To receive email from Blues Festival E-Guide,
add to your safe sender list.
View as Web Page Subscribe Send to a Friend
BluesFestivalGuide Website
September 11, 2009 Volume # 4  Issue # 34

Special Announcements
CD or DVD Releases
News Flash
Record Label News
Blues Society News
House of Blues Radio Hour
Roots Blues Airplay Charts
Blues Festivals
About Us
This week, Nancy and I will be on the road heading to Wisconsin. I will be bringing my guitar and looking to find next weeks Jam Night of the Week. We will be on I-75 somewhere between Chattanooga and Nashville on Sunday night.  On Tuesday night we plan on going to this week's Jam Night of the Week at Bill's Blues near Chicago and then we will be in Beaver Dam,WI for the rest of the week. Let us know  if there are any great jams along the way and we may show up. Thanks, Gordon & Nancy
Johnny Rawls New Album Ace of Spades Released
Catfood Records announces the release of Johnny Rawls' Ace of Spades CD.  The title song is a tribute to his mentor, O V Wright, and was suggested by Bill Wax of Bluesville. Ace of Spades has the same songwriters and backing musicians as Red Cadillac which was Living Blues Critics' Choice Southern Soul Album of the Year. Red Cadillac was #1 on the Living Blues Charts in August 2008 and was also nominated for Soul Album of the Year at the Blues Music Awards. In addition to Texas band, the Rays, and Montana drummer Dan Nichols, Johnny added LTD and former LA Motown guitarist Johnny McGhee and former Rod Stewart guitarist Lance Keltner to the studio lineup for Ace of Spades.  Ace of Spades was released September 1 and debuted at #17 on the Roots Blues Airplay Report for week of September 4.  For more information on Johnny Rawls and Ace of Spades go to .

Follow up to the award winning "mess of blues" - best blues-rock album of the year at the blues music awards 2009
"Alec Fraser has become my all-around man for the last decade. He's been my engineer for all of my jazz projects, he's been the bassist and engineer for the "Jeff Healey Blues Band", and he shares my interest and enthusiasm as an eclectic listener to many different genres of music. In this band, I always feel like I'm a member, not the leader — just a musician who has an equally important role along with the other players." — JEFF HEALEY, 2008
I've just spent a lot of time listening to the tapes of our band — from Notodden, the big festival in Norway, the date we played in London, when Jeff's old friend Randy Bachman came onstage to join him, and some tracks recorded at Jeff's club in Toronto.
It's such a flashback; Jeff was on top form, positive, well, and, as always, the rest of us gave him the support he could always rely on. There are a couple of things that come back to me. One is how exhausted we all were for the Notodden Festival; it was a long series of plane rides, and then a couple of hours in a car with no sleep. However, the minute we hit stage, the tiredness seemed to vanish, and we were all ON, with Jeff leading the way. As always, his repertoire was as wide as the Mississippi — you'll find some Chicago classics, some old r&b, a taste of psychedelia, and some pop classics from a bygone era — "Teach Your Children Well," "Come Together," and his biggest hit "Angel Eyes."
Whenever we played — in Europe, the U.S. or at home in Canada — Jeff always gave his best, even in the last days when he was seriously ill. Around the world, thousands of fans will enjoy this CD. I believe Jeff was one of a kind and it's doubtful there will ever be another one like him. At the very end of the last song, "Santa Bring My Baby Back to Me," Jeff can be heard saying "That was fun, and that's what it's all about."And so it is. 
- ALEC FRASER (producer & bass player)

Dave Riley and Bob Corritore’s sophomore album, Lucky To Be Living, is a natural progression of the duo’s five-year musical and personal relationship that developed out of the Deep South. The duo plays powerful down home blues deeply rooted in the Chicago and Mississippi styles that represent Corritore and Riley’s respective upbringings. Their instinctive blues chemistry and enduring friendship prompts wild, fun and enthusiastic performances.
Riley’s raspy Mississippi voice, articulate down home blues guitar, and rowdy, personable, original songs combine with Corritore's passionate, blues seasoned, full-toned harmonica for an engaging performance that entertains both the blues novice and the seasoned listener.
Highly celebrated and world traveled with many festival appearances under their belts, Riley and Corritore’s debut album, Travelin’ The Dirt Road, released in September 2007, received much critical acclaim. It was a 2008 Blues Music Award Nominee for Acoustic Album of The Year and Blues Blast Music Award Nominee for Best Traditional Blues Recording. Also produced by Bob Corritore, Lucky To Be Living continues in the same traditional vein upholding the tradition of the legendary Jelly Roll Kings with four Riley originals as well as songs by Riley’s friends, Frank Frost, John Weston and Fred James.

