In the early 1970s, at the age of 15, she started playing the guitar, using one her sister had left behind. She took this flamenco guitar, took off the remaining regular strings, and put four bass strings on instead (tuned to an open A). This gave it a fuller tone than a conventional acoustic guitar while not sounding as deep as a bass. She used this tuning from then on, making it one of her trademarks. Although the era of acoustic solo performers was on the decline in the late 1970s, she stayed on that course. After graduating and moving out, she spent a few years playing whenever and wherever possible, be it "happy hours", back-up vocals for country music and jingles, or her own demo tapes. When realizing that she didn't entirely fit the contemporary scene in Dallas, she moved to New Mexico. After having moved to the small mountain town Ruidoso, New Mexico, she became leader of the band Sara K. and the Boys Without Sleep. From 1978 to 1983, they toured mainly New Mexico and Los Angeles. She also toured with country musician Gary Nunn for two years. After moving to Santa Fe, she teamed up with several musicians and put out her debut album, Gypsy Alley (1989) with Mesa/Bluemoon. Many of its songs' topics come from the almost fifteen years she had lived a somewhat nomadic lifestyle, moving around a lot. These years had ended when she rented a place on that very same Gypsy Alley (off Canyon Road, Santa Fe), won a goldfish on a country fair, and got her dog Bebe (who himself is mentioned numerous times in her songs). "Furthermore, Sara K. comes across as authentic, she "has lived these stories, is right in the middle of them and relates them from the heart—warm, personal and moving."The album won her immediately the New Mexico Music Industry Coalition's "Best Album Award". One of the musicians she worked with on Gypsy Alley was guitarist Bruce Dunlap, who was also signed to New York-based Chesky Records, a record label aimed mainly at audiophiles. He helped to bring her to the label and she remained signed to Chesky for more than ten years, up to 2001. For Sara K. herself, this opened up a whole new era marked by contrasts—between her southwestern homebase Santa Fe and Chesky's hectic New York, between the familiar analogue recording equipment and the new digital/audiophile one, and between the dream of fame and wealth and the realities of the record industry. With Chesky, Sara K. recorded six albums, Closer Than They Appear, Play On Words, Tell Me I'm Not Dreamin', Hobo, the live album No Cover, and What Matters. In the end, Chesky also compiled a "Best of" album of Sara K. called The Chesky Collection. Sarah also makes an appearance on Chesky Records sound system benchmarking record, The Ultimate Demonstration Disk. In the meantime, she toured Europe and had planned to but never did move to San Francisco. At the end of her contract obligations with Chesky, Sara got the feeling that she had "been ripped off in many directions by labels and touring companies". On her last tour through Germany under the Chesky contract, the owner of the German label Stockfisch Records, Günter Pauler, was called to be her sound specialist. He took the opportunity to give her a tour of his studio and offer her a record contract along with the prospect of having guitarist Chris Jones as guest musician, which she signed. The cooperation with Chris Jones proved to be congenial. Her first Stockfisch release, Water Falls (2001), was followed by a tour that year, which in turn provided material for both a live DVD and the live album Live in Concert (2003). The latter won her the German music magazine AUDIO/stereoplay's "Hifi Music Award 2003" for audiophile CDs. In 2006, the third album with Stockfisch was released, Hell or High Water. It features ten new tracks, again with Chris Jones on guitar and dobro. Jones died of Hodgkin's lymphoma just shortly after recording and before the release of the album. She released her fourth Stockfisch album Made in the Shade in 2009, containing several new versions of her Gypsy Alley album songs. With the release of her 2009 album, she announced her withdrawal from music business. In a note to her fans on her label's website, she stated: After many years on the road and writing music, I've decided to stop touring and recording. It's hard to explain why but I hope you will understand. I had a good run but I think it's over. It's just too much for too little these days. Made in the Shade explains it as best as I know how. - Sara K., 2009 Sara still lives in the Santa Fe area, has one daughter, Seana (*1994), and married her husband Tiego in Scotland, October 2000.

Woody Mann

Woody Mann - Road Trip - 2006 - Acoustic Sessions Records

Woody Mann is an American acoustic guitarist who began studying with blues legend Reverend Gary Davis. He received formal training at the Juilliard School in New York City, and also completed a period of intense study with noted Chicago-born pianist Lennie Tristano, who introduced him to the world of jazz.

Woody Mann describes Road Trip as a tribute to the places he has visited on recent tours, but this excellent instrumental set from one of most talented and eclectic fi ngerstyle guitarists on the scene can be heard, more metaphorically, as a recap of his musical journey. Mann has absorbed so many guitar styles that he can change moods on a dime, weaving lyrical single-string lines and chord harmonies that take his tunes across the musical divides between genres. “The Rev’s Music” is a tribute to his first great teacher, legendary bluesman Reverend Gary Davis, but Mann interprets Davis’ ideas through a jazz filter, giving the material a new perspective. “Kary’s Trance,” with saxophonist Charley Krachy, is a free-jazz exploration that brings to mind Mann’s other great teacher, the groundbreaking pianist Lennie Tristano. In Road Trip’s echoes of old-time banjo and classical guitar, sprightly Lonnie Johnson licks, and Latin themes, Mann makes good use of a bottomless bag of tricks. But for all his chops, he never showboats; everything he does serves the melody, a fact that his late teachers would certainly appreciate. By & © Ian Zack © Acoustic Guitar, June 2006

The great Woody Mann has pursued a rich and varied career. He has played with jazz great Attila Zoller, accompanied songwriter Dory Previn, collaborated with blues and folk legends including John Fahey, John Renbourn, Jo Ann Kelly, Bob Brozman, Conor Provost, Son House, Bukka White, and John Cephas and has even given guitar lessons to the legendary Paul Simon. He has performed in over fifteen countries, and recorded many albums ranging from 1997's "Stories" to 2010's "Donna Lombarda" with Duck Baker, Bob Brozman, Ed Gerhard, and Massimo Gatti. The C.F. Martin guitar company honoured Woody with the release of the "Woody Mann" signature model guitar. Buy Woody's "Been Here and Gone" album with Son House and Jo Ann Kelly, and support great acoustic folk blues music [Tracks @ 224-320 Kbps: File size = 69.9 Mb]

TRACKS

1 Aflenz 02:43
2 Karys Trance 03:01
3 Gypsy Girls 03:22
4 Texas Reel 03:12
5 Through the Alley 01:43
6 Church Hill Solo 03:57
7 Another Lisboa 04:09
8 A Night in Tbilisi 03:42
9 Backwoods 01:53
10 Have Mercy 05:01
11 The Rev's Music 03:02
12 Poor Providence 01:54
13 Closing Time 03:21
14 Baden Baden 03:09
15 Warbasse Junction 04:09

All songs composed by Woody Mann except "Have Mercy" based on "Death Don't Have No Mercy" by Rev Gary Davis and "The Rev's Music" based on "Let Us Get Together" and "Going To Sit Down On The Bank of The River" by Rev Gary Davis

MUSICIANS

Woody Mann - Guitar
Lonnie Johnson - Guitar
Brian Glassman - Bass
Larry Wexer - Mandolin
Dave Keyes - Piano
Jeffrey Meyer - Drums
Danny Mallon - Percussion
Charlie Krachy - Saxophone

PRESS

"This is one of those names that should be uttered only in hushed tones. Not only was he taught by the peerless guitar picker the Rev Gary Davis, but Mann has played with Son House, Bukka White and John Fahey and has studied jazz under the great Lennie Tristano. In between giving lessons to Paul Simon and accompanying Dori Previn, he has also manged to cut some dazzling music, both by himself and in collaboration with performers such as Jo-Ann Kelly and bluesman John Cehpas. Don’t miss a chance to see him; you are unlikely to hear anything- or anyone – better in the fields that Mann has chosen to master.” – The London Times.

“ With impeccable tone, gutsy phrasing, beautiful harmonies, and cool dynamics, Mann is in a class by himself. Phenomenal.” “Stairwell Serenade” CD Voted top ten “Guitar recordings of Destiny” - Guitar Player Magazine

“Connecting folk and blues, Woody Mann fingerpicks his acoustic guitar with complete assurance on a dozen songs that collectively take your breath away.” - Down Beat Magazine * * * *

.”..Dazzling and technically flawless finger style guitar at its most listenable. Mann’s wizardry on the fret board is matched by his ability to convey deep feelings with his songs- creating moods that incite, delight, or simply soothe.” “Throughout (the recording), Mann blurs the lines between jazz, blues, classical, and world music creating his own sound in the process. Attempts to categorize his music simply misses the point. This is brilliant playing that demands to be heard.” - Sing Out Magazine

“Mann is simply Spellbinding.” - Fingerstyle Guitar Magazine

“…This excellent instrumental set from one of the most talented and eclectic finger style guitarists on the scene can be heard, more metaphorically, as a recap of his musical journey. Mann has absorbed so many guitar styles that he can change moods on a dime, weaving lyrical single string lines and chord harmonies that can take his tunes across the musical divides between genres…” Acoustic Guitar Magazine

“ Mann’s concert was a mix of brilliance and intensity- moving and inspiring. His music is a blend of so many styles, it becomes something different, something his own….Sweden National Times

“Every now and then, you hear a guitarist whose sound is completely his own and whose music flirts with several styles, never resting for very long with just one. Woody Mann is an artist who seems to have internalized many different genres and combined them in a way that is more than the sum of its parts. What is remarkable is how he can draw from several styles and techniques within a single song and have them blend without the feeling of inconsistency. Woody Mann’s performance is inspired from start to finish.”- Acoustic Musician Magazine

“You can hear classical, jazz, and blues approaches somehow converging into a single sparkling sound – a sound completely his own. Woody Takes a fresh approach to his blues re-creations and his own compositions defy category. If there was a category simply called “Great Music,” Woody’s C.D. would belong there. – John Fahey , from the liner notes to the C.D “Stories”

“…He nails very complicated stuff so cleanly that optimists will grab their guitars, thinking, “Hey, that’s humanly possible,” while pessimists will get drunk and spread dark rumors about moral turpitude. - Musician Magazine

” A brilliant convergence of guitar and song…completely original.”- Village Voice, New York

“Having studies., literally, at the feet of the Rev. Gary Davis and other blues ‘greats’, Woody has taken the traditional blues feeling and evolved it into his own highly personal, energized approach while practicing his teachers gift for telling powerful stories in the song form, as exemplified by his just issued Shanachie CD “Heading Uptown” - Boston Globe

“There are no rambling New Age guitar noodlings here: these tunes have vibrancy and life…an enormously talented and accomplished guitarist.” “Woody’s vocals are better than ever. Its always a pleasure to witness an artist who just keeps getting better. This (“Heading Uptown”CD) has to be Woody Mann’s best album yet. Positively inspiring.” - Folk Roots Magazine

“…Mann is a masterful player with a distinctly contemporary perspective in his songs.” - Acoustic Guitar Magazine

“He has certainly learned from the older players but he is giving back and pushing the boundaries even further…an exceptionally gifted musician.” - Blues and Rhythm Magazine

