Show Me the Way Home, Honey

Over the past few years, there has been a dramatic resurgence in roots music and many have taken up the acoustic lap steel guitar. There are, however, remarkably few solo lap steel guitarists. Richard Henderson is one of those few. He has developed a characteristic edgy style based on the traditions of the blues, country and rock ‘n roll, and the result is compelling. Attesting to that, Richard was named Instrumentalist of the Year for 2010 at the Durham Region Music Awards and First Runner Up in The Toronto Blues Society's 2011 Talent Search. Richard was also invited to showcase at the 2011 International Blues Summit in Toronto and the 2011 Ontario Council of Folk Festivals in Niagara Falls, and showcased for Mariposa and Winterfolk Festivals. Also, Maverick, the UK’s leading independent country music magazine, selected one of Richard’s original songs for its covermount CD for the June, 2013 edition.

The acoustic lap steel guitar is an interesting and uncommon instrument, particularly when played with only vocal accompaniment. It was developed in Hawaii in the 19th century and is the direct ancestor of both the dobro, played in traditional Americana music, and the pedal steel guitar, so characteristic of American country music. It was also instrumental in the development of the slide guitar blues styles played in the southern United States beginning in the early 20th century. Richard's performances give a unique perspective on the convergence of the historical development and the continuing evolution of acoustic traditional music.

Richard’s first solo CD, “Seventh Day: Acoustic Lap Steel Guitar”, has aired on over 70 radio stations in Canada, the United States and Europe and has received critical acclaim here at home and overseas. “Seventh Day” documents the evolution of traditional roots music from the 20th century into the 21st, all rather unconventionally adapted for the acoustic lap steel guitar. We hear the metamorphosis of gospel, country, and blues into early rock ‘n roll, thematically underpinned by a handful of original songs. The result, while evocative of roots and folk traditions, is transformational; leading to a vibrant reconstruction of acoustic roots music.

Musicians: Mamie Smith (vocals), Johnny Dunn (cornet), Willie 'The Lion' Smith (piano), Dope Andrews (trombone), Ernest Elliott (clarinet, tenor sax), Leroy Parker (violin).

Simply put, this is the most extensive collection of Mamie Smith sides on one disc that is available in 2004. It goes much farther than the Classic Blues Essential disc. Between the years 1920-1931 when recording for OKeh, Mamie Smith & Her Jazz Hounds were kindred spirits to Louis Armstrong's Hot Five and Seven, though her sound is far more indicative of the music of the Harlem Renaissance than New Orleans. Sophisticated, hard-swinging, and full of the lilt of cabaret music as well as the down-home roughhouse blues, Mamie Smith had to be the first female blues superstar. This is elegant from top to bottom and offers new acquaintances a view of the blues far from its country origins and tightly woven with jazz. Amazing. ~Review by Thom Jurek

This foursome has character, upbeat with old soul. Their instruments melt layers of bright mandolin, subtle wit guitar licks, and harmonica as smooth as its freight train roots. From string clicks, claps, and stomp-box taps they create a style that can best be described as northern swamp grass.

"Old Fashions" was recorded in 2013 at the remodeled Blatz Brewery in Milwaukee, WI; now known as Tanner Monagle Studio.

Spawned out of decades of numerous musical endeavors, HONEST MONDAY is a unique collaboration of singer-songwriters. Each member of the band truly brings his own musical flavor to the table while maintaining a simplistic approach to compliment the collective sound. HONEST MONDAY is loose with a sense of solidarity, fresh sound with an old soul. With a diverse diverse range of influences, the band seamlessly blends styles together to create a musically classic, yet raw original sound.

The Hobblers, un Ecossais et un Américain avec leurs racines ancrées dans le blues, le folk et le jazz arrivent en France avec leurs chants et leurs histoires, leurs bagages, et la vie devant.

