T-Model Ford still a "Ladies Man"

T-Model Ford might be 88 years old. Maybe 89. Maybe -- no one seems to know for sure. Not even T-Model.

One thing for sure, though, is that this venerable Mississippi bluesman -- James Lewis Carter Ford, also known as the Taildragger --  is still making music that has its roots deep in the primeval mists of the blues.

He's still touring, and he even has a new CD, "The Ladies Man" (Alive Records), where he takes an acoustic guitar, a few  musicians who lend clean and unobtrusive backing, and plays elegantly simple old blues that hang in the air like Spanish moss, feel like the swamp under your feet and live in your head long after the songs end.

Ford's vocals are tough and rough, and he can still holler and shout -- like he does on "Two Trains" -- while his guitar picking drones a harsh and hypnotic backup, giving the whole thing an understated helacious ferocity. Great stuff. It's interesting that Ford didn't even play guitar until was 58. Not that he's become some kind of guitar wizard. Ford's simple style is a strong reminder that powerful music comes from strength and passion, and not just from increased voltage. Here's a sample of "Two Trains":

The tracks all take a laid-back approach -- not too fast, not too slow, and every one overflows with the spirit of deep blues. "Love Me All Night Long" rocks just enough with both music and attitude. This track ends with some spoken asides: "I'm the boss of the blues, baby," and "I'm a ladies man." Both times a sweet woman's soft voice answers, "I know you are." I know, it's not exactly Romeo and Juliet, but the surprising intimacy of the remarks feels just right ... just like the blues should feel.

There are three cuts of Ford just talking between takes, riffing on his past -- "I was born in a swamp" -- and his libation -- "It's Jack Daniels time." I normally don't care much for these musical interruptions, but it seems to work here. Ford's ramblings sound like blues without the music.

Bluesmen like Ford, and his music, are a national treasure. If that's not enough of a reason to buy and listen, then the great music will be. This is blues from the original mold. Enjoy.  

Here's a video that captures T-Model (and his buddy, Jack) in all their bluesy glory. You can find the song, "Sallie Mae," on this CD:

A fine Florida piano stomp

As most of you will remember, BlueNotes is currently operating from his Winter Headquarters in St. Petersburg, Fla., where the snow never shines, but the sun usually does. All that Burgh snow looks very pretty from down here.

Well, we've had our first real St. Pete blues experience, which was a larger and better version of the boogie-woogie piano show we attended last year. Last year, St. Pete's boogie queen, Liz Pennock, with Dr. Blues, appeared with Detroit's world-renowned boogiemeister, Bob Seeley. It was a fine show.

This year they expanded the event, bringing back Seeley and Pennock, and also Cincinnati's Ricky Nye and Barry Cuda, a free-spirit piano bluesman out of Key West. And they expanded the enjoyment, as well. The night was titled "Boogie Woogie Blues Piano Stomp," and ranged from great boogie to fine blues piano, invoking the era of everyone from Little Brother Montgomery to Fats Waller to Meade Lux Lewis - great music and great fun.

Here's what I saw a week or so ago (yes, I've been neglecting some of my blogging duties), in the order that it happened, with photos:

Ricky Nye, a Cincinnati native and blues and boogie-woogie devotee, turned in a strong set of piano work that included songs like "Chicken a la Blues," which Nye described as coming to him from Big Ed Thompson and Cousin Joe, and "Down the Road Apiece" and "You Must be Foolin."  Nye is a regular at the Cincy Blues Fest and its Arches Piano Stage, where great blues piano is committed every year, and he's been producing the Boogie Woogie Piano Summit since 2009.

Following Nye, Liz Pennock and guitarist Dr. Blues (husband Paul Shambarger) of St. Pete added their sparkle to the night, as Liz, an accomplished blues piano and boogie player held forth with some rocking piano on originals like "Six-Finger Boogie" and "Boogie Woogie Staircase."  She teamed with Nye on "How Long Blues" and with Nye and Dr. Blues on "Meet Me With Your Black Drawers On."

