Mar 28 2009
Hey Bill H .. a heckuva job, as Geogre Bush might've said. Here's Bill's excellent review of the Nick Moss/Lurrie Bell show at the T-Bird on Thursday night. Glad it came off well, especially after a near-miss.
Nick Moss & The Flip Tops featuring Lurrie Bell was a killer show, as expected. There was a decent sized crowd even though it was a thursday night and the PITT men's b-ball game was on TV. The vibe was interesting, there was definitely a sense of anticipation from the moment we walked through the door.
Nick & the guys opened up smokin' from the get go. Aaron Wilson is the latest addition to the Flip Tops revolving drum stool and he more than held his own playing with power while also being capable of restraint as needed.
Utility man Gerry Hundt worked his way around the horn, begining on bass, but making stops on harp, mando and adding a smattering of guitar as well. He's one of the main reasons that this is one of the best bands out there no matter the musical style. He adds a depth to the overall sound that helps them travel in just about any direction they desire.
Piano Willie Oshawny brings that real deal feel to the keys that keeps things rooted in the classic post war Chicago sound. His touch and taste allow him to step up and shine brightly when called on yet keep the rhythm rolling when while playing within the groove. Like his mates, Oshawny plays ego-free ensemble driven music that captivates with its depth and strength.
A backing band with the chops and power the Flip Tops exhibit might occasionally prove overwhelming to some frontmen. Nick Moss is definitely not one of them cats though. The big man brings it on a regular basis and had it going on extra that night. Perhaps it was the challenge that awaited him in the wings from his special guest or just that it's this man's time and he's capable of taking full advantage on a regular basis. His vocals are powerful and persuasive, he commands the mic like a man with something vital to say. If that's not enough, he's everybit as strong on the guitar. As I am fond of saying about Moss, he can sting with the best of them and swing at just the right moment.
The best of them would have to include Lurrie Bell. He grew up with the blues in his blood. Whether backing his harp master father Carey when he was growing up, as part of Billy Branch & The SOBs(Sons Of Blues) or as a leader on his own fine recordings, he brings an innate feel for the music that only someone born to it could. It was cool to hear him blowing unamplified harp sittin' on the balcony steps at the back of the floor while watching Nick and the guys tear it up. Once onstage, he captivated the crowd with his obvious love of the music, distinctive vocals and world class fret work. Many folks who's opinion I respect, including more than a few from the Chicago area point to Bell as the premier guitarist from that scene. I saw nothing the other night to disprove that.
Cleveland based harp man Wallace Coleman drove in with his wife just to watch the show and he seemed to dig the proceedings every bit as much as the rest of us regular joes.
Having shows like this come through town can only be good for the Blues in this region. This kinda music doesn't get much better than what was heard that night and I'm glad I could be apart of it from the audience. Great stuff.
Humbly submitted this day 3/27/09
bluenotes junior cub reporter
Bill from Elizabeth
Mar 28 2009
Did anyone catch Nick Moss and Lurrie Bell and care to let us know how good they were? Ditto Jimmy Thackery.
Has anyone seen harpwoman Lucy Van Sickle at any gigs? She's back in the Burgh and looking for work. It would be good to add another blues voice to the local scene. If anyone is interested, let me know.
Regarding the recent comments here on the movie "Cadillac Records," based on the story of Chess Records: I didn't try to see it after I read how much it really distorted the history of the label -- to the point of ignoring Phil Chess, one of the founders, and throwing in a gratuitous affair between Leonard Chess and Etta James. Shoot, the honest and accurate story would've made a great film.
I haven't spent much time in the bars of St. Petersburg yet, but I did run into a cool blues player named Sarasota Slim the other night. He's from Sarasota and he's also slim, and he plays a pretty mean guitar, including a Resonator. My first impression is that between Tampa and St. Pete, the blues scene isn't as good as it is in the BluesBurgh.
If you're in the neighborhood, there's a memorial for John Cephas, who died March 4 at age 78, from 1-3 p.m. in the Smithsonian’s Baird Auditorium at the National Museum of Natural History Sunday in Washington, D.C. Maybe the blues-loving new prez will be there.
Here's the lineup for this year's Chicago Blues Festival, cut from four days to three, but still filled with performers. I've managed to get there twice in the past few years, and recommend it as one of the best. And it's still free.