”In last nights concert he held a large audience spellbound for nearly two hours with a mixture of blues and jazz in addition to his original material.” – Manchester Guardian , UK

“The self effacing Woody Mann charmed his audience with a set that defies pigeon-holing even into a genre as wide as blues: his brilliant technique merges his jazz and classical ideas into something truly his own. The guitarists in the audience may have been inspired -or, more likely, made to feel like taking up another instrument altogether.” - Jersey Evening Post, UK

“Mann’s mastery of finger-style guitar is astonishing, and in person the precision of his playing is even more amazing than on his CD’s. His fingers are up and down the fingerboard, with every note of every chord loud and clear. The performance was at times introspective and at times exuberant, and the appreciative, knowledgeable audience responded loudly after each piece, leaving no doubt that Woody Mann puts on a great show.” - Concert review Blues Review Magazine

“Mann is a gifted musician.” – Living Blues Magazine

ABOUT WOODY MANN

Among guitarists and critics, Woody Mann is considered a modern master. While the blues are his touchstone, he seems to draw inspiration from every direction, blending a myriad influences with ease and grace. Pioneering finger-style legend John Fahey said it well: “You can hear classical, jazz and blues approaches somehow converging into a single sparkling sound – a sound completely his own. Woody takes a fresh approach to his blues re-creations and his own compositions defy category. If there was a category simply called ‘great music’ Woody…would belong there.” Woody Mann received his first musical schooling in the living room of Rev. Gary Davis, the now legendary blues, gospel, and ragtime guitarist. Though Davis died in 1972, his guitar mastery proved to be an indelible influence on his young student and friend. The passion, energy and artistry of Davis’ early work became a lasting touchstone for Mann as he embarked on his own musical journey. Mann soon went on to perform with modern day blues musicians John Fahey, British great Jo-Ann Kelly, as well as early masters of the genre, such as Bukka White and Son House. Mann complemented the tutelage of Rev. Davis with formal training at New York’s celebrated Juilliard School. In addition, Mann completed a period of intense study with noted Chicago-born pianist Lennie Tristano, who introduced him to the world of jazz and its infinite possibilities. During this time, Mann’s early musical grounding began to blossom into an improvisational style all his own. He has not forgotten those early lessons in the Rev. Davis’ living room, however, or the jazz traditions that were his wellspring. He has since become one of the world’s most renowned guitar masters and song story tellers – updating the past with his own unique contemporary improvisational style. “Don’t miss the chance to see him; you are unlikely to hear anything – or anyone – better in the fields that Mann has chosen to master.” -The London Times © 2011 Woody Mann. All Rights Reserved © http://woodymann.com/press/biography

Lester Quitzau

Lester Quitzau - The Same Light - 2009 - Poetical License

"Lester Quitzau's music has the rustic appeal of artists such as Van Morrison and Robbie Robertson, and I find myself appreciating The Same Light even more with repeated listens." - Chip Withrow, Muses Muse

"Quitzau's ... soft but subtly textured voice draws the listener in, and whether he's tackling a Lightnin' Hopkins-style blues("Find My Way Home") or a Bill Frisell-flavoured meditation ("Ferris Wheel"), his less-is-more guitar textures are even more eloquent ... very lovely." - Alexander Varty, Georgia Straight

"Listening to Edmonton expat Lester Quitzau’s latest, you get the sense that there’s nowhere the Juno Award winning roots artist would rather be than at his West Coast home, tending his little corner of earth and making music. Quitzau weaves the two together, offering them up as a panacea for the ills of the world and the loneliness of the road. Two gentle instrumentals, “These Blues” and “Ferris Wheel,” highlight Quitzau’s considerable skill on the acoustic guitar, while “Shape Shifter” plugs in and gives a taste of Quitzau’s blusier origins. Quitzau’s wife Mae Moore (with whom he collaborated on 2004’s Oh My!) is also present, offering her songwriting abilities on “The Only Cure” and lending her beautiful voice to backing vocals on “Let It Shine.” The album wraps with a cover of Pete Seeger’s “To My Old Brown Earth,” bringing it all back to the importance of having a little piece of ground. V " © Scott Harris www.vueweekly.com

I am always amazed at people who do not like gifts of music because, hey, music is one of the best things in the world and when it's free, what's not to like. So when my friend Terry Currier at Portland, Oregon's Music Millennium handed me a copy of Lester Quitzau's The Same Light and I flinched, I was surprised. Me, the guy who eats and sleeps music, flinching at free music? Maybe in an alternate universe. I graciously accepted it and a few other CDs and tucked them under my arm, but the visit was fast and furious and I left without hearing what Terry said about the album, something I was to regret. I do remember he said I'd like it and he is seldom wrong, but Terry is a bit like myself in that he likes most everything, so as far as I knew Quitzau was another of the myriad of blues guitarists or singer/songwriters struggling to be heard but not necessarily within my wavelength. I took it home and stacked it with the others on the corner of the desk and forgot about it for a few weeks. Make that a few months. Oh, I listened. I just didn't listen seriously. Well, I'm listening seriously now and what I'm hearing is damn impressive. There is a calm to Quitzau which takes me back to the early days of solo Eric Clapton and the softer sounds of Mick Taylor, both with a side of mellow. No doubt, Quitzau could amp out some crankin' rock 'n' roll. The guitar is like an extension of his arm, he plays it so well. But that is not his purpose and, just a guess, not his style. Lester Quitzau, unless I miss my guess, is about peace and love and, yes, you can laugh if you want, but he is no caricature. He believes. You can hear it and even feel it in his music. His music. It is definitely his music--- even the somber To My Old Brown Earth, written by Pete Seeger and presented here as a hymn to--- what? Nature? God? It could be either or both. Listening to Quitzau sing, his phrasing delicate and in places tentative, gives one a sense of Nature as Person. This kind of love is what the spiritual feel toward Mother Earth. This kind of love is why we call it Mother Earth in the first place. Ferris Wheel is a delight of steel pan and acoustic guitar. No, it is not island music. It is beautiful music, the guitars (acoustic and electric) trading melody with the steel pan drum in just the right amounts. Laid back, soft, the song is a soft breeze on a sunny afternoon. Wurlitzer piano and superbly arranged brass push The Only Cure to the heights. I mean, is there anything more beautiful than a perfectly played Wurlitzer in a ballad? Not when it's done right. And that brass--- this is background brass, organ-like in depth and a perfect backdrop for some exquisite electric blues licks from Quitzau. That's right, this is blues, my friends, and not just blues but blues from the heart and soul. This could easily have been Clapton at his peak, but it is old Lester, giving us a bone. Quitzau throws in a funk-jam piece to lighten things up a bit, Shape Shifter riding on the rhythm train. At just over six minutes, it could go on forever as far as I'm concerned, the hammond organ and various guitars trading licks when not creating a chorus of instrumental jazz fusion. Very impressive indeed. There is more, but going over every track would sound a bit redundant. They are all good and some downright excellent, Quitsau and co-producer and fellow musician Jody Baker pulling out all the stops. They have an ear, these two, and their choices (both in songs and in the studio) are solid. Lester Quitzau lists four other CDs on the jacket and I can only guess as to why I haven't heard of him. He lives in the wilds of the Canadian Pacific Northwest, grows and eats organic food and plays music. Many might say that he looks like the typical hippie and that might be true, depending upon one's definition. When I was young, I thought that might be a route for myself as well, but life got in the way and I lost my virginity to the military-industrial complex and never looked back. Maybe that's why I get what Quitzau's doing. I sure hear what he's doing and let me tell you, it's worth a trip to his website to check him out. If you like it half as much as do I, you'll end up a fan, too. That's Quitzau (kwit-saw)-comma-Lester. Acoustic & Electric. Soulful, Folk, Blues & Roots Music. I dig it. Also available at Amazon.com, along with a string of other of Lester's fine albums. © Frank O. Gutch Jr. © http://www.rockandreprise.net/quitzau.html

On The Same Light, Lester Quitzau stakes out a landscape where West Coast Folk meets sixties California rock, where tinges of Ben Harper blend with funky steeldrum worldbeat en route to jazz-inflected explorations of Bill Frisell territory, all tied together with a ribbon of deepest blues. The result is a vibrant musical statement of where the Juno Award-winner finds himself today in his tireless journey of creative and personal evolution - a journey that has flowed from blues-drenched bar bands to solo performance to partnerships with the award-winning roots trio Tri-Continental and the internationally acclaimed Mae Moore. Today Lester Quitzau's unique vocals and compositions find him at the forefront of the increasingly celebrated Canadian singer/songwriter tradition, while his improvisational skills as a guitarist see him welcomed on festival stages worldwide. But the common thread throughout The Same Light is this: his uncommon songwriting craftsmanship and the urgent clarity of his message: 'Our current path needs to change for this planet and for the better of all.' - from Album Description © 1995-2010 TOWER.COM INC http://www.tower.com/same-light-lester-quitzau-cd/wapi/113195204

An album of beautifully crafted songs tinged with jazz, blues, soul, soft rock, and roots, and HR by A.O.O.F.C. Buy Lester's "A Big Love" album and support great music [All tracks @ 256 Kbps: File size = 82.4 Mb]

TRACKS

1. In Your Arms Again (4:16)
2. The Only Cure (7:15)
3. These Blues (5:45)
4. Find My Way Home (3:53)
5. Ferris Wheel (5:10)
6. Let It Shine (3:55)
7. Shape Shifter (6:04)
8. To My Old Brown Earth (4:25)
9. Free Frogs (Bonus Track) (3:11) N.B: This "secret track" contains 1 minute of silence and 2 minutes of frog noises", is totally unnecessary, and adds nothing to the quality of the album

All songs composed by Lester Quitzau except "The Only Cure" by Mae Moore, "Shape Shifter" by Lester Quitzau, Rick May, Joby Baker and "To My Old Brown Earth" by Pete Seeger

MUSICIANS

Lester Quitzau - Electric & Acoustic Guitar, Slide Guitar, Dobro, Steel Drums, Percussion, Harmony, Vocals
Joby Baker - Electric & Acoustic Bass, Hammond Organ, Wurlitzer, Piano, Drums, Steel Drums, Percussion, Shaker, Tambourine, Vocals, Background Vocals
Rick May - Acoustic Bass
Brooke Maxwell - Tenor Sax
Alfons Fear - Trumpet
Nick Lariviere - Trombone
Mae Moore - Background Vocals