The Blues Foundation Elects First-Ever Female President and Adds Seven New Board Members from the Business Community
The Blues Foundation, the non-profit organization dedicated to the past, present and future of blues music, has completed the annual election of its Board of Directors and its officers, electing nine individuals to lead and assist The Blues Foundation in establishing a permanent home in downtown Memphis. The plan for a permanent home proposes to centralize the Foundation's educational, audio-visual and retail opportunities, in addition to housing its staff and operations. The new board members elected will contribute their respective expertise in finance, marketing, consulting and development to the Foundation's efforts through 2012, and as Foundation members will continue to provide the worldwide Blues community with support, information and news.
The membership of the current Board voted to fill the nine available seats in this year's election, including seven new members: Phil Barkett, a Chicago area financial analyst, Steve Bryson, Chairman and CEO, Global Electronic Technology, Cypress, CA; Smart City Consulting, Memphis; Tom Jones, Stefan Levy, Big Cat Search, Barrington, IL; Craig Ray, Mississippi Development Authority, Jackson, MS; Eric Simonsen, AlixPartners LLC, Providence, RI; and Laurie Tucker, Senior Vice-President of Corporate Marketing, FedEx, Germantown, TN. The Board members re-elected two current members: Dorothy Moore, a Grammy-nominated performer, Florence, MS; and Kevin Kane, President and CEO, Memphis Convention and Visitors Bureau. All recently-elected members will begin three-year terms October 23 at the next Board meeting in Nashville, TN.
Following the Board election, the new Board selected the following Board members to leadership positions, who will serve for one year each: the Board's first female President Pat Morgan, artist manager for Pinetop Perkins and Willie "Big Eyes" Smith, and Vice President Bill Wax, programmer and on-air host of Sirius XM Satellite Radio's B.B. King's Bluesville channel. Additional members of the Executive Committee are: Gary Anton, a Tallahassee, FL attorney and owner of Bradfordville Blues Club, Kevin Kane, and Gaynell Rogers, a Nevada City, CA marketing & publicity consultant. In addition, Clay Purdom, an attorney with the Memphis law firm of Martin, Tate, Morrow & Marston, is the Treasurer.
The newly-elected members and officers join fellow Board members Barbara Blue, Betsie Brown, Thomas Cain, Jostein Forsberg, Zac Harmon, Jerry Mason, Karen McFarland, Thomas Ruf, Joey Sichting, Ricky Stevens, Cassie Taylor and C. Sade Turnipseed.
Newly-elected Board President Pat Morgan stated, "I am very excited to take on this new leadership role. I believe the Blues Foundation is now poised to take on new challenges, to continue to provide for our membership, and to further our mission of keeping the blues alive for generations to come."
Executive Director Jay Sieleman added "Adding people of this caliber from outside of the blues music community is critical to taking The Blues Foundation to the next level. But they were not just recruited; each is a Blues fan and was a Blues Foundation member before coming on the Board. I fully expect the next three years to be the best ever for The Blues Foundation and therefore, for blues music."
The Foundation is celebrating its 30th anniversary, having already seen this year their 25th anniversary of the International Blues Challenge and the largest, star-studded 30th anniversary of the Blues Music Awards. As the Foundation moves into its 31st year, several new programs will soon be announced to further assist blues musicians and those making their careers within the blues music community.
The following Board members will be concluding their Board service in September: Paul Benjamin, Dom Forcella, Bruce Iglauer, Fred Litwin, Patrick Reilly and Chris Sabie.

The 2009 South Florida International Blues Festival scheduled for Nov. 6-8 at Nova Southeastern University (NSU) has been cancelled.

“In these trying economic times, we as a university try to evaluate our priorities and ensure that they are in line with our academic mission," said George Hanbury, Ph.D., executive vice president and COO at NSU. "While the blues festival has been a popular event at NSU, ultimately our academic programs take precedent and we made the decision to discontinue the festival.”

Anyone who already purchased tickets for the festival will automatically receive a full refund to their credit card. For questions regarding refunds, call 954-262-7228.

