Ben Prestage - a one-man band with a new CD

One-man bands are a fine tradition in the blues, although there aren't too many around any more. One that I'd never heard before is Ben Prestage, out of Florida, where he's been honing his blues skills with swampy, gritty, singing and playing -- on a specially made drum kit and sometimes, a cigar-box guitar with a fierce slide.

Prestage was a 2008 International Blues Challenge runner-up in the solo/duo category, and a listen to his latest double CD -- "Live at Pineapple Willy's" -- shows why.

The man comes from a deep blue musical family --  his great-grandmother was a vaudeville musician who toured with Al Jolson and in medicine shows. Her daughter was a boogie pianist. His grandfather was a Mississippi sharecropper who
turned Prestage onto the sounds and culture of Mississippi and blues. Of his background, Prestage says: "When I was growing up there was only one kind of music in the house. Whether it was played on an instrument or an old recording, it was blues."

Ben's blues are a fascinating blend of acoustic old-timey music, down-home blues, and nicely crafted original tunes.  If you set them to some scratchy background noise, they could easily have been ripped from old 78s.

There's enough variation in the styles and the songs here that the one-man band backing doesn't get monotonous. Prestage is a dexterous picker and talented guitarist, so there's plenty of different music styles to go around.

He also picks up on a few classic blues as well, from the deliciously salacious Mississippi John Hurt tune, "Candy Man," to Muddy Waters fine old "Can't Be Satisfied," with some appropriate slide work, and the Robert Johnson warhorse, "32-20 Blues." Here's a sample of "If You're a Viper"

This is a fine little album. It's fun to play sides like these and get the kind of real enjoyment that you get from discovering something fresh and new. Ben Prestage may not be a household word, but his music should be welcome in every blues household.

This is a live CD, recorded, as the title implies, at someplace called Pineapple Willy's. Anyplace with that name has to be a fine blues bar, so I looked it up and found that it's in Panama City Beach, Fla., founded by a guy named -- Panama Willy -- with a rum drink of the same name. Sounds like it could well be the southern branch of the BlueNotes World Headquarters.

Here's a YouTube video of Prestage at the 4th Annual Cigar Box Guitar Extravaganza at the Flying Monkey Arts Center June 21, 2008 in Huntsville Alabama.

And just for fun, here's a video of one of the most famous of the one-man blues bands, Charles Isaiah "Doctor" Ross:

Some blues photography

 If you're a regular BlueNotes reader, you probably know how much I like the blues photography of Joe Rosen, who has become one of the country's foremost practitioners of capturing the blues with a camera. Joe is based in New York now, but graduated from CMU and haunted blues clubs in the Burgh for a few years after that, back in the 1970s.

He's just sent along a note about his coverage of two recent New Orleans musical events, and photo galleries from those festivals now available at ModernGuitars.com

BlueNotes readers speak

Here are a few recent items sent in by yourselves (thank you very much) that I think are worth a little more attention.

First, here's an interesting little blues memory from Dutchomatic, who posted a comment, but posted it to an item back in February, so chances are it won't get much exposure. (This is the post he's referring to)

Greetings all,

Reading the post and comments above reminded me of a few years back. Please pardon my typos.

Loved the old Thunderbirds lineup (of course) but I am a really big fan of Kid Ramos.  I have a number of his CDs.

I have been playing, touring and recording a bit for a number of years.  i don't do it anymore after my wife and I moved to Texas.  Back in the 90s Rod Piazza and his band with Rick Holmstrom aka. LA Holmes did an amazing show in a dreadful venue  back home in Arkansas in an Eagles Club.  It was a local Blues Society event and i think the original venue plans fell thru at the last minute.  I don't think Rod and his guys were all that very happy about the conditions.  It reminds me of the scene from Spinal Tap where they were relegated to playing on an Air Force base for some "dance" or something.  It seemed to come out in the treatment of fans between sets.

I had met Rick when he was playing with Johnny Dyer on the CD they did in the early 90s.  I was stationed at Nellis AFB in Las Vegas. Seemed like a nice guy and he even turned me on to a guitar shop in Phoenix that I ended up working in once I left the military.  At the time I was playing similar in style to him as a big Hollywood Fats fan.  He and I looked a lot alike, oddly enough, and that with the playing got me a one-nighter with Bill Tarsha's Rocket 88s at Warsaw Wallys in Phoenix. Bill had both Rick and another amazing guitarist Pat Boyack with him in Phoenix with the Rocket 88s before I got there. Bill's guys (and gal) were good to me, but I was moving back to Arkansas  for college that very next week.  We did  a show with Pat Boyack and the Prowlers in 98 or 99 in Fort Smith. Those guys were good to us too.  Great show.