BIO

One of the best things to happen to Canadian music in the past ten years has been the combination of circumstances that led to Lester Quitzau’s finding a Gulf Island sanctuary to engage and sustain his soul- a home and place of grounding that has empowered him to offer the world one of the most unique and highly charged musical statements of recent years. While this refers specifically to The Same Light, his latest CD, it is every bit as much about who he is as a human being. Lester really does find fulfilment in gathering a hen’s fresh eggs, and he really does have musical roots so deep he can craft a musical cloth that quilts together ringing peals of West African-sounding guitar with the feel of free-form jazz, threaded through with unmistakable strands of gutbucket blues, yet all interwoven with lyrics and songs of love and spirit that display more mastery and a deeper vision with each passing year. Touchstones along the route that brought the Juno-Award-winner to where he stands today include his work with fellow Tri-Continentals, Bill Bourne and Madagascar Slim, and his collaboration with Mae Moore. But the story really starts with his Edmonton childhood, an older brother, the all-important family stereo, and what Louis Armstrong used to refer to as “big ears”- a deep and insatiable curiosity about just how those cool sounds got themselves into those 12” slices of black vinyl…. and what it might take to one day make those sounds himself. The rest was just a matter of time. It was the sixties. Edmonton was a solidly blue-collar town, and rock and roll was its musical lifeblood. There was a guitar already in the house (his mom’s acoustic), his older brother turned him on to the likes of Led Zeppelin and Deep Purple, and by the time he was 15 Lester was rocking out on his own electric guitar. Before long his “big ears” discovered the same blues roots that had influenced Zeppelin and the other Brit rockers. Edmonton’s Ambassador Hotel booked the cream of Chicago blues and Lester heard them all- John Lee Hooker, James Cotton, Jimmy Rogers- as well as great Canadian acts like Downchild, Dutch Mason, and David Wilcox. At that same time Lester hooked up with fellow Canadian snowboarding pioneer Ken Achenbach, got heavily into the then-emerging sport and was dividing his time between the smoky blues bars of Edmonton and the pristine air of the Rockies, where he emerged as one of Canada’s genuine snowboarding pioneers. His skills as a competitor not only merited him team sponsorship, he even placed fifth in the premier international event of the 1985 season, on a board without steel edges. Pursuing both, music and snowboarding proved difficult, so Lester choose music and by the late 80’s was performing with a rocking blues trio called The Slipping Lizards. The Lizards were popular in Edmonton, but the hard-partying lifestyle that seemed to come with that popularity wore thin. The band soon split and Lester continued with a band called The Yard Dogs. The Yard Dogs were blues players too, but their approach was subtler, and offered Lester an opportunity to mature musically with the crucial addition of a spiritual dimension. Their bass player, Farley Scott, was especially influential- Lester likens his mentorship to that of a Zen Master. In 1993 Lester left Edmonton’s urban blues/rock scene behind and relocated to British Columbia’s West Kootenay region, only to return to Edmonton shortly thereafter to continue his music apprenticeship. His first album, Keep On Walking, was released later that year. Elemental (stripped-down, funky) and all-acoustic in its approach to the blues, its return to basics mirrored the return to simpler values he was learning to embody in his own lifestyle. It was followed by A Big Love in 1996, an album that initially surprised listeners expecting a second instalment of Keep On Walking’s straight-ahead acoustic blues. What they got instead was practically a 180-degree departure- where the first CD celebrated the traditional, the new one was mostly electric. And although the music was still blues-based, the album embraced experimentation and the wealth of possibilities an artist with Lester’s talents could offer. The arrangements were multi-layered and often lush- effectively supporting and showcasing his arrival at a stronger and more confident level of songwriting. His audience grew with the release of A Big Love, as did his stature among critics, resulting in his first Juno Award nomination. Over the next five years Lester was discovered by an ever-widening international audience, primarily through his year-in, year-out touring on the folk/roots (and jazz and blues) festival circuits. The Lester Quitzau Band (Andy Graffiti, Brett Miles, Chris Byrne, Rob Vause, and Jason Cairns) set out in 1996 in support of A Big Love, and for the first time he experienced the enthusiasm and respect of discerning European audiences. But wherever he toured, as a band leader, as a solo artist, or with his Very Electric Trio (Lyle Molzan and Greg Johnson), his reputation expanded as his roots within the world music community deepened. Two particularly significant results of that growth process were: his partnering with Bill Bourne and Madagascar Slim to form Tri-Continental, one of the biggest acts on today’s world music stage (and the source of his first Juno Award win), and his magical meeting, collaboration with, and marriage to celebrated singer/songwriter Mae Moore in 2002. The first years of this decade produced a flurry of CD releases. The first of them, So Here We Are, (“An absolutely stellar record”, Cathy Inis, CKUA radio network). Still bluesy (don’t bother trying to find a nastier, more fundamentals-drenched version of “Rollin’ and Tumblin’”- you won’t- anywhere), it still managed to balance that mastery of basics with a striking display of maturing writing and musical chops. Like A Big Love, the album got great reviews and sold well (including through its European distribution). Oh My, his collaboration with Mae Moore, was released in 2003 and met with similar success (including a West Coast Music Awards nomination). It clearly occupies a special space in Lester’s heart, and not just for romantic reasons or the obvious strengths such a partnership could draw from. "That album was cool for both of us because it challenged us in new ways - for me to stretch out more as a vocalist, and for Mae to expand what she was willing to explore as a guitarist.” With Tri-Continental also releasing four successful albums over the same period, it’s not surprising that by 2006 it was time to step back and take a well-earned breath. It’s dizzying simply trying to sort out the routes and combinations of personnel Lester toured with between 2001 and 2006. They include destinations from Victoria to the Czech Republic, and alternate between Tri-Continental tours, tours with Mae, the Very Electric Trio, Lester solo, Lester’s band- you get the picture…. So Lester did take a bit of a breath, and it has stretched out for nearly three years now- a time in which Lester and Mae have finally been able to live their dream of a committed and sustainability-based relationship with their Gulf Island homestead. There is a different rhythm in his life today, slower, more reflective, but certainly no less musical at its heart. This is the music that finds such powerful expression in The Same Light, his newest CD, released early in 2009. It’s a culmination of his years spent re-connecting with the land, but it’s also a reflection of some serious musical wood-shedding and soul searching done over that same period. The CD flows naturally from blues to ballads to truly inventive jazz improvisations. It is hard to imagine a more perfect summing-up of who Lester Quitzau is today. © lester quitzau 2008 http://www.lesterq.com/bio/bio

Gary Fletcher

Gary Fletcher - The Official Gary Fletcher Bootleg Album - 2004 - Hypertension Music

Gary Fletcher is best known as a member of legendary The Blues Band. Along with Paul Jones, Tom McGuinness, Dave Kelly and Hughie Flint he was one of the bands original founding members in 1979. The Gary Fletcher Band’s sound is built around his own songs with him playing acoustic/electric/slide guitar - whilst not a loud band, they create great sounds with touches of country, blues, folk and roots. In the mid '70s Gary joined blues rock band, Sam Apple Pie, later known as The Vipers, and a couple of years later - enter Dave Kelly. Gary had played with Dave Kelly in late 1978 in The Wildcats, which also included Wilgar Campbell, the ex Rory Gallagher drummer. Impressed by Garys prowess both as a musician and songwriter, Kelly asked Gary to join a new band he was putting together, which also featured Paul Jones & Tom McGuinness (ex Manfred Mann), plus ex John Mayall drummer Hughie Flint. The Blues Band were born - and the rest is history. The success of The Blues Band was almost instantaneous and they were soon playing to packed houses, appearing on TV and radio regularly throughout Europe, and headlining at Glastonbury. Over twenty albums & countless tours later the demand continues to grow for their special & personal interpretation of the blues. The band continues to tour and release new material. Gary Fletcher is a significant contributor of material to The Blues Band’s catalogue – the band’s anthemic ‘Greenstuff’ is one of his songs. Concurrent with over 30 years with The Blues Band, Gary Fletcher has continued to write and record his own material, whilst contributing songs to records by other artists. He is also currently performing with and has written for The Dave Kelly Band as well as his own outfit, The Gary Fletcher Band. Gary started to perform as a solo singer/songwriter around 2003 after receiving positive audience reaction to the tracks on recent Blues Band albums on which he has sung lead. To step forward to the lead vocal microphone after so many years working behind the band’s legendary two principal voices, Paul Jones and Dave Kelly, was a daunting task, but Gary has been enjoying the opportunity to stake his claim as a singer-songwriter in his own right. In 2004 he released ‘The Official Gary Fletcher Bootleg’ CD on the Hypertension label which was a collection of the demos of songs he’d pitched to The Blues Band over the years. Gary’s much acclaimed and superb ‘Human Spirit’ CD on the BGO label was released in 2009 – and featured all new recordings produced by Bill Gautier with a stellar line-up of musicians such as Bernie Marsden, Micky Moody, Rob, Paul and Dave from The Blues Band, Steve Simpson, Mark Feltham and Dennis Greaves. When the vastly underrated Gary Fletcher Band perform, Gary considers himself very fortunate to be able to call upon some great musicians. In the most regular line up he is joined by his colleague from The Blues Band, the immaculate Rob Townsend (or Pick Withers of Dire Straits fame) on drums, depending on availability and youngsters Jack Fletcher (bass) and Steve Ling (guitar). Rob enjoyed major success with Family alongside Roger Chapman and Charlie Witney and subsequently played and recorded with many highly successful artists such as Duanne Eddy, Medicine Head, Peter Skellern before joining The Blues Band in 1981 following Hughie Flint’s departure. The presence of the two youngsters, his son Jack and Steve Ling in the line-up balances very nicely with the more ‘mature’ presence of Gary and Rob! A perfect blend of youth and experience then! The band’s sound is built around Gary’s songs and acoustic/electric/slide guitar playing - whilst not a loud band, they create great sounds with touches of country, blues, folk and roots. There’s an obvious ‘blues’ tinge to the sound but it’s not a straight homage to Chicago, nor is it a power trio type blues band. It’s very ‘musical’ in a melodically and lyrically intelligent kind of way that gives some superb players a great landscape to perform on. The set is predominantly originals but Gary draws on the blues both in terms of his own material and also in covers with songs from the likes of Robert Johnson, Louis Jordan, Willie Dixon, Sleepy John Estes, Ray Charles, Eric Bibb and even J.J. Cale. © 2011 Real Live Music, All Rights Reserved http://www.carlislebluesfestival.com/the-bands/147-gary-fletcher.html?8073b31ad5858e5ef4c0e53efe4a7f65=e611eb923875142a804283e7e4a9f84d

GARY FLETCHER is probably best known as the bass player in The Blues Band, although his song writing talent is respected by many. The band’s encore anthem, his song 'Green Stuff', has been a constant in their live set since the Ready album was released in 1980, and has been covered by bands throughout Europe. The band’s latest album, 'Stepping Out', features Gary’s song 'Stepping Out On Main', another big winner with audiences. Gary’s initial influences came from the blues, most notably 'Eddie Boyd' with Fleetwood Mac and Cream’s 'Wheels of Fire' double album. Exposure to these blues-orientated records sowed the seeds of his musical aspirations. Though left handed, he didn’t let the fact that the instrument was a right handed one stand in his way, and to this day plays a guitar strung for normal right hand use – left handed, ie. upside down. Only a few other guitarist play like this from the late Albert King to Coco Montoya. His initial pro bands were Panama Scandal, the famed Blues/Rock band, Sam Apple Pie - later known as The Vipers – and with Dave Kelly & Wilgar Campbell, the ex Rory Gallagher drummer in The Wildcats ; The Dave Kelly Band followed and then mega success loomed with The Blues Band. 25 years later he’s been developing his own band with his son Jack on bass and original Dire Straits drummer Pick Withers. Two CD’s have followed - a compilation 'The Official Gary Fletcher Bootleg Album' CD - and 'Human Spirit' on BGO Records, both showcasing Gary’s great songs and acoustic & electric material. © http://www.feenstra.co.uk/bands/garyfletcher/garyfletcher.htm

