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Friday, December 28, 2007
I like to go out and listen to live blues music between the holidays. Of course, I mean between New Years and Christmas usually, but I like to include the short period between Christmas and New Years also.
Blues diva, Nellie “Tiger” Travis appeared at Buddy Guy’s Legends during the recent holiday week. Most blues fans outside the Chicago area are aware of this famous venue, so I don’t cover it as much as some of the lesser known suburban haunts, but knowing that it is moving to a newer location made this kind of a pilgrimage. I am so religious that I have been there four times last month. Chicago stalwart, Johnnie Drummer and his band opened the night and got our clapping’ hands ready and warm.
Nellie “Tiger” Travis brings a lot of Southern soul to her blues. She is an entertainment package for sure, displaying attitude when necessary and soul continuously. She will engage you in the party, so don’t try to hide. Her version of “I’d Rather Go Blind” is moving, and reminds me of the song before it was a beer commercial. Her band is essentially The Masheen Company band led by Ronnie Hicks. Both Hicks on keys and Kenny Hampton on bass contribute to vocals with especially smooth soul harmonies. Max the Argentina Soul Brother was on lead guitar and Nellie’s son, Dujuan Austin was on drums. My Tiger favorite is “I’ll Take You There.” With such a capable and tight band, and her passionate voice, you most certainly will tap your feet. I was thinking “Hell, that girl could take me anywhere.”
If you are coming to Chicago for one of Buddy Guy’s 21 Nights in January, you may be run across Nellie “Tiger” Travis and her band. Buddy has given them the honor of opening for him on one of the evenings.
 
Friday, December 21, 2007
The official Blues Island Pub Christmas Party pictures are available.  Please note that patron pictures were allowed by the patrons for this particular event.  Santa Joe Jammer presided. 
Saturday, December 15, 2007
Damn, a heavy snow advisory…Chicago style! On the slow crawl through the snow to Harlem Avenue Lounge in Berwyn, I thought, just for a nanosecond, that the band might not show up. I should know better. The blues bands always show up. Marty Sammon is usually on the road as Buddy Guy’s keyboard player, so if you don’t catch him with Buddy Guy, you’re going to have to catch him between the holidays. More recently, you can see him do a solo on the newest Crossroads Guitar Festival CD as part of Buddy Guy’s band.
As usual, The Marty Sammon Band on this night was a “Who’s Who” of blues greats. Besides friends and other Buddy Guy alumni, Marty brought the great Doug McDonald for guitar and vocals. Doug is a musician's musician. He has played for over 30 years in Chicago and around the world with such greats as Junior Wells, Jimmy Reed, Buddy Guy, Phil Guy, Albert King, James Cotton, and also played on Marty’s first CD.
I can’t count the times I have written that “you had to be there”. You have a pass because this night was so miserable outside, but just know, that with the snow flying outside, Jay Moynahan’s wailing sax was all the heat I needed.
Mike Sterling (Otis Rush and many more) on bass and Rick King on drums started deep in the pocket from the first note of Sissy Strut, and didn’t let go until the end of the third set.
If it wasn’t for some intentional facial hair, Marty would be sent home as underage. Even at that the guy is only about thirty. How his ten fingers could have such complete mastery over eighty-eight keys at any age is a serious accomplishment. Even though he is from the same Southwest Chicago area as I am, he shows a strong New Orleans influence. There are so many great Crescent City piano players and Marty has them covered.
He did a great cover of Dr. John’s “Right Place, Wrong Time”, on the black keys, with Jay switching to alto from tenor. They did a two beat Dixieland thing for variety. Marty worked in one of his new songs; “Got A Smile on My Face, But My Mind’s Messed Up”.  Mike Cristoll, normally a bass player had a turn at the keys as well.

