K.J. Denhert

K.J. Denhert - Girl Like Me - 2003 - K.J. Denhert

When you see KJ Denhert perform you will be drawn in by her artistry as a singer and as a fine guitarist. Each musical set is a tight mix of rhythm, wit, and passion. For KJ, there is only one adventure more fulfilling than songwriting and that adventure unfolds on the stage. Her songs are a calling card, always unique and then familiar. It is the honesty of her performance and the love of what she is doing on stage that will move you. She is an experienced bandleader who plays without a net, and that makes her fun to watch. © cdbaby.com

If you've never heard of K.J. Denhert, then you are missing something really special. This is an outstanding album of pop, folk, jazz , R&B, and soul of the very highest quality. A stunning album beautifully put together by K.J Denhert. It has the cool, urbane Steely Dan sound, and the softness of Roberta Flack. Nine of the songs are written by K.J, and there are three covers, including an amazing version of Sting's "Message in a Bottle." Again, as stated before on this blog, artists like K.J. Denhert, and Kyla Brox should be world famous artists, but the music industry today stinks. This album is VHR by A.O.O.F.C. Please buy this album, and also her "Looking Forward Looking Back" album. Music like this must be heard by more people, and promoted. For more underrated but brilliant music in the same mould, check out The Kyla Brox Band's "Beware" album and Rebecka Törnqvist's "A Night Like This" album [All tracks @ 192 Kbps: File size = 71.2 Mb].......................Hi, Gina! Mail me sometime

TRACKS

1. Silence Was Deafening
2. Oleander
3. Little Mary
4. Violet
5. Girl Like Me
6. She Loves You
7. How Many Ways
8. I Like Your Face
9. Red July Prelude
10. Red July
11. Message in a Bottle
12. Oh Susannah

All tracks composed by K.J. Denhert, except "Message in a Bottle" by Sting, "She Loves You" by Lennon & McCartney, & "Oh Susannah" (Trad.)

MUSICIANS

K.J. Denhert - Electric, Acoustic Guitar, & Nylon String Guitar, Piano, Vocals, Background Vocals
Anthony Robustelli - Electric Guitar, Keyboards, Wurlitzer, Drum Programming, Vocals, Background Vocals
Billy Masters, Sheryl Bailey - Electric Guitar
Phil Gaita, WhyNot Jansveld, Michael Visceglia - Bass
Stephan Crump - Acoustic Bass
David Mann - Piano, Keyboards, Fender Rhodes, Saxophone, Flute
Pete Vitalone - Pete Vitalone - Piano, Organ, Keyboards
Sue Hadjopoulas - Percussion, Conga
Ned Mann - Drum Loop
Michele Rubin - Background Vocals

REVIEWS

New York native, KJ calls her music Urban Folk and Jazz though it is rooted in Funk and R & B. "The Jazz", she explains, "comes from people's perceptions of my guitar voicings and the structure of the tunes themselves... using extended solos and the players working off of each other. Urban reflects my childhood, growing up in NYC, and Folk, I really adored James Taylor, my first guitar influence, and I use acoustic guitar in my songwriting and live shows, as opposed to many years touring as a lead guitarist."KJ and her Band the NY Unit perform in such legendary rooms as The Bitter End, The Bottom Line, The Fez, the Living Room, and plays regularly to "standing room only" crowds at The 55 Bar in NY's West Village. KJ continues to receive very positive responses wherever she appears, resulting in new and exciting opportunities. In the last six months, KJ was invited to open for Roberta Flack, spent three weeks performing in St. Barts in the French West Indes, and headlined at the Blue Note, Las Vegas from April 8-13, 2002. Between appearances, KJ finds time to lend her support to many charitable organizations. She supports efforts to raise money for Aids and Cancer research, and appears annually in the PNW Women's Resource Center telethon. She provides live "on-site" concerts for hospitalized HIV patients through Lifebeat, Inc. (Aids Awareness Organization NYC). KJ also appears on compilation albums such as the "The Ovarian Cancer Research Fund Album" (Mod Music, NYC)(1999) and "Brooklyn Above Ground"(2001), in support of World Hunger Year. KJ resides in Westchester NY and states her goals are simple. As an independent record label owner and founder of Mother Cyclone Records, she says, "I want to grow my label and just keep writing". She dedicates her life mostly to music and explains her passion, "I get to do what I really love and I'm very careful about the quality of what I write, release and perform. I've lived the truth of the slow build as a marketing strategy. I'm a dot.com now and I just keep working hard at putting out the best product I can, whether we're playing live or in the studio". Having spent seven years on the road as a lead guitarist, touring the US, Asia and Europe, KJ shares, "I think we're completely ready to break some new cities in the US now. Then, I'd really love to get back to Europe with my material ... It's finally coming together and I'm having more fun than ever!" © cdbaby.com

In the '70s, no one did more to bridge the gap between soul and the folk-pop/folk-rock/soft rock world than Roberta Flack, who acquired a very interracial following and managed to appeal to Aretha Franklin and Chaka Khan enthusiasts as well as the Joni Mitchell/Joan Baez/Judy Collins crowd. Hits like "Killing Me Softly With His Song" and "The First Time Ever I Saw Your Face" were played on R&B stations, but they also had enough of a singer/songwriter aesthetic to win over what was essentially a '70s equivalent of today's Lilith Fair audience. It isn't hard to understand why, three decades later, singer/songwriter KJ Denhert was invited to open for Flack; Girl Like Me is the perfect marriage of neo-soul and folk-rock/adult alternative sensibilities (with hints of jazz at times). Flack, in fact, is among Denhert's influences, as are Khan, Mitchell, Janis Ian, and James Taylor (Carly Simon's James Taylor, not J.T. Taylor of Kool & the Gang fame). But while Denhert has her musical points of reference, Girl Like Me demonstrates that she is a talented, expressive storyteller in her own right -- and she obviously doesn't believe in confining herself to one genre. Denhert has a lot to offer fans of Alicia Keys, Macy Gray, Jill Scott, and Erykah Badu, but anyone who is seriously into Sarah McLachlan, Shawn Colvin, or the Indigo Girls also needs to pay close attention to her. While Girl Like Me is dominated by Denhert's own songs, she provides a few memorable covers as well (including a slightly bossa nova-ish take on the Police's "Message in a Bottle" and an unlikely remake of the Beatles' "She Loves You"). This very promising effort demonstrates that while Denhert isn't easy to pigeonhole, she is very easy to enjoy. © Alex Henderson, All Music Guide

Put this in the "It's Always New for Someone" file: Although she has her own loyal following, most people never heard of K.J. Denhert. If we lived in a perfect world she'd be a multi-million selling superstar, and she still may be someday, but for now she's one of those artists you somehow stumble upon if you are lucky. For the uninitiated, consider this your lucky day. This isn't even a review of her latest CD. That one, called "Another Year Gone By" is a live album. Our subject today is the compact disc that is titled, "Girl Like Me," a studio collection that was released in 2003. Strolling through an art show I came upon the music stage and the first thing I noticed was that the band looked sensational . . . very cool. If you had to cast a funky, but chic musical combo for the party scene in a film, these folks would be perfect. It was, of course, K.J Denhert and her group. The music? Hard to describe. How about Alicia Keys with Joni Mitchell backed by a group featuring Michael Franks and James Taylor? Their music is too lush and passionate to be called easy going jazz, but hey, although there are elements of funk, it isn't funk, it isn't pop, and it isn't folk. Enough about what it isn't. It is very 2005-sounding easy going jazz. Great stuff is what it is. So there I was groovin' to this lady playing her guitar with her beautiful wild hair blowin' in the breeze when suddenly I recognize the tune they were doing. I knew the song, but couldn't put my finger on it as they had rearranged it and made it their own. Yeah, I was totally into it, but what was it? Bam, hit me and I couldn't believe it. It was The Police, "Message In A Bottle," and what a performance. Now I never liked The Police . . . don't want to go all negative here but, I always felt they were soul-less and tried too hard to sound like they weren't trying at all. Well K.J.'s interpretation of the tune proves Sting really does have soul. He just needs a sensual vocalist and a great rhythm section to bring it out. Turns out the tune is on K.J.'s "Girl Like Me." It has become one of my favorite CD's so far this summer. What a find, and "Message In A Bottle" alone is worth owning the CD for. It's always fun when you hear a cut you never thought much of and it knocks you out, but there's a lot of original stuff, and a few other amazing covers here as well. "Silence Was Deafening" starts off with a little jazz, slap tap and pow . . . light breezy guitar over a lighter breezy vocal and the silence of the early morning is deafening. You getting this? Of course not, you have to hear it, as she uses words that people usually don't use in lyrics, like…downshift…courageous…unbeknownst…and they cook. I mean this isn't a moon in June tune, ok? This tune feels like waking up on Sunday morning and that's only because there's that stream of sunlight coming in through the side of the window shade. I mean, you know you had a good time last night, but there's a bit of booze still soaking small portions of your mind so you're not 100% sure, but the silence is deafening. That's right, that's what this song sounds like to me. You check it out. You'll see what I'm saying. This music is a groove you see . . . Steely Dan without the pretension, lush jazz for a summer morning at the shore and the lyrics are something else again like on the cut "Little Mary" where she writes, "Don't trust the mirror if it don't feel good." It's a stone cold gas 'bout Mary, you and me and everybody when nobody ain't around to see us in that state. There's even a bit here that elevates rap to an art form and allows you to realize it really can be called music when properly arranged and performed. Sally went round the roses over 40 years ago . . . Little Mary has got to be related. Then there's "Violet" . . . romance, hope, despair and sunlight reflecting off the tops of hundreds of waves just before dusk, with a vocal that is so sincere it's heartbreaking. In the title track she sings in a sophisticated and floating vocal, "With a girl like me you know you won't get bored." Agreed. There's no way to get bored with these unique sounds. The band is as good as it gets . . . period. They are all brilliant and know their roles in creating the overall groove. Excellent! You never heard The Beatles' "She Loves You" like this; a brilliant take on the tune. "How Many Ways" is an acoustic tune, haunting and beautiful, about change and endings; pour a shot of whatever and settle in for this one. Killer, plain and simple. There are three or four more cuts, but words can't describe this amazing CD. K.J. calls it Urban Folk. Cool, I can deal with that, but it's more - it has a tender funky rhythm running through it all. This is very honest music. Find it and listen for yourself. © Ray D'Ariano, 7/2005, http://the-m-files.com/reviews_denhert.html