Bio:
Deux hommes, deux guitares, les harmonicas, les chansons. Comment voyager plus léger ? The Hobblers, un Ecossais et un Américain avec leurs racines ancrées dans le blues, le folk et le jazz arrivent en France avec leurs chants et leurs histoires, leurs bagages, et la vie devant. Impregnés de leurs traditions, de leur modernité, et une énergie bouleversante sur scčne, née de la musique qui les suit partout oů ils voyagent.
Malcolm McCallum et Tim McGlue nous emmčnent avec eux, comme lors d'une soirée devant le feu, au travers des treize chansons de leur nouveau CD, Travelin' Light, mélées au blues noir, blanc, celte, amerindien et finalement...parisien.
La rencontre ŕ Paris avec des copains, et c'est parti. Ils jouent ensemble en France depuis treize ans. Avant, Malcolm jouait avec ses groupes électriques blues-rock des années 1980 ŕ Paris, Tim aussi de son côté, les deux toujours fidčles ŕ leur premier amour, le blues. Ils forment avec des amis le groupe les Magnitoz qui sort un premier album électrique en 2009, et qui roule encore sur la scčne parisienne, en Normandie et plus loin. Un principe : on fait du blues en live, on aime ça, mais on n'enregistre que les compos. Et les deux songwriters sont toujours poursuivis par une idée—le retour aux sources. Leurs guitares acoustiques, l'harmo, et leurs paroles, unplugged. The Hobblers, leur duo acoustique, en est né. Et nous allons les suivre, Travelin' Light...

Often, progressive bluegrass gets mired in its own ambition, seeming affected whenever it asserts its roots or tackles the present. That's not the case with the Howlin' Brothers. How does this Nashville trio sidestep such pitfalls? It's through sheer kinetic joy, a quality that was evident on their 2013 debut, HOWL, but thrives on its 2014 sequel, Trouble. Once again, Brendan Benson -- a colleague of Jack White who is known for his exceptionally well-crafted power pop records -- produces the band and he favors a crackling live feel, emphasizing the Howlin' Brothers' loose, natural chemistry that, in turn, suggests their versatility. Unlike so many bluegrass groups, chops aren't the priority for the Howlin' Brothers -- they prefer groove and feel, to bounce ideas off each other and their various guest musicians. This doesn't mean they can't solo -- they can and they do often throughout Trouble -- but Benson and the band accentuate interplay, which means this is a visceral record, engaging just as music. Also, this emphasis on instrumentation allows the band to wander away from bluegrass -- "World Spinning Round" is straight-up honky tonk, as is "Troubled Waltz," while "Louisiana" brings the group down to the bayou and the opening "Pour It Down" would be a blues-rocker with other instrumentation -- and it also gives it a tangible, pleasurable quality as a record that demands several listens. Those revisits reveal that in addition to sounding good, Trouble is exceptionally well constructed, with the group crafting roots songs that allow the trio to casually showcase its knowledge and skill. Those songs provide the structure for the album and, presumably, a killer live set, but the nifty thing about Trouble is that it swings and sparks like a concert and it retains that energy on repeated plays. ~Review by Stephen Thomas Erlewine

Any info will be welcome.

Angela Brown is certainly a Blues Diva – "raucous, raunchy and rumbustious" are just some of the words used to describe this great singer. Born in Chicago, Illinois. Angela began her musical career by singing gospel music in church and performing with school choirs. And, although she was aware of the blues, she didn´t devote herself to singing them until around 1980, when she played the role of Gertrude “Ma” Rainey in a stage musical. Inspired by the music, she worked, honing her craft, in numerous Chicago blues clubs, often accompanied by pianists Little Brother Montgomery, Erwin Helfer or Lovie Lee, or sharing the stage with her music friends, the likes of Blind John Davis, Pinetop Perkins, B.B. King, Georgie Fame, Long John Baldry... the list goes on. Her Debut recordings were released by the Red Beans label in 1983, and the first album under her own name was made in 1987 for the German label, Schubert Records. She was dubbed "The Bessie Smith of the Eighties" and later the 90´s, a deserved title given her strong renditions of vaudeville blues material. Her powerful voice is also well-suited to more modern blues and jazz styles, becoming a popular attraction at festivals all over the world; not only vocally, but for her onstage presence and oomph!! Angela has been included in The Guinness Book, Who´s Who of Blues, and the new Virgin´s Encyclopedia of the Blues. Making her one of the few Living Legends in Blues Music today. Past years have seen Angela voted in France "International Chanteuse De L´Annee 1999", and in the U.K. "Overseas Female Artist of the Year" and her album Thinking Out Loud with her English band The Mighty 45s was runner up as the UK Album of the Year 2000. 2005 C.D. Release Angela Brown and Jan Luley´s Wings of Blues. 2006 sees the release of Angela and her favourite 4 piece band, The Mighty 45s, new C.D. In A Dangerous Mood.