And here's the lineup for the Western Maryland Blues Fest in Hagerstown, which seems to produce a fine and under-rated festival each year -- this year from May 28-31. It's an easy drive and worth the trip
And finally, the schedule for the excellent Pocono Blues Festival, from July 24-26 -- sadly, the same weekend as the Pittsburgh Blues Festival (no schedule yet).
Mar 26 2009
Two reminders today.
First, tonight. Don't forget Nick Moss and Lurrie Bell at the Thunderbird. It should be a spendid show.
Second, tomorrow night, Jimmy Thackery comes back to town for a visit to Moondog's, which could almost be Thackery's second home. Last time he was here was Halloween night, just after the release of his latest album, "Inside Tracks," which I wrote about here, and later did a podcast interview with Jimmy.
BlueNotes has no further complaints today. The sun is shining in my back door. And pretty much everywhere else. It just seems to keep following me around.
Mar 25 2009
Serious fans of Chicago blues are reminded that tomorrow night (3.26) there will be another mandatory show at the Thunderbird Cafe -- Nick Moss and his Flip Tops and Lurrie Bell. Lurrie is the son of the late, great harp player Carey Bell, and one of the reigning young Turks of Chicago blues. Moss is one of those hard-working bluesmen who's dedicated his career to keeping that classic music alive. Once again, reviews and photos are invited.
Festival manners
Usually, blues fans are some of the best audiences I see. They tend to respect the music and musicians, and respect other fans as well. But sometimes ...
I was sitting comfortably in the BlueNotes portable blues-watching device, enjoying the Legendary Rhythm & Blues Revue, and yes, chilly Burghers, baking in the 80-degree Florida sun. Magic Dick had just started whamming his jammer in a wild duet with Deanna Bogart on keyboards, when a few fans decided that the space in front of my row would make an excellent dance floor.
A few requests to get them to move away were futile, as several women insisted on displaying their best moves for those of us seated behind them. At right you'll see about as much as I saw of the Magic Man, between swiveling hips and undaunted derrieres. Later, when Ronnie Baker Brooks came out to strut his stuff, and I stood up to take some photos around the bouncing babes, one sort of apologized: "I really love Ronnie," she said. Right. And the rest of us were just there to work on our tan.
It got a little worse later, for Delbert McClinton's closing show, when fans lined the fence in front of the first few rows of seat, forcing everybody behind them to stand. Now, let it be known that BlueNotes has no aversion to moving his body in time to the music, or getting the best seat possible. But I do try to remember that I'm not the only one at the show. A little security would have worked wonders.
Otherwise, I was very impressed with the festival. It was a nicely run operation in a beautiful spot right on Tampa Bay. There was a wide variety of food vendors, a cigar tent, and a couple of beers that actually went a little above the ever-present Bud Light category (Just once, BlueNotes would love to see a Dogfish Head tent). And it sounds like the festival was almost a victim of hard times, since announcers kept thanking a local law firm -- Florin Roebig -- for making it possible for the 16th version of this fest to happen. So a tip of the BlueNotes hat and mug to those guys.
One more thing: A petty complaint. The head fest honcho seemed to be a guy named Charles Ross. I emailed him a couple of times, asking about the possibility of getting permission to do a little BlueNotes photography from the photo area. He didn't respond. As you can see, I managed to get a few pics without any special access, and that's cool. But, assuming Mr. Ross got my emails, he could have at least responded with a polite "not possible." BlueNotes believes bad manners don't mix well with the blues.
But enough whining. Here are a few more photos that I couldn't quite fit into yesterday's post:
Mar 24 2009
Yes, that Tampa Bay. Florida. Where the Steelers picked up No. 6. And just so you know, it's not easy covering a blues festival on the shores of Tampa Bay in March. First, you can get sunburned. Second, you can get seagull feces on your hat (if you're lucky enough to be wearing one. BlueNotes was.).
The upside is lots of great blues. BlueNotes took in the Saturday lineup at the three-day Tampa Bay Blues Fest, and regretted that for various unsatisfactory reasons, that he couldn't do more than that.
But Saturday was a good, long, enjoyable day of great, often sublime, blues. So I thought I'd talk about it for a little while.
Teresa James, from Los Angeles via Houston, kicked off the day, and because the second act, Eric Lindell, was late to the party, she did almost two hours. That was a good thing. I'd never heard her before, and it was a real treat.