Bob Seeley, 80, one of the last of the boogie-woogie masters to come out of the great tradion of Meade Lux Lewis (a mentor), Albert Ammons anbd Pete Johnson, came out after intermission and made his fingers and the music fly. He did some traditional boogie, but then takes it to the next level by inserting boogie where it wasn't, but maybe should be anyway -- like with "St. Louis Blues," "Amazing Grace" and "Sing, Sing, Sing." The man is simply amazing.

Then there was a piano man named Barry Cuda, out of Key West, a very funny and knowledgeable player whose wit seemed to work as fast as his fingers. 

Following Barry, or Mr. Cuda, (I'm not sure what to call him), everyone came out and tickled many ivories on the two pianos, including a little boogie-woogie dancing from the Cuda and Seeley. Mostly from Seeley (see below) in his natty pinstripe suit and straw fedora, all of which almost equaled the piano playing.
All of this took place in a nifty venue called the Palladium Theater in St. Pete, Fla., where they have lots of cool concerts (Paul, of Peter, Paul and Mary is coming up soon, as is Roy Book Binder).

I have to say that this evening of piano magic tickled BlueNotes as well as the ivories immensely, as piano blues and boogie-woogie have always inflamed his sensibilities.

Seeley alone is worth the effort. He represents an era that's pretty much gone, an era when piano blues stomped through the landscape with a striding bass and a right hand that rocked the joint. BlueNotes often regrets that he was born much too late.

Tribute to Burgh guitarist Warren King postponed to Feb. 13

The Burgh blizzard has postponed the tribute to guitarist Warren King from yesterday to next Saturday, Feb 13, at Moondog's in Blawnox.

It's true that King was a fierce guitarist who put life into in the Pittsburgh rock scene, but he was also steeped in the blues. So no matter what yiour musical persuasion, you should take time to remember one of the Burgh's finest. Norm Nardini will be hosting the Moondog's event from 2 to 8 p.m.

For details, check the web site of the Blues Society of Western Pa.

Here's an obit/tribute from the PG a few days ago.

And here's a video from the old days.

It's always sad to lose an artist like King. It's even sadder when he leaves way before his time.

Happy birthday, Bossman

That's the Bossman, Porky Chedwick. He's 92 today. If you grew up in or around the Burgh, you know about his role in and influence on the Pittsburgh music scene since 1948, especially when it came to R&B, blues, doo-wop and all that fine stuff. He certainly gave BlueNotes a giant shove in the right direction, even before there was a BlueNotes.

He's so much a part of Pittsburgh, he couldn't even leave when he tried. He "retired" to Florida a few years ago,but came back. Apparently you can take the Bossman out of the Burgh, but you can't take the Burgh out of the Bossman. Or something like that.

PG columnist Brian O'Neil did a nice article on Porky the other day, just for the occasion.

I know there are plenty of BlueNotes movers and groovers who love the music that Porky brought, so Bossman, consider this a Happy Birthday from all of us.

There will also be a little party for Porky tonight at Spencer's Down Under in West Mifflin, from 7 to 11. There should be plenty of great old music.

Ernie Hawkins coming up again at Calliope, with a great band

A while back, in October, Pittsburgh's great finger-picking guitarist Ernie Hawkins opened a new season for Calliope in its new performance space at Simmons Hall at the Pittsburgh Center for the Arts. He did it with a fine little band made up of harpman Marc Reisman, Roger Day on tuba, percussionist Rich Strong, and Paul Cosentino with his wonderful clarinet.

Some of you complained that the price of the opening show, a dinner and benefit, was too steep for the average fan. Well, Calliope seems to have heard that complaint, and has scheduled another show Friday night with the same lineup (are you listening, Bluzer?). If you're a Hawkins fan, or a blues fan, or even a tuba and clarinet fan, this should be a show not to miss.