On November 12th Austin, Texas will once again honor legendary blues club owner, the late Clifford Antone, by hosting his namesake fundraising gala - Help Clifford Help Kids. The annual fundraiser benefits American YouthWorks, a program for at-risk youth in Central Texas. American YouthWorks’ mission is to build productive lives and better communities for disadvantaged young people by giving them an education and the life skills they need to turn their lives around and be successful.
Created in 2001 by Clifford, his sister Susan Antone and several of their civic-minded friends, Help Clifford Help Kids combines Clifford’s passion for music and his devotion to helping young people in need. As presenting sponsor of the gala, Gibson Guitar is providing a stunning Gibson BB King Lucille guitar customized with Clifford’s autograph on the pickguard. With Susan’s blessing, American Youthworks is offering the guitar for auction on eBay to a worldwide audience, with all proceeds benefitting Help Clifford Help Kids. The photograph featured on the auction site of Susan with this unique guitar was taken by renowned music photographer Gary Miller.
“What my brother did to help keep the blues alive is pretty well known by music fans worldwide,” Susan says. “I think it is fitting to have fans of the blues from all over the world bid on this amazing Gibson guitar that was Clifford’s favorite model. He’d like that.”
Clifford Antone founded the legendary Antone’s Night Club in 1975 at the early age of 25. He was revered for his unwavering support of both blues music and blues musicians. Antone dedicated his life to this passion and happily shared it with every blues legend, sideman, and struggling newcomer that walked through his door, providing the resources he had to help musicians survive and succeed. Clifford opened his heart and his stage to blues greats like Muddy Waters, BB King, Jimmy Reed , John Lee Hooker, Buddy Guy, Junior Wells, James Cotton, Albert Collins, Koko Taylor, Clarence “Gatemouth” Brown, Fats Domino, Pinetop Perkins, and Hubert Sumlin just to name a few. The Fabulous Thunderbirds, featuring Jimmie Vaughan and harmonica player Kim Wilson, became the first house band at the club. Clifford is also credited as being an early mentor for Jimmie Vaughan’s little brother Stevie Ray.
Antone was quoted by the Austin American-Statesman as saying, “When I finally heard the Chicago Blues, man, it was like I finally discovered what had been in my mind my whole life.” Today his sister Susan keeps the club thriving in the heart of Austin’s music scene, true to the traditions and beliefs her brother started almost 35 years ago. Clifford passed away in 2006 followed by a wake of sorrow from a city that recognized his role in making Austin’s moniker “Live Music Capital of the World” ring true. Earlier this year, Clifford Antone was inducted into the Blues Hall of Fame in Memphis, Tennessee.
The walls of Antone’s are full of memorabilia, photographs and sounds documenting the musical history for which the club is so well known. The spirit and rhythm of all the musicians who have visited Antone’s fills the club, and that’s what makes it what it is today.
Though thousands of great Gibson guitars have graced the Antone’s stage over the decades, very few if any have had the potential significance of accomplishing so much to further the dreams and legacy left behind by the great Clifford Antone.
“It’s such an honor to have Gibson Guitar’s support with this one-of-a -kind chance to continue Clifford’s dream of helping children,” Susan says. “I can’t think of a better tribute to my brother than to combine his love of Gibson guitars, music, and kids by putting this wonderful guitar into the hands of a fan of Clifford and the blues.”
To bid on this stunning Gibson BB King Lucille guitar customized with Clifford’s autograph on the pickguard click here. The auction will run from September 3 through September 30. For more information on Help Clifford Help Kids fundraising gala or American Youthworks, click

Nine Performing Groups & 50 Musicians coming to
Salisbury October 10, 2009 of event
The theme of the Rowan Annual Blues and Jazz festival this year is “Music performed by all age groups”.  The Rowan Annual Blues and Jazz festival committee has continued the tradition of presenting quality live music performed by musicians mainly from the Piedmont region as well as internationally renowned musicians.  The Salisbury Swing Band with eighteen musicians will kick off the festival near noon with the big band jazz sound.  The Triad Youth Jazz Society from Greensboro with eight students ranging in ages from 11 to 16 represents the next generation of talented jazz musicians. 
The Reggie Grantham Show will present a special presentation of jazzy patriotic songs in honor of veterans and the combined armed forces.  This band is composed of the Navy Reserve members of Norfolk VA and Pensacola, FL.  Our own local bluesman, Blazin’ Blues Bob (Bob Paolino, Owner of Woodleaf Lanes) will get the audience set to enjoy “roots blues” with his performance reflecting on the legendary blues musicians such as Robert Johnson and Muddy Waters. The Joe Robinson Jazz band of Winston Salem will introduce their latest CD songs. Sometime around sunset, the popular and requested Homemade Jamz Blues Band featuring Ryan and Kyle on their homemade guitars and their eleven year old sister, Taya on drums with a light show. Next the award-winning MTV band, Ju-Taun (from South New Jersey and currently on a BET Black College Tour) will present a variety of love songs that have made them in demand all over the world.  The Blues Providers blues band from the region will round out the evening with Chicago and “Jump blues.”
Ron “Big E” Eldridge, NPR radio personality of a jazz show on WNAA 90.1 FM will be MC for this event. For more information contact Rowan Blues and Jazz Society at 704-636-2811 or go to
The gates will open at noon and performances start with the Salisbury Swing Band, Triad Youth Jazz Society at 1 pm, The Reggie Grantham Show after 2 pm, Blazin’ Blues Bob after 3:30 pm, Musical Tributes after 4 pm, Joe Robinson Jazz Band after 5 pm, Homemade Jamz Blues Band after 7 pm, Ju-Taun vocalists after 8 pm and closing the evening will be the
Blues Providers after 9 pm.