K.J. Denhurt classifies her music as Urban Folk and Jazz. I'd never heard the term urban folk before but I'd say it describes her perfectly. The music is a little bit folky and a little bit "downtown". It's got a nice jazzy tone to it too. Her voice is velvet, smooth and sultry and the songs are well written and draw you in. It's a very smooth recording. "She Loves You" is a Beatles cover though you might not realize it right away. I was paging through the liner notes to see if Denhert wrote these songs herself and on this song I saw "Lennon/McCartney" and did a double take. It is a very different spin on the song. I like it. She also covers Sting's "Message in a Bottle" nicely. But it is her original songs that I enjoy most. "Violet" is beautiful song with a Carole King feel to it. "How Many Ways" has a beautiful guitar intro and moves into a touching song. "I Like Your Face" show how she can really rock out. It's a fun funky song. The musicianship on this recoding is outstanding. I would love to see her perform live. If the photos on her website (of her playing live) are any indication, she's having a blast…and that makes it fun for everyone. But until you are able to see her live, pick up this great album and get your groove on. - A Review © Amy Lotsberg Producer of Collected Sounds, www.collectedsounds.com/spotlight/kjdenhert.html

BIO

Native New Yorker K.J. Denhert has not been an easy artist to pigeonhole. The far-reaching singer/songwriter is relevant to folk-rock and adult alternative, but she is equally relevant to neo-soul -- and at times there are hints of jazz in her work. Denhert likes to describe her solo material as "urban folk-jazz," and while her folk-rock/R&B blend isn't straight-ahead jazz in the way that Abbey Lincoln and Carmen McRae are straight-ahead jazz, she does incorporate jazz elements when it's appropriate. The singer/songwriter, who plays both acoustic and electric guitar, brings a variety of influences to the table -- influences ranging from Chaka Khan and Roberta Flack to Joni Mitchell, Janis Ian, Simon & Garfunkel, and James Taylor. In fact, Denhert has been quoted as saying that her earliest influence was Taylor (who married '70s soft rock/adult contemporary star Carly Simon and shouldn't be confused with the James "J.T." Taylor who became Kool & the Gang's lead singer in the late '70s). The list of artists Denhert inspires comparisons to is long and diverse. The Indigo Girls, Shawn Colvin, Tracy Chapman, and Sarah McLachlan are valid comparisons, but so are neo-soul artists such as Jill Scott, Alicia Keys, Erykah Badu, Lauryn Hill, and Jaguar Wright. Denhert wouldn't be out of place on a Lilith Fair stage, nor she would be out of place in Vibe magazine. While Denhert was born in New York City in the late '50s and grew up in the Bronx, her parents were immigrants who had moved to the Big Apple from the country of Grenada. By the age of ten, Denhert was studying the guitar and listening to a lot of folk-rock and singer/songwriters (especially Joni Mitchell, Simon & Garfunkel, and James Taylor). After reaching adulthood, she enrolled at Cornell University but ended up dropping out during her sophomore year and joined an all-female rock band called Fire. Denhert spent a total of six years with Fire; she joined in 1980 and stayed with the band until its breakup in 1986. After that, she took a non-musical temp job with the Dannon company (as in Dannon yogurt) and eventually became a business analyst for that outfit. But Denhert never gave up music; when she was based in Cleveland, OH, and working for Dannon during the day, Denhert played guitar in a funk band on the side. After several years in Cleveland, Denhert moved back to the Big Apple in 1995 -- and the mid- to late '90s found her performing as a solo artist on the Manhattan club scene (where she performed mostly original material but also included some covers here and there). Since the late '90s, Denhert (who was 44 in 2003 and now lives in suburban Westchester, NY) has put out several releases on her own label, Mother Cyclone Records, including the EP Looking Forward, Looking Back (her first solo effort) in 1999, Live in 2001, and Girl Like Me in early 2003. © Alex Henderson, All Music Guide

MORE ABOUT K.J DENHERT

KJ Denhert is a unique artist, singer, guitarist and songwriter who calls her music Urban Folk and Jazz. Her voice is powerful, her lyrics full of intelligent insight, and her musicianship is impeccable. Her eclectic yet unified performances reach out to many different types of audiences without compromising her music and beliefs. She is heard at her best on her most recent recording, Lucky 7 and is known to be especially good live. She performs the unusual feat of being both highly individual and quite accessible. KJ remembers, “I picked up a guitar when I was ten and immediately I started writing music. I loved Sergio Mendes’ songs, liked John Hartford on the Glenn Campbell Show and really got into James Taylor and Joni Mitchell who I still consider my two main influences. I also loved the singer-songwriters of the time including Carole King and Laura Nyro and later fell in love with Steely Dan’s music, and just wore out my copy of Hubert Laws’ Rite Of Spring. I was completely self-taught, by llistening to records and playing them over and over, teaching myself tablature from a great James Taylor book and modal tunings from Joni Mitchell’s For The Roses song book. I didn’t really do anything but play guitar through my teenage years.” In the 1980s, KJ Denhert toured for six years as the lead guitarist and occasional vocalist with an all-female band called Fire, playing rock and top-40 music throughout the US, Canada and Europe. After the group ran its course, she worked at a day job while continuing to write and play music. While working in Cleveland as a financial analyst, she started the Mother Cyclone label and made her first recording. Moving home to New York in 1997, she formed the NY Unit, a group that she still performs with. “I look for players who have an ability to groove and have lots of drama in their playing. Lucky 7 (which is set to be released in September 2007) is KJ Denhert’s seventh recording to date. “I left my day job three years ago and this is the record that I’ve been wanting to record ever since. It combines all of the styles that I grew up with and enjoyed, going all the way back to Sergio Mendes. It has a bit of acoustic guitar, some r&b and it grooves in what I hope after seven recordings is a signature of my style. I took the chance to tip my hat to Steely Dan for the first time in a recording and James Taylor’s influence comes through me in the solo guitar and voice rendition of Sad Song. Lucky 7, was recorded and mixed by Ben Wisch (Marc Cohn, Jonatha Brooke) bringing more focus to KJ’s vocals than previous recordings. She also teamed up with keyboardist and producer Bennett Paster to co-produce five tracks after they worked together in Italy last summer. There are 11 originals and a sensitive version of Over The Rainbow ”When people hear me perform that standard, they regularly ask me if I am going to put it on a CD, so I did”. Among the many other highlights are the funky opener Little Problems the swinging Lucky Seven, the spirited He’s Not Coming Home, the infectious three-part “What‚s My Name, the powerful I Got Time, the wistful Beautiful and Man As A Man, KJ’s unaccompanied performance of Sad Song and the exuberant Rivera which has a passionate electric guitar solo from Sheryl Bailey. Among KJ Denhert’s many accomplishments, in addition to running her own band and label, are three highly successful appearances at Umbria Jazz (“the audience response was very gratifying”), an ongoing residency since 1999 at The 55 Bar in NYC, winning many songwriting contests (including being named among the six winners of the Kerrville New Folk Song contest in June 2006 for Private Angel and the Mountain Stage Newsong contest in August 05 for Little Mary), and successful appearances at other festivals and clubs around the world. Her previous recording, Another Year Gone By, Live won the 2006 Independent Music Award for Best Live Performance. “ For me, the highpoints come from playing and working with people who I really respect. My bassist, Mamadou Ba who is originally from Senegal, has been with me the longest since 1997 when I started the NY Unit. Other long term members include drummer Ray Levier and keyboardist Peter Vitalone, both of whom have been with KJ since’98 and ‘99. I am always interested in stretching myself and performing my music in different ways. The Lucky 7 recordings feature some wonderful pairings of great players that I don’t always get to tour with but who have appeared in with me at The 55 and are wonderful friends too. KJ manages between 120-140 performances a year. New music, places to play and new festivals are what she’s about these days “… so we can keep on performing for new audiences. I can’t stop, this is what I do.” A crowd pleaser whose music is impossible to classify but very easy to enjoy, KJ Denhert is in her own special category. - All material © 2008 All About Jazz and/or contributing writers/visual artists. All rights reserved.