She's a soulful blues belter who sounds a little bit like a slightly calmer Janis Joplin -- just slightly, though. She also plays keyboards, writes songs (I loved "Day Drinkin'") and leads a crackling band called the Rhythm Tramps.
She's not a newcomer, but just hasn't had much northern exposure. And since it was the first time for both of us at the Tampa Bay fest, the pleasure was very mutual.
Next, Eric Lindell finally showed up, and I didn't recognize him right away with his cool new haircut -- much shorter than his surfer-dude locks used to be. Losing some hair hasn't stolen his musical chops, though, and Eric cranked out his usual tasty soulful gumbo that mixes New Orleans R&B and blues and rootsy music and Eric's spirit into a spirited original blend.
And he's got a new CD, "Gulf Coast Highway," out this week. A BlueNotes review will be forthcoming.
Next was Ruthie Foster, one of the main reasons I wanted to see the Saturday show. She didn't disappoint. I'd heard her voice on record, and it's great. But in person, her pipes are simply magnificent. She's another Texan (Brazos Valley, Waco) who's found her voice in the church choir, added folk and blues, and finally, her own perspective. The result is a spirited, soulful mix of music that moves you as much as with its raw power as well as its thoughtful presentation.
Foster focuses much of her music on uplifting themes and some aimed at women -- which is fine with me. The estrogen-based carbon unit is one of BlueNotes' favorites. And all of it is just great singing.
One of the most unusual numbers was a powerful a cappella version of the Son House song, "Don't You Mind People Grinning in Your Face." Her closer (before an encore) was the powerful gospel-blues "Walk On," by Brownie McGhee. She lit up the stage with her powerful treatment, and the encore that followed was anti-climatic.
The penultimate act was The Legendary Rhythm & Blues Revue with Tommy Castro, Ronnie Baker Brooks, Magic Dick and Deanna Bogart, always an exciting show (that's them on stage at the top of this post). Each is an exciting performer, and together the Revue is a fun mix of great blues guitar from Castro and Brooks (one of Chicago's hot test young bluesmen), rollicking piano and sax from Bogart, and the harmonica histrionics of Magic Dick, the original Whammer Jammer
Delbert McClinton closed out the night with his usual blend of roadhouse blues and rootsy soul. Delbert doesn't hit all the notes like he used to, but his passion for the music just keeps carrying him along. His band still swings hard, and wraps him with just the right sound. A perfect sendoff for the breezy Tampa Bay night.
That last photo? Teresa James' saxman. I just loved how he played dueling saxes all by himself.
Mar 20 2009
There are some good blues in the Burgh this weekend, including some fine old R&B, and the first round of the Western Pa. Blues Society's bands lining up for the 2009 International Blues Challenge.
Once again there are competing blues shows, although the two Saturday night concerts probably appeal to different kinds of fans.
Jeff Ingersoll's Bondeog Records is bringing Atlanta blues shouter Tommy Brown to the Palisades in McKeesport for Bonedog's Spring Review, a show that also includes one of the purest blues guitarists in the region, Eugene Morgan. The Hoodoo Drugstore, a rootsy creation of local songwriter/musician Mike Sweeney opens the show. The PG's Scott Mervis talked to Ingersoll about the show in an article yesterday.
Jeff is to be commended for his constant work to bring great talent to the area, often for a recording session. Brown is to record his second CD for Bonedog on this trip. Looking forward to it.
Meanwhile, the aging but still fierce blues-rocker Johnny Winter brings a show to the Rex Theater on the South Side. Winter has been getting his groove back for the past couple of years, and also focusing a little more on traditional blues.
If I had to pick one of those Saturday shows, I'd pick the Bonedog fest -- Brown isn't usually around for local shows, and he brings a music that you don't hear much anymore performed by the people who created it.