'The Official Gary Fletcher Bootleg Album' is a collection of demo versions of 16 Gary Fletcher songs written throughout the The Blues Band's 25 year history. Gary and his band play folk, country and roots with a blues flavour. These are far from perfect tracks, but there are enough good songs here to make it a very welcome and worthwhile album from a great and very unassuming musician. "World Gone Crazy" is a simple but heartfelt song about 9/11. There are many other beautifully written songs on the album. Try and listen to The Blues Band's "Greenstuff: Live at the BBC 1982" album, and The Gary Fletcher Band's "Human Spirit" album. Read more about The Blues Band @ http://en.wikipedia.org/wiki/The_Blues_Band [All tracks @ 320 Kbps: File size = 130 Mb]

TRACKS

1. World Gone Crazy
2. It Takes the Blues to See
3. A Lie Is a Lie
4. The Other Side of the Street
5. Brand New Start
6. Greenstuff
7. So Lonely
8. Help Me
9. Watch My Lips
10. You've Got to Choose
11. Stop Messing With My Life
12. Commuter Blues
13. Stepping Out on Main Street
14. Told No Lies
15. You Are True
16. Take Me to the Redline

All songs composed by Gary Fletcher except "So Lonely" by Gary Fletcher, Hilary Fletcher, Steve Gurl and "Commuter Blues" by Gary Fletcher & Hilary Fletcher

BAND

Gary Fletcher - Guitar, Vocals
Ed Dean - Guitar, Slide Guitar
Lou Stonebridge - Organ, Horn Samples, String Samples
Hilary Fletcher - Background Vocals

ABOUT GARY FLETCHER

GARY FLETCHER was born in London in the early ‘50s and is probably best known as the bass player in The Blues Band, although his songwriting talent is respected by many. The band’s encore anthem, his song Green Stuff, has been a constant in their live set since the Ready album was released in 1980, and has been covered by bands throughout Europe. The band’s latest album, Stepping Out, features Gary’s song Stepping Out On Main, another big winner with audiences. Although he bought the With The Beatles album when it first came out in ’63, Gary’s preoccupation with cars, trains & other Boys’ Own hobbies meant that it wasn’t until the later years of the Sixties that he made his next album acquisitions – notably Eddie Boyd with Fleetwood Mac and Cream’s Wheels of Fire double album. Exposure to these blues-orientated records sowed the seeds of his musical aspirations and he gradually began to play around with his sister’s humble Spanish guitar. Though left handed, he didn’t let the fact that the instrument was a right handed one stand in his way, and to this day plays a guitar strung for normal right hand use – left handed, ie upside down. Few others play this way although the late, great, blues player Albert King was similarly afflicted. On the basis of knowing no more than the riff to Willie Dixon’s Spoonful, Gary got the job in his first band, The Breath Of Life. Together with a bunch of local Streatham musicians, his next band, Garfield Row, was formed …. a semi-acoustic folk rock band who played regularly in a local pub owned by the father of Jethro Tull’s bassist, Glenn Cornick. Glenn gave the band much encouragement, lending them some top class amps & guitars. They eventually went their separate ways when Glenn pinched the band’s guitar player and Gary went on to sustain work as a musician in a variety of bands from Blues/Rock to Folk/Rock to Soul, to playing in a Country band at Wembley Arena, to writing/performing in Rock band Panama Scandal. In the mid ‘70s he joined long running Blues/Rock band, Sam Apple Pie, later known as The Vipers. Alongside this, Gary and his old mate and songwriting partner, Steve Gurl, landed a separate recording contract and together with the third partner in the songwriting team, Hilary – Gary’s wife, a publishing contract. Gary met Dave Kelly in late ’78 when they both played in a band put together by Wilgar Campbell, the ex Rory Gallagher drummer, called The Wildcats. He then played bass on a track on Dave’s Willing album and was suggested by Dave for the bass job when, together with Paul Jones & Tom McGuinesss (ex of Manfred Mann), plus ex John Mayall drummer Hughie Flint, The Blues Band first got together. The success of The Blues Band was almost instantaneous and they were soon playing to packed houses, releasing their first album, appearing on TV and radio regularly, including the celebrated Euro-wide Rockpalast, and headlining at Glastonbury. Sixteen albums & countless tours later the demand continues to grow for their special & personal interpretation of the blues, thousands of excellent reviews have appeared in a variety of publications - The Times referring to them as "a top flight group of seasoned professionals" – and early editions of their first album are now collector’s items. Still going strong, new chapters are still to be added to their story in the 21st century. Concurrent with The Blues Band during the past 25 or so years Gary has continued to write and record his own material and has contributed songs to records by other artists. His ‘pop’ side project The Relatives released the enigmatic ‘Feud of Love’ album in 1997 although the record had been in the making since the early ‘90s. He has also performed with and written for The Dave Kelly Band and Christine Collister, Dave Kelly & The Travelling Gentlemen. It is only in the past couple of years that Gary has started to perform solo, after gaining the confidence to do so from positive audience reaction to the tracks on recent Blues Band albums that he has sung lead on. A couple of songs sung by Gary are now a regular feature of The Blues Band’s shows. To step forward to the lead vocal microphone after so many years working behind the band’s legendary two principal voices, ie Paul Jones and Dave Kelly, was a daunting task but the strength of good original songs sung by their writer has proved an audience pleaser, and Gary has been encouraged to stake his claim as a singer songwriter in his own right. His The Official Gary Fletcher Bootleg Album CD (on the Hypertension Music label ref HYP 4227), features 16 tracks, a full one hour running time plus a Friedel Muder designed 20 page booklet which includes extensive background notes and the full lyrics to each track. Many of the tracks are the original writer’s versions of songs that have been recorded by The Blues Band during the band’s 25 year existence. ‘Greenstuff’ which has become something of an anthemic ‘classic’ for the band over the years is featured in a totally stripped back acoustic guitar and voice version whilst ‘It takes the blues to see’ appears in a much less aggressive mode than it does on the recent ‘Stepping Out’ album. ‘You’ve Got To Choose’ is a song recorded back in 1991 by The Blues Band but to date never released whilst ‘Watch My Lips’ is a tune written for the band but which never got through the selection ‘committee’! Written in Oct 2001, the emotive ‘World Gone Crazy’ already features in The Blues Band’s repertoire and responds to the events of Sept 11th and to the serious accident which Gary’s son suffered three days before. Also present are brand new songs, one or two of which may be recorded for the band’s next studio album but, in any event, will certainly be featured in Gary’s increasing schedule of live performances in solo, duo and group guise. Gary recorded a session in his own right for BBC Radio 2 which was broadcast in Mar ’05 and a DVD ‘Live at The Ram Jam Club’ was released in ’06. Gary’s latest album (as at June ’07) is Human Spirit on BGO Records (BGOCD 780) which features a core band of Gary on acoustic and electric guitars, his son Jack on bass, his fellow Blues Band rhythm section partner, the superb Rob Townsend on drums and congas and, new to the wider blues/roots scene, the wonderful John Evans on lead guitar. Also featured are Bernie Marsden, Micky Moody and Dave Kelly on guitars, Steve Simpson on mandolin, violin and guitar and Mark Feltham and Paul Jones on harmonicas. The so-called ‘radio’ single from the album is a track called ‘Payback’ and a promo video of the song has been produced. This and song clips etc are included on this site and will soon also feature on a dedicated ‘myspace’ page. Over the years Gary has had an involvement in the world of motorsport. Anyone interested in this aspect of his life please check http://www.garyfletchermusic.co.uk/biography.htm to read more. © http://www.garyfletchermusic.co.uk/biography.htm

Jennifer Nettles Band

Jennifer Nettles Band - rewind - 2002 - Self Released

Soul Miners Daughter was a relatively obscure band who formed in 1996 in Athens, Georgia. The band's nucleus was Jennifer Nettles and Cory Jones, who met in high school. In 1996 they released their great "The Sacred and the Profane" album and "Hallelujah" which both eventually sold over 20,000 units. Many styles of music are covered on both self released albums including soul, blues, country, and folk, with Jennifer and Cory providing wonderful harmonies. Soul Miners Daughter split in 1999, allegedly due to "musical differences". Jennifer went on to form the Jennifer Nettles Band releasing albums which include "Story Of Your Bones", "Gravity: Drag Me Down", and "Rewind". In 2003, Jennifer became involved with Kristen Hall and Kristian Bush in the Country music band, Sugarland, with which she has attained huge success. If you like Country music you will be well aware of Sugarland. However, some of Jennifer Nettles best work was in the songs she composed with Cory Jones in Soul Miners Daughter. ["I have been a fan of Jennifer Nettles and her band since shortly before the album came out. I have seen her in concert at least a dozen times. After almost 10 years, I never get tired of listening to this album ("Hallelujah"). It is my favorite of her works and probably my favorite album of all time. If you've never heard it, you must buy it. If you heard Jennifer singing at the CMA awards, you saw a hint of her old self - soulful singing without the country twang. If you liked that, you will love this! - from "one of the greatest" by & © someguy (Georgia): © 1996-2011, Amazon.com, Inc. or its affiliates]

"rewind" is an album of re-recorded folk/soul blues songs which were originally released by Soul Miner's Daughter. In 2003, Jennifer joined the successful country group, Sugarland. Many people are of the opinion that these songs composed with Cory Jones are representative of her best work. Listen to Soul Miners Daughter "The Sacred and the Profane" album and check out SMD's "Hallelujah" album on this blog

TRACKS

1 With Me
2 Tried Hard Enough
3 Beautiful Song
4 Good for You
5 She
6 Shade of the Hand of Fear
7 Crossties
8 Sometimes
9 That Man They Call Diablo
10 Know
11 On the Shoulders of Giants
12 At Stake
13 Causal Dread

All songs composed by Jennifer Nettles & Cory Jones

MUSICIANS

Jennifer Nettles - vocals, acoustic guitar, tambourine
Wesley Lupold - bass, accordion
Scott Nicholson - keys
Brad Sikes - drums
Mike Cebulski - percussion