Marcus Bonfanti

Marcus Bonfanti - Hard Times - 2008 - The Guitar Label

For those who like there blues dirty, then you won't be disappointed...As debut albums go, this is a mighty fine piece of work...Old blues men from the Mississippi delta would sell their soul to the Devil to make music like this. - themusiccritic.co.uk

If there's a gap between Seasick Steve and Jack Johnson, Bonfanti is the person to plug it - Independent On Sunday, March 29th, 2009

The way Bonfanti plays his blues, with energy and passion, is a credit to him...Hard Times may have to swim in a big pond but it shows no sign of drowning. - Maverick, April 2009

There are not many people who can capture the raw spirit of the blues. So it comes as a bit of a surprise when the debut album from Londoner Marcus Bonfanti drops through the door, as capturing the spirit is exactly what he has done. In a previous life, Bonfanti was guitarist for the abysmal chart topper Sandi Thom, but we wont hold that against him. Now he is signed to Scottish independent, The Guitar label, home to legendary Jazz guitarist Martin Taylor. The album mixes acoustic and electric blues which owes a debt to the likes of John Lee Hooker and Robert Johnson. One thing that links the whole album together is Bonfanti's rasping whisky soaked vocals, which are hair raising throughout. For those who like there blues dirty, then you won't be disappointed. Opener Diamonds In The Rust, a slide driven workout and ode to bad love and the title track, the best track on the album, are as dirty as they come. Up there with them is Knock Me Down with it's clap along chorus. The album has its mellower moments with the countrified Waitin' For My Love and When You Come Home. The acoustic The Girl I Knew is a great finger style piece and a highlight of the album, while Judgement Day shows a slightly popier side to his songwriting. As debut albums go, this is a mighty fine piece of work. The production is perfectly suited to bringing out the warmth of Bonfanti's formidable guitar skills and we are sure that this will be the start of a successful career. Old blues men from the Mississippi delta would sell their soul to the Devil to make music like this. (4/5) © 2011 The Music Critic Sunday, 28 June 2009 http://www.themusiccritic.co.uk/2009/06/marcus-bonfanti-hard-times.html

I don't think Britain has ever had so many great blues artists as it has now. All producing great live shows and cracking CD's, full of original material and playing to such high standards.When it comes to the yearly best blues album you don't need anymore to look at the USA because the best is here.To this review and here is an artist of incredible talent, certainly an original who plays stunning guitar but possesses an amazing voice.Saw him live this week, and if you get half a chance get and see him because he sures creates a storm,and his every audience shouts out for more, plus incredible reviews.This his first of two amazing albums so far with a third coming before too long is a perfect showcase for what he's like live,ten songs all self written from rockin' blues to more gentle acoustic playing, he also plays a very mean dose of slide.He is so strong on hard hitting rhythm piling in solid but never overplayed solos.Live he does a simply awesome version of Prof.Longhair's 'Mardi Gras' which I've never heard played on guitar before and hope he gets around to recording soon. Here we get 'Hard Times' so popular live, a brilliant song opens the set 'Diamonds In The Rust' which kicks off in great style.You may not know the songs but little things don't matter this album will grow and grow on you, if you love the blues,if you like rhythms and great guitar playing,not your usual Strat stuff because he uses a Gibson electric resonator guitar, which creates much of his original sound.This is an exceptional debut album from a very exceptional talent indeed, he deserves to be up there with the very best, he looks the part and plays like it as well.GREAT STUFF – from ***** REMEMBER THE NAME...MARCUS BONFANTI. 20 July 2011 By & © pete clack TOP 500 REVIEWER © 1996-2013, Amazon.com, Inc. or its affiliates http://www.amazon.co.uk/Hard-Times-Marcus-Bonfanti/dp/B001KER8MS

Marcus Bonfanti was born and raised in a small flat in North London to an English mother and an Italian father. He was a relatively late starter with the guitar, and only began playing at 16 y.o. He is no stranger to live performing and spends most of his time touring. He normally plays 3 sets a night, 6 nights a week in bars and clubs around Britain. He has worked as a sideman for musicians that include PP Arnold, Joe Lewis Walker, Jimmy Carl Black, Hamish Stewart, Paddy Milner, Earl Thomas, and Findlay Brown, as well as touring and opening for artists like Chuck Berry, Robert Cray, Jack Bruce, Paul Jones, John Mayall, The Yardbirds, Walter Trout, Ian Siegal, Philip Sayce, Robert Cray, and Sonny Landreth. “Hard Times”, his debut album received much great critical acclaim and deservedly so. This is an album of beautiful soul, folk and blues and is HR by A.O.O.F.C. Marcus is a hugely talented songwriter and multi-instrumentalist and a badly needed voice in today’s folk and blues scene. Buy Marcus great “What Good Am I To You?” album and check out Lotte Mullan’s (who sings on this album) “Plain Jane” album. There are many other artists out there not getting their just rewards. Check out albums by The Nimmo Brothers, and Kyla Brox. Please support real music [All tracks @ 224 Kbps: File size = 59.8 Mb]

TRACKS 

1. Diamonds in the Rust (5:02)
2. Not Meant for This World (4:10)
3. Hard Times (3:40)
4. Now I'm Gone (is Your Life Better?) (3:36)
5. Teach the Preacher (3:16)
6. Judgement Day (3:07)
7. Knock Me Down (3:05)
8. The Girl I Knew (3:55)
9. When You Come Home (4:06)
10. Waitin' for My Life (3:41)

All songs composed by Marcus Bonfanti

MUSICIANS

Marcus Bonfanti - Gibson Electric Resonator Guitar, Fender Telecaster, Electric & Acoustic Bass, Ukulele, Percussion, Harmonica, Tambourine, Shaker, Spoons, Stomp Box, Cajon, Cardboard Box, Pedals
Lotte Mullan - Additional Vocals on Tracks 2,5,10

MORE ABOUT MARCUS

Marcus Bonfanti’s like all of us. Some days he wins, some days he doesn’t. But to a songwriter with a half-full glass, that means there’s always plenty of subject matter for songs. His second album (‘What Good Am I To You’) is full of the highs and lows we all know, referencing a cool range of influences from Tony Joe White to Led Zeppelin. But ultimately it’s his own style. ‘What Good Am I To You’ is the sound of the North London blues. 27-year-old Marcus was born and raised in London to an English mother and a “dangerously Italian” father. Inheriting his dad’s work ethic, he shared an appetite for musical discovery with a younger brother who’s also in the business, as a respected bass player. Marcus, self-taught as a guitarist, has already packed plenty in, from LIPA (the Liverpool Institute for Performing Arts) to top level session work, from school days as a trumpet player to learning licks in his bedroom to the strains of ‘Black Dog.’ With confirmed appearances at this years Glastonbury, Maryport, Downpatrick and Carlisle festivals, as well as playing the prestigious South By South West festival in March, Bonfanti is fast building a reputation as one of the most exciting acts on the UK live circuit with a fierce show either with band or solo. Having learnt his trade playing 3 sets a night, 6 nights a week, he is no stranger to live performing and it shows. Together with his 3 piece band, featuring Scott Wiber (Bass) and Alex Reeves (Drums), they’ve been playing shows up and down the country throughout 2010 to promote the release of ‘What Good Am I To You’ his follow up to the acclaimed debut ‘Hard Times’. Bonfanti knows that comparisons are customary at this point, but he sometimes finds them more amusing than accurate. “Someone called me the lovechild of Tom Waits and Van Morrison once,” he laughs. “I quite like that one.” He admits that ‘What Good Am I To You’ does bear some American hallmarks, and after all he did write some of it there. “But there’s something British about it that I can never quite put my finger on. It’s rooted in blues, that’s my favourite genre of music to play and listen to. But I don’t think the end product sounds like a traditional blues record, in fact I know it doesn’t. I listen to a lot of other music, country, soul, bluegrass, jazz, some quite heavy rock stuff as well, and I think it all feeds in.” “I’d like the record just to sound like me,” he says, “so when I hear it I go ‘Yeah, that’s the sum of all the parts.’ MAY 2010 © 2013 | The Gig Cartel http://www.thegigcartel.com/artists/profile:295

Tony Monaco Trio & Friends

Tony Monaco Trio & Friends - Fiery Blues - 2004 - Summit Records

Tony Monaco, whose organ playing is similar to that of Jimmy Smith in the late '50s, performs nine diverse blues on this set plus Horace Silver's "The Preacher." Monaco has an enthusiastic and spirited style, one that is a constant joy to hear. Even with the program having nine straight blues, there is a surprising amount of variety due to the many tempos, moods and changes in instrumentation. Several different guitarists have their spots, tenor-saxophonist Gene Walker is on six numbers and Willie Pooch's three vocals are an asset. After "The Preacher" concludes, there is a "hidden track," "Takin' My Time Blues," that is repeated from the previous CD Intimately Live at the 501. All in all, this is an excellent outing easily recommended to fans of jazz organ and swinging soul-jazz. © Scott Yanow © 2013 Rovi Corp | All Rights Reserved http://www.allmusic.com/album/release/fiery-blues-mr0001302414

The great keyboardist Tony Monaco is right up in the upper echelon of the Hammond Organ’s leading champions. This kind of music may be “unfashionable” to some people, but it’s a classy album with great musicianship and a terrific selection of songs. Willy Pooch sings on three tracks. HR by A.O.O.F.C. Listen to Tony’s "Burnin Grooves” album. [Tracks @ 203-320 Kbps: File size = 120 Mb]

TRACKS

1. Goin' To A Meetin' - Don Patterson
2. Everyday I Have The Blues - Pinetop Sparks & Marion Sparks
3. Greasy Spoon - Gene Redd & Hank Marr
4. Mellow Soul - Don Patterson
5. Ashleen - Tony Monaco
6. Crosscut Saw - Tommy McClennan
7. The Hooker - Tony Monaco
8. Stormy Monday - T-Bone Walker
9. All Blues - Miles Davis
10. The Preacher - Horace Silver
11. Takin' My Time Blues - Tony Monaco

MUSICIANS

Tom Farrell, Robert Kraut, Derek DiCenzo, Colin Lazarski (guitar)
Tony Monaco (Hammond)
Louis Tsamous, Jim Rupp, Marino Monaco (drums)
Gene Walker (tenor saxophone)
Willie Pooch (vocals)