Then on SUnday night, you can check out the first round of the local IBCs at the D'Vine Wine Bar & Lounge in Wexford. Here's the complete schedule for the IBCs, courtesy of Jim Hamel of the Western P. Blues Society:
March 22nd 2009 International Blues Challenge
International Blues Challenge,
Sunday March 22nd Round1
D'Vine Wine Bar & Lounge
www.dvinewinepa.com
12017 Perry Hwy
Wexford, PA 15090
(724) 933-5533
(just North of Pittsburgh)
2:00pm Blues Junkies
2:30pm Soul Shakers
3:00pm Shot o Soul
3:30pm Big House Pete
4:00pm Pamela Bick and the Warehouse Blues Band
4:30pm Angel Blue and the Prophets
5:00pm Dave Iglar Band
5:30pm Craig King & Kings Ransom
6:00pm Felix and the Hurricanes
Sunday April 5th Round 2
Kendrew's
Aliquippa, PA to represent Beaver County
Sunday, April 5
Application Deadline: March 15, 2009
LINEUP:
2:00 Blue Guitar
2:30 Freeport Road Gang
3:00 Off-the Hook
3:30 Ian Arthurs Band
4:00 Memphis Cradle
4:30 Ron Yaros
5:00 Charlie Wheeler Band
5:30 Jill West and Blues Attack
6:00 Billy the Kid and the Regulators
6:30 Magic Mama Latte
FINALS
Moondog's
Blawnox, PA
Sunday, April 26, 2009
SOLO/DUO's + 2 finalists from DVine Wine and Kendrews
LINEUP
2:00 Monica Yasher and Steve S. -
2:30 Dave Iglar
3:00 Gary Prisby
3:30 Guitar John
4:00 Winner from Kendrews
4:30 Ink Blues
5:00 Mack Jump
5:30 Winner from D'Vine Wine
6:00 Turk and Paul
6:30 Bubs McKeg and Dr. Blue
7:00 Winner from Kendrews
7:30 Sal Barberra and Gary Applegate
8:00 Winner from D'Vine Wine
$1000 prize to winning band at Finals, $500 prize to winning Solo,Duo at Finals
Mar 19 2009
One of my favorite blues singers -- although that probably puts too much of a label on him -- was the very great blues shouter Big Joe Turner. In the course of one joyous musical lifetime, Big Joe shouted the blues, R&B, rock 'n' roll, jazz, and whatever you call all of of those styles rolled into one one great ball of American classical music.
I'm not sure when I first the big man's big voice over my tiny teen radio -- it might well have been something Bossman Porky Chedwick played, since that's the only place I heard great music when BlueNotes was just a pup. Maybe it was one of his early Atlantic sides, like "Chains of Love" or "Sweet Sixteen." Joe's voice was his instrument, and as much as his contemporaries tried, they couldn't match the rolling thunder of his vocals, born deep within that 300-pound body and honed in years of singing behind the bars of Kansas City clubs without a mike.
Whatever I heard, most fans in the pop audience probably first heard Joe's first big hit in 1954, "Shake, Rattle and Roll." Just as his version hit, Bill Haley, a converted Western swing singer, covered the song, and became more associated with it in pop music circles. Haley's version also scrubbed the original lyrics clean of most of the language that might offend mass (or white) audiences, but that also gave it the earthy, raunchy quality that made it pure and original rock 'n' roll (although I always thought of it as a classic R&B song).
In the interest of history, here are some of the original "Shake, Rattle and Roll" lyrics and their whitebread counterparts (this wasn't unique to this song; it hapened a lot to early black crossover music -- see "Dance With Me Henry"). From Wikipedia:
Turner's song
(by Jesse Stone) had started with the lines "Get out of that bed and wash your face and
hands, / Get out in the kitchen; make some noise with the pots and
pans". In Haley's version, the song began with "Get out in that kitchen
and rattle those pots and pans / Roll my breakfast 'cause I'm a hungry
man". The line, "I can look at you 'n' tell you ain't no child no more"
was changed in Haley's version to "I can look at you and tell you don't
love me no more". The line "I believe to my soul you the devil in nylon
hose" was changed to "I believe you've been doin' me wrong, and now I
know". Haley retained the line about the "one eyed cat, peepin' in a
seafood store." Haley was blind in one eye.
But back to Big Joe's career. After his fling with popular music, Turner returned to his roots toward the end of his career, singing with jazz combos, bands and at festivals around the world. Some of my favorite Big Joe sides came from his late albums with Pablo and other labels, and my faves may have been Pablo's 1974 "The Trumpet Kings," with
Dizzy Gillespie, Roy Eldridge, Harry Edison, and Clark Terry and 1973's "The Bosses," with Count Basie. Turner sounds relaxed and his big voice still rumbles, but ow flavored with the grit of age and musical wisdom.
