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Monica Dupont CD Release
| The Queen of San Francisco Blues, Monica Dupont. |
Monica is a pure blues singer and guitar
player, and has performed with all the
known blues greats touring through San
Francisco. Check out her site by clicking
her photos, and see what I'm talking about.
Also an actress, screenplay and comic
writer. Talent galore, she is.
player, and has performed with all the
known blues greats touring through San
Francisco. Check out her site by clicking
her photos, and see what I'm talking about.
Also an actress, screenplay and comic
writer. Talent galore, she is.
August 2008
With Mel Brown
LINKS: www.modernbluesrecords.com
and www.myspace.com/monicadupont
LINKS: www.modernbluesrecords.com
and www.myspace.com/monicadupont
Check out our MySpace site that
has received 20,000 visitors and
has 3,000 blues friends. Be sure to
join us as a friend, and then
subscribe to our blogs which we
update on a routine basis. Our
motto here at Blues Guitar News is
"Keep on jammin' them blues"
< - - - - Click photo to visit our
MySpace Blues Guitar News Site.
has received 20,000 visitors and
has 3,000 blues friends. Be sure to
join us as a friend, and then
subscribe to our blogs which we
update on a routine basis. Our
motto here at Blues Guitar News is
"Keep on jammin' them blues"
< - - - - Click photo to visit our
MySpace Blues Guitar News Site.
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& link to your site for $5.00. You can charge it
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| MySpace |
By Mike "Whisker Fish" Dollins
Joe Pitts Band, by Mike Dollins
I met Joe about four years ago in a guitar shop, and without
speaking to one another, we did about a half hour acoustic jam off
the charts. I've only had this happen about a dozen times in my
life, and look forward to these encounters where the
communication is through the guitar, and not orally with wasted
words. When we finished playing Joe simply said, "Hi my name
is Joe Pitts, and how may I help you in any capacity I can?" I
almost fell off my stool with those words. You none-guitar players
need to realize that two lead guitar players vying for universe
space and recognition at any given spot and time on the earth,
simultaneously is like two Hollywood blonds showing up at a
celebrity party with the same dress on. When playing with Joe
reminds me of the old time western movies where you had to
check your guns in with the bartender. With Joe, everyone checks
there ego in at the door, as they are not wanted or needed. A
pleasant experience lending to more better music. Now I've
known a few pickers in my decades, and if 99% percent of them
had even 1% of Joe's skills would bolster their egos and swell
their heads beyond where they think they are already. Joe is one
fine accomplished musician, and you need to hear his music to
understand what I'm talking about. With that said, meet Joe
through the interview we did just before his next road trip.
Joe Pitts Interview July, 2008
When did you first get attracted to playing guitar, and how old? At
about 6 years old. I was getting music from all sides, with my
mom and sister being music fanatics. I would hear stuff from
Coltrane and Montgomery, to Johnny Cash and Tennessee Ernie
Ford... What was your first guitar? It was an old full size Kay. It
was so big i couldn't fret it, so I laid it in my lap and learned to play
like I saw them playing on Porter Wagner Show, and the Ed
Sullivan show. You must have had some early influences. Who
were they, and what source? i.e. Radio, live, records, TV etc.
My sister turned me on to all the cool
stuff. Pretty much early on, was
records. When Cream and Hendrix
really came about, she would show
me, that it wasn't something new,
it was just something re-created in
a different way from the old blues men.