I met Mr. John Hammond, Jr. while in Scottsdale AZ at the Rockin' Horse.  He'd just completed his documentary on Robert Johnson at the time.  John had played with Duke Robillard that night and after the show he and I sat and talked at length about making that documentary.  John was such a genuine guy to talk to.  There was an amazing lightning storm in Scottsdale all while he was playing.  The sky was on fire.  Once he stopped and Duke went on the storm had stopped.  When John and i parted after talking the lightning came back with furious intensity.  John shook my hand, smiled, and told me to "enjoy the weather".  Can you imagine? I was 23 or 24 at the time.  I will never forget that.

Cheers to you all and happy playing.

Here's a note from Tim, who went up the Allegheny the other night to see Delbert McClinton, and recently out to see Chris Smither -- both of whom I enjoy very much, but I didn't see either show:

the kittanning venue is a beautiful amphitheater overlooking the allegheny river. we came up from Irwin and it took us a little over an hour -- nice roads and easy driving the whole way up.

Delbert pulled the  plug fast, just like  he did at  3RAF a couple of years ago; a little bit of rain and he's back in the limo on his way to the next gig.  ANYONE could see that it'd be quitting.  It had stopped completely before they had the drum kit dismantled.

http://www.youtube.com/watch?v=tf5pUxYkEYY&feature=channel

also, you gots to be giving Chris more props -- his Mississippi John Hurt DNA is evident throughout his show.
http://www.youtube.com/watch?v=LidGlgH9nPE&feature=channel

btw.  check out my other vids -- lots of shows you've been to, and usually a link to stills in the info section.

Here's a note I received from a frustrated "blues" festival fan that sort of fits in with some recent BlueNotes discussion about what is and is not the blues:

I guess I will have to check out all the performers for this year.  I hoped to just go and enjoy blues performers, but in the last five years the blues festival has more head banging rock groups than actual blues musicians.
why do you think the rock groups think they are playing blues. how did this happen?
The last two festivals I left a little upset and frustrated so now I think I'll check out the lineup and go only one nite and at a time the blues will be playing.
bebe

And finally ... a frustrated clubgoer complains about show that don't get advertised. I'll leave his name off to avoid any embarrassment, but I do think this can be a problem. Just in case anyone is looking for links, I use this page on the Moondog's web site as my guide to his shows, even though it's also limited.  I also try to check the WYEP blues calendar as well as other club sites. But some shows don't always get much publicity.

Hi Jim- sadly, you were the first I heard about the Castro show; I read it on the day of the show. It's another example of the sad promotional habits of Moondog's. Ron's web site only shows that weeks shows, not future dates, so , as was my case, I didn't check that week. I miss a good show, and Ron sells a few less tickets (and a LOT less beer and food...). There has to be a better way....

Thanks to all who send e-ails and post comments (e-mailers, remember, you can register and post your own comments.)

Shane Dwight: Blues and beyond on 2 new CDs

What with all of our rambling lately about the blues, and what they might and might not be, along comes Northern California native and now Tennessean, Shane Dwight with a couple of examples with which to continue our discussion.

That's right, the man is so full of music that he's releasing two CDs at the same time yesterday). And each one presents a "different" Shane Dwight. There's one who rocks hard with the blues as his background, and there's the other one, sort of a rootsy, alt-blues-country guy with an introspective touch on the lyrics (He's written everything on both CDs).

This double release from the VizzTone Label Group is designed to kick Dwight out of his regional orbit onto a national stage. It sounds like he's ready. Let's look at these one at a time.

First, "Gimme Back My Money." This is the rootsy Dwight, writing thoughtful lyrics, layered in sounds that range from hypnotic rhythms ("Last Call") to tough and bluesy country stuff ("Gimme Back My Money") to sturdy, down and dirty rocking blues ("You're Gonna Want Me") to a scorching slow blues instrumental ("Ode to Albert").Here's a clip of "Gimme Back My Money":

Each track bends its own genre a little, and together they provide a fine outing that doesn't fit neatly into any format. I like the album a lot, with it's fresh writing and blend of styles. It's impressive that he's drawn only on his own talents here, writing, arranging, playing and singing. The band is crisp and tight as well (he's credited with drums and guitar on just about every track).

Now to the second CD, "Plays the Blues." Dwight has put together five studio tracks, and five live cuts, all blues, from crackling shuffles. There are a couple tunes that show up on both CDs, but that's fine, they're both great tunes -- "You're Gonna Want Me" and "Ode to Albert" (this gets a live treatment, and seems to sting just a little harder).

"She's So Sweet" is sweet shuffle with boogie undertones, "Standing" is slow and sexy, and the live "Don't B Flat" swings with a jump blues flavor, and plenty of sax.  "Boogie King" caps this one off with a rocking boogie side.