BIO

"Tony Monaco may be the best organ player you have yet to hear of flying stealth while playing arguably some of the hottest B-3 around. Mentored by the legendary Jimmy Smith in what is considered the more classic style, Monaco does not swing, smolder or smoke. Tony Monaco burns is this most fitting!" CriticalJazz Review2012. Tony Monaco began his keyboard life at age eight, on the accordion. When he was twelve, his destiny as a jazz organist was sealed when he first heard Jimmy Smith. An enthusiastic student, Tony began working in Jazz clubs as a teenager in his native Columbus, Ohio, guided by local organ gurus Hank Marr and Don Patterson. For further inspiration, he studiously absorbed the mastery of Jimmy McGriff, Richard "Groove" Holmes, Charles Earland, Jack McDuff, and Dr. Lonnie Smith. All would play a role in the development of his musical palette. On Tony's sixteenth birthday, his prayers were answered. He received an encouraging phone call from Jimmy Smith, who soon became his Mentor/Teacher. Four years later, Jimmy Smith invited Tony to come play at his club in California--a peak lifetime experience for Tony. From 1980 to 2006, Tony stood by his family businesses and married to have three daughters, while running Monaco’s Palace Italian restaurant for ten years while performing weekly in the lounge. Tony then entered the food brokerage industry peaking towards Torchbearer status with SYSCO foods. Always inspired by music, Tony then went to work as an assistant Broadcast producer for a prominent ad agency learning his production skills and playing gigs at night to continue supporting his family. After graduating from college with a B.S.B.A. from Franklin University in 1989, Tony's occupation changed again to supervisor of Monaco Concrete ( “my Father needed a good manager and my daughters were getting close to going to college!”). Tony now enjoys and concentrates in all his musical energies flourishing completely as he pursues his passions. In April 2000, Tony met fellow jazz organist Joey DeFrancesco, who offered to produce a debut CD for him. This collaboration resulted in the critically acclaimed "Burnin Grooves”. The international success of the recording served as the catalyst for regional and national tours.This success was followed by two more releases for Summit Records that received critical acclaim and significant sales, charting in the Jazzweek Top 10. In September 2003, Summit Records released "A New Generation”, a unique recording featuring both Tony's and Joey DeFrancesco's Trios. They recorded the project using two "Hammond-Suzuki New B3's" as Tony was awarded a major endorsement role with Hammond and Suzuki. As Tony’s reputation has grown, he has been blessed to play with some of greatest musicians in jazz, including Mel Lewis, Lewis Nash, Red Holloway, Plas Johnson, Sonny Fortune, Jon Faddis, Adam Nussbaum, Bruce Forman, Harvey Mason, Chester Thompson (drummer) Herlin Riley, Matt Wilson, Jeff Clayton, Terrell Stafford, Eric Alexander, Late Bobby Durham, Russell Malone, Peter Bernstein, Paul Bollenback, Bruce Forman, Kevin Mahogany, Victor Lewis, Pat Martino, Fareed Haque and even George Benson. An ardent student of the organ, it's no surprise that Tony is an accomplished teacher as well. In addition to private students, classes and clinics, Tony has produced a series of instructional DVDs titled "Playing Jazz Hammond" that have quickly become indispensable for any serious student of the organ. Tony has decided to expand his catalogue and has created MotherHenMusicEd.com and now has a system of giving lessons one on one online to anyone from anywhere around the globe! Presently, Tony maintains the busiest world touring schedule imaginable, including festival appearances ,clinics and workshops In 2007, Tony celebrated a special anniversary, celebrating 40 years as a musician and appearing on the cover of Keyboard Magazine. April 2012, Tony released "Celebration Life * Love * Music, a two disc set of all originals as he continues to Celebrate his Musical gifts and shares his gifts to everyone. Tony’s drive as an innovator and missionary continues to carry forward his passion for the Hammond Organ. Now Executive Producer of the Summit Records subsidiary Chicken Coup Records, he has recorded and released CDs for several undiscovered organists around the globe, and his role as educator has allowed him to spread and cultivate many new hopefuls to the art of the jazz organ. Tony continues his mission to raise awareness and appreciation of jazz organ and its importance in genres as diverse as traditional Gospel, RnB and Modern Jazz. He is now Hammond/Suzuki’s prime instrument endorser worldwide. Tony has recently ended nearly two and a half years playing world tours with Pat Martino as he resumes his personal playing and teaching ambitions. He has begun expanding his educational series to include other organist and styles with his new MotherHenMusicEd.Com t . He is formulating new strategies and record deals using his network through Chicken Coup Records to help himself and his peers and students advance in this ever changing music market and utilize new technologies and markets. Tony is a vital source of musical experience, knowledge and humility ready , willing and able !!!! © http://www.b3monaco.com/bio.htm

Stevie Nimmo

Stevie Nimmo - The Wynds of Life - 2010 - Armadillo Music Ltd

Don’t miss the chance to witness one of ‘Scotland’s finest singer songwriters’ up close and personal as he passes through the UK & Europe throughout 2013 – David Knowles, Maverick magazine

A bit more country and western than you probably expected. Pedal-steel guitars weep, accordions wheeze, lovesick dreamers endure lonely nights in Georgia... and it all hangs together pretty well ...- Henry Yates, Classic Rock, #151 Nov 10

Great album from one of Scotland’s finest singer/songwriters. - Dave Knowles, Maverick Magazine

Stevie’s wide embracing charm also extends out from the southern blues as some country blues rears via the instrumental ‘Winter’ plus, when it comes to soul it is delivered in fabulous fashion by way of ‘It’s a Hard Life’. Like with the majority of outstanding songs it was also written by Nimmo and is right up there with ‘Lonely Night In Georgia’ and the all-fired up ‘Good Day For The Blues’ only his I feel comes over a little better! Fresher and sharper in feel and production as Stevie reaches out to the listener. - Maurice Hope, Medicine Show

It is a magnificent compilation, which showcases Stevie’s sensitive side, particularly in respect of his vocal delivery and his songwriting skill. It is an absolute must ... - Lionel Ross, bluesinthenorthwest

A great brew of earthy and passionate Americana and blues with elements of gospel, soul, roots, country, and Louisiana style swamp rock by the great Glaswegian bluesman Stevie Nimmo (of the Nimmo Brothers), one of the hottest blues duos in the world. Check out The Nimmo Brothers' "New Moon Over Memphis" and King King Featuring Alan Nimmo's "Take My Hand" albums on this blog. Buy The Nimmo Brothers' "Live Cottiers Theatre" album and support real music. Check out any of James McMurtrys albums sometime for outstanding music in a similar genre. [All tracks @ 320 Kbps: File size = 144 Mb]

TRACKS / COMPOSERS

1 You'd Be On It - Boyd Tonner 4:58
2 Lonely Night In Georgia - Dave Barnes / Marc Broussard / Martin Sexton 5:11
3 Morning Sun, Midnight Rain - Stevie Nimmo 4:46
4 Dreams - Stevie Nimmo 4:16
5 Eye Of The Storm - Stevie Nimmo 5:53
6 Good Day For The Blues - David Grissom 4:28
7 Make It Up To You - Boyd Tonner 3:51
8 Long Road To Heaven - Stevie Nimmo 4:13
9 Coming Home To You - Stevie Nimmo 4:10
10 In Your Arms At Night - Stevie Nimmo 4:10
11 Winter - Stevie Nimmo 2:52
12 Sometimes - Stevie Nimmo 4:05
13 It's A Hard Life - Stevie Nimmo 4:51
14 Everything Is Gonna Be Alright - Stevie Nimmo 4:50

MUSICIANS

Stevie Nimmo - Acoustic, Slide, & Electric Guitar, Vocals, Backing Vocals
Lloyd Maines - Pedal Steel, Dobro, Slide Guitar, Mandolin, Banjo
David Lee Holt - Lead Guitar on Track 2: Guitar with Stevie Nimmo on Track 6
George Reiff - Bass Guitar, Bass Piano, Percussion
Michael Ramos - Hammond B3, Wurlitzer, Piano, Accordion
Pat Manske - Drums, Percussion
Stevie Nimmo & The Hill Country Graveyard Choir - Backing Vocals

ABOUT THE NIMMO BROTHERS

Over the past decade and a half, Stevie and Alan Nimmo, as The Nimmo Brothers, from Glasgow, Scotland have proved themselves to be one of the most respected exponents of modern blues the UK has seen since the blues boom of the 1960’s. Firstly in the guise of The Blackwater Blues Band with their debut album ‘Breaking out the Blues’ showcasing an incredible energy and talent in ones so young; Alan was just 19 at the time! 1998 saw the first Nimmo Brothers album ‘Moving On’ with a more varied collection of songs than their previous offering, giving an insight into the strength and power of the Nimmo Brothers arrangements yet to come. Come they did in 2001 with ‘Coming Your Way’, marking the beginning of a hugely successful relationship with Armadillo Music. This album not only captured the true spirit and energy of the Nimmo Brothers but also showed a level of song writing maturity. It was with this batch of songs that the Nimmo Brothers found themselves catapulted to the forefront of the British and European blues scenes – winning best UK blues album and best UK blues band at the 2002 British Blues Connection Awards - as well as headlining festivals and leaving sold out signs in the windows of clubs throughout the UK and Europe. 2003 was time for a change of pace and the brothers achieved this with their acoustic album ‘New Moon over Memphis’; a beautiful and highly emotional recording which focused on the vocal and song writing talents of The Nimmo Brothers. When they first showcased this new material at the Low County Blues Bash in Charleston, South Carolina they were given two consecutive standing ovations by the audience, who were genuinely moved by the power and honesty of the songs they heard. One observer was the US blues artist Debbie Davis who immediately invited the guys to join her on stage that night at her own show. In 2006, after a period where the brothers had concentrated on various solo projects, Armadillo released their ‘Live’ album; recorded in 2003, at The Cottiers Theatre, in their home town of Glasgow. The Nimmo Brothers were back with a bombardment of new killer songs, touring the ‘Live’ album with dates in the UK, Ireland and Europe. In 2009 The Nimmo’s dusted down their amps and hauled out their treasured Les Pauls and Strat’s to promote ‘Picking up the Pieces’ and once again become THE BAND to be reckoned with on the blues scene. Musically stunning, they never fail to impress audience after audience with their show. The Nimmo Brothers have recently been in Austin, Texas, recording a new CD for release in Spring 2012. Sounding stronger and more powerful than ever, The Nimmo’s played and recorded with three top Austin musicians, Bill Whitbeck, bass player with Robert Earl Keen; Jimmy Pettit, bass with Joe Ely, The Flatlanders etc; also joining them on drums, the long time Eric Clapton collaborator and band member, Jamie Oldaker. © Armadillo Music Ltd 2007 http://www.bluearmadillo.com/artistpage.php?artist=16#