She had old 78's of Son House, and
Leadbelly, Bukka White and Muddy. It was like, see where that
stuff comes from.. It comes from the blues.. Then came the
teenage years and the advent of Beaker street, where you heard
album rock, and it was all over with... But, early influences that
really changed the way I play, was Duane Allman, Dickey Betts,
Roy Buchanan, Billy Gibbons, Jimmy Page and Eric Clapton. Did
you take lessons early, or were you self-taught? Any music or
books? I was self taught until later in life. I would try and play
along with the guys on TV, or on records but I never could get it
tuned just right. Then I saw a cat play on TV, and he strummed an
open chord, and i HEARD it.!!! So, I tuned until i heard that
chord. It was a G chord, and then it just took off from there. Years
later, I went to the summer guitar sessions at Berklee, and it
completely changed the way, not only that I play, but the way I
listened. When did you first take up slide, and where did the
influence and style come from? I pretty much played slide before I
could chord and fret, being such a small kid with a big guitar. I'd
play it like I saw the Dobro players play, in their lap. I loved to see
the cat's playing Dobro, then the blues guys playing bottleneck
with brass pipes and such. If my mom was still here today, she'd
swear that I was addicted to Coricidin as a teenager. She bought
me bottles nearly every week for several years. I'd dump the pills,
wash the label off and go for it, and it would fly off my finger, hit
the floor and break. I bet I've broken a hundred of those. But, I
still have quite a few left from those days, and still play them every
night I play. There is just something about the sound of the old
bottles, that you can't get from the new ones. What was your first
good pro-level guitar and amp. How old were you? My first
electric guitar was a fender mustang, and a fender showman. I
was probably 9. Then I graduated to Les Pauls, then to Strats,
and it's flip flopped for years since. When did you get attracted to
blues, and who were your first influences? Early on. I guess I was
8 or 9. Son House, Bukka White, Big Bill Broonzy, Robert
Johnson, Muddy, Wolf. . Man, i just loved it all. You like a wide
variety of music including jazz. Can you name some of your
favorites to listen on a long road trips? I love Miles Davis.
Especially his fusion stuff. And Jeff Beck. Lots of new cats I just
love to listen too. We listen to XM a lot on the road. Bluesville,
and Beyond Jazz. Can you tell us any stories about known blues
acts you opened for, or were around? I remember a couple
stories about Bobby Bland and BB King, but I am sure you have
more. Man, I have a bunch of great memories of doing stuff, but
opening up when I was a teenager for Bobby Bland, is one of my
favorites. You’ve been in, around with the blues circles of players
in Arkansas for many years. Name some of the folks you think
represent Arkansas blues then and now.
You know, I got the opportunity to play with a cat named Willie
Foster. He was Muddy's harp player, and was such a gentleman
and an honor to play with. He's passed on now, but, he was true
blues. And, sitting watching Roy Buchanan play the guitar, when I
was a teenager, and learned that the blues was more feel, than
technique was an invaluable lesson that I learned from him.
Michael Burks. Man, Michael is my good friend, and he's the real
deal when it comes to the blues. Did you have any type of formal
training or music education? I had some lessons when I was a
teenager, more to learn how to read music and tabs, but didn't'
have formal training until I went to Berklee for the summer
sessions. You are first and foremost in helping others in their
music, and promotions. That is a pleasantly unique demeanor for
a modern lead guitar player. How did you form the healthy outlook
of “Passing the Biscuits?” I just know that I know a dab when it
comes to the grand scheme of things. I've always tried to always
give more than I take, because if you only take, eventually, it gets
used up, and is gone. But giving back more than you take,
preserves the art and the love of music for future generations.
Being a faithful follower of Col Bruce Hampton, has taught me, that
for this ''SPLIT SECOND" in time, you've never been here before,
and you'll never be here again. So you try and leave something at
that moment, that will stand still in time. I've always been more
comfortable giving, than taking. So it's just a normal process for
me. Your wife Rhonda is your audio and recording engineer, and
your buddy in your music endeavors. Where did you two meet and
get together? Funny, we didn't meet in the music scene. We've
been together for about 18 years now, and honestly, she is the
reason that I play today. She's a consummate professional, and
won't just settle, she strives to always play her instrument. I think
that's the reason she is so good at what she does, because her
instrument, is a mixing console. She can't play guitar, or piano,
but, she's got the best set of ears of anyone I've ever seen or
heard of. And she's worked with some big ones... Can you name
a few of the bands you were in, kind of the highlights, in your
career? Delta Hurricanes. Early 90's to about 97. We were a
jamband before the moniker ''jamband'' was cool. Blues
influences, but still stretched out. I remember one time we did a
34 minute long version of Whipping Post at Shug's in LR, and
people still tell me about that.. Allmost Brothers Band - Allman
Tribute from Gulfport, MS. The only OFFICIALLY licensed ABB
tribute band. Great band, we did the complete Fillmore East
Album, from front to back. Liquid Groove Mojo - 1999-2006
We formed a great band, toured Europe twice, had a great
album "Cradle to the Grave", that garnered a top 10 album and top
5 single of the year on the indie charts in Europe in 2005. The
Tapas - 2007 . Jazz Fusion, with one of the best bassists ever
to come out of Arkansas, John Davies. John is a great bassist,
and a good friend. I loved playing in the Tapas. There is so much
freedom in original jazz fusion. Would play there again in a
minute. JPB Touring schedule got to be so demanding that we
had to step back, or I would still be there, happy as can be.
Joe Pitts Band. 2006-present Absolute best band I've ever been
in. Got the best rhythm section in Arkansas. These guys just don't
know how good they are. Jimmy, I've played with for almost 15
years off and on, and would say he's about the best friend I have in
this world, and Dave, is a Belmont College in Nashville schooled
drummer who's constantly reinventing drumming, especially in the
jams, and the jazz that we get into live.. These guys just hit on all
cylinders every night. And push me to the limit constantly. We're
all happy to be where we are, no egos, no problems, no drama.
It's such an enjoyment to be around people who are such good
people, and are such good friends. Your blues-rock power trio is
reminiscent of early Cream and ZZ Top, with a blues roots. How
and where did you find such top-notch players in Jimmy Lynn on
bass, and David Bishop on drums? I had just taken a hiatus from
LGM, and saw Jimmy at local jam in Little Rock. We have been
great friends for years, and Jimmy asked what I was doing. And
i said, "Nothing, what are you doing?". And he said, "Nothing,
want to do something?". I said sure, how bout a trio. He said we
need a drummer. So we looked up on stage, and there was this
young cat that was just swingin'. So, when he came off the
stage, we asked him if he was interested, and he said "Yeah!",
so we go on stage and jammed for almost an hour. And at the
end, we decided no one was leaving the stage until we were a
band. And everyone said "I'm In"!!! And four months later we're
touring, and within 6 or 7 months, we're touring Europe. This
band has exploded with growth. Album in 2007, new "Live" one
coming out in August 2008, and a studio one slated for later in the
year, (winter 2008), so we're just really creating. It's wide open,
and nothing to inhibit the creativity that we all bring to the band. As
you get ready for yet another European Tour, what do you see is in
future for the Joe Pitts Band? Lots of work, lots of miles, and a lot
of great music to be made. You'll be seeing this band in a lot of
different areas in the media, and on tour later this year. For our
readers that are taking the step to stretch out beyond intermediate
playing, whom would you recommend listening to? Also, what
should they focus on? You know, I always learn more from
people who aren't really ''purists'', although, I go back to the roots
and listen to the simplicity, to remind myself of the power that is
implied in the message. I always listen to the cats fusing it
together to get ideas on phrasing. Some that fuse jazz and
blues, some that fuse rock and blues. I love Steve Morse, and
Jeff Beck. Jimmy Herring is a really great guy to listen to. Love
Derek Trucks and Sonny Landreth on slide. But, I listen to a lot of
jazz fusion, like Miles. And incorporate horn lines into guitar
lines. When i found out, and figured out that anything goes, and
that there is no set pattern, then it made me open up to a lot of in
between notes, or passing tones in my playing. But, I never stray
really far away from my roots. I really like listening to the blues
cats today, like Larry McCray, Michael Burks, Sean Costello,
Barry Richman. Love the Kinsey's, Luther and Bernard Allison.
All the cats that really bring it, when they bring it.. Your song and
chord structures are anything but simple with a lot of jazz
influence. I think they call it Acid Jazz now. A blues-rock-jazz
base. How did you develop this new cutting edge style? Just by
listening. I have this incessant record player, playing in my head,
and it's got some cool stuff it keeps repeating. Good thing I can't
play what I have in my head, people would probably think it's really
weird. But, Berklee opened me up to the idea, that there are
only 12 notes in music. The same G note, that you play in jazz, or
bluegrass, is the same exact G note that you play in heavy metal
or punk. It's interpretation. It's how you present it. It's how you
make it sing. I'm constantly learning. I know about enough that
luckily, it's no danger to myself or others, but, it still to this day,
just thrills me when I learn something new. And, I learn everyday.
I'm just so humbled and honored to be able to play my guitar for a
living. I'm truly a blessed man, to be able to do what I've always
loved. Thanks Joe for spending some time with us, and anything
you would like to add? This is your solo spot, so to speak. Take
your time. Just to take the time to smell the roses. If you love to
play, play. If you only love to play sometimes, thats cool too.
There is nothing more important than family, friends and life. Live
everyday just like it's the last one. But, the most important thing I
can think of, is. What ever you do, just make it not WHAT you
do, but WHO you are. Because I would rather be a failure at what
I love, than a success, at what I hate. Just strive to be a success
at what you love, be it husband, father, musician, mechanic, or
whatever you do. Because life isn't about what you have.. It's all
about what you've done, who you've touched, and how you've
loved. And that will show in your music. Because then, it will
become better than perfect, because it will be real.
Thanks Mike. You're truly "The" ambassador of the blues in
today's music scene. It's been a pleasure. www.joepitts.com
I met Joe about four years ago in a guitar shop, and without
speaking to one another, we did about a half hour acoustic jam off
the charts. I've only had this happen about a dozen times in my
life, and look forward to these encounters where the
communication is through the guitar, and not orally with wasted
words. When we finished playing Joe simply said, "Hi my name
is Joe Pitts, and how may I help you in any capacity I can?" I
almost fell off my stool with those words. You none-guitar players
need to realize that two lead guitar players vying for universe
space and recognition at any given spot and time on the earth,
simultaneously is like two Hollywood blonds showing up at a
celebrity party with the same dress on. When playing with Joe
reminds me of the old time western movies where you had to
check your guns in with the bartender. With Joe, everyone checks
there ego in at the door, as they are not wanted or needed. A
pleasant experience lending to more better music. Now I've
known a few pickers in my decades, and if 99% percent of them
had even 1% of Joe's skills would bolster their egos and swell
their heads beyond where they think they are already. Joe is one
fine accomplished musician, and you need to hear his music to
understand what I'm talking about. With that said, meet Joe
through the interview we did just before his next road trip.
Joe Pitts Interview July, 2008
When did you first get attracted to playing guitar, and how old? At
about 6 years old. I was getting music from all sides, with my
mom and sister being music fanatics. I would hear stuff from
Coltrane and Montgomery, to Johnny Cash and Tennessee Ernie
Ford... What was your first guitar? It was an old full size Kay. It
was so big i couldn't fret it, so I laid it in my lap and learned to play
like I saw them playing on Porter Wagner Show, and the Ed
Sullivan show. You must have had some early influences. Who
were they, and what source? i.e. Radio, live, records, TV etc.
My sister turned me on to all the cool
stuff. Pretty much early on, was
records. When Cream and Hendrix
really came about, she would show
me, that it wasn't something new,
it was just something re-created in
a different way from the old blues men.