BlueNotes can almost guarantee that you'll love the new Simmons Hall space and its cozy club-style setting. And he also believes that it should be another night of of excellent Hawkins-style music, enhanced by this snappy band. If you go, pay special attention to the lyrical clarinet contributions of Cosentino.

Sadly, BlueNotes will miss this show, but he will welcome your comment and reviews, as always.

The blues Grammy winners

I know that the blues Grammy awards don't always mean a lot, since the Grammy voters don't usually seem to have much of a clue about the blues, but it's at least worth mentioning what won and what didn't. (I know it's a little late, but there have been some technical issues that have kept me from the BlueNotes blog software, but here we are now).

First, the the Grammy  for "Best Traditional Blues Album" was won by Ramblin' Jack Elliott for "A Stranger Here." I enjoyed the album, but I don't tum. hink it was realy a "traditional" blues album. 

The other nominees were:"Blue Again" by the The Mick Fleetwood Blues Band; "Rough & Tough" by John Hammond; "Stomp! The Blues Tonight," by Duke Robillard, and "Chicago Blues: A Living History," by Billy Boy Arnold, Lurrie Bell, Billy Branch and John Primer.

I thought that "Living History" was the best example of the genre, since it was traditional Chicago blues at its best. Elliott doesn't seem to fall into this blues category at all.

 In "Best Contemporary Blues Album," Derek Trucks won for "Already Free." The other nominees were "This Time" by Robert Cray, "The Truth According To Ruthie Foster" by Ruthie Foster, "Live: Hope At The Hideout" by Mavis Staples and "Back To The River" by Susan Tedeschi. Trucks is a fantastic guitarist, but I thought Foster best represented the blues in this category.

On the plus side, Littlle Walter won "Best Historical Album" for "The Complete Chess Masters, 1950 - 1967"; and Buckwheat Zydeco won for "Best Zydeco or Cajun Music Album" for "Lay Your Burden Down." It's hard to argue with either of those.

As a result of all that, I'd have to give the Grammys a "C" in its blues awards. I know most of you blues fans could give a hoot about the Grammys, but since they represent the thinking of the Big Musical Establishment, it's worth noting.

I finally got to a great bluesy show here in sunny St. Pete, Fla., over the weekend, a fine presentation of boogie woogie and other blues piano, and I'll have more later, including some BlueNotes photos.

Also, the great Etta James has been hospitalized with a variety of ailments, as noted in this article.

Blues from Hollywood: Fats and The Blue Flames

Blues from the West Coast, often loose and swinging, like the West Coast itself (thus, West Coast blues),  have been around since at least the 1940s, after T-Bone Walker carried his guitar from Texas to Los Angeles and in 1947 recorded his classic, "Call It Stormy Monday."

Fast forward through many a fine West Coast blues artist to the early '70s, when a young blues guitarist, about 20, named Michael Mann, was a player in LA-area clubs, soaking up the blues. Soon, he became Hollywood Fats, reportedly named by Buddy Guy and Junior Wells, and became one of the Coast's top blues guitarists, who could swing or sting as the occasion or the mood demanded.

He formed the Hollywood Fats Band and played in other groups, including the James Harmon band. They recorded one album in 1979, and Fats recorded with other groups. Sadly, he died in 1986, by most accounts a major talent gone to waste with heroin.

Somewhere around 2005, the surviving members of the Hollywood Fats Band regrouped as Hollywood Blue Flames, again featuring the kind of West Coast blues that was their mother tongue.

Which brings me to the band's latest CD release, "Deep in America" (Delta Groove), a twofer that reaches back in the past for some Hollywood Fats material, and on the other disc, a retrospective of the Blue Flames, featuring Junior Watson and Kirk Fletcher on guitar, with the harp and vocal work still primarily handled by Al Blake, one of the band's original members.

Watson and Fletcher are fine axmen for the band, but when you listen to the old side, you'll hear Fats sting a little more often than the current officeholders. Check out his take on the Freddie King chestnut, "Hide Away."