David Clayton Thomas

David Clayton-Thomas - In Concert: A Musical Biography - 2006 - Justin Time

The former Blood, Sweat & Tears singer is in fine voice on this live 2005 retrospective of his notable successes with the jazz-rock group and solo. Well-known musical memorabilia, such as his version of Billie Holiday's "God Bless the Child," and the BS&T originals "And When I Die," "Spinning Wheel," and "(You've Made Me) So Very Happy," make this set an entertaining jaunt down memory lane, while a sensitive reading of Holiday's "God Bless the Child" puts the bombast of "Lucretia MacEvil" into perspective. © Rovi © 2012 Rovi Corp | All Rights Reserved http://www.allmusic.com/album/in-concert-a-musical-biography-mw0000573002

Recorded live at Toronto’s Opera House on October 27th, 2005, this is a great live soul jazz album by the legendary David Clayton-Thomas, the heart and soul of the great Blood, Sweat & Tears band and also one of the greatest vocalists of his generation with one of the most recognizable voices in music. Listen to David's "Aurora" album and Blood, Sweat & Tears' classic "Child Is Father to the Man" album. Read B,S &T's bio @ http://en.wikipedia.org/wiki/Blood,_Sweat_%26_Tears [All tracks @ 320 Kbps: File size = 162 Mb]

TRACKS / COMPOSERS

1. And When I Die (L. Nyro)
2. Self Centred Woman (D. Clayton-Thomas/B. Cassidy)
3. Go Down Gamblin' (D. Clayton-Thomas)
4. Me & Amaretto (D. Clayton-Thomas)
5. Lucretia Mac Evil (D. Clayton-Thomas)
6. Wild Women & Po’ Boys (D. Clayton-Thomas)
7. God Bless The Child (B. Holiday/A. Herzog Jr)
8. Gimme That Wine (J. Hendricks)
9. Don’t Explain (A. Herzog/B. Holiday)
10. Spinning Wheel (D. Clayton-Thomas)
11. (You've Made Me) So Very Happy/Variations On A Theme (B. Gordy Jr./B. Holloway/P. Holloway/F. Wilson)/Variations on a Theme by Eric Satie
12. You're The One (D. Clayton-Thomas/W. Smith)

MUSICIANS

Bernie LaBarge - Electric Guitar
George Koller - Acoustic Bass
Doug Riley - Keyboards, Piano
Paul DeLong - Drums
Waleed Abdulhamid - Percussion
Michael Stuart - Tenor Sax, Soprano Sax, Flute
Vernon Dorge - Alto Sax, Baritone Sax, Flute
Bruce Cassidy - Trumpet & Electronic Valve Instrument
Jason Logue - Trumpet
Doug Gibson - Tuba, Bass Trombone
Gord Myers - Trombone
David Clayton-Thomas - Vocals
Neil Donnell & Joel Feeney - Background Vocals

BIO (WIKI)

David Clayton-Thomas (born David Henry Thomsett; 13 September 1941) is a Canadian musician and singer best known as the lead vocalist for the American band Blood, Sweat & Tears. Clayton-Thomas has maintained a busy solo career over the years as well. Clayton-Thomas was born in Kingston upon Thames, Surrey, UK, the son of a decorated Canadian soldier of World War II who met his piano-playing mother when she came to entertain the troops at a London hospital. They were married, and when the war ended, the family moved to Willowdale, a suburb of Toronto, when Clayton-Thomas was not yet school-aged. Growing up, he was taught music by his mother but had difficulties with his father in what was described as a dysfunctional family. He left home in his early teens, and according to his official biography, spent time in jail as a juvenile delinquent until his release in 1962. He idolized the music of John Lee Hooker and began playing guitar and singing, and by the time he was 21 had his own band, The Shays. David Clayton-Thomas & The Shays recorded for Roman Records of Toronto. Clayton-Thomas released two albums on the record label, "A Go Go" (with The Shays) and "Like It Is" (with The Bossmen). In February 1966, he joined a new band, The Bossmen, fronted by the child prodigy, pianist Tony Collacott, who had played with Sarah Vaughan at New York's Carnegie Hall at the age of 14. The group recorded a lone single, the jazz-rock song "Brainwashed," which was a Canadian hit record in June 1966 and gave an indication of his future work. The band broke up soon afterwards and he travelled to New York. In October 1967, he joined forces with former members of the Toronto R&B outfit, Jon and Lee & The Checkmates and renamed them his new backing band, The Phoenix. The group started a residency at a New York nightclub, Steve Paul's The Scene, but he was soon deported for working illegally in the States. In February 1968, Clayton-Thomas formed a new band in Toronto, the David Clayton-Thomas Combine with former Bossmen guitarist Jack Mowbrey, ex-Phoenix bass player Peter Hodgson, and drummer Pat Little from Luke & The Apostles. The group recorded the original version of his hit "Spinning Wheel" but the band broke up a few months later when Clayton-Thomas was offered a more attractive offer from Bobby Colomby, the drummer with Blood, Sweat & Tears. Under the stage name David Clayton-Thomas, he is best known as a vocalist with the band Blood, Sweat & Tears, whose first album with him as lead singer in 1969 produced three gold singles and three Grammy Awards including the Grammy Award for Album of the Year. The album included his own composition "Spinning Wheel" which became a hit on both sides of the Atlantic. In 2002, the album was honoured with a Grammy Hall of Fame Award. Clayton-Thomas left the band twice, but he was still touring with a reconstituted Blood, Sweat & Tears through 2004. Clayton-Thomas was inducted into the Canadian Music Hall of Fame in 1996. In January 2006, the song "Spinning Wheel" was inducted into the Canadian Songwriters Hall of Fame. He also won the last Festival Internacional da Canção in 1972, in Rio de Janeiro, with the song "Nobody Calls Me Prophet". He lived in New York City for more than 30 years, but returned to Toronto in 2004, where he once again has made a name of himself as a solo artist, releasing several DVDs (including one featuring a live performance). His band Blood, Sweat and Tears was the first western band to tour behind the Iron Curtain. The band agreed to do this in exchange for Clayton-Thomas getting permanent residency status in the US as he was in the US as an illegal immigrant yet the band had 3 top selling albums. (Revealed by Clayton Thomas in an interview on CBC Radio One's Go 13 March 2010). In 2010 David contributed a track to the World Jazz For Haiti charity album, recorded at Number 9 Audio Group in support of the Red Cross disaster relief fund. The album featured Canadian artists such as John McDermott, George Koller and Holly Cole. On 8 June 2010, it was announced that he would receive a star on Canada's Walk of Fame.

Tinsley Ellis

Tinsley Ellis - Hell Or High Water - 2002 - Telarc

Undeterred by the lukewarm response to his last Capricorn album (due to the bad timing of it being released mere weeks before the company folded in 2000), Atlanta-based blues rocker Tinsley Ellis signed with his third label, Telarc, in early 2002 and churned out another signature effort. Bolstered by his roaring guitar shooting fiery licks, gruff singing, and no-frills approach, Ellis adds a hearty R&B edge to his music. Shortening his solos (only the slow burning eight-minute "Feelin' No Pain" stretches out into epic length), the songs never feel like vehicles for Ellis' obvious six-string prowess. Instead, the Steely Dan "Pretzel Logic" riff inspired "All Rumors Are True" and the magnificent "Mystery to Me" with its genuine soul vibe and warm electric piano set up a groove and ride it. Ellis revisits his louder, crunchier past with the wailing intro to "All I Can Do" and the ZZ Top (circa mid-'70s) swirl of "Ten Year Day," a song inspired by the events of September 11, 2001. Atlanta vocalist Donna Hopkins contributes hard-hitting backing vocals worthy of Bonnie Bramlett on three tracks, further pushing these songs into soulful territory. While the "Bell Bottom Blues"-styled ballad of "Stuck in Love" is a little too reminiscent of Clapton's writing and guitar style, as is the wah-wah churning "Strange Brew"-isms of "All I Can Do," Ellis doesn't generally ape other guitarists. Rather, he concocts his own combination of Freddie King, Peter Green, and Memphis influences. The closing James Taylor-ish acoustic ballad seems out of place with the rest of the sturdy performances, such as the strutting title track, but shows a tender side to the tough, heartfelt blues and rock that dominate this engaging album. © Hal Horowitz © 2012 Rovi Corporation. All Rights Reserved http://www.allmusic.com/album/hell-or-high-water-r571234/review

Tinsley Ellis has earned a reputation for heavy blues-rock guitar since he quit Atlanta's Heartfixers in 1987. But Hell Or High Water, his first album for Telarc, lightens up just enough, so the sweet-and-high six-string intro to "Stuck in Love" enhances the song's guitar melody and the tenderness of his lyrics. He aims for a softer, thinner tone on "Real Bad Way" and turns "Feel No Pain" into a slow, soulful essay in guitar anxiety, full of telling fills, bends and solo breaks. He also plays a few acoustic numbers that really allow the butter-and-black-pepper tones of his Southern-accented voice to emerge. Not that Ellis is playing things too cool--there's still plenty of guitar fire all over this record. It's just that he's learned to control the burning. © Ted Drozdowski © Amazon.co.uk