When the third set came to a close, I looked around and the same few faces that braved the weather to be there, were still there. You see, that band played their asses off from the first song until the last. Sammon doesn’t even come up for air before calling out the next song, and it was high energy stuff at that. As usual, I am going to suggest that you should have been there. Sure it took me a while to get home, but I smiled all the way.
Friday, December 14, 2007
“You have to be careful so that you don’t make those around you sick.” said the doctor in a somber tone. I was aware I had MTS, but I thought I had it under control. You see Music Trivia Syndrome, while relatively harmless to the carrier can irritate the hell out of others. I had no more record labels to read, or album covers to study, but then came CD inserts, and the internet. Sometimes I will ask a stranger, “Who wrote that?” “Who was the drummer on that session?”

The good news is that in the Blues genre, the history of sessions, and players, labels and real names is part of the charm. Go to your computer and “Google” Gene Barge. I didn’t know all that. I did know him as a key player in the legendary Chicago horn driven Big Twist & the Mellow Fellows. Appearing at B.L.U.E.S. with several BT&TMF alumni, and some talented youth, they are known as The Chicago Rhythm & Blues Kings. Now forget the legend that is Daddy G, and know that this is still one monster live horn section.

The youth was Rob Blaine who provided both incendiary guitar and strong bluesy vocals. His guitar work was a good match for this world-class horn section. Mike Ciamcanelli on bass and Lou Palmer on drums provided a solid beat and bottom to a night of great rhythm and blues.

Besides vocals, Mr. Barge (Daddy G) paired his tenor sax with the tenor sax of Terry Ogolini. The brass was provided by trumpeter Dan Tenuto. These three have been playing together so long; they seem to breathe together as a horn section. During their respective solos, it is obvious they are virtuosos, but to me the magic is in the vibrant presence of a live horn section that doesn’t come across on recordings. Chicago has a tradition of music with great horn parts, but it you just have to hear it live.

All right now: Name three Chicago based groups that successfully used horn sections. I’m sorry doc.
 
Saturday, December 8, 2007
Barrelhouse Chuck brought his pounding boogie woogie to The Harlem Avenue Lounge. The self-proclaimed dinosaur brought his long-time drum friend John Carpender with him. I’m quite a bit older than both of them so I don’t particularly like the dinosaur reference, and I promise to do my part to protect this music from extinction. Barrelhouse Chuck has, however, played with most of the great keyboardist in this genre and others. He is certainly a living connection to some great players that have passed on. To complete the band, Chuck had Nick Moss and one of his Flip Tops, Gerry Hundt on stage. Nick and Gerry rotated through various instruments and helped B-Chuck with the vocals.
It’s always interesting to me to see what rig Barrelhouse Chuck will bring with him. Tonight’s organ was a road hardened Compact, but it could just as well have been one of his vintage Farfisas. As a matter of fact, vintage instruments were in abundance. The bass, played by both Nick Moss and Gerry Hundt, is an old black Silvertone that Nick’s brother Joe had given to him when Nick was ten years old. In their hands it sure sounded good. Chuck’s friend Bruce F. got up and had a try at it as well. When I was a kid doing my garage band stint, Silvertones got laughed at, and of course mine was the reason I was never any good. If I had only had a Fender. The name plate had fallen off the six string Nick and Gerry shared. The high mileage ax was identified by Nick as a Guild S50. In their hands, it sounded great whether by finger or slide. At one point Nick used a metal ashtray for a slide. After the smoking ban goes into effect in three weeks, I think proprietor Kenny Z. may have some Nick Moss Slides available for sale. Did I mention the Harmony mandolin Gerry plays? How about the slide mandolin? There was even a Fender Squire on board. While Moss and Hundt shared time on a variety of instruments, they thankfully brought their own harps (but did share the bullet mic).
With all that being said about the band, I must admit that Barrelhouse Chuck doesn’t need a band. On the piano, his left hand is all the rhythm section you need. It is clear that he began his musical life on the drums. His one man band includes incredibly tasty organ and piano riffs, fills and melodies. On top of all that, Barrelhouse Chuck brings T-Rex (kidding), convincing (not kidding), and heartfelt vocals.