ABOUT JENNIFER NETTLES

If you follow country music, then you surely recognize the name of Jennifer Nettles. She and mandolin/guitar player Kristian Bush make up the band called "Sugarland." The group originally included Kristen Hall, a singer/songwriter from Sugarland, Texas. But she dropped out of the group early, deciding to stick with writing songs instead. Jennifer Nettles was born on September 12, 1974 in Douglas, Georgia. As she grew up, she loved performing at school, at her Southern Baptist church, and at every venue available. Besides singing and acting, she loved being a majorette in her high school marching band. After graduation, Nettles enrolled at Agnes Scott College, a liberal arts school in Georgia. A little known fact about Jennifer Nettles is that she started her first band, called "Soul Miner's Daughter", while in college. She hooked up with friend Cory Jones, a Classical guitarist. Soul Miner's Daughter recorded the folk albums, The Sacred and Profane (1996) and Hallelujah (1998). Later in 1998, Jennifer Nettles started her own self-named band. They recorded five albums, and won the "Independent Musician of the Year" award from Musician's Atlas in 2000. In 2003, the country group, Sugarland, was born, and the group has enjoyed riding high on the wave of musical success. Their debut album, Twice The Speed of Life, was released in 2004 under the Mercury Nashville label. The following year, Sugarland won the "Favorite New Artist" award at the AMA Awards. Their second album, Enjoy The Ride, was released in 2006, and turned Platinum in 2007. Nettles and Kristian Bush also won the "Duo Video of the Year" for "Want To" at the 2007 CMT Music Video Awards. And that's just a part of their successes so far! She has come a long way since she began writing and singing her own songs when she was seventeen years old. A little known fact about Jennifer Nettles is that the first royalty checks she earned paid her college loans off and bought a house in Georgia. It's interesting to see that Nettles has come a long way in her songwriting abilities as well. The first song she wrote was titled, "He Couldn't Give Up the Bottle So She Had to Give Back His Name." In 2006, Jennifer Nettles also stepped out of her role as Sugarland's lead singer to record a duet with Jon Bon Jovi. He and Richie Sambora wrote "Who Says You Can't Go Home?" for his 2005 album, Have A Nice Day." The country version of the song was set to be recorded by Bon Jovi and Keith Urban. A little known fact about Jennifer Nettles is that she stepped into Urban's part after it was decided that a female voice would sound better with Bon Jovi. Their version reached the number one slot on Billboard's Hot Country Singles chart and won a Grammy. Jennifer Nettles and her husband, night club owner Todd Van Sickle, divorced in 2007. She keeps busy touring, writing songs and recording with Sugarland. A little known fact about Jennifer Nettles is, the three essentials she says she needs when on the road, are a pair of "broken-in jeans", Listerine Whitening Quick Dissolving Strips, and light makeup that doesn't run when she's on stage. Another little known fact about Jennifer Nettles is, when she has the time at home, she loves to cook. She especially enjoys seafood like Scallops and Marinated Sea Bass. Nettles always makes time for Yoga. She says this ancient art balances her mind and body and builds up her immunity system. She also drinks healthful Green Tea. Nettles believes in lucky charms and symbols, is thankful to "the Universe and Creative Spirit", and has the word "Believe" tattooed on her wrist. © 2011 Yahoo! Inc. © http://www.associatedcontent.com/article/431398/little_known_facts_about_sugarlands.html?cat=33

John Hiatt & The Goners

John Hiatt & The Goners - Beneath This Gruff Exterior - 2003 - New West Records, Inc.

While Beneath This Gruff Exterior is credited to John Hiatt & the Goners, a more appropriate designation might be "John Hiatt and Sonny Landreth" - hotshot guitarist Landreth, who has held down a longtime on-and-off tenure in Hiatt's road band, spreads his licks over every nook and cranny of this album, so much so that his guitar spends about as much time in the spotlight as Mr. Hiatt himself. With the guitars turned up and Hiatt willing to push the growl of his voice to the limit, Beneath This Gruff Exterior finds Hiatt in stripped-down and rockin' form, much more so than on the albums which immediately preceded it. The production (by Don Smith with Hiatt and the band) is simple and straightforward, sounding loose and live, with Hiatt willing to let a few minor vocal glitches slip into the final mix. In short, this is a John Hiatt rock & roll album, which means his more serious songs are put on hold and stuff like "How Bad's the Coffee" and "Almost Fed Up With the Blues" find their way onto disc. But as has long been the case, Hiatt's lighter stuff still packs more emotional heft than most songwriters you could mention (especially on "Missing Pieces" and "The Most Unoriginal Sin"), and if his voice sounds as if it's starting to fray a tiny bit, he can still belt it out pretty convincingly for a guy who's been making records since 1974. The vast majority of Hiatt's albums fall into one of two categories -- brilliant and real good. Beneath This Gruff Exterior falls into the latter file, which means it isn't a revelation like Two Bit Monsters or Bring the Family, but it's got good songs sang by a great songwriter, and played by a rockin' little band with a real fine guitarist up front, and if that's not what you're looking for, you're probably not much on Hiatt anyway. © Mark Deming © 2011 Rovi Corporation. All Rights Reserved http://www.allmusic.com/album/beneath-this-gruff-exterior-r636589/review

The great Indianapolis singer/songwriter John Hiatt, shows here why he is one of the world's greatest folk blues artists. John has had his songs covered by many great artists like Three Dog Night, Bob Dylan, Willy DeVille, Linda Ronstadt, Bonnie Raitt, Eric Clapton, B.B. King, Joan Baez, Buddy Guy, Iggy Pop, Emmylou Harris, Nick Lowe, and The Nitty Gritty Dirt Band. And yet, like so many other great artists, his own albums have not always received the credit they deserve. In fact, his name is still unfamiliar to many music fans. "Beneath This Gruff Exterior" is HR by A.O.O.F.C. Check out John's "Live at the Hiatt" album @ JHIATT/LATH and his "Crossing Muddy Waters" album is @ JHIATT/CMW Try and listen to his outstanding "Slow Turning" and "Riding With The King" albums. For musical in a similar vein listen to John Fogerty's 1997 "Blue Moon Swamp" album.

TRACKS

1 Uncommon Connection 4:10
2 How Bad's The Coffee 3:55
3 The Nagging Dark 3:15
4 My Baby Blue 4:33
5 My Dog And Me 3:12
6 Almost Fed Up With The Blues 4:35
7 Circle Back 4:28
8 Window On The World 3:35
9 Missing Pieces 4:05
10 Fly Back Home 4:43
11 The Last Time 4:51
12 The Most Unoriginal Sin 4:15

All songs composed by John Hiatt

MUSICIANS

John Hiatt - Acoustic & Electric Guitar, Vocals [The Goners]
Sonny Landreth - Electric Guitar, Guitar [Slide], Guitar [Dobro], Backing Vocals [The Goners]
Dave Ranson - Bass [The Goners]
Kenneth Blevins - Drums, Backing Vocals [The Goners]
Bobby Keys - Baritone Saxophone on "Almost Fed Up With The Blues"

BIO

John Hiatt's sales have never quite matched his reputation. Hiatt's songs were covered successfully by everyone from Bonnie Raitt, Ronnie Milsap, and Dr. Feelgood to Iggy Pop, Three Dog Night, and the Neville Brothers, yet it took him 13 years to reach the charts himself. Of course, it nearly took him that long to find his own style. Hiatt began his solo career in 1974, and over the next decade he ran through a number of different styles from rock & roll to new wave pop before he finally settled on a rootsy fusion of rock & roll, country, blues, and folk with his 1987 album Bring the Family. Though the album didn't set the charts on fire, it became his first album to reach the charts, and several of the songs on the record became hits for other artists, including Raitt and Milsap. Following its success, Hiatt became a reliable hit songwriter for other artists, and he developed a strong cult following that continued to gain strength into the mid-'90s. While he was growing up in his hometown of Indianapolis, IN, John Hiatt played in a number of garage bands. Initially, he was inspired by the Rolling Stones and Bob Dylan, and the music of those two artists would echo strongly throughout his work. Out of all the bar bands he played with in the late '60s, a group called the White Ducks was the one that received the most attention. Following his high-school graduation, he moved to Nashville at the age of 18, where he landed a job as a songwriter for Tree Publishing. For the next several years, he wrote and performed at local clubs and hotels. Within a few years, his songs were being recorded by several different artists, including Conway Twitty, Tracy Nelson, and Three Dog Night, who took Hiatt's "Sure as I'm Sittin' Here" to number 16 in the summer of 1974. Eventually, his manager secured him an audition at Epic Records, and the label signed him in 1974, releasing his debut album, Hangin' Around the Observatory, later that year. Despite their critical acclaim, neither Hangin' Around the Observatory nor its 1975 follow-up Overcoats sold many copies, and he was dropped by the label. By the end of the year, Tree Publishing had let him go as well. Following his failure in Nashville, Hiatt moved out to California. By the summer of 1978 he had settled in Los Angeles, where began playing in clubs, opening for folk musicians including Leo Kottke. With Kottke's assistance, Hiatt hired a new manager, Denny Bruce, who helped him secure a record contract with MCA Records. Slug Line, his first record for MCA, was released in the summer of 1979. Where his first two records were straight-ahead rock & roll and folk-rock, Slug Line was in the new wave vein of angry English singer/songwriters like Elvis Costello, Graham Parker, and Joe Jackson, as if Hiatt was vying for the role of the American angry young man. The new approach earned some strong reviews, yet it failed to generate any sales. Two Bit Monsters, his second MCA album, faced the same situation. Although it was well-received critically upon its 1980 release, it made no impression on the charts, and the label dropped him. Apart from working on Two Bit Monsters, Hiatt spent most of 1980 as a member of Ry Cooder's backing band, playing rhythm guitar on the Borderline album and touring with the guitarist. Hiatt stayed with Cooder throughout 1981, signing a new contract with Geffen Records by the end of the year. Produced by Tony Visconti (David Bowie, T. Rex), his Geffen debut All of A Sudden was released in 1982, followed by the Nick Lowe/Scott Matthews & Ron Nagel-produced Riding With the King in 1983. As with his previous records for Epic and MCA, neither of his first two Geffen releases sold well. By this time, Hiatt's personal life was beginning to spin out of control as he was sinking deep into alcoholism. Around the time he completed 1985's Warming Up to the Ice Age, his second wife committed suicide. Following the release of Warming Up to the Ice Age, Hiatt was dropped by Geffen. By the end of 1985, he had entered a rehabilitation program. During 1986, he remarried and signed a new deal with A&M Records. For his A&M debut, Hiatt assembled a small band comprised of his former associates Ry Cooder (guitar), Nick Lowe (bass), and Jim Keltner (drums). Recorded over the course of a handful of days, the resulting album, Bring the Family, had a direct, stripped-down rootsy sound that differed greatly from his earlier albums. Upon its summer 1987 release, Bring the Family received the best reviews of his career and, for once, the reviews began to pay off, as the album turned into a cult hit, peaking at 107 on the U.S. charts; it was his first charting album. Hiatt attempted to record a follow-up with Cooder, Lowe, and Keltner, but the musicians failed to agree on the financial terms for the sessions. Undaunted, he recorded an album with John Doe, David Lindley, and Dave Mattacks, but he scrapped the completed project, deciding that the result was too forced. Hiatt's final attempt at recording the follow-up to Bring the Family was orchestrated by veteran producer Glyn Johns, who had him record with his touring band, the Goners. Despite all of the behind-the-scenes troubles behind its recording, the follow-up album, Slow Turning, actually appeared rather quickly, appearing in the summer of 1988. Slow Turning, like Bring the Family before it, received nearly unanimous positive reviews and it was fairly well-received commercially, spending 31 weeks on the U.S. charts and peaking at 98. Within the next year, Hiatt successfully toured throughout America and Europe, strengthening his fan base along the way. Inspired by the success of Hiatt's two A&M albums, Geffen released the compilation Y' All Caught? The Ones That Got Away 1979-85 in 1989. That same year, other artists began digging through Hiatt's catalog of songs, most notably Bonnie Raitt, who covered "Thing Called Love" for her multi-platinum comeback album, Nick of Time. In 1990, Hiatt returned with Stolen Moments, which was nearly as successful as Slow Turning, both critically and commercially. "Bring Back Your Love to Me," an album track from Stolen Moments that was also recorded by Earl Thomas Conley, won BMI's 1991 Country Music Award. By the time "Bring Back Your Love to Me" won that award, it had become a standard practice for artists to cover Hiatt's songs, as artists as diverse as Bob Dylan, Ronnie Milsap, Suzy Bogguss, and Iggy Pop all covered his songs in the early '90s. In 1993, Rhino Records released Love Gets Strange: The Songs of John Hiatt, which collected many of the cover versions that were recorded during the '80s and '90s. During 1991, the group that recorded Bring the Family -- Hiatt, Cooder, Lowe, and Keltner -- re-formed as a band called Little Village, releasing their eponymous debut in early 1992. Based on the success of Bring the Family and Hiatt's A&M albums, expectations for Little Village were quite high, yet the record and its supporting tour were considered a major disappointment. Later, the individual members would agree that the band was a failure, mainly due to conflicting egos. Hiatt decided to back away from the superstar nature of Little Village for his next album, 1993's Perfectly Good Guitar. Recorded in just two weeks with a backing band comprised of members of alternative rock bands School of Fish and Wire Train, the album was looser than any record since Bring the Family, but it didn't quite have the staying power of its two predecessors, spending only 11 weeks on the charts and peaking at number 47. The following year, he released his first live album, Hiatt Comes Alive at Budokan? Hiatt left A&M Records after the release of the record, signing with Capitol Records the following year. Walk On, Hiatt's first Capitol album, was recorded during his supporting tour for Perfectly Good Guitar and featured guest appearances by the Jayhawks and Bonnie Raitt. Walk On entered the charts at 48, but slipped off the charts in nine weeks, indicating that his audience had settled into a dedicated cult following. Fittingly, after 1997's Little Head quickly came and went in the marketplace, Hiatt parted ways with Capitol, and his next album, 2000's Crossing Muddy Waters, was released on the established independent imprint Vanguard Records. After a second album with Vanguard, The Tiki Bar Is Open, Hiatt aligned himself with another independent label, New West, for the release of his 2003 set Beneath This Gruff Exterior. Master of Disaster, along with CD and DVD versions of Live from Austin, TX, followed in 2005. Hiatt's 18th studio album, Same Old Man, appeared in 2008. The Open Road arrived early in 2010. © Stephen Thomas Erlewine © 2011 Rovi Corporation. All Rights Reserved http://www.allmusic.com/artist/john-hiatt-p4481/biography