Not as "hard rockin'" as some of Tinsley's other releases but still a good Memphis influenced album of blues, rock, and Georgia soul, with a hint of bluegrass and country. Buy Tinsley's terrific "Cool on It" album [All tracks @ 256 Kbps: File size = 100 Mb]

TRACKS

1 Hell or High Water 4:59
2 Hooked 3:47
3 Mystery to Me 5:36
4 Love Comes Knockin' 2:21
5 Stuck in Love 6:38
6 Real Bad Way 4:00
7 All Rumors Are True 4:11
8 All I Can Do 4:08
9 Love Me by Phone 5:21
10 Feelin' No Pain 8:03
11 Ten Year Day 4:39
12 Set Love Free 3:00

All songs composed by Tinsley Ellis

MUSICIANS

Tinsley Ellis - Guitar, Vocals
Kenny Gilgore - Guitar
Phillip "Philzone" Skipper - Bass
Kevin McKendree - Piano, Organ
Scott Callison - Drums
Donna Hopkins - Background Vocals

BIO

A hard-rocking, high-voltage blues guitarist most often compared to Stevie Ray Vaughan, Tinsley Ellis is hardly one of the legions of imitators that comparison might imply. Schooled in a variety of Southern musical styles, Ellis draws not only from fiery Vaughan-style blues-rock, but also Texas bluesmen like Freddie King and Clarence "Gatemouth" Brown, the soulful blues of B.B. King, the funky grit of Memphis soul, and numerous other electric bluesmen. Ellis has been praised in many quarters for the relentless, storming intensity of his sound, and criticized in others for his relative lack of pacing and dynamic contrast (he's also been dubbed a much stronger guitarist than vocalist). Yet no matter which side of the fence one falls on, it's generally acknowledged that Ellis remains a formidable instrumentalist and a genuine student of the blues. Tinsley Ellis was born in Atlanta in 1957, and spent most of his childhood in southern Florida. He began playing guitar in elementary school, first discovering the blues through the flagship bands of the British blues boom: John Mayall & the Bluesbreakers, the Peter Green-led Fleetwood Mac, the Yardbirds, the Rolling Stones, and so on. He soon moved on to a wide variety of original sources, becoming especially fond of B.B. King and Freddie King. After high school, Ellis moved back to Atlanta in 1975 to attend Emory University, and soon found work on the local music scene, joining a bar band called the Alley Cats (which also featured future Fabulous Thunderbird Preston Hubbard). In 1981, Ellis co-founded the Heartfixers with singer/harmonica player Chicago Bob Nelson, and they recorded an eponymous debut album for the tiny Southland imprint. They soon signed with the slightly larger Landslide and issued Live at the Moon Shadow in 1983, by which point they were one of the most popular live blues acts in the South. However, Nelson left the group shortly after the album's release, and Ellis took over lead vocal chores. The Heartfixers' first project in their new incarnation was backing up blues shouter Nappy Brown on his well-received 1984 comeback album Tore Up. Ellis debuted his vocals on record on the Heartfixers' 1986 LP Cool on It, which brought him to the attention of Alligator Records. Ellis left the Heartfixers to sign with Alligator as a solo artist in 1988, and they picked up his solo debut Georgia Blue for distribution. The album helped make Ellis a fixture on the blues circuit, and he toured heavily behind it, establishing a hard-working pattern he would follow for most of his career. The follow-up, Fanning the Flames, appeared in 1989 and explored similar territory. Released in 1992, Trouble Time helped land Ellis on album rock radio thanks to the track "Highwayman," but it was 1994's Storm Warning that really broke Ellis to a wider blues-rock audience, earning more media attention than any of his previous recordings; additionally, guitar prodigy Jonny Lang later covered Ellis' "A Quitter Never Wins" on Lie to Me. For 1997's Fire It Up, Ellis worked with legendary blues-rock producer Tom Dowd (the Allman Brothers, Derek & the Dominos), as well as Booker T. & the MG's bassist Donald "Duck" Dunn. Ellis subsequently left Alligator and signed with Capricorn; unfortunately, shortly after the release of 2000's Kingpin, Capricorn went bankrupt, leaving the album high and dry. Still, Ellis soon caught on with Telarc, releasing his initial disc Hell or High Water on the label in 2002, followed by The Hard Way in 2004. One year later, Ellis was back with Alligator, putting out the live set Live! Highwayman and 2007's Moment of Truth, the first studio album to contain original material since Hell or High Water. Ellis toured relentlessly behind the album, and re-entered the studio in early 2009. Speak No Evil was issued in October of that year. Steve Huey © 2012 Rovi Corporation. All Rights Reserved http://www.allmusic.com/artist/tinsley-ellis-p339/biography

Tommy Castro

Tommy Castro - Soul Shaker - 2005 - Blind Pig

Tommy Castro's return to Blind Pig Records features some of his strongest songwriting yet, and there's plenty of reasons to celebrate Soul Shaker, a dozen new songs that have a distinctive Memphis or New Orleans feel to them. "What You Gonna Do Now" and "Just Like Me" lean toward the Stax sound, while "The Next Right Thing" and "Big Love" remind me of some pretty funky Crescent City blues. Jim Pugh's Hammond B-3 and piano fill out the band's sound nicely, and Roy Rogers contributes some stinging slide guitar on the funky title cut. The New Dimensons add background vocals courtesy of labelmate (and GRAMMY nominee) Renee Austin, Russell Branch, Curtis Fullard, and Marcus Walker. When was when was the last time you heard a flute on a blues record? Keith Crossnan sets his sax aside and delves into some ethereal jazz flute on "The Crossanova," adding to the musical diversity of Soul Shaker. There may not be enough surprises on Soul Shaker for some blues fans, but I keep coming back to Tommy Castro and his band for no-nonsense bar-band blues of the highest order. On Soul Shaker, Tommy Castro, Keith Crossnan, bassist Randy McDonald and drummer Chris Sandovall, deliver a strong set of what I've come to expect from this band. © 2005 Eric Steiner http://www.cosmik.com/aa-marchapril05/reviews/review_tommy_castro.html

San Francisco's Tommy Castro doesn't play blues so much as a brand of hard, soulful rock with a blues inflection, not unlike the J. Geils Band in the early 1980s, say, or Bob Seger (Castro's voice bears a strong resemblance to Seger's), all with a little bit of the old Stax groove tossed in for good measure. Soul Shaker reunites him with his old label, Blind Pig, and while there is nothing startling or innovative here, Castro and his band churn out a kind of meat-and-potatoes rock that is increasingly becoming an endangered species, probably not seen in these parts since Seger decided to stop making albums. While Castro is perfectly capable taking a Stevie Ray Vaughan guitar turn on the Strat, it is his vocals that give his material its real punch, and here he turns in some very credible singing performances on the Memphis-style ballad "Anytime Soon," "The Holdin' On" (which Wilson Pickett should cover immediately), the funky "Big Love," and the title track, "Soul Shaker," which features a guest spot by slide guitar ace Roy Rogers. One of the most striking tracks is "Let's Give Love a Try," which rocks wonderfully in a no-frills, bar band groove, and it really does sound like a great, lost Bob Seger single. Another highlight is the flute-led and jazzy "The Crossanova," which shows that Castro and his band have more than a couple cards up their sleeves. In the end, Soul Shaker is a solid party album, one that breaks no new ground, but sometimes that's just fine. © Steve Leggett © 2012 Rovi Corporation. All Rights Reserved http://www.allmusic.com/album/soul-shaker-r726888/review

"Soul Shaker" has received criticism for it's "weak songs" and lack of Tommy's Strat solos. It depends what you are looking for. This is not an album of blazing Telecasters. The album is full of great songs in the Soul/Blues Rock vein, concentrates more on lyrics and vocals, and is one of Tommy's better albums. If you prefer a stronger demonstration of Tommy's brilliant guitar technique, give his "Gratitude" album a listen, and buy "The Legendary Rhythm & Blues Revue: Live!" album which features Tommy and a host of other world class musicians [Tracks @ 224-320 Kbps: File size = 97.1 Mb]

TRACKS / COMPOSERS

1 Just Like Me - Bowe, Castro 4:14
2 Let's Give Love a Try - Castro, Gunn, Walker 3:44
3 Anytime Soon - Castro, Silbar 4:27
4 What You Gonna' Do Now? - Castro, McClinton, Nicholson 4:30
5 The Next Right Thing - Bowe, Castro, Pugh 4:52
6 Soul Shaker - Castro, Nicholson 3:54
7 No One Left to Lie To - Bowe, Castro 3:50
8 Wake Up Call - Castro, Silbar 4:16
9 The Holdin' On - Bowe, Castro 4:43
10 Take Me Off the Road - Castro, McDonald 3:53
11 The Crossanova - Castro, Crossan 2:41
12 Big Love - Castro 3:33

MUSICIANS

Tommy Castro - Guitar, Vocals [Tommy Castro Band]
Steve Spirn - Guitar
Kevin Bowe - Electric & Acoustic Guitar, Organ, Bass, Drum Loop, Background Vocals on "Big Love"
Roy Rogers - Slide Guitar on "Soul Shaker"
Randy McDonald - Bass, Background Vocals [Tommy Castro Band]
Jim Pugh - Hammond Organ, Piano, Background Vocal Production
Chris Sandoval - Drums, Percussion [Tommy Castro Band]
Bryan Hanna - Percussion
Armando Morales - Conga
Keith Crossan - Saxophone, Flute, Horn Arrangements [Tommy Castro Band]
Tom Poole - Trumpet, Flugelhorn, Horn Arrangements on "Just Like Me"
Roy Tyler - Vocal Arranger [The New Directions]
Marcus Walker - 1st Tenor [The New Directions]
Curtis Fullard - 2nd Tenor [The New Directions]
Russell Branch - Baritone [The New Directions]
Reneé Austin - Background Vocals on "Let's Give Love a Try" [The New Directions]