But probably my fondest memories of Big Joe are visual ones (I never saw him perfrom) from the classic musical film, "The Last of the Blue Devils," filmed at a 1974 Kansas City musicians reunion and released in 1980. It featured Count Basie, Jay McShann, and, of course, Turner. Joe walks with difficulty and sits through his songs, but his voice rumbles with authority and the passion of the blues that resonated throughout his career.
Turner died in 1985. He was a major figure from the world of black music who helped shape the sound of American popular music in the 1950s and '60s. One of my favorite stroies about him (I"m sure I read it somewhere) was how, in the wide open days of Kansas City, Joe tended bar and sang with the band at the same time, in shows that lasted all night. Often, in the wee hours before dawn, Joe would get hungry for a giant breakfast, and as the band riffed without him, would cross the street for a sumptuous meal, return to the bar and pick up the song just where he left off. I don't know if it's true, but it sounds just like that blues to me.
Here are a couple of videos of Big Joe that offer an idea of the ease and power of his music.
This is a 1966 performance of the seminal "Shake, Rattle and Roll," with what sounds like the original lyrics:ee
This is "Wee Baby Blues," a classic 1965 version of what Big Joe Turner did best, in front of a combo that brings out the best in everybody. It doesn't get any better.
Oh yeah. That unusual photo at the top is Turner at home in Chicago in 1941.It was taken as part of a U.S. Farm Security Administration project by by Russell Lee, and comes from the Library of Congress. I thought it was a lot of fun -- much better than a traditional performance photo.
Mar 17 2009
BlueNotes is finally up and running with Roadrunner, the cable internet service in St. Pete, Fla. He is overjoyed with two things: John Primer lived up to his great blues rep, and two (not one, but two) loyal commenters took time to share their thoughts. I liked 'em so much, I'm gonna put them up here.
First, from the intrepid Bill H. of Elizabeth
John Primer & The Real Deal Blues Band more than lived up to their name at the Thunderbird Cafe, Sunday 3/15. They put on an alomst perfect evening of ensemble driven Post War Chicago style Blues. The windy city veterans waded deep into the groove from the outset and mined gold from within throughout.
This is essentially the same unit that last played the T-Bird in February of '06 save for Matias Beltran taking over the harp duties from Dan Beaver this time out. The biggest difference musically between the two shows was that the overall vibe last night favored Primer's one time boss Muddy Water's classic rolling thunder approach more so than his longtime mentor Magic Slim's funkier, off the cuff feel that was more evident three years ago.
The veteran rhythm section of drummer Vernon Rogers and bass player Michael Morrison drove the engine at a loping pace that allowed space for the strong but never overwhelming keyboard work of Dave Ross. Beltran added horn fills that kept things swinging. He traded off between using a bullet style mic for the more overblown post war sound and playing straight into his vocal microphone to get that classic Sonny Boy Williamson I sweet tone.
As well as the the backing band played together, they couldn't overshadow their leader. IMO Primer seems to entering his prime(pun intended). Folks from the Chicago area who have seen him much more often than we get the chance to here say that his recent shows are among the strongest of his solo career. The combination of chops, maturity and an almost encyclopedic knowledge of songs, no doubt a remnant from his days with Magic"the human jukebox"Slim, have all converged to make him a performer that's hard to get enough of.
There were a few tracks from his most recent release ,All Original(Bluehouse Productions) on the setlist including "Add A Little Touch" and "Everyday Brings By A Change" that don't break any new ground, but cover the familiar sound with passion and grit that allows his individuality to show through. The covers all worked well no matter how often we've heard them. "Shake Your Moneymaker" from his Elmore James tribute record Blue Steel payed homage to the slide master while still retaining the band's swinging chemistry. An off the cuff, "She's Tuff," brought wide grins to the audience and making me chuckle at the glee with which it was played. To me it felt more like the song's originator Jerry McCain than The Fabulous Thunderbirds more studied sounding attempt from their debut album. The equal parts swagger mixed with awe of the woman beheld was palpably apparent.
There was never the moment throughout the more than two and a half hours of music when I didn't feel the muscians were enjoying playing together which made their wonderful noise all the more joyful sounding. The evening's only drawback was a somewhat less than expected crowd in comparision to Primer's last visit when I felt shoe horned in on the main floor. Was the turnout affected by the economy, the Western PA Blues Society gathering that same evening or just because it was Sunday night? I certainly don't know enough to even guess. I do know, however, that the crowd was enthusiastic and appreciative and that Mr. Primer and co. feed off that, making for a memorable night of music that will stick in my head for sometime to come.