Once again, Dwight is the creator of all the music and arrangements, and there's enough variety on the album so that you don't get bored with one style or type of blues. Yes, this is a blues album. Contemporary, and at times hard-rocking blues, but the blues. After you've listened to both, you can sort of hears the wheels humming on the musical highway that runs through all of this music. Lots of fun. Here's a sample of "You're Gonna Want Me":

Dwight has been a regional festival fixture on the West Coast. Maybe someone on this side will give him a listen. You could do worse than give either of these CDs, or even both, a spin. Even if you're not a real traditional blues fan.

Bassist Nick Holt dies; Magic Slim's brother, Teardrops member

Just as Bluzer and I were talking about the original, real-deal blues, another player from the Chicgo blues era has passed away. Nick Holt, the younger brother of Morris Holt (Magic Slim), died yesterday.

Together, they formed the heart of Magic Slim and the Teardrops, an old-school Chicago blues band that has been carrying that torch fo decades. Nick hadn't toured recently, but he was there to help build the sound at the beginning. Here's an item from the online Blues Report.

New Homemade Jamz: "I Got Blues For You"

Those of you who saw Homemade Jamz perform at last year's Pittsburgh Blues Festival should remember a set of hard and tough old-fashioned blues performed by three of the youngest bluespersons you'd ever seen, all siblings from the Perry family, of Tupelo, Miss. -- lead guitarist and singer Ryan Perry, now 17, bass player Kyle, 14 and drummer Taya, 10. They played guitar and bass made from car mufflers, with Taya keeping a rock-steady rhythm and a flower in her hair.

If it hadn't been for Taj Mahal closing that night, the Perry blueskids would have been the day's best. As it was, they made it hard for even Taj to follow.

Now they have a new CD -- "I Got Blues For You"  (Northern Blues) -- to follow up their fine debut, "Pay Me No Mind."

It takes them a step beyond their earlier covers and self-penned tunes, with lyrics by father Renaud Perry. Now it's almost entirely the Jamz' work, with more sophisticated arrangements, a little funk thrown in here and there, and a lot more mature music making. Especially Ryan on vocals, whose full-throated blues and tough guitar licks could well be coming from a more senior blues player.

In fact, as you lsiten to the album, you don't hear the playing of three youngsters, you hear the music of grizzled blues vets, and the obvious question is: "Where the hell is this coming from?" Here's a sample of a chugging deep blues track called "Hobo Man" (the harp is by dad Renaud):

It's a little scary they way these kids grind out the blues. It's not that they are trying to sound like somebody else's blues band, it's more that they are pulling on some deep feelings and passions that make them a real blues band of their own. I know, that sounds a little bit over the top, but just listen to the music. At 17, Ryan has already got some fine guitar licks, and his vocals reach back for the strength and feeling that should be well beyond his years. Check out this segment of the very gritty "In the Wind":

If they stick together and keep at it, the Homemade Jamz could find themselves right at the top of just a handful of blues players who are bringing you the real deal.

Here's what the band looked like at work last December:

 Note to Bluzer

Yes, I agree that Kenny Tsak isn't the bluesman who will give you that deep down, born-again blues feeling. But he will get you rocking and feeling good, and sometimes you just need a little bit of that, too. I wish there were a lot more Pinetops that I could write about every day, but there aren't. That doesn't mean that the blues he represents isn't among the purest of the pure. It is. I'm glad you have the passion that makes you such a great blues fan. Let it roll. And HoneyBoy thanks you too. Woof.

Clapton, Winwood, Guy

Eric Clapton and Steve Winwood are in the midst of a national tour, and their gig in Chicago the other day was highlighted by an appearance from Buddy Guy. Here's an interesting review from the Chicago Tribune on how the old master fared with those two young upstarts.

Kenny Tsak's "Like I Do" a pleasant surprise

BlueNotes is not know for being an impulsive guy. Just the addition of a shirt to the wardrobe can bring sweaty palms and intense anxiety: The black shirt, or the other black shirt? Lawdy Miss Clawdy, what to do?

But a new and bluesy CD is another matter. A new album arrived recently, by AZ Kenny Tsak, an artist previously unknown to the entire BlueNotes staff (me and HoneyBoy). About 30 seconds into the first track, I impulsively realized that this fine and rocking, rollicking bluesy music just had to be shared.

Tsak is some kind of roadhouse-flavored bluesy rock and country guy, with a tough little band around him that swings behind sharp guitar work, driving bass, keyboards that roll like the river, and sax that's lusty to the point of embarassment. What more could BlueNotes ask? Well ... there is that. But let me not digress too much here.

The album, "Like I Do," is the first venture of Tsak and his band, 56 Deluxe (a 56 Deluxe Production). It's not the first music they've ever made -- Tsak was a D.C. area player, but gave up music in 1981, until he re-emerged in 2005 as 56 Deluxe, performing in Arizona and Florida, which seems to be his home base now.

Tsak plays tough guitar, writes tough songs, sings with an even tougher voice, and the band plays fine and tough music that gives you rock, blues and some country all  with passion and abandon.

The title track, which is also the first track (why doesn't everybody do that?) kicks off with a raw sax intro that keeps on backing the vocal with call-and-response fervor, then takes a soaring solo that leads into crisp, mean guitar, that flows back into the tough vocal. Nothing profound here (other than the profoundness of intensely pleasurable music) The piano asserts itself on "Full Time Lover," (which has a killer guitar solo), but really kicks in alongside raunchy sax on "Walkin' Shoes." "12 Step Boogie," a rye lament about a booze-less life shuffles along, and then "Stoop Down Baby" adds raunchy lyrics to the raunchy music mix -- something for everybody here. It rocks from start to finish.

Here's a sample of "Like I Do" (see what I mean about the sexy sax?)

This is a fine little album from a group of fine musicians (Avery T. Horton Jr., bass; James Holt, piano and keyboards; Frank Perez, sax and Andy "G", drums) , great dance music, lots of fun. Remember the name Kenny Tsak in case he turns up in your neighborhood.

Here's  a video of the band at an Arizona blues festival:

The weekend

Did anybody catch Tommy Castro and the Nighthawks? BlueNotes was predisposed, indisposed and otherwise supposed to be elsewhere.

Happy Father's Day

There are so many Big Daddys of the blues, it's worth a special mention.

HoneyBoy, the official BluesDog

Blues for your weekend

Wondering if there are any blues you want to hear this weekend? Wonder no more.

Many local bands are at the usual spots, and there are a few special events worth mentioning. I posted yesterday about the Jill West and Blues Attack CD release party for "Headline Blues" tomorrow ight at Cefalo's in Carnegie (Cefalo's is a former church. What better place to hear the devil's music?)

Alas, also on Saturday night, the Blues Society of Western Pa is holding one of its Blues Night Out events, this one at Paparazzi's on the South Side, with Billy the Kid and the Regulators. The society is trying to introduce members and fans to different bands at different venues throughout the region.

Tonight, Moondog's in Blawnox has a special show, featuring West Coast blues guitarist Tommy Castro and the East Coast rocking Nighthawks, meeting at what Moondog's is billing as a Blues & BBQ night. Sounds tasty.

Blues gods?

Here's a nice review of a recent Eric Clapton - Steve Winwood concert, in which they crank out mostly fine blues, and bring out Buddy Guy for their encore.

Jill West's new CD: "Headline Blues"

Jill West and Blues Attack, with a tough, swinging brand of blues, has been one of the Burgh's favorite blues bands for years. West's distinctive and hard-driving voice gives the band its focus, and the Attack provides plenty of sting behind her.

It all comes together on their new CD, "Headline Blues," which they will celebrate with a release party at Cefalo's in Carnegie on Saturday night.

It's their first CD in something like seven years, and you've probably heard most of the music here at one of her shows. But it's still a keeper. A good CD always brings the band and the vocals into sharper focus, even though they lack the excitement of a live show. That's what they do here, with one of the sharpest bands around, getting a little hgelp from some horns and harp along the way.

The CD kicks off with some nice upbeat tracks, including one of her live favorites, "Don't Burn the Barbeque," plus a cover of the fine old Lazy Lester tune, "Sugar Coated Love." The band's originals have just as much sass and flavor as the covers. "Needful Things" is a good example of that. And "Love Song in C" is fine and sexy ballad that I've heard her do live, and it still rocks fresh and hard here.

There are also excellent covers of the rocking "How You Carry On" by Dr. John, "Boomerang" by Roomful of Blues' Chris Vachon, and one of my all-time favorite songs, "Unchain My Heart."

Here's a sample of "Needful Things," on of my favorite cuts:

This is a tough little blues album, full of fine music, played by a finely tuned band backing a singer who knows how to bend a lyric to suit her, and her audiences. It's great to hear this kind of music come out of the Burgh and hometown musicians. It's even greater just to hear the music.

And West and her band are hometown musicians. The nucleus of the band goes back to a group called the Hell Hounds that West joined in 1991.Members have come and gone, but the constant has been West's tough and tender vocals. The current lineup is among the area's finest: Gregg Krupa, guitar; Nick Crano, drums;  Hank Raffetto, bass, and very welcome new addition, Sudden Steve Binsberger, keyboards.

Jill West and Blues Attack is a fixture in local clubs and at regional festivals -- it will be one of the local bands featured at the Pittsburgh Blues Festival July 24-26.In 2006. Catch them when you can. It's blues that fits BlueNotes possible new motto: "The blues, making you happy, one song at a time."