BIO

According to all the press and hype and hoopla for a time during the 1990s, Tommy Castro was pegged as the next big star of the blues. Long a favorite among Bay Area music fans, Castro -- in the space of two album releases -- took his music around the world and back again with a sheaf of praise from critics and old-time blues musicians alike. His music was a combination of soul-inflected rockers with the occasional slow blues or shuffle thrown into the mix to keep it honest. His vocals were laid-back and always a hair behind the beat, while his scorching guitar tone was Stevie Ray Stratocaster-approved. Crossover success did not seem out of the question. Born and raised in San Jose, California, Castro started playing guitar at the tender age of ten. Initially inspired by Mike Bloomfield, Eric Clapton, and Elvin Bishop, he started the inevitable journey into the roots of his heroes and discovered and quickly became enamored of B.B. King, Buddy Guy, Elmore James, Muddy Waters, and Freddie King. His vocal styling came from constant listening to Ray Charles, Wilson Pickett, James Brown, and Otis Redding. After playing with numerous Bay Area groups honing his chops, he landed a gig playing guitar for the San Francisco band the Dynatones, who were then signed to Warner Bros. The two-year stint augured well for Castro, playing to the biggest crowds he had seen up to that point and backing artists as diverse as Carla Thomas and Albert King. Returning to San Francisco, Castro formed his own group and in 1993 released his first self-produced album, No Foolin', on the dime-sized Saloon label. That same year also saw him winning the Bay Area Music Award for Best Club Band, an honor he duplicated the following year. In 1997, he won Bammies for Outstanding Blues Musician and for Outstanding Blues Album for his debut release on Blind Pig Records, Exception to the Rule. Also in 1997, Castro and his band began a three-year stint working as the house band on NBC's Comedy Showcase, which aired after Saturday Night Live. Live at the Fillmore was released in early 2000, and with everyone from industry insiders to B.B. King singing his praises, Castro appeared to be headed for bigger and better things. It was not to be, however, as in 2001 he left Blind Pig Records and recorded Guilty of Love for the small 33rd Street label. Blind Pig closed the books on their association with Castro in 2002 by releasing the career retrospective The Essential Tommy Castro. Gratitude appeared from Heart and Soul in 2003, followed by Triple Trouble (with Jimmy Hall and Lloyd Jones) later that same year from Telarc. In 2005 Castro returned to the Blind Pig label for the release of Soul Shaker, followed by Painkiller in 2007. The relatively smooth and polished Hard Believer appeared from Alligator Records in 2009, followed in 2011 by The Legendary Rhythm & Blues Revue: Live!, a collection of highlights from Castro's recent live performances, also on Alligator Records. © Cub Koda © 2012 Rovi Corporation. All Rights Reserved http://www.allmusic.com/artist/tommy-castro-p63212/biography

Zac Harmon

Zac Harmon - The Blues According To Zacariah - 2005 - Bluestone Records

"The Blues According to Zacariah" solidified Zac Harmon's standing in the Mississippi blues sound. A great album of Mississippi Delta and Chicago soul blues, but really a great reminder that the blues is the root of many varied musical styles. The album is HR by A.O.O.F.C. Buy Zac's great "From the Root" album. [All tracks @ 320 Kbps: File size = 103 Mb]

TRACKS / COMPOSERS

1. That Mighty High - Zac Harmon, Tracy Carter, Cora Coleman 3:39
2. Sugarman - Zac Harmon, Rodney Millon 4:45
3. Who's Knockin - Zac Harmon, Phil Gates 5:03
4. It's Cool with Me - Eddie Cotton 5:34
5. That's Why - Zac Harmon, Rodney Millon, Christopher Tray 5:29
6. Mannish Boy - McKinley Morganfield 6:03
7. It Hurts Me Too - Elmore James 4:01
8. Comfort of a Man - Zac Harmon, Christopher Troy 5:56
9. A Hole in My Heart - Zac Harmon, Dennis Jones 4:33
10. Glory (reprise) - Unlisted Bonus Track - Zac Harmon 1:03

MUSICIANS

Zac Harmon - Guitar, Keyboards, Background Vocals
Gregg Wright - Guitar on "Comfort of a Man"
Josh "J.D." Dunham, Andrew Gouche - Bass
Bill Purdy - Organ, Piano
Tracy Carter - Organ, Clavinet, Background Vocals
Christopher Troy - Organ, Piano, Horn
Jeff Stone - Harmonica
Mickey Champion - Vocals on "It Hurts Me Too"
Dwight Wright, Shannon Pearson - Background Vocals

REVIEWS

This CD was sent by British ex-pat Betsie Brown of the Memphis, Tennessee based company Crows Feet Productions. This a very agreeable CD from Zac Harmon, an undiscovered gem in the world of blues. Zac has a wonderful voice and is also a very accomplished guitarist. This CD is a highly recommended album of quality songs from both Zac's pen and other high quality and more well known songwriters. This is what we found...... The album opens with That Mighty High, a bright and breezy good-time feeling song with Zac's slightly chanted lyrics and jaunty organ giving way to Zac's real singing voice with plenty of locomotion." You gotta ride...ride that Mighty High!" go the lyrics with a fast tempo harmonica beneath Zac and the backing singers harmony. Good opener! The CD continues with a song called Sugarman. Sounding uncannily like Carl Weathersby, with maybe a touch of Robert Cray thrown in, it's a really pleasant song vocally. The addition of some beautifully toned guitar provided some super licks and some organ peaks illustrating the excellent stereo effects of this high quality production. This CD reaches beyond the human calling as the door knocking effect beneath the song Who's Knockin had my own hound-dog barking during the song! This song has some nice slide guitar, excellent vocals and has a healthy slice of humour added. This composition would not go amiss on a Shemekia Copeland CD, it has that jaunty, comical feel. Credit is due to the harp player too. Brilliant! Eddie Cotton's It's Cool With Me starts with a cool bass and drums groove with a fat cushion of Hammond B3 and Zac's classic sounding blues guitar. The medium/slow tempo 12 bar sound is a luxurious wallow in the blues with Zac's magnificent guitar and vocal combination with some amount of Buddy Guy kinda phrasing throughout. Wonderful! I had to pick up my guitar to jam as I listened to the introduction! The song's in B-flat by the way! "Have Mercy" sings Zac at the end of this song! A real treat is the fifth track That's Why. This Zac Harmon composition has a Robert Cray feel to it. Zac's vocals are beautiful, he's a great singer, and I mean G-R-E-A-T. The phrasing is superb throughout this modern blues masterpiece and has some excellent blues guitar, full of feeling and meaning. The song is a full production and of top quality right out of the studio. Muddy Water's classic Mannish Boy is next up and in B-Flat again to suit Zac's vocal pitch, this is a very tight production with all the essential ingredients, the classic riff, the hollering after the "I'm a Man..." with a very unique phrasing on the "I'm a Mannish Boy". What a marvellous blues. Mel London had a part in writing Mannish Boy and he also takes the credits for It Hurts Me Too. Zac duets with Miss Mickey Champion and the song has a superb harmonica intro. This slow tempo blues takes you back to thoughts of duets in the Juke Joints with Zac and Miss Mickey's smoochy, smouldering blues style. Zac doesn't let us down with the guitar either, there's some really tasty licks too. Marvellous! The song Comfort of a Man is an emotional roller coaster ride with gut wrenching guitar, which is thought to be Greg Wright the left-handed superstar, and Zac's neo Solomon Burke vocals. This deserves more words written about it but lets just leave it by saying this is one of the best songs of it's genre I've ever heard. It's truly beautiful. The album closer, A Hole In My Heart, is a superb song with a nice guitar intro giving way to a BB King phrasing style on the vocals. Zac gets pretty close to Riley B with the vocal style and this helps the style of this excellent slow blues. There's elements of Solomon Burke in there too, it's that good! Halfway through the song Zac says "Pass me my guitar man" and proceeds to rip through another face-contorting guitar passage with what seems like a lot of tone rolled off the treble. Nice tone too! Zac comes back in with the emotionally charged lyrics to take the song to it's conclusion and close the highly satisfying album. This CD is the best blues CD I've heard for some time. Zac is a great performer, vocals, guitar and songwriting, he's got it all. My thanks go to Bluestone Records and Betsie Brown of Crows Feet Productions for bringing this superb album to my attention. © Steve Lally Steve Lally - Rock of the North (Sep 15, 2005)