Jessie Grace

Jessie Grace - Asleep On The Good Foot - 2009 - Follow The Mole

Jessie Grace's EP, 'Asleep On The Good Foot' came to me as the finished article as far as the studio was concerned but it's that new that I don't have any details at all about this amazing new talent - no artwork, no biog, no nothin'! So, maybe not a bad thing, I'll just let the music tell the story! And, what a story! 'Asleep On The Good Foot' really is the musical equivalent of a 'page turner' - unputdownable, all chills and thrills, eight small chapters in a real thriller that excites and entices as it soothes and caresses. Great work, great musician, great EP! Jessie Grace writes a bit like KT Tunstall but her music sits somewhere between the nu-folk of the aforementioned and some of the more angularly jazzy Joni Mitchell works. Add to that a very commercial sounding vocal delivery; something again between Tunstall, Judie Tzuke and Dido and you've got yourselves a very viable, workmanlike chunk of work! Jessie Grace keeps this work very fluid, it's continually changing, evolving; just when you think you've got her sorted and labelled she hits you with something that refuses to be pigeonholed and you have to start re-thinking your initial assessment. Eclectic I suppose, is how best to describe this, eclectic/alt/other or something like that! Grace takes the listener on a mystical journey by way of bright and sensitive acoustic and fx laced electric guitar, dark haunting keys, strings and 'things' - it's organic, it's truly alive! It's all beautiful crafted and lovingly assembled - and as tantalising as fuck!!Vocally Grace shows massive maturity; this young lady is sensitive and sensual but at the same time she's gritty, punchy and evocative. As an EP this is pretty much an album! Eight bloody great tracks that clearly demonstrate Grace's massive potential. Several of the songs here would work brilliantly as stand-alone singles to compete on a major scale with the established female 'stars' of the contemporary scene. This lady is special and could easily find herself becoming a household name. Ok, to get to that stage there has to be some pretty hefty and effective promo work to get her name and her music out to the masses. But, there will be plenty of radio 'jocks' who would die to get these songs onto their playlists - no probs! 'Asleep On The Good Foot' by Jessie Grace meets all the required criteria, as far as I can see, to become a major release. Jessie Grace is clearly a fantastic musical poet and her songs are convincing and compelling - Grace delivers her impressive songs with total belief and 'Asleep On The Good Foot' is an awesome introduction to someone who surely has a massive future in the business. Pretty much as good as it gets, 'Asleep On The Good Foot' by Jessie Grace deserves to reap rich rewards; Grace's ability to move the listener is impressive and her overall musical skills are clearly right up there with the best of 'em. Definitely one to look out for - if Jessie Grace can get the promotional support she deserves this lady is gonna be a 'name' and a 'force' to contend with. Brilliant!! Peter J Brown aka toxic pete ( toxicpete.co.uk)

Jessie studied commercial music at the University Of Westminster and also played bass in a London band. Originally a classical pianist, some of Jessie's songs are keyboard based, but she mainly plays guitar. Some of her influences include Nirvana, Bjork and PJ Harvey. She has a unique sound and is noted for her fabulous live performances. "Asleep On The Good Foot" is a great debut album in the folk/blues style from a lady who is destined for greater things. You may have heard her great song, "Science Tree" which has been used for a TV ad. Well, there are other songs on AOTGF equally good. If you like artists in the vein of Sia or Morcheeba, you may like this one. The album is HR by A.O.O.F.C. A new album is in the pipeline, and if it's as good as this one, buy it and support this beautiful and talented lady

TRACKS

1. Beautiful
2. Science Tree
3. L.O.V.E.
4. Gingerbread House
5. Firmly Down
6. Fool
7. King Of Villains
8. Spring Time

All songs composed by Jessie Grace, except “Beautiful” by Jessie Grace & James Barnett

CREDITS

All songs performed by Jessie Grace and Dave Draper in various forms apart from guitar on “Beautiful” performed by Jimmy Flanders. LIVE: JESSIE GRACE ON GUITAR/KEYS/VOCALS, FROG ON BASS, SHANKS/TWITCHER ON DRUMS

SHORT BIO

Jessie Grace is a singer/songwriter who plays both the piano and guitar and who has become prolific in both the London and Oxford music scenes. The mother-of-one got involved in writing and playing music from a young age before going on to study the subject at school and university. She is currently a solo artist having cut her teeth in a few bands. Her musical influences include Radiohead, Raconteurs, Nirvana, Bjork and PJ Harvey and her music has been described as a cross between KT Tunstall and Joni Mitchell. Her first solo album, Asleep on the Good Foot, was produced in her front room at home in Wooburn Green and she hopes its imminent release will represent a strong beginning to a long career producing world-class music. A Nashville-based record company Per Capita Records are currently negotiating a deal to sign her but for now her album can be downloaded at iTunes. Tracks from the album have also featured on several BBC 'Introducing' shows and the opening track from her album - Beautiful - featured on Tom Robinson's BBC6 show. © http://www.maidenhead-advertiser.co.uk/leisure/article-12229-jessie-grace/

Missy Burgess

Missy Burgess - Lemon Pie - 2008 - Missy Burgess

"Ottawa’s Missy Burgess is as credible a blues interpreter as she is a singer/songwriter. Here Burgess covers Robert Johnson’s suggestive “Come On In My Kitchen”, catches the moodiness of Jann Arden’s “It Looks Like Rain”, and delivers a rich, bittersweet take on her own lovelorn “Blue Sweater”. Front and centre, right where they belong, are Burgess’ direct, smoky vocals, sometimes reminiscent of her old pal Penny Lang’s. Exquisite playing. Good tunes and monstrous production from James Stephens. Willie P. Bennett can be found playing harmonica on this gem of a CD. Pick it up now!" - Pat Langston (Ottawa Citizen, Jan. 12/08)

Growing up in a large family had its benefits. You could train yourself to live in a different land even though chaos was all around you. As a young teen, Missy would climb into her brother's tree house and imagine herself singing late at night in some obscure small room in New York City and walking the streets alone as she thought all musicians did. By the time she was 15 years old she had heard all her father's jazz and big band albums over and over and had attended numerous concerts where her brother, Michael sang beautiful Gregorian chant with St. Michael's Choir School in downtown Toronto. She loved music, and belonged to many church choirs, but it took on new meaning when her father brought home a record of Fats Waller because it introduced a sound for her that made her want to sing. She bought a guitar and liked spending hours learning how to play it. But it took many years of living before Missy finally realized the need to take music seriously. Since 1996 Missy has performed on main stages from The National Arts Centre in Ottawa to Boston's Regent Theatre to The Angola Prison for Women in Louisiana.She has recorded 2 albums. Pour Me a Song features veteran folk singer Penny Lang as a guest singer. Her latest album Lemon Pie features the late Willie P. Bennett as a guest back up singer and harmonica player. As well Lemon Pie features the virtuoso guitar playing of Vince Half hide along with the wonderful sax of Petr Cancura. Website: Missyburgess.com

Great blend of roots blues with a touch of folk and jazz. Very much in the style of the early Maria Muldaur. Listen to her "Pour Me A Song" album

TRACKS / COMPOSERS

1. Blue Dog Man - Missy Burgess, Vince Halfhide
2. Lemon Pie - Missy Burgess, Vince Halfhide
3. Come On In My Kitchen - Robert Johnson
4. Sweet Dreams - Missy Burgess, Vince Halfhide
5. It Looks Like Rain - Jann Arden Richards, Robert Foster
6. Blue Sweater - Missy Burgess, Vince Halfhide
7. Make Me A Pallet On Your Floor - Trad.
8. Sparrows - Missy Burgess, Vince Halfhide
9. Just Like Roses Do - Missy Burgess, Vince Halfhide
10. Basket of Blues - Missy Burgess
11. Little Man - Teddy Edwards
12. When I Go - Alrick Huebener, Missy Burgess, Vince Halfhide

MUSICIANS

Missy Burgess - Vocals, Guitar
Vince Halfhide - Guitar
Alrick Huebener - Bass
Petr Cancura - Sax
Willie P. Bennett RIP - Harmonica, Backing Vocals
Penny Lang - Guest Vocals

Mare Edstrom

Mare Edstrom - Inside the Blues - 2004 - Spiritone Records

Mare Edstrom's musical background covers a broad range of experience. She was classically trained in piano, voice, and French horn from her early years through college at UW-Whitewater, where she majored in music, math and physics education. She also played in various rock and blues bands on keyboards, vocals and guitar from age 14 to the present. She graduated summa cum laude in 1990 with a Bachelor of Science in Education degree (DPI certified grades 7-12). With her regular performing partner, guitarist/producer Kenn Fox, she owns and operates the Wisconsin based Spiritone Records, a large and important independent record label
"Inside the Blues" has received global critical acclaim for Wisconsinite, Mare Edstrom's unique personal style. Refined, but with a gutsy and authentic feel. On "Inside the Blues", she demonstrates her dynamic vocal skills with a tribute to the blues legends who have been so important to the development of her blues style. Here, Mare presents an impressive new interpretation of the blues while keeping the vintage flavour of authentic roadhouse blues. Her styles include gospel, jump, and the Piedmont style blues of Blind Willie McTell. Listen to her cover of "Statesboro Blues". She also sings songs by Robert Johnson, T-Bone Walker, Muddy Waters, and Little Esther. A great traditional style blues album that is truly impressive. Listen to Mare's "Shake 'Em On Down" album, and buy her "Keys to the Castle" album. Promote this lady who is following in the footsteps of blues revivalists and traditionalists, Rory Block, and Maria Muldaur.