As Bluenotes mentioned last week, Nick Moss & The Flip Tops featuring the great Lurrie Bell will be at the Thunderbird in a little over a week on March 26th. The show was a hot topic of discussion amongst more than a few in attendance last night and lets hope that leads to more bodies in the seats. Folks like John Pergal go to great lenghts to bring in the cream of the current blues scene and they need the help of we the blues freaks and freakettes to be able to keep doing so. See you then.
Humbly submitted by Bill from Elizabeth, Bluenotes cub reporter at large
Next, the prolific Bluzer:
The best time I ever had in my life...only TWO of us were there!!
Sometimes a show is more enjoyable when the place ISN"t packed as I have mentioned somewhere else. You can sit down and relax and enjoy the show. Of course, it's not a situation that the club-owner appreciates but what are ya gonna do? Luckily, the clubs that book Blues bands in Pittsburgh are run by Blues lovers.
Did you expect anything less from John Primer? Often the evenings success (or lack of) depends on the band that backs up the 'star'. Where would Bo Diddley have been without Jerome and his maracas!! Or Rod Piazza without Honey? It's usually a team effort that leads to a great performance and good teams tend to stay together which is often a rarity with Blues bands..
For years I've wondered why some shows are well-attended while crowds at other shows are sparse. At this point, I've quit worrying about such things. You can lead a horse to water but you can't make him drink. The unfortunate thing. if I understand what you wrote, is that John Primer played to LESS people this time than when he was here a couple years ago. That's not a good sign.
It's funny. Sometimes a band will draw well in the depths of winter perhaps because there haven't been a lot of shows and people miss a 'Blues Night Out'. Currently, with so many choices on the horizon (and don't forget it was the tail end of St. Patricks Day weekend), maybe folks were being a little restrained. With cover charges at 15 or 20 bucks a pop it begins to get a little pricey when you start trying to see every band that shows up.
Jorma is at the Club Cafe this Saturday....I'll wager a guess that he'll do well (as far as turnout) and that it'll be a great show. I recently heard him on NPR and he sounded fine...he played 'Embrionic Journey' solo acoustic!! Do I want to deal with South Side on a Saturday night? It's only Monday....let's see how the week goes.
www.youtube.com/watch
Thanks, guys. Almost makes me wish I wasn't where the sun always shines ... the land that gives new meaning to the phrase, "Later, gator..."
Mar 15 2009
Don't forget John Primer at the Thunderbird tonight (see below), BlueNotes himself is on an extended Florida vacation and won't be able to attend, so we'll have to rely on our correspondents to review the show. The blog will continue, of course, although the Florida sun may not be quite as inspiring as Pittsburgh gray for exploring the dark soul of the blues. And I'm going to miss a bunch of fine BluesBurgh shows in the coming weeks. I'll probably even have to force myself to go the the sun-drenched Tampa Bay Blues Fest next weekend. Oh, well. No one said that being BlueNotes would be easy.
Mar 13 2009
I know I've already mentioned the John Primer show, coming up Sunday night at the Thunderbird Cafe. But I want to mention it again, just to remind you that for blues fans, this should be a must-see.
Primer is one of those traditional Chicago bluesmen who came up with the best, and is keeping the spirit of this great music alive and well. He played with Muddy Waters and Magic Slim for years, which is good enough, but you also have to bring your own chops to the game, and Primer has certainly done that.
He's a gritty singer, and plays an expressive guitar with stinging slide work. Primer has recorded with many other bluesmen, and made a number of solo albums, most of them on import labels, but his work is not always easy to find. Just last November, he started his own label and production company, Blue House Productions, where he released his latest CD, "All Original." I confess that I haven't heard it (despite what you may think, BlueNotes is not all-powerful), but the clips I can find sound excellent. His band isn't called the Real Deal Blues Band for nothing.
So go and see this living connection to the history of the Chicago blues. Soak it up. Enjoy. Drink and dance a little, if you can find the space. Blues players like this won't be around much longer. It also just happens to be great blues.
And a special thanks to T-Bird owner John Pergal for continuing to bring in great acts like this, and still managing to create great vibes in the same tradition with his own tough band, the Pawnbrokers.
Here's a video of John Primer at work:
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