But that's okay, since they've evolved into a little more of a jump-blues band, but still with lots of traditional sensibilities. On the Blue Flames disc, for example, they move easily from the swinging and piano-heavy "Crescent City Rock" to "Leavin California," "Hip-Hoppin' Toad" and "Music Man," all examples of nicely done country-flavored acoustic material featuring Blake on guitar. Then they jump into a swinging rendition of "Jalopy to Drive," by John Lee "Sonny Boy" Williamson (the real Sonny Boy). Listen to an audio clip of "Jalopy":

I should note that Blake, who handles most of the vocals on both discs, is a fine and versatile singer, able to lean into hard, tight blues and then relax and swing. In fact, the whole band shows fine blues sensibilities across a range of styles without losing their very authentic touch. Much of the material is original, and most of it is written by Blake. But the entire group crackles, and it's hard not to notice the piano work of Fred Kaplan.

These guys have become an excellent West Coast band. We may never get a chance to see them around the Burgh, but we could do a lot worse than enjoy these sounds. They play great blues.

Here's a video of Fats, playing with James Harmon and Kid Ramos in roughly the mid-'80s. (There's no embedded video, so you have to click right here, now.)

Here's a more recent video of the Blue Flames, featuring Blake on harp and vocals, with Junior Watson on guitar.

Buddy Guy and his Legends

Here's a nice piece from the Chicago Sun-Times about Buddy Guy and his final weeks at his current Chicago club, Legends, before he moves it to a new location.

Guy is one of the few bluesmen left from his generation, one that took Chicago blues out of Chicago and into the rest of the world.

Here's Buddy and the classic song about the city he's made his own:

The 2010 International Blues Challenge winners

Some real blues news for a change -- the results of the 2010 IBC playoffs in Memphis from the weekend. The IBC hosts winners of the competition from blues societies around the country, and then picks a winner in two categories: bands and solo/duo act.

The winner of the band competition was to Grady Champion of the Mississippi Delta Blues Society of Indianola. Second place went to the Karen Lovely Band, Cascade Blues Association, and the third spot went to Cheryl Renee with Them Bones, from the Cincy Blues Society.

The solo/duo winner was Matt Andersen, from the Harvest Jazz and Blues of Fredericton, New Brunswick, Canada and in second place was Alphonso Sanders and Bill "Howl-n-Madd" Perry from Mississippi's Crossroads Blues Society. More information on the Blues Foundation web site.

Just for the record, the Blues Society of Western Pa. sent Felix & the Hurricanes as a band entry and Bubs McKeg and Dr. Blue as the solo/duo entry. Neither managed a win, but as BSWPA president Jonnye Weber notes in her blog of the event, they turned in fine performances. Meanwhile, the society is getting ready for next year's competition, and looking for bands to compete. Details on the BSWPA web site.

A few blues notes and thank-yous

For the first order of business today, we need to thank blues-loving Bill H of E-Town (Elizabeth, where the young BlueNotes learned to slow dance to doo-wop), for his fine work in writing about the Jorma Kaukonen and David Bromberg show in the Burgh Tuesday night. (Scroll down a couple of posts to read it.) I'm sorry I missed that one. Here's the dandy Scott Mervis review in the PG that Bill mentioned.

Bill's review, following the also fine comment by Bluzer about developing his love for the blues, are great examples of the worldwide reach of BlueNotes, and its ability to bring joy, happiness and the blues to all mankind (okay, maybe that's just a little strong). Thanks, guys.

The Carolina Chocolate Drops are coming to the Thunderbird, as Bluzer as mentioned. Here's a review of a recent show in the Washington Post. They should be well worth checking out. Here's a video clip:

One of my favorite albums many years ago was "Kate & Anna McGarrigal" recorded by the Canadian McGarrigle sisters, Kate and Anna. I loved their sweet harmonies and and slightly off-center music-making -- mostly categorized as folk, but truly universal music. Sadly Kate McGarrigler has died. Here's a very nice article about her and her career. And here's a video: