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Tag: Blues

  • Thousands of fans celebrate life of legendary Grateful Dead guitarist Bob Weir in San Francisco

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    SAN FRANCISCO — Thousands of mourners gathered Saturday at San Francisco’s Civic Center to celebrate the life of Bob Weir, the legendary guitarist and founding member of the Grateful Dead who died last week at age 78.

    Musicians Joan Baez and John Mayer spoke on a makeshift stage in front of the Bill Graham Civic Auditorium after four Buddhist monks opened the event with a prayer in Tibetan. Fans carried long-stemmed red roses, placing some at an altar filled with photos and candles. They wrote notes on colored paper, professing their love and thanking him for the journey.

    Several asked him to say hello to fellow singer and guitarist Jerry Garcia and bass guitarist Phil Lesh, also founding members who preceded him in death. Garcia died in 1995; Lesh died in 2024.

    “I’m here to celebrate Bob Weir,” said Ruthie Garcia, who is no relation to Jerry, a fan since 1989. “Celebrating him and helping him go home.”

    Saturday’s celebration brought plenty of fans with long dreadlocks and wearing tie-dye clothing, some using walkers. But there were also young couples, men in their 20s and a father who brought his 6-year-old son in order to pass on to the next generation a love of live music and the tight-knit Deadhead community.

    The Bay Area native joined the Grateful Dead — originally the Warlocks — in 1965 in San Francisco at just 17 years old. He wrote or co-wrote and sang lead vocals on Dead classics including “Sugar Magnolia,” “One More Saturday Night” and “Mexicali Blues.” He was generally considered less shaggy looking than the other band members, although he adopted a long beard like Garcia’s later in life.

    The Dead played music that pulled in blues, jazz, country, folk and psychedelia in long improvisational jams. Their concerts attracted avid Deadheads who followed them on tours. The band played on decades after Garcia’s death, morphing into Dead & Company with John Mayer.

    Darla Sagos, who caught an early flight out of Seattle Saturday morning to make the public mourning, said she suspected something was up when there were no new gigs announced after Dead & Company played three nights in San Francisco last summer. It was unusual, as his calendar often showed where he would be playing next.

    “We were hoping that everything was OK and that we were going to get more music from him,” she said. “But we will continue the music, with all of us and everyone that’s going to be playing it.”

    Sagos and her husband, Adam Sagos, have a one-year-old grandson who will grow up knowing the music.

    A statement on Weir’s Instagram account announced his passing Jan. 10. It said he beat cancer, but he succumbed to underlying lung issues. He is survived by his wife and two daughters, who were at Saturday’s event.

    His death was sudden and unexpected, said daughter Monet Weir, but he had always wished for the music and the legacy of the Dead to outlast him.

    American music, he believed, could unite, she said.

    “The show must go on,” Monet Weir said.

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  • Music Review: Jon Batiste opts for chill vibe on stripped-down album, ‘Big Money’

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    On “Big Money,” Super Bowl-sized singer Jon Batiste opts for a surprisingly intimate sound.

    The just over 32-minute, nine-song set will be released Friday, and it’s not nearly as loud as the New Orleans’ jazzman’s eye-popping wardrobe. The stripped-down, mostly acoustic arrangements create a chill vibe. Simplicity somehow only intensifies the songs’ swing and sway.

    Batiste pairs lyrics about devotion, values, angels and ecology with music that mixes folk and funk, gospel and the blues. The range is such that Batiste even plays a little fiddle and mandolin, but he shines brightest on two songs featuring his solo piano.

    The first is a wonderful duet with Randy Newman, another piano man with New Orleans roots, who in recent years has been slowed by health issues and kept a low profile. They cover Doc Pomus’ “Lonely Avenue,” and Newman’s legendarily froggy tenor provides a comical contrast to Batiste’s vocal sheen. “I could die, I could die, I could die,” Newman sings. “It sounds like I’m dying.”

    Also stellar is “Maybe,” a ballad filled with thick chords and questions about the big picture. “Or maybe we should all just take a collective pause,” Batiste sings, before launching into a keyboard exploration worthy of Jelly Roll Morton.

    The bouncy “Lean on My Love” draws from Prince, Sly Stone and the Spinners as Batiste sings in unison with Andra Day. The equally buoyant title cut rhymes “money” and “dummy” in a strummy sing-along that includes backing vocals by the Womack Sisters, granddaughters of soul singer Sam Cooke.

    “Pinnacle” chooses a similar tempo to kick up Delta dust around a delightful word salad. “Hop scotch/Double Dutchie jumping rope/Twistin’ it and ya wobble it/And let it go,” he sings on one verse.

    Batiste’s gospel influences are most evident on the closing reggae tune “Angels” and the ballad “Do It All Again,” a love song that could be interpreted as secular or spiritual.

    “When I’m happy, it’s your shine,” Batiste sings. As always, he makes joy sound genuine.

    ___

    More AP reviews: https://apnews.com/hub/music-reviews

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  • Charley Crockett’s $10 Cowboy Tour Lights Up 713 Music Hall

    Charley Crockett’s $10 Cowboy Tour Lights Up 713 Music Hall

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    Charley Crockett
    $10 Cowboy Tour
    713 Music Hall
    September 3, 2024

    Have you ever met a stranger and been completely amazed by their entire demeanor? The kids these days would call it “swag” or “vibes,” which is something magical and intangible about the person’s attitude. That’s exactly how I feel about Charley Crockett. His chiseled jawline and piercing green eyes attract your attention, and then BOOM!… His voice and southern twang grabs a hold of your soul and doesn’t let go.

    Crockett began his set at 713 Music Hall with $10 Cowboy, where he sings “people always ask me, if I’m a rodeo star / doubt if I got 8 seconds / but I can sing you a song!” He definitely fits the casting call for a vintage cowboy film: leather jacket, Stetson on his crown, wranglers and boots. He carries his guitar around the stage like dancing partner, flashing his pearly-white smile with the precision of a heart surgeon.

    The singer-songwriter is a native of San Benito, Texas – the same hometown as Freddy Fender of Texas Tornados fame. He later moved to Dallas and also spent time with family in New Orleans, no doubt absorbing every character and experience he encountered into his repertoire of inspiration.

    click to enlarge

    Crockett is a native of San Benito, Texas – the same hometown as Freddy Fender of Texas Tornados fame.

    Photo by Violeta Alvarez

    The amber colored accent lights that flanked him and his band on stage added to the warm feel of the show. This wasn’t a modern country set with pyro, lasers, and songs about your dog dying in your truck down by the river. This was more subdued, classic country music with heavy blues influence. “I used to think I was a folk singer” he told the audience. “But then I realized this ain’t nothing but The Blues!”

    Crockett mostly sings in a low baritone voice, almost like Johnny Cash or Kris Kristofferson. But peppered in between verses and jam sessions with his band The Blue Drifters, he sometimes allows a yelp and a yee-haw ring out, shifting from serious to rowdy in a split second. In that regard, he reminds me more of Waylon Jennings and Hank Williams Jr.

    “Some publication once called me a stylistic man” Crockett told the crowd. “The way I see it, I’m always just myself… and I’m the only person that can do that!” A lady named Juliet, who was enjoying the show next to me, said “He definitely looks like a character from the movie Giant (1956) starring Rock Hudson, James Dean, and Elizabeth Taylor. I quickly added the film to my “must watch” list.

    click to enlarge

    Crockett mostly sings in a low baritone voice, like Johnny Cash or Kris Kristofferson, but his stage presence is that of Waylon Jennings or Hank Williams Jr.

    Photo by Violeta Alvarez

    By the time the set list arrived at “The Man From Waco,” Crockett was in total control. There were couples two-stepping around the venue, friend groups drinking beer and singing along to the tracks, and girlfriends holding their boyfriends tight around the waist. I go to a lot of shows, but outside of Rodeo season, this was the most Houston show I’ve seen in a very long time.

    There were 2 large, old school neon letters on the stage behind the band, and they read “CC.” It was so cool to see them glow behind Crockett throughout the performance, and they added to the western theme of the tour. As the evening came to a close, the crowd chanted “Charley! Charley! Charley!”

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    Outside of Rodeo season, this Charley Crockett concert was the most Houston show I’ve seen in a very long time.

    Photo by Violeta Alvarez

    Of course Charley and his band returned for an encore, offering Jamestown Ferry before bringing out opening act Vincent Neil Emerson for an awesome cover of Good Hearted Woman by Waylon and Willie.

    But she never complains of the bad times
    Or the bad things he’s done, Lord /
    She just talks about the good times they’ve had
    And all the good times to come

    click to enlarge

    “Next time you see me, I’ll play twice as good!” – Charley Crockett

    Photo by Violeta Alvarez

    click to enlarge

    Crocketts encore included a cover of “Good Hearted Woman” by Waylon and Willie.

    Photo by Violeta Alvarez

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    Marco Torres

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  • The Fabulous Thunderbirds Have Been “Struck Down by the Blues”

    The Fabulous Thunderbirds Have Been “Struck Down by the Blues”

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    Any musician who has labored in the trenches for 50 plus years could be excused for being burned out, jaded or just plain tired. Kim Wilson is none of these.

    On the contrary, Wilson is completely psyched about the release of the album Struck Down, which celebrates the 50th anniversary of his band, the Fabulous Thunderbirds. The record captures the classic T-Birds sound, but in no way does it sound dated. Houston audiences will have a chance to hear the new material live when the band plays for two nights at Main Street Crossing on Wednesday and Thursday, August 7 and 8.

    Vocalist / harmonicist Wilson founded the T-Birds – along with guitarist Jimmie Vaughan – in Austin in 1974. At the time, Vaughan described the band thusly: “We’re an encyclopedia of music from the Gulf Coast, you know, Lightnin’ Slim, Lazy Lester, Texas shuffles, rockin’ Cajun. We are all 27, handsome motherfuckers that dress cool, and our music drives girls wild.”

    Flash forward a few decades, and Wilson is the last T-Bird standing, having led the band through numerous personnel changes since Vaughan’s departure from the group in 1990. There have been many hills and valleys, but Wilson is bullish on the new album and the band’s future.

    Contemporary blues acts often strike a precarious balance between “authenticity” and “relevance,” and Wilson seems comfortable with maintaining this equilibrium. “This is not a museum piece,” Wilson says via Zoom from his home in California. “This is a modern recording, but the sound of it is incredible. Shelly Yakus (John Lennon, Tom Petty, U2 and dozens of other heavy hitters) did the mixing.

    “I haven’t recorded digitally in about eight years, and I found out what they’ve done with digital recording, and it’s kind of blown my mind, how good they can make it sound. They’re about ready to make me a believer. I had a couple of Grammy-nominated CD’s, and they were recorded straight to analog mono. So this is a departure from that. But, that being said, it’s an incredible sounding CD.  Since the Tuff Enuff days [ca. 1986], it’s really the best thing we’ve done, by far,” Wilson says. “Between the material, the sonics, the performance, it’s the best record we’ve done. Including Tuff Enuff.  It’s a true T-Birds record.”

    Wilson and Yakus had never worked together prior to Struck Down, but they quickly discovered a simpatico approach to making records. “The first thing Shelly said is that you have to mix with emotion. And I said, ‘Oh. This is my guy.’ I’ve never had anyone tell me that. You have to have someone who’s a little bit old school for a band like this.”

    So, the album’s title song, “Struck Down by the Blues.”  What exactly does that mean? “It means you just get hit by it. It’s like a truck. And you don’t care what happens after that, you’re gonna do it,” Wilson enthuses. “You’re gonna do it no matter what. I used to say that I was either going to be a musician or a wino. But I had no choice. I was gonna do it no matter what. And it worked out great.”
    From there, the conversation takes a philosophical turn, with Wilson (who would know better?) reflecting on the notion of what it takes to be a real bluesman, as opposed to a poser or a pale imitation. “You have to be you and do it to death. That’s what I learned from all those old guys that I played with. I was friends with everybody. Muddy Waters, Jimmy Rogers, Buddy Guy. And when I was I kid, I was playing with some Texas guys – Albert Collins, Pee Wee Crayton and Lowell Fulson. I was 18, 19, 20 years old when I was playing with these guys.

    “And I learned from them immediately, you’re gonna do it to death, and that’s it. You’ve got to have a monstrously high standard. You’ve got to believe in yourself, because if you don’t believe in yourself, ain’t nobody gonna believe in you.

    “Here’s the thing about blues,” Wilson says, as the master class continues. “All these guys who originated it – and the women – they’ve all got their take on things, they’ve all got their own personality, they’ve all got their own style, they’ve all got their own quirks. It’s an amazing thing to gather all that stuff in. Now it’s more like everybody’s singing church music and calling it blues. It’s very generic. When they mixed rock with blues – not rock and roll, rock – that’s when things got really muddled.”
    Happily, old-school T-Birds fans don’t need to worry about those sorts of things. Wilson makes it clear that he and the collection of musicians that he has assembled are staying true to the spirit and the essence of the blues. “What I love about these guys is that they have their own take on things,” Wilson says. “No matter what I tell them, it’s going to translate and come out of their soul in a whole different way, their own way. That’s very important.

    “In this homogenized, generic world that we live in, it’s really good to have your own identity. And this band is expounding on the past of this band [the T-Birds], which was expounding on the past of music. If you expound on the past, you can hear the past, you can hear the present, you can hear the future. I think there’s a true future with this band. And people are going to realize that when they hear this record.”

    The Fabulous Thunderbirds will play at 8 p.m. on Wednesday and Thursday, August 7 and 8, at Main Street Crossing, 111 W. Main in Tomball. For more information, call 281-290-0431 or visit MainStreetCrossing.com.

    For more information on the Fabulous Thunderbirds, visit FabulousThunderbirds.com

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    Tom Richards

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  • John Mayall, tireless and influential British blues pioneer, dies at 90

    John Mayall, tireless and influential British blues pioneer, dies at 90

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    LONDON — John Mayall, the British blues musician whose influential band the Bluesbreakers was a training ground for Eric Clapton, Mick Fleetwood and many other superstars, has died. He was 90.

    A statement on Mayall’s Instagram page announced his death Tuesday, saying the musician died Monday at his home in California. “Health issues that forced John to end his epic touring career have finally led to peace for one of this world’s greatest road warriors,” the post said.

    He is credited with helping develop the English take on urban, Chicago-style rhythm and blues that played an important role in the blues revival of the late 1960s. At various times, the Bluesbreakers included Eric Clapton and Jack Bruce, later of Cream; Mick Fleetwood, John McVie and Peter Green of Fleetwood Mac; Mick Taylor, who played five years with the Rolling Stones; Harvey Mandel and Larry Taylor of Canned Heat; and Jon Mark and John Almond, who went on to form the Mark-Almond Band.

    Mayall protested in interviews that he was not a talent scout, but played for the love of the music he had first heard on his father’s 78-rpm records.

    “I’m a band leader and I know what I want to play in my band — who can be good friends of mine,” Mayall said in an interview with the Southern Vermont Review. “It’s definitely a family. It’s a small kind of thing really.”

    A small but enduring thing. Though Mayall never approached the fame of some of his illustrious alumni, he was still performing in his late 80s, pounding out his version of Chicago blues. The lack of recognition rankled a bit, and he wasn’t shy about saying so.

    “I’ve never had a hit record, I never won a Grammy Award, and Rolling Stone has never done a piece about me,” he said in an interview with the Santa Barbara Independent in 2013. “I’m still an underground performer.”

    Known for his blues harmonica and keyboard playing, Mayall had a Grammy nomination, for “Wake Up Call” which featured guest artists Buddy Guy, Mavis Staples, Mick Taylor and Albert Collins. He received a second nomination in 2022 for his album “The Sun Is Shining Down.” He also won official recognition in Britain with the award of an OBE (Officer of the Order of the British Empire) in 2005.

    He was selected for the 2024 Rock & Roll Hall of Fame class and his 1966 album “Blues Breakers With Eric Clapton,” is considered one of the best British blues albums.

    Mayall once was asked if he kept playing to meet a demand, or simply to show he could still do it.

    “Well, the demand is there, fortunately. But it’s really for neither of those two things, it’s just for the love of the music,” he said in an interview with Hawaii Public Radio. “I just get together with these guys and we have a workout.”

    Mayall was born on Nov. 29, 1933 in Macclesfield, near Manchester in central England.

    Sounding a note of the hard-luck bluesman, Mayall once said, “The only reason I was born in Macclesfield was because my father was a drinker, and that’s where his favorite pub was.”

    His father also played guitar and banjo, and his records of boogie-woogie piano captivated his teenage son.

    Mayall said he learned to play the piano one hand at a time — a year on the left hand, a year on the right, “so I wouldn’t get all tangled up.”

    The piano was his main instrument, though he also performed on guitar and harmonica, as well as singing in a distinctive, strained-sounding voice. Aided only by drummer Keef Hartley, Mayall played all the other instruments for his 1967 album, “Blues Alone.”

    Mayall was often called the “father of British blues,” but when he moved to London in 1962 his aim was to soak up the nascent blues scene led by Alexis Korner and Cyril Davies. Mick Jagger, Keith Richards and Eric Burdon were among others drawn to the sound.

    The Bluesbreakers drew on a fluid community of musicians who drifted in and out of various bands. Mayall’s biggest catch was Clapton, who had quit the Yardbirds and joined he Bluesbreakers in 1965 because he was unhappy with the Yardbirds’ commercial direction.

    Mayall and Clapton shared a passion for Chicago blues, and the guitarist later remembered that Mayall had “the most incredible collection of records I had ever seen.”

    Mayall tolerated Clapton’s waywardness: He disappeared a few months after joining the band, then reappeared later the same year, sidelining the newly arrived Peter Green, then left for good in 1966 with Bruce to form Cream, which rocketed to commercial success, leaving Mayall far behind.

    Clapton, interviewed for a BBC documentary on Mayall in 2003, confessed that “to a certain extent I have used his hospitality, used his band and his reputation to launch my own career,”

    “I think he is a great musician. I just admire and respect his steadfastness,” Clapton added.

    Mayall encouraged Clapton to sing and urged Green to develop his song-writing abilities.

    Mick Taylor, who succeeded Green as a Bluesbreaker in the late 1960s, valued the wide latitude which Mayall allowed his soloists.

    “You’d have complete freedom to do whatever you wanted,” Taylor said in a 1979 interview with writer Jas Obrecht. “You could make as many mistakes as you wanted, too.”

    Mayall’s 1968 album “Blues from Laurel Canyon” signaled a permanent move to the United States and a change in direction. He disbanded the Bluesbreakers and worked with two guitars and drums.

    The following year he released “The Turning Point,” arguably his most successful release, with an atypical four-man acoustic lineup including Mark and Almond. “Room to Move,” a song from that album, was a frequent audience favorite in Mayall’s later career.

    The 1970s found Mayall at low ebb personally, but still touring and doing more than 100 shows a year.

    “Throughout the ’70s, I performed most of my shows drunk,” Mayall said in an interview with Dan Ouellette for Down Beat magazine in 1990. One consequence was an attempt to jump from a balcony into a swimming pool that missed — shattering one of Mayall’s heels and leaving him with a limp.

    “That was one incident that got me to stop drinking,” Mayall said.

    In 1982, he reformed the Bluesbreakers, recruiting Taylor and McVie, but after two years the personnel changed again. In 2008, Mayall announced that he was permanently retiring the Bluesbreaker name, and in 2013 he was leading the John Mayall Band.

    Mayall and his second wife, Maggie, divorced in 2011 after 30 years of marriage. They had two sons.

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  • Legendary Bluesman Goes Rogue on New Album

    Legendary Bluesman Goes Rogue on New Album

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    The phrase, “If you know, you know,” certainly applies to musician Nick Gravenites. While the name may not be familiar to some casual fans, hardcore music geeks are well aware of his contributions.

    The son of Greek immigrants, Gravenites grew up in Chicago, where he haunted the city’s blues clubs with Mike Bloomfield, Paul Butterfield and Elvin Bishop, soaking up the music directly from the greats. Artists like Muddy Waters, Howlin’ Wolf and Buddy Guy. He wrote “Born in Chicago,” recorded by the Paul Butterfield Blues Band. A few years later, in 1967, Gravenites and guitarist Mike Bloomfield formed The Electric Flag, an outfit that fused rock, soul and blues.

    After moving to San Francisco in the mid ‘60s, Gravenites wrote songs for Janis Joplin, produced the debut album by Quicksilver Messenger Service and scored the 1967 Roger Corman film The Trip, written by Jack Nicholson and starring Peter Fonda. He also produced Brewer and Shipley’s hit single “One Toke Over the Line,” but let’s not hold that against him.

    Over the years, Gravenites has made many friends in the community of musicians, and now they are turning out to help their old compadre. At the age of 85, Gravenites has just released a new album, Rogue Blues, produced by longtime friend and fellow Bay Area musician Pete Sears, with other musical pals pitching in.

    Despite poor health, Nick Gravenites recorded Rogue Blues with the help of musical friends including guitarist Jimmy Vivino, drummer Wallly Ingram and harmonica player Charlie Musselwhite.

    Photo by Kathleen McCallum

    Sears has quite an impressive resume himself, playing bass and keyboards with Jefferson Starship and Rod Stewart, among many others. That’s him on “Every Picture Tells a Story” and “Maggie May.”

    Due to recent health issues, Gravenites is not currently able to speak with members of the media, so Sears has jumped into the fray. Speaking from his recording studio at his home in San Francisco, Sears explains that the album was assembled over the course of the past two years.

    “We did three sessions, two in 2022 and one in 2023. I laid the groundwork here. We recorded Nick’s vocals and the piano tracks,” Sears says. Though not in the best of health, Gravenites was enthusiastic about the recording sessions.

    “Nick showed up here,” Sears recalls. “He made it up the stairs somehow. He came up the front steps and just gathered himself. The first take, he just went for it. And he’s such an amazing vocalist, because he knows how to sing around the beat naturally. He’s always been that way. That’s what he’s kind of known for.”

    “He’s getting medical care and everything, but he would rather be home in his own bed smoking dope.”

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    Other musicians’ contributions were recorded elsewhere. “[Harmonica player] Charlie Musselwhite was recorded in Clarksdale, Mississippi, where he lives now. I sent him the track with Nick singing and my piano and Wally Ingram [Sheryl Crow, Timbuk 3, David Lindley] on drums. [Guitarist] Jimmy Vivino [Conan O’Brien] and Wally Ingram were recorded down in Los Angeles. And, of course, I was on the phone with them while it was being done, in the producer role.”

    Gravenites and Sears have worked together on music projects for over 50 years, and during that time, they have developed a long-lasting friendship. “We used to go fishing together,” Sears recalls. “And he used to come over for poker nights at our house. It’s a deep friendship. He’s a man who will tell people what he thinks. He’s upset people over the years, including [San Francisco concert promoter] Bill Graham, famously. Bill told him he’d never work in this town again. He’s very honest that way. But Nick is a fiercely loyal friend.”

    Multi-instrumentalist Pete Sears produced Rogue Blues, recruiting a variety of contributers.

    Photo by Bob Minkin

    A number of Gravenites’ musical friends, including Maria Muldaur (“Midnight at the Oasis”), recently organized a benefit concert to raise funds to help with his medical expenses. “We’re trying to improve his situation,” Sears says. “To get him into some facility where he can have his own room. Right now, he’s sharing a room with three other guys. He’s getting medical care and everything, but he would rather be home in his own bed smoking dope.”

    The impetus for Rogue Blues came from a somewhat unlikely source. “Thomas Yeats, he’s a comic book illustrator of some renown,” Sears says. “He does the Prince Valiant comic strip in the Sunday newspaper. He’s also a blues fan, and he loves Nick. He’s been a good friend of Nick’s for some time. He drives him around and that sort of thing. Very supportive of Nick.

    “Thomas came to me and asked if I’d make an album with Nick, just piano and voice, because Nick is no longer able to play guitar because of arthritis. I was resistant at first. I didn’t feel comfortable doing it that way, so I started adding friends.”

    In addition to Musselwhite, Vivino and Ingram, Sears recruited harmonicist Larry Chambers (Chambers Brothers), guitarist Barry Sless (Bob Weir and the Wolf Brothers) and drummer Roy Blumenfeld (The Blues Project).

    “Thomas chose the songs, because he had done a lot of research on live gigs with Nick, many of them that I was playing on,” Sears says. “He was looking for songs that hadn’t been recorded. That’s how it went down. Just trying to give it that old-time early blues recording on the porch type feel.”
    The musicians’ level of experience and familiarity with Gravenites’ style contributed to a smooth recording process. “Everybody that played on the album has been around the block. Each person I’ve played with in other settings. They’ve been doing it for a long time. But there is a freshness coming from the fact that everybody loves the blues and they enjoyed doing it. And everybody likes each other.

    “The whole thing was a labor of love for everybody involved,” Sears says. “Nobody was paying me to do it, and I had no idea it would turn into something.”

    For more information on Rogue’s Blues, visit MC-Records.com. For more information on Nick Gravenites, visit NickGravenites.com.

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    Tom Richards

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  • Should You Blame Cannabis For Feeling Blah

    Should You Blame Cannabis For Feeling Blah

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    Some people get a case of the blues or the blahs.  But blaming anhedonia on cannabis isn’t really based in science.

    The blues, the blahs, depression, or just feeling sad happens to must people. Relationship issues, bad news, stress and a lack of social outlets emerge over and over in data as major causes of feeling blah. Almost everyone has felt “down in the dumps” at times or had a case of “the blues.” In this state, you may have referred to yourself as feeling depressed. But over 5% suffer from some form clinical depression. But should you blame cannabis for feeling blah?  Marijuana has components which, used in moderation, make you feel happy, but it has gotten a bad reputation.

    There is a myth cannabis use causes Anhedonia. It is the inability to experience joy or pleasure. You may feel numb or less interested in things that you once enjoyed. It’s a common symptom of many mental health conditions like depression. Marijuana use has been accused of trigger this ailment, but the facts are not there to back up the statement.

    RELATED: 5 Morning Activities To Help You Feel Happier

    No one is advocating those under 21 should use marijuana or alcohol, since the brain is still developing.  But marijuana has not be truly proven to cause depression, laziness, or blocking the feeling of pleasure. Research has shown THC in cannabis causes an increase in levels of dopamine, the pleasure chemical, in the brain. Used in moderation, it can have a positive effect.  And, in the right dose, can also relieve anxiety, which tends to help people approach life more positively.

    Photo by Edu Lauton via Unsplash

    Cambridge University has published a paper showing adolescent cannabis users are not more likely to “lack motivation and the ability to enjoy life’s pleasures.”  This shows  the stereotypical cannabis user as often portrayed by the media is not grounded in science. The study was carried out by researchers from UCL, Kings College of London Institute of Psychiatry and Neuroscience, and the University of Cambridge. The results were published in the International Journal of Neuropsychopharmacology. From the research, regular cannabis users had slightly lower scores for anhedonia.

    RELATED: Science Says Medical Marijuana Improves Quality Of Life

    Another study, published in The International Journal of Neuropsychopharmacology, showed a null relationship between anhedonia and regular cannabis use. The researchers used data from an earlier study that had investigated cannabis use in teens, called the “CannTeen study.”

    Researchers examined 274 participants including adults (26-29 years) and adolescents (16-17 years). The participants were regular cannabis users who had used cannabis in the last three months, with an average use of four times per week. The Snaith Hamilton Pleasure Scale was used to measure anhedonia while the Apathy Evaluation Scale was used to measure apathy.

    The results showed that the control group (those who didn’t use cannabis or didn’t use it regularly) had higher levels of anhedonia. This was quite surprising and contrary to the widely held belief that regular cannabis use diminishes one’s enthusiasm for life.

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    Amy Hansen

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  • ‘Groundhog Day’ Reunion Aims to Cure Chicago’s Wintertime Blues

    ‘Groundhog Day’ Reunion Aims to Cure Chicago’s Wintertime Blues

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    Navy Pier, like most Chicago restaurants and tourist attractions, struggles to attract business during winter. But one restaurant owner has an idea to address the problem. Grant DePorter is no stranger to stunts. The president and chief executive officer of Harry Caray’s has blown up a baseball and served it in spaghetti sauce. Last year, he even promoted the beloved baseball announcer in a campaign for mayor (of Rush Street).

    Now, he’s celebrating the life of one of the restaurant’s partners, legendary filmmaker and comedian Harold Ramis. This year marks the tenth anniversary of Ramis’ death, and the city of Chicago is prepping to declare Friday, February 2 — Groundhog Day — as Harold Ramis Day. Ramis is responisble for hits like Ghostbusters, Caddyshack, and Groundhog Day. The latter is the 1993 comedy starring Bill Murray.

    DePorter and the rest of the staff at Harry Caray’s Tavern at Navy Pier are prepping a special event on the date. DePorter has spent the last few weeks gathering artifacts and props to throw a Groundhog Day ceremony that would make his friend proud. He’s even procured the Armani coat Murray wears in most of the movie and has commissioned a 150-pound tree stump. Movie producer Erica Mann Ramis, the director’s wife, will also appear at the event.

    “I’m just trying to get people excited in February to give people a reason to come to Downtown Chicago,” DePorter says.

    The restaurant world is slow during the winter in Chicago. Weather forecasters put folks on edge with their storm alerts, warning folks about snow that sometimes never comes. And that leads to empty dining rooms and cancelations. There’s also a sometimes negative perception of Chicago coming from the suburbs. These are challenges that restaurant owners around town have expressed frustration to Eater Chicago about.

    Events like this aim to combat those hurdles. Ald. (2nd Ward) Brian Hopkins and Ald. (42nd Ward) Brendan Reilly are expected with the latter reading the proclamation. Meanwhile, several actors from the movie will appear — including Brian Doyle Murray (Buster Green), David Pasquesi (the Psychiatrist), and Peggy Roeder (the Piano Teacher). But the real star of the show is the groundhog; the fuzzy critter holds the fate of Chicago’s winter by whether or not it sees its shadow. Groundhog Day is a popular event in Woodstock, Illinois. And that’s where DePorter found a groundhog handler to provide the animal for next month’s event.

    The average lifespan of a groundhog is 12 to 14 years in captivity. So, alas, the same groundhog from the movie is no longer available. There is a chance the stand-in is a distant relative; DePorter says they’re using the same handler that was used in the movie.

    Harry Caray’s will also serve food and drink inspired by Tip Top Cafe, the restaurant featured in the movie, where Bill Murray and Andie MacDowell repeatedly dine. DePorter says when word got out about the tribute to Ramis, several Ghostbusters fans reached out and pledged to show up in full costume. DePorter says he owns the jumpsuits worn by Bill Murray and Ramis in the original movie.

    For anyone placing a bet if the groundhog will see its shadow, DePorter has no inside information.

    “All I can say is that we’re not sticking to the script,” he says.

    “Groundhog Day’ reunion and Harold Ramis Day, 3 p.m. on Friday, February 2 at Harry Caray’s Tavern Navy Pier, 700 E. Grand Avenue.

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    Ashok Selvam

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  • Louisiana folklorist and Mississippi blues musician among 2023 National Heritage Fellows

    Louisiana folklorist and Mississippi blues musician among 2023 National Heritage Fellows

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    NEW ORLEANS — Louisiana folklorist Nick Spitzer and Mississippi blues musician R.L. Boyce are among nine 2023 National Heritage Fellows set to be celebrated later this month by the National Endowment for the Arts, one of the nation’s highest honors in the folk and traditional arts.

    Spitzer and Boyce are scheduled to accept the NEA’s Bess Lomax Hawes National Heritage Fellowship, which includes a $25,000 award, at a Sept. 29 ceremony at the Library of Congress in Washington, D.C. The Hawes award recognizes individuals who have “made a significant contribution to the preservation and awareness of cultural heritage.”

    Spitzer, an anthropology professor at Tulane University’s School of Liberal Arts, has hosted the popular radio show “American Routes” for the past 25 years, most recently from a studio at Tulane in New Orleans. The show has featured interviews with Willie Nelson, Ray Charles, Dolly Parton, Fats Domino and 1,200 other figures in American music and culture.

    Each two-hour program reaches about three quarters of a million listeners on 380 public radio stations nationwide.

    “’American Routes’ is my way of being inclusive and celebratory of cultural complexity and diversity through words and music in these tough times,” Spitzer said.

    Spitzer’s work with roots music in Louisiana’s Acadiana region has tied him to the state indefinitely. He founded the Louisiana Folklife Program, produced the five-LP Louisiana Folklife Recording Series, created the Louisiana Folklife Pavilion at the 1984 World’s Fair in New Orleans and helped launch the Baton Rouge Blues Festival. He also is a senior folklife specialist at the Smithsonian’s Center for Folklife and Cultural Heritage in Washington.

    Spitzer said he was surprised when told he was a recipient of the Hawes award.

    “I was stunned,” Spitzer recalled during an interview with The Associated Press. “It’s nice to be recognized. I do it because I like making a contribution to the world.”

    Boyce is a blues musician from the Mississippi hill country. His northern Mississippi approach to playing and song structures are rooted in the past, including traditions centered around drums and handmade cane fifes. Yet his music is uniquely contemporary, according to Boyce’s bio on the NEA website.

    “When I come up in Mississippi, there wasn’t much. See, if you saw any opportunity to survive, you grabbed it. Been playing Blues 50 years. Playing Blues is all I know,” Boyce said in a statement.

    “There are a lot of good blues players out there,” he added. “But see, I play the old way, and nobody today can play my style, just me.”

    Boyce has played northern Mississippi blues for more than half a century. He has shared stages with blues greats John Lee Hooker, a 1983 NEA National Heritage Fellow, and Howlin’ Wolf. He also was the drummer for and recorded with Jessie Mae Hemphill.

    The other 2023 heritage fellows are: Ed Eugene Carriere, a Suquamish basket maker from Indianola, Washington; Michael A. Cummings, an African American quilter from New York; Joe DeLeon “Little Joe” Hernandez, a Tejano music performer from Temple, Texas; Roen Hufford, a kapa (bark cloth) maker from Waimea, Hawaii; Elizabeth James-Perry, a wampum and fiber artist from Dartmouth, Massachusetts; Luis Tapia, a sculptor and Hispano woodcarver from Santa Fe, New Mexico; and Wu Man, a pipa player from Carlsbad, California.

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  • Jazz Fest’s Saturday opening delayed by weather

    Jazz Fest’s Saturday opening delayed by weather

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    A line of strong thunderstorms, with wind gusts of up to 60 mph, prompted organizers of the New Orleans Jazz and Heritage Festival to delay Saturday’s opening at the Fair Grounds by at least two hours

    NEW ORLEANS — A line of strong thunderstorms, with wind gusts of up to 60 mph (about 97 kph), prompted organizers of the New Orleans Jazz and Heritage Festival to delay Saturday’s opening at the Fair Grounds by at least two hours.

    In an announcement on Twitter, the festival told festgoers to “stay tuned” for more information and “See you this afternoon!”

    The festival is in its final weekend for its 2023 two-week run. Saturday’s scheduled performers include rock band Dead and Company, R&B singer/musician H.E.R, alternative folk band The Lumineers, jazz trumpeter Terence Blanchard, featuring The E Collective and Turtle Island Quartet, blues singer Keb’ Mo and gospel artist Anthony Brown and group therAPy.

    The festival’s final day is Sunday.

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  • Willie Nelson inhales the love at 90th birthday concert

    Willie Nelson inhales the love at 90th birthday concert

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    LOS ANGELES — LOS ANGELES (AP) — “Are there any more real cowboys?” Neil Young sang Saturday night at the Hollywood Bowl on a rare evening when he was neither the headliner nor, at age 77, even close to the oldest artist on the bill.

    Providing an instant answer, Willie Nelson, wearing a cowboy hat and red-white-and-blue guitar strap, slowly strolled on to the stage on his 90th birthday, bringing the crowd of more than 17,000 to its feet.

    Nelson sat in a chair — one of the few onstage concessions he’s made to age — and joined Young for the rest of their 1985 duet, “Are There Any More Real Cowboys?”

    “I want to thank all the artists who came out tonight to help celebrate whatever it is we’re celebrating,” said Nelson, feigning senility and getting a laugh.

    The moment came three hours into the first of a two-night celebration of the country legend at the open-air Los Angeles amphitheater, where generations of stars sang his songs in tribute.

    “As a kid growing up in Texas, it seemed like there was nothing bigger than Willie Nelson,” said Owen Wilson, one of the evening’s emcees along with Helen Mirren, Ethan Hawke and Jennifer Garner. “And looking out at the Hollywood Bowl tonight, it still feels like there’s nothing bigger than Willie Nelson.”

    After Young, Nelson brought out George Strait, a country superstar of the following generation, for their self-referential duet, “Sing One With Willie,” followed by the Willie perennial, “Pancho and Lefty,” with Strait singing the part once played by the late Merle Haggard.

    Nelson then shouted, “Come out and roll one with me Snoop!”

    Strutting out came rapper Snoop Dogg, sitting next to Nelson as they launched into their stoner anthem, “Roll Me Up and Smoke Me When I Die.” Perhaps fittingly, each seemed to forget the words at times. The two friends looked too happy to care.

    “Somebody make some noise for the legend Mr. Willie Nelson!” Snoop shouted mid-song.

    The parade of partners illustrated one of the night’s themes: Willie brings people together.

    “All of the sudden, it didn’t matter if you were a hillbilly or a hippie, everyone was a Willie Nelson fan,” Wilson said of Nelson’s late-blooming emergence as a singing superstar when he left Nashville, Tennessee, and returned to his native Texas in the 1970s. “Even the Dalai Lama is a Willie Nelson fan. It’s true.”

    The crowd, which ranged from small children to seniors, illustrated the point. The stands were dotted with cowboy hats while hippies danced in the aisles and weed smoke wafted in the air.

    Miranda Lambert thrilled them with a rousing, sing-along version of “Mammas Don’t Let Your Babies Grow Up to Be Cowboys,” Nelson’s 1978 hit with Waylon Jennings. The Chicks blazed through 1970’s “Bloody Mary Morning” at the same break-neck pace that Willie and his Family Band played it live in their prime.

    Nelson has outlived nearly every member of that band, which backed him for decades of constant touring and recording. His little sister and piano player, Bobbie Nelson, died last year. She got her own tribute from Norah Jones, who banged the keys through the younger Nelson’s saloon-style solo song, “Down Yonder,” from Willie Nelson’s definitive 1975 album, “Red Headed Stranger.”

    While many of the women who took the stage played rousing rockers, most of the men went in for quiet emotion.

    Chris Stapleton kept his guitar at his side through a soft, reflective rendition of “Always on My Mind,” Nelson’s biggest solo hit of the 1980s. Nelson’s son Lukas sang “Angel Flying Too Close to The Ground” alone with his acoustic guitar, his voice a dead ringer for his dad’s.

    Another surviving member of the Family Band, harmonica master Mickey Raphael, was part of the weekend’s house band, led by Don Was, which backed almost everyone.

    Nelson also has outlived most of his classic collaborators. But an essential one, his 86-year-old Highwaymen bandmate Kris Kristofferson, made it to the stage to join Rosanne Cash, the daughter of another Highwayman: Johnny Cash.

    Rosanne Cash was singing Nelson’s “Loving Her Was Easier (Than Anything I’ll Ever Do Again)” when Kristofferson, who wrote the song, came out and harmonized with her on the choruses.

    Nelson’s musical diversity was another evening theme.

    “He blends and bends genres,” Mirren said from the stage. “His timing and categories are his own.”

    Leon Bridges’ “Night Life” showed off Nelson’s affinity for the blues, as did Jones’ jazzy trip through “Funny How Time Slips Away” from 1961, when Nelson was known primarily as a songwriter of hits for others.

    Ziggy Marley sang “Still Is Still Moving To Me,” which Nelson recorded in 1993 and later sang with Toots and the Maytals in one of his occasional forays into reggae. Marley shouted “Wee-lay!” in his Jamaican accent during the song.

    Sunday’s night show will feature a whole different range of acts including Dave Matthews, Sheryl Crow and Emmylou Harris.

    Young first took the stage with his early collaborator Stephen Stills. The pair played a revved up version of “For What It’s Worth,” swapping guitar solos on the classic hit they made as members of Buffalo Springfield in 1966.

    Nelson brought out all the evening’s artists to join him for the Carter Family’s 1935 song, “Will the Circle Be Unbroken?” a longtime live favorite of his and the classic closing song for all of country music.

    It was clearly intended to be the end, as Hawke took the mic and started to thank everyone for coming.

    But the 90-year-old wasn’t ready to stop. He interrupted and broke into Mac Davis’ “It’s Hard to Be Humble,” which Nelson and his sons recorded in 2019.

    It was a funny choice for a final song, but its chorus was a perfect comic coda for a man who had been drowned in adoration all night:

    “To know me is to love me, I must be a hell of a man. Oh lord, it’s hard to be humble. But I’m doing the best that I can.”

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  • Rock, country, blues merge at 2023 CMT Music Awards in Texas

    Rock, country, blues merge at 2023 CMT Music Awards in Texas

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    This year’s CMT Music Awards will merge country, rock and blues straight from the heart of Texas

    ByKRISTIN M. HALL AP Entertainment Writer

    NASHVILLE, Tenn. — This year’s CMT Music Awards will merge country, rock and blues straight from the heart of Texas, featuring performances including collaborations with Alanis Morissette, The Black Crowes, Gwen Stefani and Gary Clark Jr. and tributes to Lynyrd Skynyrd and Stevie Ray Vaughn.

    The annual fan-voted awards show in Austin, Texas, on Sunday also will honor country superstar and five-time Grammy winner Shania Twain with the Equal Play Award, recognizing her for being a “visible and vocal advocate” for diverse voices in country music.

    Hosted by Kane Brown and Kelsea Ballerini, fan-favorite and scheduled performer Lainey Wilson leads the nominations with four chances to win.

    The show airs live on CBS at 8 p.m. EST.

    Carrie Underwood has a chance to extend her record as the most awarded artist in CMT history with 25 awards. Underwood, who also will perform, was nominated again for video of the year for “Hate My Heart.”

    Other performers include Blake Shelton, Keith Urban, Wynonna Judd with Ashley McBryde, Carly Pearce, Jelly Roll, Tyler Hubbard and Brown with his wife Katelyn.

    Southern rockers Lynyrd Skynyrd will be honored with a tribute performance following the death in March of the last original member, Gary Rossington. ZZ Top’s Billy Gibbons, Slash of Guns N’ Roses and the Allman Brothers’ Warren Haynes and Chuck Leavell are slated to perform with singers Paul Rodgers and Cody Johnson with backup vocals from LeAnn Rimes and Judd.

    Four-time Grammy winner Clark Jr. will perform a tribute to the late Texas guitarist Vaughn.

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    Follow Kristin M. Hall at https://twitter.com/kmhall

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  • Rock, country, blues merge at 2023 CMT Music Awards in Texas

    Rock, country, blues merge at 2023 CMT Music Awards in Texas

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    This year’s CMT Music Awards will merge country, rock and blues straight from the heart of Texas

    ByKRISTIN M. HALL AP Entertainment Writer

    NASHVILLE, Tenn. — This year’s CMT Music Awards will merge country, rock and blues straight from the heart of Texas, featuring performances including collaborations with Alanis Morissette, The Black Crowes, Gwen Stefani and Gary Clark Jr. and tributes to Lynyrd Skynyrd and Stevie Ray Vaughn.

    The annual fan-voted awards show in Austin, Texas, on Sunday also will honor country superstar and five-time Grammy winner Shania Twain with the Equal Play Award, recognizing her for being a “visible and vocal advocate” for diverse voices in country music.

    Hosted by Kane Brown and Kelsea Ballerini, fan-favorite and scheduled performer Lainey Wilson leads the nominations with four chances to win.

    The show airs live on CBS at 8 p.m. EST.

    Carrie Underwood has a chance to extend her record as the most awarded artist in CMT history with 25 awards. Underwood, who also will perform, was nominated again for video of the year for “Hate My Heart.”

    Other performers include Blake Shelton, Keith Urban, Wynonna Judd with Ashley McBryde, Carly Pearce, Jelly Roll, Tyler Hubbard and Brown with his wife Katelyn.

    Southern rockers Lynyrd Skynyrd will be honored with a tribute performance following the death in March of the last original member, Gary Rossington. ZZ Top’s Billy Gibbons, Slash of Guns N’ Roses and the Allman Brothers’ Warren Haynes and Chuck Leavell are slated to perform with singers Paul Rodgers and Cody Johnson with backup vocals from LeAnn Rimes and Judd.

    Four-time Grammy winner Clark Jr. will perform a tribute to the late Texas guitarist Vaughn.

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    Follow Kristin M. Hall at https://twitter.com/kmhall

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