The Philadelphia Inquirer
"Barrelhouse Blues: Location Recording and the Early Traditions of the Blues" by Paul Oliver; Basic Civitas
Blues music, in its early days, was often regarded as vulgar and primitive, not worthy of serious attention. Later, the early musicians came to be regarded as creators of folk art who had been exploited by the business.
In recent years, there's been a countercurrent that claimed these musicians were just like any other of their era, folks who played what they did simply because it could earn them money.
Blues scholar Paul Oliver doesn't opt for sexy theories or easy explanations. He has spent decades documenting the music, and "Barrelhouse Blues," his latest work, is designed as a response to "The Negro and His Music," a 1936 work by the noted Harlem Renaissance figure Alain Locke.
Oliver examines how Locke classified music according to style and geography. In an effort to answer questions Locke raised, Oliver focuses on recordings that record-company representatives made on location in the South in the 1920s and 1930s.
Location recording was a widespread practice before World War II, and it yielded some amazing material. Robert Johnson, the most mythologized of blues figures, recorded in 1936 and 1937 in Texas. He shows up briefly in "Barrelhouse Blues" when Oliver contrasts his work with that of the obscure Harold Holiday as part of a lengthy parade of musical characters.
Oliver focuses on a multitude of genres, several of which he calls "proto-blues" — music that helped the blues develop its distinctive flair. He divides religious music from what he and Locke call "seculars," and then further splits the music into very precise categories. Chapter 9, for instance, deals with spirituals, sea shanties, levee camp hollers, and call-and-response songs as sung by various work groups, including prisoners.
Most of these, at least to Oliver, have some relation to the blues, but the distinctions he makes can be befuddling: "The call and response principle was embedded in the African American song tradition and helped shape the blues, not so much as a vocal form but in the relationship of sung line and instrumental response characteristic of blues expression. There is no direct connection between the two idioms."
All this seems maddeningly arcane at times, particularly since Oliver also has a tendency to do too much guesswork. He explains numerous things he can't possibly know by saying "presumably" or "probably." Simply put, he alternates between being too academic and not academic enough.
Why read this book, then? Because Oliver has genuine and abiding affection for this music, and he quite ably examines songs and artists forgotten by time within the context of making larger points. There is, for instance, Cleosephus "Cleo" Gibson, who recorded the risque "I've Got Ford Engine Movements in My Hips" in Atlanta in 1929. Oliver connects her to vaudeville, then uses that link as a jumping-off point to discuss male-female vaudeville teams.
In discussing the field recordings, two key questions pop up. One of them is how the locations and performers chosen by the various companies influenced the music's future.
While it's not clear how certain locales came to be chosen at the expense of others, it is clear those decisions had consequences. No field recordings, for instance, were done in Florida and very few in Arkansas. The omission of certain regions means some local styles were to remain obscure.
A second question is handled less directly. Did the representatives from the record companies influence what was recorded and how it sounded? This is a key question, particularly when discussing the legacy of someone like Johnson, whose repertoire included non-blues songs but who recorded only blues. If that were a choice made for him, if he were the tool of a music mogul's notion of what would sell, one might view his legacy differently.
Oliver has one former talent scout, Sam Ayo of Texas, address this topic, but Ayo's words leave room for interpretation. Oliver, however, with his diligent research, makes it clear that the South was a patchwork quilt of styles — and that a great many of these were captured in their true forms. "What is truly significant is the individuality of blues singers and instrumentalists, and the originality or poetry of their personal expression," he writes.
Ultimately, Oliver's book serves as a reminder of the strains and disparate personalities that make up the culture of blues music, as well as the hit-or-miss nature of who and what came to be recorded for posterity. The book is a little dry and clumsy, but that somehow fits a writer who doesn't fall back on slogans or simple theories.
Detailed and deeply felt, "Barrelhouse Blues" is quite the education.

215 Great Rd., PO Box 1228
Rt. 2A, Shirley, MA 01464
Big News From The Bull Run:

We are doing some exciting renovations inside and outside at the “new” Bull Run. Outside we have installed a beautiful patio/café called Arthur’s Garden which will be opening soon. Inside we have completely renovated our 300 seat Sawtelle Room where most of our larger concerts are held. Our first concert in the new Sawtelle Room will be September 12 for the Johnny A show.
Also, you can now PURCHASE CONCERT TICKETS ONLINE with your credit card. Check out our schedule and ticket page here
Sat., Sept. 12 @ 8:00 pm.
Johnny A - For Johnny A., the guitar has held a lifelong fascination, her six strings exerting a powerful influence and addictive beauty since the first time he held them. He is widely regarded as one of America's finest contemporary guitarists. Gibson thinks so – their Custom Shop designed a Signature Edition guitar per his specific requests which, when it was marketed in 2003, placed him in an exclusive club that included legends like BB King, Wes Montgomery, Chet Atkins, Joe Perry, Pat Martino and Les Paul himself.
Opener: Chris Reddy - “ of the most respected and sought after musicians in New England. His combination of vocal and instrumental prowess and a dynamic stage presence make his performances one of the driving forces behind today’s solo acoustic scene. ” - Lara Dean, Sr. Editor, Pulse Magazine
Tickets are $20 advance and $25 day of show.
Call 978-425-4311 for info or

Chicago - Founded by world-class music geeks and all-around swell Chicagoans Nan Warshaw and Rob Miller in 1994, Bloodshot Records has spent the last 15 years building a reputation as one of the most adventurous independent labels in America, with a catalog that far exceeds the narrow alternative-country box that some put it in, and a promising future even in these turbulent times.
"In addition to the world economic collapse that's happening globally, we're going to see indie labels in free fall," Warshaw predicted at the South by Southwest Music & Media Conference last March, taking her place on a panel entitled "Indie Labels Keep the Faith." Bloodshot's plan to stay vital: More than merely manufacturing and distributing its artists' recordings, it hopes to morph into the full-service business support system that musicians need because they'd rather concentrate on making their music.
Of course, some fans would say that Bloodshot has been doing that from the beginning. It's always been as much a lifestyle as a label, and therein lies its success.
As this year's slightly slimmed-down version of the annual end-of-summer Hideout Block Party, Warshaw, Miller and staffers past and present will celebrate their accomplishments and the label's Quinceanera on Saturday on the street in front of everyone's favorite local music dive at Elston and Wabansia. The $10 admission benefits the Rock for Kids and Chicago 826 charities, and in addition to a full day of music, the 15th Anniversary Bloodshot Beer-B-Q promises a kids' area with art and games, an art show curated by the Yard Dog Gallery of Austin, Texas, belt-sander races, a drunken spelling bee and food from Pilsen's Honky Tonk BBQ.
As for the music, here is an hour-by-hour sampling of the sounds.
Sanctified Grumblers, noon
A fixture on the local music scene playing acoustic blues and ragtime for the last decade with Devil in a Woodpile, Rick "Cookin'" Sherry (vocals, washboard, harmonica, clarinet, jug and foot drum) has split from that group to lead this two-man band with Eric "Leadfoot" Noden (vocals, guitar, kazoo, harmonica, foot and six-string banjo) dedicated to reviving the jug band music of forgotten avatars such as Frank Stokes, Dick Justice and the Memphis Jug Band.
Jon Langford and Sally Timms, 1 p.m.
Moonlighting from the mighty Mekons -- something each of these ubiquitous musicians do with regularity in countless different guises -- the charmingly gruff-voiced Langford and the always enchanting Timms never fail to thrill, surprise and crack up audiences whenever they take the stage. They are, indeed, the Sonny and Cher of alt-country.
The Blacks, 1:35 p.m.
Although they split up after only two albums -- the 1998 debut "Dolly Horrorshow" and the spectacular follow-up "Just Like Home" (2000) -- the band led by guitarist-vocalist Danny Black and the inimitable bassist Gina Black were one of the most original and exciting groups Chicago produced in the last 20 years. Catch the volatile combo now, since there's no telling how long this reunion might last.
Bobby Bare Jr., 2:30 p.m.
Born with music in his blood -- he's the son of Nashville legend Bobby Bare, Sr. -- junior has forged a strong solo career after starting out on the music scene with the roots-rock band Bare, Jr. His last release "The Longest Meow" (2006) found him recording 11 songs in 11 hours but showing an ever-increasing emotional depth and stylistic diversity. And his gregarious persona makes his live shows even more rewarding.
Moonshine Willy, 3:30 p.m.
Country punks who have the distinction of being the first band Bloodshot signed, songwriter Kim Docter and her husband, bassist Mike Luke, have come out of musical retirement, raising their family in Santa Cruz, Calif., to put the band back together for a celebratory reunion gig.
Scotland Yard Gospel Choir, 4:25 p.m.
Indefatigable bandleader Elia Einhorn and his ever-evolving ork-pop/folk-rock combo are celebrating the release of their new album "...And the Horse You Rode in On," arriving in stores on Tuesday. The 15 tracks show the band maturing considerably from its self-titled 2007 Bloodshot bow, with Einhorn's sophisticated melodies and witty/literate lyrics still resonant of small-town-Wales-meets-big-city-Chicago but with less of a debt to early influences Belle & Sebastian and Morrissey.
Scott H. Biram, 5:25 p.m.
The self-proclaimed "Dirty Old One Man Band" from Austin, Texas, mixes blues, rockabilly, country and punk in an intoxicating brew, and then he drains the keg. He released his last Bloodshot album, "Something's Wrong/Lost Forever," earlier this year, but he's best appreciated live, preferably with a bottle in hand.
Deadstring Brothers, 6:25 p.m.
Led by guitarist/vocalist Kurt Marschke, these Detroit blues-rockers are touring in support of their recent album "Sao Paulo," putting the Black Crowes and others of that ilk to shame for even trying.
Alejandro Escovedo, 7:25 p.m.
Still riding high on his powerhouse 2008 album, "Real Animal," an autobiographical look at his early punk years, the Texas singer, songwriter and musical treasure comes to his adopted second home to celebrate his stint on Bloodshot and its forthcoming deluxe-edition reissue of his 2001 album, "A Man Under the Influence."
The Waco Brothers with Rico Bell, 8:40 p.m.
If any group on the Bloodshot roster typifies the label's ideal free-spirited mix of soulful sounds trumpeted with a no-holds-barred bacchanalian joy, it's Langford and the Waco Brothers, who are certain to close out the street party in high spirits.

Saturday September 26, 2009 (7:30PM - 11:00PM)
A hotly anticipated, critically acclaimed new film celebrating the raw, raucous spirit of Mississippi’s surviving blues scene will have its Mississippi Gulf Coast premiere at:
                  The Mary C O'Keefe Cultural Center
                  1600 Government St
                  Ocean Springs, Mississippi 39564

The film, M FOR MISSISSIPPI: A Road Trip through the Birthplace of the Blues, takes audiences on a wild ride through the heart of Mississippi's current blues scene - from sun-drenched cotton fields to whiskey-soaked juke joints.

Following two self-proclaimed blues fanatics, Jeff Konkel and Roger Stolle, on a week-long road trip across the state, M FOR MISSISSIPPI explores the thriving underbelly of a dying American art form in the land where it began.

Using exclusive interviews and all-new musical performances, M FOR MISSISSIPPI captures the proverbial "real deal" in its home where it is most comfortable and authentic.

By showcasing such a fascinating foreign land so close to home, the filmmakers hope to inspire countless others to make their own road trips down Mississippi's blue highways in search of the world's last truly-Delta blues men.

The film’s companion CD soundtrack recently collected the film’s highest honor to date: A Blues Music Award for DVD of the Year, beating out platinum-selling rock legend Carlos Santana, blues icon Albert Collins, guitarist Ronnie Earl and Chicago bluesman Little Arthur Duncan.

Venue Details:
The Mary C O'Keefe Cultural Center of Arts and Education
1600 Government St
Ocean Springs, Mississippi 39564

For more details about this event, including maps, comments, and other attendees, visit the event page here
To view the trailer click here

USA TODAY- "Number nine, number nine, number nine," an engineer's voice intones over Revolution 9, the loopy loops-laden experimental track on The Beatles' self-titled 1968 album.
Little did John Lennon realize that the tune he dubbed "music of the future" would foreshadow Revolution 09/09/09, the day that would usher The Beatles' entire catalog into the future with a substantial engineering overhaul, rendering the most familiar music of the modern age suddenly astonishing and revelatory.
The remastered Beatles catalog, on sale this past Wednesday, is the remasterpiece fans have been craving since 1987, when the band's albums lost dimension and purity in their only wholesale transfer to CD.
A handful of scrubbed Beatles discs have bubbled up since then, most strikingly 2000's 1 hits compilation and 2006's brazen Love remix, but this is the first thorough catalog upgrade, a long-overdue digital reparation that restores the original vinyl's wider midrange, pin-drop clarity and rhythmic heft. Drum beats crackle with renewed insistence, burnishing Ringo Starr's star. Paul McCartney's bass has more visceral punch.
Abbey Road engineers tweaked the 20th century's most cherished songbook with surgical care, limiting reliance on "limiting," which makes music seem louder while quashing dynamic range.
Results vary from subtle to dramatic, and the mono-stereo debate will find eternal life in the blogosphere (especially regarding Sgt. Pepper), yet the enhancements overall are undeniable.
Even new and casual fans will be tempted to splurge on the $260 16-disc stereo box set (plus DVD) and the pricier $299 13-disc mono box set, which won't return to shelves once the initial pressing sells out.
Only the stereo discs are available individually. Cherry-picking? Start with these:
•The Beatles (1968). The so-called White Album sounds remarkably fresh, especially its unshackled rockers. Back in the U.S.S.R., Helter Skelter and Yer Blues cook with a furious intensity. I Will is stripped to a translucent elegance, and While My Guitar Gently Weeps rises to grander heights (and discloses a kick drum never before audible).
•Abbey Road (1969). Rich details emerge throughout the band's recording swansong, particularly showcasing the phenomenal strengths and interplay of McCartney and Starr. Come Together has a tougher strut, and The End explodes with rhythmic power. The textures and segues of the 16-minute medley are clearer, fully revealing a marvel of sonic architecture.
•Revolver (1966). Every groove is revitalized, brightening Good Day Sunshine and broadening Here, There and Everywhere. The psychedelic effects in Tomorrow Never Knows nearly shimmer. And the string quartet in Eleanor Rigby? It's now in your living room.
•A Hard Day's Night (1964). That opening claaaang! in the title track never sounded so vital. There's a more robust kick to Can't Buy Me Love. And yep, engineers didn't plaster over the catch in McCartney's voice on If I Fell.
•Let It Be(1970). The controversial Phil Spector production (despised by McCartney) benefits from a simple cleansing that brightens the beautifully spacey Across the Universe, plaintive title track and muscular Get Back.
The remasters won't be the last souvenir stop on The Beatles' long and winding road to immortality. Fans are clamoring for a full remix and Blu-ray DVDs of the catalog. That's years away. For now, this magical mystery tour de force breaks enough sound barriers.
Rather than cosmetically tarting up The Beatles, the scrupulous calibration has more honestly conveyed the band's warm, uplifting, indestructible pop. What you hear isn't technology. It's heart.

A festival of music, gourmet food and the arts
at Fort Mason's Great Meadow in San Francisco, CA
Lazarex Cancer Foundation
P.O. Box 741 Danville, CA 94526
1.877.866.9523 toll free   925.820.4517   office 925.552.7305 fax

 Cheryl & Watermelon Slim
Jerry Cryout and “Stars Of Tomorrow
Editor Note: Blues Festival Guide Sales Rep Cheryl O'Grady-Yearnshaw and her husband Tom Yearshaw are taking a well deserved vacation.  A vacation in search of Blues!
This past weekend was filled with thirty-five bands and the sunset to sunup music schedule at the Dusk Til Dawn Festival in Rentiesville, Oklahoma. Watermelon Slim headlined Friday’s kickoff evening and was all over the stage, singing, dancing, running, and jumping, all the while playing his guitar and harmonica.  He quickly established rapport with the audience, and it was hard to tell whether Slim or the crowd was really having the better time. (On a side note, after his paying gig at Dust Til Dawn on Friday and a quick trip to Dallas and back for another playing gig on Saturday, Watermelon Slim was back in Rentiesville just to have some fun on Sunday evening. He did a kids show on the Backporch Stage before finishing the evening by jamming with Joe Louis Walker, among others.)
Dusk Til Dawn is truly a unique blues festival.  The combination of an enormous number of talented musicians, an array of activities for children, and a relaxed atmosphere where the next generation of young blues players can learn “at the knee” of older blues performers makes this an incredible blues music opportunity. Watching moments like the steam boiling from highly animated drummer, Cedric Burnside, on a warm Oklahoma night just added to the ambiance.
Over its 19-year run, D.C. and Selby Minner have grown the Dusk Til Dawn Blues festival from a celebration of local and regional blues music to a show that includes blues acts from across the country. Although D.C. Minner’s body departed this earth a year and a half ago, his spirit and the legacy of his music are everywhere at the festival, and we wish to thank his other co-founder, Selby Minner, and her able band of volunteers, anchored by the festival’s board (Friends of Rentiesville - FOR, Inc) for continuing his legacy.
This week we’ll hit some Mississippi juke joints, the B.B. King Museum in Indianola, and whatever else we can squeeze in. We will close the week in far southern Mississippi at the Mississippi Gulf Coast Blues Festival on September 12th in Pascagoula., Mississippi.
Don’t forget to let us know about a hot blues spot or great barbeque.
Email: Cheryl@bluesfestivalguide.
Back on the blues highway,
Cheryl and Tom


Tuesday Night : Blues Jam

Drink Specials: $2 PBR Cans and $3 Jager Shots  

Jam with the best Blues players in Chicago! It's your turn to get up on stage with the likes of Aron Burton and Two For the Blues and play your heart out. The stage is always crowded and the bar is always packed, so come early and sign up!
The blues jam starts at 9 pm



back to top

The LOS ANGELES BLUES SOCIETY is pleased to announce their first BLUES JAM on SUNDAY, AUGUST 23, 2009. They would love to see as many Blues players, and fans of the blues as we can stand at this inaugural event. This jam is open to ALL musicians!
They will have a great band to start it off, a back line there, and gear to play. If you want to bring an amp of your own that’s fine as well. The Hosting band will be the Blues & Fries Band. They will also have some of our member artists on hand to sit-in and join the fun!
This will be a very cool event to come and play, or listen to some very cool local Blues. All are welcome! The Big Fish is a great place to see and hear Blues music.
5230 San Fernando Road
Glendale, CA 91203
TIME: 3:00 PM – 7:00 PM
Come down to jam, listen and have a great time!