Sunny Lowdown plays the raw, deep blues, drawing from the music of John Lee Hooker, Muddy Waters, Lightnin’ Hopkins, Jesse Mae Hemphill and R.L. Burnside. Critics have described Sunny’s music as “swamp music”, but Sunny shuns labels. “I’m just me,” he says. “I call it Sunny side up.” Sunny was only sixteen when he first backed up bluesman John Lee Hooker. He went on to work with many of his favorite blues musicians: Howlin’ Wolf guitarist Hubert Sumlin, Muddy Waters pianist Pinetop Perkins, Chicago blues legends Otis Rush and George “Wild Child” Butler, Fat Possum recording artists R.L. Burnside and Cedell Davis, and others.

The Blues Volume Low is Sunny’s first solo release, a mixture of traditional blues tunes and tunes he has written himself. “I always liked the singers who could sit with just their guitar and tell you a story,” he says. “Whether they had written the song or not, they made it their story.”

The Blues Volume Low is Sunny’s story. Ten tracks with just Sunny and his electric or acoustic guitar, augmented by three tracks with his trio -- Sunny Bottom on bass, Sunny Tubs on drums. Rhythmic, and powerful, you won’t find many of Sunny’s chords in guitar books. “My music starts raw, and then I cook it up,” he says. “But I never overcook it."

Additional Performers:
Matt Basile: Electric and upright Bass
Melaena Cadiz: Vocals
Lindsay Swartz Newman: Vocals
Pinky: Stroh Violin
Charles Newman: Pump organ and keys

J.R. Jones is a peculiar grassroots artist who has been dazzling intrigued fans over the years with a gritty bluesy approach that is truly captured through his gripping songs and powerful live performances. Learning the ropes from the influence of RL Burnside, Tom Waits and The Carter Family, the self-taught Brooklyn-based musician has welded a defining style that is haunting yet delightful. Performing under the name The Bones Of J.R. Jones, his forthcoming effort, Dark Was The Yearling, is a unique entity that captures the soothing spirit of folk with an introspective variety.

Jones captivates listeners with a series of arrangements throughout that spontaneously alternate back and forth with a blissful mixture of essential folk delivery that leaves a wondrous impression for you to linger upon. Because of Jones’ eccentric sound, it could be difficult to fit his music into one category.

“Dreams To Tell” starts and ends this release with a fascinating reprise that draws you in with a barren Westernized sensation that leads into the rocking chords and toe-tapping thrill of the leading single “Good Friend Of Mine.” Transitioning from a raw and ironically eerie setting conveyed within the first half of the record, we are also introduced to angelic ballads like “The Dark,” “Fury Of The Light” and “The Plan” that touch upon themes of yearning desires and prolonged wanting.

Dark Was The Yearling is an interesting outlet that captures the grotesquely exciting aspects of blues and folk that have been championed by Jones’ precursors. With a heartfelt lyrical prose that invites you with a desolate and powerful tone, this is an essential album that keeps you at the edge of your seat. By embracing diverse and vibrant elements of folk and blues throughout the musical interpretation of Dark Was The Yearling is loosely based on the listener’s imagination. ~By Ryan McGrath

Called "a fine and funky pianist" by Living Blues, pianist and composer Craig Brenner is a two-time recipient of Indiana Arts Commission Individual Artist Program grants. A resident of Bloomington, Indiana, Craig has been voted "Best Musician" in Bloomington numerous times in the Bloomington Independent, and Craig & The Crawdads has been chosen best band. A graduate of Florida Southern College, Craig attended the Indiana University School of Music from 1976 through 1980, studying with composer John Eaton, pianists Joseph Rezits and Enrica Cavallo Gulli, and jazz educator David Baker. Prior to moving to Indiana in 1976, Craig studied with jazz pianist Wally Cirillo and classical pianist Elizabeth Fishbein in Miami. Craig has also studied and performed with boogie woogie and stride master Bob Seeley and blues pianist Big Joe Duskin through one of the grants from the Indiana Arts Commission.

Live At The Old Mint is Craig's first CD since 2009. The CD features Craig playing blues and boogie woogie piano recorded live, including eight tracks with Alfred "Uganda" Roberts on congas recorded at the Old U.S. Mint in New Orleans in April of 2013. Other tracks feature Craig solo at the Mint in 2012 and at the Artsgarden in Indianapolis, and one track with Lori Brenner on rubboard.

A native of New Orleans, Alfred “Uganda” Roberts is an in-demand percussionist whose relationship with producer Allen Toussaint led to Roberts becoming house percussionist at Sea Saint Studios. Roberts played on the Meters’ “Afrika” and “Hey Pocky Way,” on Toussaint's Life, Love, and Faith (1972), and on The Wild Magnolias (1974). In 1972, Roberts was introduced to pianist Henry Roland Byrd, better known as Professor Longhair, at the 2nd annual New Orleans Jazz and Heritage Festival by Jazz Fest producer/founder Quint Davis, and Roberts toured and recorded with Fess for eight years until Fess’ death in 1980. Roberts is featured on Professor Longhair's Rock N Roll Gumbo (1977) with Snooks Eaglin and Clarence “Gatemouth” Brown, and on Fess' last studio album, Crawfish Fiesta (1980). The London Concert (recorded 1978) is a duo performance by Longhair and Roberts. Roberts toured with Willie Tee and the Wild Magnolias from 1980 until 1986, when he took a hiatus from the music industry, occasionally coming out of semi-retirement to tour and record on Dr. John's album Goin' Back to New Orleans (1992), Brenner’s Play It Again, Professor! (1995) and Man At The Piano (1997), and Dr. John’s Dis, Dat, or D’udda (2004).

Primary recording engineers for Live At The Old Mint were Danny Kadar at The Old U.S. Mint and Jeff Mountjoy at the Artsgarden, with mixing and mastering by Jacob Belser of Primary Sound Studios, and graphic design by Merridee LaMantia.

"Craig Brenner’s mastery of good-time solo piano styles has always played well live. It’s impossible to not groove on the rhythms and stylistic differences when he moves from boogie woogie to stride, barrelhouse blues and then, just when the time is right, something of a more elegant jazz vibe. Live At The Old Mint is Brenner’s first live album and that versatility is well-demonstrated here. Maybe most surprising is that a lively room can cover up all sorts of mistakes, but Brenner plays so well and so accurately here it’s a revelation. He may be the Boogie Woogie King of Bloomington, Indiana, but it’s doubtful anyone would challenge that royal status at the Old U.S. Mint in New Orleans, where the ghost of Professor Longhair still roams the streets, and where most of this album was recorded." -- Mike Leonard, Bloom Magazine

"Piano master Craig Brenner is one of the finest ambassadors of the music of New Orleans and central Indiana is lucky to have him. Following up his strongest studio album to date (Live to Love from 2009) is a series of live recordings ranging from 2006-2013. The majority of the recordings were done at The Old U.S. Mint in New Orleans (thus the title) with recordings from Indianapolis and Bloomington. Despite the differences in time and locations, this is still a seamless series of songs. Helping Brenner out is Lori Brenner on rubboard on some tracks and Alfred "Uganda" Roberts on congas on others. It's fun to hear new versions of Brenner's "To Boogie or Not to Boogie," "The Crawdad Shuffle" and "Backstage Boogie" blend in with staples "Mess Around," "Pinetop's Boogie Woogie" and "Night Train." A must-have for any music collection." -- Matthew Socey, Host of The Blues House Party, WFYI, February 2014