TRACKS / COMPOSERS

1 Treat Me So Low Down (Aaron "T-Bone" Walker)
2 That's Alright (Jimmy Rogers)
3 Cherry Wine (Henry Glover)
4 Statesboro Blues (Blind Willie McTell)
5 North Memphis Blues (Memphis Minnie)
6 Tried So Hard (Kenn Fox)
7 The Thrill is Gone (Ray Hawkins)
8 Can't Be Satisfied (McKinley Morganfield)
9 I Feel the Same (Chris Smither)
10 Spiderman Blues (Bessie Smith/H. Gray)
11 Tell Me (Kenn Fox)
12 Rollin' and Tumblin'/Got Mud in My Soul (McKinley Morganfield/Kenn Fox)
13 Stop Breakin' Down Blues (Robert Johnson)
14 In My Time of Dyin' (Blind Willie Johnson)

MUSICIANS

Mare Edstrom - Vocals, Piano
Kenn Fox - Guitars, Bass
Randy Mueller - Drums, Background Vocals
Marquis Gilbert - Lead Vocals on "Got Mud in My Soul"
Alex "Stretch" Clincy - Turntable on "Rollin' and Tumblin"/"Got Mud in My Soul"
Muddy Waters Memorial Choir, Mick Heath, Fred and Ethel, Tim Angsten - Background Vocals

REVIEWS

Mare Edstrom’s road to the blues has been long and interesting. While she is primarily classically trained, her formative years were spent playing piano and singing in local rock bands. Her first album, Learning How to Believe, was a combination of finely-crafted original songs and carefully selected cover songs by legends of the singer-songwriter school. She brought a truly new perspective to songs by the likes of Townes van Zandt, Eric Taylor, Greg Brown, and Janis Ian. This amazing work was quickly followed by a second release titled Inside the Blues. This release, a blues tribute, showcases works by Blind Willie McTell, T-Bone Walker, Muddy Waters, and Blind Willie Johnson, as well as works by her admitted heroes Memphis Minnie and Little Esther. This highly acclaimed work has found its way onto major radio station playlists throughout Europe and the US. Inside the Blues has had extensive favorable reviews, including key reviews by Blues Review magazine in the US and Crossroads magazine in France. Mare’s wide vocal range, energy, and vintage brand of roadhouse authenticity have been duly noted by critics again and again. This exciting new take on the blues is still receiving international attention and has established Mare as a major player in the blues style, often compared to the great ladies of the blues, past and present. © cdbaby.com

It’s albums like Mare Edstrom’s “Inside the Blues” that makes all the work worth it. Just listening to that great traditional blues guitar opening up the album makes me want to weep. And then in waltzes Mare’s great classic voice. You could shelf this album nicely next to your best Muddy Waters and sandwich them right alongside Robert Johnson and T-Bone Walker all of which she reinterprets here. Her version of the Blind Willie Johnson classic “In My Time of Dyin’” is perhaps the best shiner on the album and it appears last to complement your way to hitting “play” again. © J-Sin, © Smother Magazine 1996-2009 All Rights Reserved




BIO

Mare Edstrom’s road to the blues has been long and interesting. While she is primarily classically trained, her formative years were spent playing piano and singing in local rock bands. Her first album, Learning How to Believe, was a combination of finely-crafted original songs and carefully selected cover songs by legends of the singer-songwriter school. She brought a truly new perspective to songs by the likes of Townes van Zandt, Eric Taylor, Greg Brown, and Janis Ian. This amazing work was quickly followed by a second release titled Inside the Blues. This release, a blues tribute, showcases works by Blind Willie McTell, T-Bone Walker, Muddy Waters, and Blind Willie Johnson, as well as works by her admitted heroes Memphis Minnie and Little Esther. This highly acclaimed work has found its way onto major radio station playlists throughout Europe and the US. Inside the Blues has had extensive favorable reviews, including key reviews by Blues Revue magazine in the US and Crossroads magazine in France. Mare’s wide vocal range, energy, and vintage brand of roadhouse authenticity have been duly noted by critics again and again. This exciting new take on the blues is still receiving international attention and has established Mare as a major player in the blues style, often compared to the great ladies of the blues, past and present. In March 2006, Mare’s much anticipated second blues effort, titled Shake ‘em on Down, was released. This release features some new band members as well as an interesting and exciting mix of early blues rarities. Songs by the likes of Scrapper Blackwell, Bukka White, and Bumble Bee Slim are dusted off and shined up for a new outing. This exciting new blues recording has once again been reviewed favorably worldwide, in Blues Revue (USA), Italian II Blues Magazine (Italy), Maverick Magazine (UK), and Rootstime (Denmark), as well as many others. This CD continues to receive praise, attention, and much airplay throughout the world blues scene. Much to the surprise of her blues fans, Mare released a 10-song singer-songwriter collection in October 2006 titled Keys to the Castle. This recording featured exciting interpretations of songs by Richard Thompson, Tom Waits, John Hiatt, and others, as well as several original songs that have long been favorites in her live show. The CD showcased a top-notch band, as well as guest appearances by fellow Wisconsinites Willy Porter and Tracy Jane Comer. It was named among the Best Albums of 2006 by B-side Records, State Street, Madison. In 2007, Mare started the year making a guest appearance on her producer/guitarist Kenn Fox’s recent solo album, Road to Tivoli, playing both guitar and Irish flute. Then in August, Mare charted new territory with her latest blues release, Sugar Sweet, introducing elements of R&B, rockabilly, and soul to the mix. The album features spacious arrangements in a truly vintage format, borrowing production vibe from the warm 1950s sound. As with previous releases, Edstrom has dug deep and uncovered obscure gems from the past by such forgotten masters as Betty Everett, Ma Rainey, Julia Lee, Little Willie John, and Arthur Alexander. The album also gives the listener a taste of Edstrom's signature stripped-down country blues that she currently features in her live duo with producer/guitarist Kenn Fox. This recording is packed full of steaming hot electric, acoustic, and slide guitar, sweet tenor saxophone, nasty blues harmonica, and thick, tasteful backing vocals. The album closes with a masterful rendition of Bukka White's gospel epic, "Fixin' to Die." As with Mare's first two blues albums, the world continues to take note. Sugar Sweet has already received a number of favorable reviews and consistent airplay both in Europe and in the US (click here for playlist info) and was named among the Best Albums of 2007 by B-side Records, State Street, Madison. Besides her full-time career as a singer, recording artist, and the owner of Spiritone Records, Mare has a thriving teaching studio at Hartland Music/The Waukesha County Conservatory of Music, where she teaches piano, voice, and guitar four days a week. © www.spiritonerecords.com

John Hammond ( John Paul Hammond )

John Hammond ( John Paul Hammond ) - Push Comes To Shove - 2007 - Back Porch

A brilliant and prolific artist, John Hammond’s reputation can only improve with a release this good. Compared to earlier albums (Hammond’s recording career goes back over 40 years), Push Comes To Shove has a stronger emphasis on originals, and there are certainly some good ones here. The title track is a stop time stormer with lots of heavy-handed guitar. So too is “If You Want To Rock & Roll,” with its Stevie Ray Vaughn/Fabulous Thunderbirds shadings. “Butter” is in the fast lane, too, flaunting a funky Lowell Fulson “Tramp” arrangement. Hammond breaks out the steel-bodied National and his slide on the gutbucket blues “You Know That’s Cold,” which features some really low down lyrics (“You know that’s cold / when your woman says you’re too damn old!” Are those not the middle age blues, Daddy-O?). Hammond covered Freddy King’s “Tore Down” back in the 1960s, but with producer G. Love in tow, he gets a very hip contemporary urban blues sound. His treatment of Jr. Wells’ “Come On In This House” is also true, as his recycling of Lightnin’ Slim’s spirited “Mean Ol’ Lonesome Train.” There’s a lot to like here if the blues is your thing. John Hammond has been releasing records for over 40 years. He's stayed stubbornly true to his vision of the blues for the entire run. Some of those recordings have, understandably, been better than others, but as a live performer — whether playing in a roadhouse or on a festival stage — he's burned the house down. Unfortunately for him, that fiery wandering spirit has not always been captured on tape. That said, Hammond rings in 2007 with Push Comes to Shove, an album of originals and covers done his own way, recorded with his traveling band that includes bassist Marty Ballou, pianist/organist Bruce Katz, and drummer Stephen Hodges. There is a new twist in the offing, however. His producer this time out is someone who gets it. In Garrett Dutton (aka G. Love), Hammond has found the flame anew. Love and Hammond met years ago in a bar in Philly. Love was there to see the bluesman perform, but didn't know him by sight. He was old enough to drive to the gig and get in the door, but not old enough to drink legally. He approached Hammond and his wife, Marla, without knowing who they were, to buy drinks for him and his girlfriend. More recently, Hammond and Love happened upon one another in a train station in Yokohama. Marla made the suggestion and this collaboration was born. Love gets Hammond in a way that most producers can't. He feels and hears him as an itinerant bluesman who has to shout for his supper from the stage. That's the way Push Comes to Shove sounds: raw, mean, dirty, bellowing, and soulful. Love places Hammond's distorted, filthy guitar — electric or acoustic — just above the throng created by the band, mixing his voice just above them, roaring and growling like a lion. Above all, he captures the groove the band creates live in the recording studio. One listen to the title cut that opens the set is proof enough as it snarls, pounces, and struts. Hammond's harp and acoustic drive Junior Wells' "Come on in This House." The raw Chicago soulside blues come roiling out of the speakers with Hammond's spitfire, gravel, and grit electric harp popping its way through the mix. It's this track and Little Walter's "Everything Gonna Be Alright" — the high points on this disc — that signify Hammond's true worth. Not because the tunes are blues classics — though that doesn't hurt — but because Hammond takes these dusty old nuggets and polishes them off while leaving the scuffs intact. He makes the old blues new without succumbing to any of the "modern blues" clichés so prevalent in the music — indeed that are threatening to destroy it. The years roll back, and one can feel the sweat, blood, and beer running across the floor. Hammond pays back the honor by recording Love's "Butter" on the set; Love plays guitar on the track (and on Sonny Thompson's "I'm Tore Down" as well). And Hammond takes the opportunity to really let it rip. The cover of Tom Waits' "Cold Water" that closes the album is a hip selection. Hammond's feel for the tune is genuine. He copies Waits' phrasing, but the rest — the band's attack — is all his. It slips, slides, staggers, and all but collapses, but never loses the groove. This match, first made in a barroom, may have been just the kick Hammond needs to grab the attention of another generation without losing his hard-won constituency. © Thom Jurek © 2010 Rovi Corporation. All Rights Reserved http://www.allmusic.com/cg/amg.dll?p=amg&sql=10:fxftxqurldae~T1