back to top


By any account BB King is the most popular blues player in history.  He stops by the Radio Hour to talk about his Grammy-winning album, ONE KIND FAVOR (making fifteen Grammies in all, over the course of his career).  Elwood will play cuts from the CD, plus some of the blues that have inspired Mr. King, from Lonnie Johnson and Howlin’ Wolf.  Plus, you will hear new music from all round bluesman Shane Dwight.  And there is a chance for five listeners to win CRIME SCENE QUEEN, the new CD from Denver’s The Informants.  Don’t forget, all this month, Alligator Records is eager for ten listeners to win ten Alligator CDs of their choice.      
             for times and stations in your area.

Click on festival name to click through to festival website.
Over 500 festivals are listed on the website

Festival Promoters got a festival you'd like to include? 
It's FREE, just go to the website to post your information
Blues to the Point
September 11-12, 2009

Carrollton, KY, U.S.
Greater Ozarks Blues Festival
September 11-12, 2009

Springfield, Missouri, U.S.
Red, White and Blues
September 11-12, 2009

Fredonia, New York, U.S.
2009 Smokin' Jazz & Barbecue Blues Festival
September 11-12, 2009
Brighton, Michigan, Canada
Blues At The Beach
September 11-13, 2009

Virginia Beach, VA , U.S.
Southside Shuffle Blues and Jazz Festival
September 11-13, 2009

Mississauga, Ontario, Canada
Belvedere Blues Festival
September 11-13, 2009

Canon City, Colorado, U.S.
Dunfanaghy Jazz & Blues Festival
September 11-13, 2009

Dunfanaghy, County Donegal, Ireland
+353 861735109
Sun Prairie Blues Fest
September 12, 2009
Sun Prairie, Wisconsin, U.S.
Playing with Fire
September 12, 2009

Omaha, Nebraska, U.S.
Great American Blues and BBQ Festival
September 12, 2009

San Rafael, CA, U.S.
Russian River Jazz & Blues Festival
September 12-13, 2009

Guerneville, California, U.S.
Northern California Blues Festival
September 12-13, 2009
Sacramento, CA, U.S.
Mississippi Gulf Coast Blues Festival
September 12-13, 2009
Gautier, Mississippi, U.S.
Harvest Jazz & Blues Festival
September 15-20, 2009

Fredericton, New Brunswick, Canada
Denton Blues Festival
Saturday, September 19, 2009

Denton, Texas, U.S.
Website: n/a
Blues By The Sea
September 17-19, 2009

Astoria, Oregon, U.S.
Jazz & Blues In The Village
September 18-19, 2009

Sarnia, Ontario, Canada
Old Town Blues Festival
September 18-19, 2009

Lansing, Michigan, U.S.
Telluride Blues & Brews Festival
September 18-20, 2009
Telluride, Colorado, U.S.
Stillwater Blues Festival
September 18-20, 2009

Stillwater, Oklahoma, U.S.
Mississippi Delta Blues and Heritage Festival
September 19, 2009

Greenville, Mississippi, U.S.
Bakersfield Blues Festival
September 19, 2009
Bakersfield, CA, U.S.
Delta Blues Festival
September 19, 2009

Antioch , CA, U.S.
4th Annual BamFest
September 19, 2009
Madison, Wisconsin, U.S.
Paxico Blues Fest
September 19, 2009

Paxico, Kansas, U.S.
KUFOBU Bluesdesaster 09
September 19, 2009

Burgau, Styria, Austria
Delaware River Blues Fest
September 20, 2009
Stockton, NJ, U.S.
Roots n' Blues n' BBQ
September 25-26, 2009

Columbia, Missouri , U.S.
RBA Publishing Inc is based in Reno, NV with a satellite office in Beverly Hills, Florida. We produce the annual Blues Festival Guide magazine (now in its 7th year), the top-ranking website:, and this weekly blues newsletter: The Blues Festival E-Guide with approximately 20,000 weekly subscribers. We look forward to your suggestions, critiques, questions, etc.

Reach the E-Guide editor, Gordon Bulcock,

or contact our home office at 775-337-8626,

back to top
back to top

Information - both editorial and advertising - in the Blues Festival E-Guide - is believed to be correct but not guaranteed - so check it carefully before you attend any event or send money for anything. We do not write the news... just report it.
Blues Festival E-Guide • PO Box 50635 • Reno, NV 89503
Subscribe | Unsubscribe | Send to a Friend | Preferences | Report Spam
Powered by MyNewsletterBuilder