Zac Harmon's writing, playing and singing exemplify the meaning of blues music. On his debut studio album, The Blues According to Zacariah, Harmon's approach is up-front, bold and beautiful. With the resounding vibrations of a zealous gospel minister, the bluesman preaches his way through the album of originals with southern style and grace. Released in September 2005, the CD offers six inspiring originals that were co-written by Harmon and a variety of industry professionals. Upbeat with a funky bass line and gospel keyboard work and clapping, "That Mighty High" starts the album off talking "About a train bound for heaven in Jesus' name." The church offering tosses around bits and pieces of classic country and rock for a complete, whole sound. After "That Mighty High," Harmon takes the listener back down into the straight-up blues with a love dedication on "Sugarman." Harmon says he will "pick six miles of cotton and a hundred feet of hay" just to be his girl's sugarman. "Sugarman" is slow, expressive and traditional blues. "Who's Knockin'" is rockin' and accentuated with simple stops and starts and the freight-train imagery of the harp. Harmon shows strong country music roots again as the meat of the music on this song is very similar to Leann Rimes' "My Baby" on her Blue album. "Who's Knockin'" is well-done and served over-easy. "It's Cool With Me" was written by Eddie Cotton, who was a student of Harmon's back in his days as a teacher at the YMCA. Cotton's composition is relaxed, smooth, traditional blues. Harmon's "That's Why" begins with the guitar and tells the old blues story of somebody's been sleepin' in my bed. Elongated phrasing and a delayed tempo stretch out the notes, giving a full-bodied round sound to the playing. Harmon's voice really resonates on "Mannish Boy," written by Melvin London, Ellas McDaniels and McKinley Morganfield (Muddy Waters). His version of "It Hurts Me Too (also by Melvin London), is simple and pleasant, with strong resonating vocals from Harmon and Miss Mickey Champion, who round out the classic in a soulful duet. "Comfort of a Man" brings the CD up to date with modern flavoring and jazzy sense. Easy-listening mood music, "Comfort" is romanticly subtle. The Santana-like guitar parts keep it deep and serious. "A Hole in My Heart" has a push-pull tightness that starts out far into the pocket and stays there. Minor chords and singing guitar strings stroll this melodic tune to a faded, final close. The CD was produced mainly by Zac Harmon and Phil Gates at the studio Harmon co-owns with Christopher Troy, Our Own Studio, in Los Angeles, California. The mixing was done by David Rideau (Cane River Studios, Sherman Oaks, Calif.). The team worked out a fine piece of work for The Blues According to Zacariah. In December 2005, Harmon won the Best New Debut Artist from XM Satellite Radio listeners. It's no wonder. His work is recorded on at least two dozen albums, he performed on television numerous times, and performed in Coca Cola and Jello commercials. Maybe this recording (and the next) will make Harmon a household name. With the quality of the music on his debut album, it's a definite possibility. © Lisa Palmeno - Beefcake.com (Mar 15, 2006) lpalmeno@sbcglobal.net

Having twice seen ZAC HARMON & THE MID SOUTH REVIEW live, I've already had the pleasure of writing a few words about their shows and it's the memories of those very shows that led me to want to review their new CD. Winning the 2004 IBC Award earned them to right to perform for the cocktail hour preceding that years W C Handy Awards. The thing I remember most about that performance was the bands ability to draw - and maintain - a very large and very attentive crowd to the stage, in a room where the main objective of the crowd is to eat, drink, mingle, ogle, take pictures and seek autographs. That same week, I caught their full fledged festival act at 'Memphis in May' and that show just blew me away. The chemistry between ZAC HARMON and JEFF STONE was masterful. I'll never forget ZAC pointing to JEFF and saying "he is to me what Junior Wells was to Buddy Guy". WHOA! OK, enough reminiscing and on with the CD review. On "THE BLUES ACCORDING TO ZACARIAH", ZAC HARMON assembled a crowd of quality musicians. The list reads like a small towns white pages. With himself on guitar, bass, keys, lead and background vocals, he is of course joined by the regulars of the MID SOUTH REVIEW: JEFF STONE, harmonica; "COOL" CORA COLEMAN, drums; DOUG "MUG" SWANSON, bass; RODNEY "BR" MILLON, GUITAR; BILL PURDY, organ & piano. As if this wasn't enough talent, enter the "KATS" - PHIL GATES, guitar and background vocals; CHRISTOPHER TROY, piano, organ and horns; TRACY CARTER, organ, clavinet and background vocals; JOSHUA DUNHAM, ANDREW GOUCHE and P-BASS JONES, bass; SHANNON PEARSON and DWIGHT WRIGHT, background vocals; GREGG WRIGHT, guitar; and MISS MICKEY CHAMPION, vocals. "THE BLUES ACCORDING TO ZACARIAH", opens with one of the discs six originals - "THAT MIGHTY HIGH", a classic uplifting Gospel song, with lots of very timely and well maintained hand clapping, lots of very well harmonized background singing and lots of soulful hollering from ZAC. This one's hot stuff. "WHO'S KNOCKING" is another hot one. The slide guitar and harmonica work, along with ZAC'S sharp and melodic vocals highlight this one. "IT'S COOL WITH ME" and "A HOLE IN MY HEART" are two blues songs that all aspiring young bluesmen should be required to listen to. This is what the blues is all about.....searing guitar licks and scorching vocals - perfectly done. "THAT'S WHY" is all ZAC. With some very nice horn work providing him with the rhythm, and some soft background vocals providing a bit of support, he sings his heart out on this original ballad. Unquestionably, in my opinion, one of the best tracks on this disc has to be a cover called "IT HURTS ME TOO". The song opens with some serious blues harp then gives way to a powerful vocal verse by ZAC. At this point MISS MICKEY CHAMPION takes over and takes this one over the top. More from her would have been sweet. Other tracks on "THE BLUES ACCORDING TO ZACARIAH", one of the best CD's this listener's ears have heard this year, include "SUGARMAN", "MANNISH BOY", and "COMFORT OF A MAN". "THE BLUES ACCORDING TO ZACARIAH", may just be the product that takes ZAC HARMON AND THE MIDSOUTH REVIEW from the cocktail hour to the main stage of the W C Handy Awards. © Peter "Blewzzman" Lauro © OCTOBER, 2005 www.Mary4Music.com

Listening as I have repeatedly to Zac Harmon’s latest CD, The Blues According to Zacariah, I am swept back to the time when I first heard Robert Cray’s False Accusations (1985) and Strong Persuader (1986) dubbed onto a single long-playing cassette. At that time I was mesmerized by the rich, smart lyrics and the fresh, funky interpretation of the Blues sound. The Blues According to Zacariah makes the same impression on me. Zac’s music is fresh and deeply rooted in the Blues tradition, a reflection of his own Mississippi upbringing. In what seems de rigueur these days, the CD opens with a spiritual, That Mighty High. But instead of a perfunctory nod to God, over Jerry Angel’s piston-pumping drumbeat, Zac pulls the listener onto the heaven-bound train for a full-body shaking ride. After the opening nod to a higher spiritual power, Zac plunges directly into the secular with the plea: “I want to be your Sugarman…” Besides the classic begging nature of the lyrics, Zac’s guitar and Jeff Stone’s harmonica reinforce the theme with pleading intensity. Who’s Knocking is a humorous but cautionary tale with a loping beat holding up Zac’s rather whimsical guitar stylings. Then we get the juke joint, low-down guitar licks and trash talking on It’s Cool With Me, a song written by a former student of Zac’s, bluesman Eddie Cotton, Jr. Zac makes the song his own; showcasing both his guitar playing and singing, and proving that he deserves the press that dares to mention his name next to Bobby Blue Bland’s. Zac’s voice with its spiritual verve and showman’s delivery is reminiscent of another Blues/Soul star, the late Johnny Taylor, especially on tunes like Comfort of a Man and A Hole in My Heart. But my special treat on this excellent CD is the duet with Mickey Champion, covering the Elmore James tune, It Hurts Me Too. As one writer put it, Ms. Champion’s voice is a “cross between a smooth shot of Hennessy and an acetylene blowtorch.” She certainly burns up this piece. And when she says, “…it hoits me too,” you feel her pain. This cut is also a showcase for Zac’s clever guitar riffs. Upon listening to The Blues According to Zacariah I was taken back to my first hearing of Robert Cray’s music because Zac inspires the same hope. Over 20 years after that first exposure to Cray, here’s Zac to remind us that the heart and soul of the Blues lives on. Let’s have another 20 years of The Blues According to Zacariah. © Blind Minnie - The D C Blues Society (Apr 7, 2005)

BIO

Guitarist and singer/songwriter Zac Harmon's distinctive stylings combine the best of the bedrock tradition of old-school soul-blues artists like Z.Z. Hill and Dorothy Moore with modern lyrics and themes that work for the blues in the new millennium. His live performances combine elements of everything that influenced him: soul-blues, gospel, reggae, and modern blues-rock. Interestingly, Harmon was raised in Jackson, MS, the son of a pharmacist, but he didn't begin to attract attention for his considerable talents as a bluesman until after he'd been living in Los Angeles for more than 20 years. In the '60s, he hung out at his father's pharmacy -- the first African-American pharmacy in Jackson -- learning from musicians who were customers while honing his chops as a guitarist, vocalist, and organist. By his late teens, he was accompanying soul-blues musicians like Z.Z. Hill, Dorothy Moore, Sam Myers, and McKinley Mitchell on their regional gigs, as a guitarist. As a 16-year-old, Harmon was teaching guitar at the YMCA, but his own desire to pursue college put music on the back burner for at least four years. Harmon finally left Jackson for Los Angeles in 1980 to try to make a name for himself in music as a songwriter, studio musician, and producer. There, he wrote songs for the likes of Evelyn "Champagne" King, Freddie Jackson, the Whispers, K.Ci & Jo Jo and the O' Jays. He produced songs for reggae band Black Uhuru's Mystical Truth album, which received a Grammy nomination in 1994. In 2004, Harmon and his band, the Mid South Blues Revue, won the Blues Foundation's International Blues Challenge, sponsored by the Southern California Blues Society of Los Angeles. Harmon has two well-received albums available: The Blues According to Zacariah and From the Root. Each of these releases do a fine job of showcasing his brilliant originals, songs that break new lyrical ground and step away from the tired old blues (and country music) themes. A third album, and first live one, Live at Babe & Ricky's Inn (2002) may still be available at his live shows. Harmon followed up his 2004 victory at the International Blues Challenge in Memphis with a 2006 W.C. Handy/Blues Award in the spring of that year for Best New Artist. As a songwriter, singer, guitarist, bandleader, producer, and impresario, Harmon embodies all that blues music can become in the second decade of the new millennium. © Richard Skelly © 2011 Rovi Corporation. All Rights Reserved http://www.allmusic.com/artist/zac-harmon-p84368/biography