After many years as a respected blues traditionalist, John Hammond started recording original songs at the age of 60. In recent years he's teamed up with artists and producers like Tom Waits and David Hidalgo of Los Lobos. "Push Comes to Shove" features five Hammond originals, as well as some older Delta Blues' style numbers. The album was produced by hip-hop blues man G. Love. "Push Comes To Shove" is a great folk/blues album, and demonstrates what longtime musical collaborator Tom Waits meant when he said of him, "John's particular dialect in music is that of Charley Patton's shoe size and Skip James's watch chain. He has a blacksmith's rhythm and the kind of soul and precision it takes to cut diamonds or to handle snakes." Buy his "Ready for Love" album

TRACKS / COMPOSERS

Push Comes To Shove - John Hammond, Jr.
Come On In This House - Junior Wells Chicago Blues Band
Mean Ol' Lonesome Train - Hicks, O./J. West
If You Wanna Rock & Roll - Dion DiMucci
I'm Tore Down - Sonny Thompson
Eyes Behind Your Head - John Hammond, Jr.
Butter - Garrett Dutton
Heartache Blues - John Hammond, Jr.
Everything Gonna Be Alright - Jacobs, Walter
Take A Fool's Advice - John Hammond, Jr.
You Know That's Cold - John Hammond, Jr.
Cold Water - Brennan, K./Waits, T.

N.B: Album also available with the bonus tracks, "Walking to New Orleans", and "Mona".

MUSICIANS

John F. Hammond Guitar (Acoustic), Guitar, Guitar (Electric), Harp, Vocals, National Steel Guitar, Electric Harp, Sculpture
Marty Ballou Bass (Electric), Bass (Acoustic)
Bruce Katz Organ, Piano, Accordion, Piano (Electric)
Stephen Hodges Drums, Tambourine, Washboard, Handclapping, Shaker, Cowbell

REVIEWS

If the combination of veteran bluesman John Hammond with contemporary Philly hip-hop/soulman G Love (a.k.a. Garrett Dutton) sends shivers of fear down the spines of blues purists, the duo's collaboration here shows there is nothing to be worried about. Despite differences in age, backgrounds, and styles, they have shared bills and obviously respect each other's talents. Hammond, who has recently dipped his toes into songwriting waters after being solely an interpretive artist for nearly 40 years, jumps into the river with a whopping five originals. Love contributes a few as well, and the result is an album that rocks harder and with more intensity than most artists half Hammond's age can muster. Add covers from Little Walter, Junior Wells, and Tom Waits (Hammond's 2001 release Wicked Grin, comprised predominantly of Waits songs, is one of his biggest sellers), and the result is one of the finest and most diverse discs in the bluesman's bulging catalog. The stripped-down backing band of journeymen including bassist Marty Ballou, ex-Waits drummer Steven Hodges, and keyboardist Bruce Katz provides plenty of sparks with which Hammond--who plays rowdy guitar and sizzling harp throughout--can catch fire. Love adds his harmony vocals and rapping to his own "Tore Down," a near-perfect collision of blues and hip-hop and a song likely to get Hammond crossover acceptance with Dutton's more youthful jam-oriented audience. The jazzy "Eyes Behind Your Head" and a rollicking take on Dion's "If You Want to Rock and Roll" further expand Hammond's reach without either diluting his sound or distancing his core fans. In his mid-60s upon this album's release, he sounds loose, energized, and ready for another 40 years. © Hal Horowitz © 1996-2010, Amazon.com, Inc. or its affiliates

On PUSH COMES TO SHOVE, the 33rd album from this veteran bluesman, John Hammond updates his sound a bit by teaming with hip-hop/blues/pop artist G. Love. G. Love produces and contributes several songs to the album, which fit nicely alongside Hammond's originals and covers of tunes by Junior Wells and Little Walter. Yet G. Love's presence doesn't dilute Hammond's classic sound--quite the contrary. Taken mostly from live-in-the-studio performances, PUSH COMES TO SHOVE has a raw, fierce, and hard-grooving sound, placing it among Hammond's most exciting and vital releases.Uncut (p.97) - 4 stars out of 5 -- "[W]ith rollicking covers of Tom Waits and Dion alongside the supremely funky, rap-assisted 'I'm Tore Down'..." Down Beat (p.69) - 3.5 stars out of 5 -- "Hammond's smoky guitar and blistering harmonica are suitably lean and mean." © 1996 - 2010 CD Universe

http://www.cduniverse.com/search/xx/music/pid/7360571/a/Push+Comes+To+Shove.htm
Hammond, a prolific recording artist since 1962, is a seasoned veteran of the blues scene, past and present and over the years he has honed a sound that is earthy, gritty, and inherently joyous. His music is always energetic — he prefers to stomp his blues away — and Push Comes to Shove is no exception; this is one tough album. Hammond tears into some well-chosen covers, particularly Dion’s “If You Wanna Rock & Roll,” Sonny Thompson’s “I’m Tore Down,” and Junior Well’s “Come On In This House,” in which he howls like the Wolf, and the funky “Butter,” written by G. Love, who also produced the album. He also does a raw version of “Cold Water” by kindred spirit Tom Waits that sounds like it was recorded in a circus tent. (To delve deeper into their musical relationship, check out Hammond’s excellent 2001 release, Wicked Grin, on which he covers a dozen of Waits’ tunes). Hammond contributes five originals that showcase several shades of the blues, from jazzy and sophisticated (“Eyes Behind Your Head”) to back porch (“Heartache Blues”) to roadhouse (“You Know That’s Cold”). These are all high-octane performances by Hammond and his rock-solid touring band, and they feature fiery solos, killer guitar tones, some mean harmonica, spooky keyboards, and a lot of soulful singing. In other words, another great John Hammond album. [ iTunes Review ] http://itunes.apple.com/us/album/push-comes-to-shove-bonus-track/id211890771#



BIO

With a career that spans over three decades, John Hammond is one of handful of white blues musicians who was on the scene at the beginning of the first blues renaissance of the mid-'60s. That revival, brought on by renewed interest in folk music around the U.S., brought about career boosts for many of the great classic blues players, including Mississippi John Hurt, Rev. Gary Davis, and Skip James. Some critics have described Hammond as a white Robert Johnson, and Hammond does justice to classic blues by combining powerful guitar and harmonica playing with expressive vocals and a dignified stage presence. Within the first decade of his career as a performer, Hammond began crafting a niche for himself that is completely his own: the solo guitar man, harmonica slung in a rack around his neck, reinterpreting classic blues songs from the 1930s, '40s, and '50s. Yet, as several of his mid-'90s recordings for the Pointblank label demonstrate, he's also a capable bandleader who plays wonderful electric guitar. This guitar-playing and ensemble work can be heard on Found True Love and Got Love If You Want It, both for the Pointblank/Virgin label. Born November 13, 1942, in New York City, the son of the famous Columbia Records talent scout John Hammond, Sr., what most people don't know is that Hammond didn't grow up with his father. His parents split when he was young, and he would see his father several times a year. He first began playing guitar while attending a private high school, and he was particularly fascinated with slide guitar technique. He saw his idol, Jimmy Reed, perform at New York's Apollo Theater, and he's never been the same since. After attending Antioch College in Ohio on a scholarship for a year, he left to pursue a career as a blues musician. By 1962, with the folk revival starting to heat up, Hammond had attracted a following in the coffeehouse circuit, performing in the tradition of the classic country blues singers he loved so much. By the time he was just 20 years old, he had been interviewed for the New York Times before one of his East Coast festival performances, and he was a certified national act. When Hammond was living in the Village in 1966, a young Jimi Hendrix came through town, looking for work. Hammond offered to put a band together for the guitarist, and got the group work at the Cafe Au Go Go. By that point, the coffeehouses were falling out of favor, and instead the bars and electric guitars were coming in with folk-rock. Hendrix was approached there by Chas Chandler, who took him to England to record. Hammond recalls telling the young Hendrix to take Chandler up on his offer. "The next time I saw him, about a year later, he was a big star in Europe," Hammond recalled in a 1990 interview. In the late '60s and early '70s, Hammond continued his work with electric blues ensembles, recording with people like Band guitarist Robbie Robertson (and other members of the Band when they were still known as Levon Helm & the Hawks), Duane Allman, Dr. John, harmonica wiz Charlie Musselwhite, Michael Bloomfield, and David Bromberg. As with Dr. John and other blues musicians who've recorded more than two dozen albums, there are many great recordings that provide a good introduction to the man's body of work. His self-titled debut for the Vanguard label has now been reissued on compact disc by the company's new owners, The Welk Music Group, and other good recordings to check out (on vinyl and/or compact disc) include I Can Tell (recorded with Bill Wyman from the Rolling Stones), Southern Fried (1968), Source Point (1970, Columbia), and his most recent string of early- and mid-'90s albums for Pointblank/Virgin Records, Got Love If You Want It, Trouble No More (both produced by J.J. Cale), and Found True Love. He didn't know it when he was 20, and he may not realize it now, but Hammond deserves special commendation for keeping many of the classic blues songs alive. When fans see Hammond perform them, as Dr. John has observed many times with his music and the music of others, the fans often want to go back further, and find out who did the original versions of the songs Hammond now plays. Although he's a multi-dimensional artist, one thing Hammond has never professed to be is a songwriter. In the early years of his career, it was more important to him that he bring the art form to a wider audience by performing classic — in some cases forgotten — songs. Now, more than 30 years later, Hammond continues to do this, touring all over the U.S., Canada, and Europe from his base in northern New Jersey. He continued to release albums into the new millennium with three discs on the Back Porch label, including Ready for Love in 2002, produced David Hidalgo of Los Lobos, In Your Arms Again in 2005, and Push Comes to Shove in 2007. Whether it's with a band or by himself, Hammond can do it all. Seeing him perform live, one still gets the sense that some of the best is still to come from this energetic bluesman. © Richard Skelly © 2010 Rovi Corporation. All Rights Reserved. http://www.allmusic.com/cg/amg.dll?p=amg&sql=11:aiftxq95ldke~T1