She had old 78's of Son House, and
Leadbelly, Bukka White and Muddy. It was like, see where that
stuff comes from.. It comes from the blues.. Then came the
teenage years and the advent of Beaker street, where you heard
album rock, and it was all over with... But, early influences that
really changed the way I play, was Duane Allman, Dickey Betts,
Roy Buchanan, Billy Gibbons, Jimmy Page and Eric Clapton. Did
you take lessons early, or were you self-taught? Any music or
books? I was self taught until later in life. I would try and play
along with the guys on TV, or on records but I never could get it
tuned just right. Then I saw a cat play on TV, and he strummed an
open chord, and i HEARD it.!!! So, I tuned until i heard that
chord. It was a G chord, and then it just took off from there. Years
later, I went to the summer guitar sessions at Berklee, and it
completely changed the way, not only that I play, but the way I
listened. When did you first take up slide, and where did the
influence and style come from? I pretty much played slide before I
could chord and fret, being such a small kid with a big guitar. I'd
play it like I saw the Dobro players play, in their lap. I loved to see
the cat's playing Dobro, then the blues guys playing bottleneck
with brass pipes and such. If my mom was still here today, she'd
swear that I was addicted to Coricidin as a teenager. She bought
me bottles nearly every week for several years. I'd dump the pills,
wash the label off and go for it, and it would fly off my finger, hit
the floor and break. I bet I've broken a hundred of those. But, I
still have quite a few left from those days, and still play them every
night I play. There is just something about the sound of the old
bottles, that you can't get from the new ones. What was your first
good pro-level guitar and amp. How old were you? My first
electric guitar was a fender mustang, and a fender showman. I
was probably 9. Then I graduated to Les Pauls, then to Strats,
and it's flip flopped for years since. When did you get attracted to
blues, and who were your first influences? Early on. I guess I was
8 or 9. Son House, Bukka White, Big Bill Broonzy, Robert
Johnson, Muddy, Wolf. . Man, i just loved it all. You like a wide
variety of music including jazz. Can you name some of your
favorites to listen on a long road trips? I love Miles Davis.
Especially his fusion stuff. And Jeff Beck. Lots of new cats I just
love to listen too. We listen to XM a lot on the road. Bluesville,
and Beyond Jazz. Can you tell us any stories about known blues
acts you opened for, or were around? I remember a couple
stories about Bobby Bland and BB King, but I am sure you have
more. Man, I have a bunch of great memories of doing stuff, but
opening up when I was a teenager for Bobby Bland, is one of my
favorites. You’ve been in, around with the blues circles of players
in Arkansas for many years. Name some of the folks you think
represent Arkansas blues then and now.
You know, I got the opportunity to play with a cat named Willie
Foster. He was Muddy's harp player, and was such a gentleman
and an honor to play with. He's passed on now, but, he was true
blues. And, sitting watching Roy Buchanan play the guitar, when I
was a teenager, and learned that the blues was more feel, than
technique was an invaluable lesson that I learned from him.
Michael Burks. Man, Michael is my good friend, and he's the real
deal when it comes to the blues. Did you have any type of formal
training or music education? I had some lessons when I was a
teenager, more to learn how to read music and tabs, but didn't'
have formal training until I went to Berklee for the summer
sessions. You are first and foremost in helping others in their
music, and promotions. That is a pleasantly unique demeanor for
a modern lead guitar player. How did you form the healthy outlook
of “Passing the Biscuits?” I just know that I know a dab when it
comes to the grand scheme of things. I've always tried to always
give more than I take, because if you only take, eventually, it gets
used up, and is gone. But giving back more than you take,
preserves the art and the love of music for future generations.
Being a faithful follower of Col Bruce Hampton, has taught me, that
for this ''SPLIT SECOND" in time, you've never been here before,
and you'll never be here again. So you try and leave something at
that moment, that will stand still in time. I've always been more
comfortable giving, than taking. So it's just a normal process for
me. Your wife Rhonda is your audio and recording engineer, and
your buddy in your music endeavors. Where did you two meet and
get together? Funny, we didn't meet in the music scene. We've
been together for about 18 years now, and honestly, she is the
reason that I play today. She's a consummate professional, and
won't just settle, she strives to always play her instrument. I think
that's the reason she is so good at what she does, because her
instrument, is a mixing console. She can't play guitar, or piano,
but, she's got the best set of ears of anyone I've ever seen or
heard of. And she's worked with some big ones... Can you name
a few of the bands you were in, kind of the highlights, in your
career? Delta Hurricanes. Early 90's to about 97. We were a
jamband before the moniker ''jamband'' was cool. Blues
influences, but still stretched out. I remember one time we did a
34 minute long version of Whipping Post at Shug's in LR, and
people still tell me about that.. Allmost Brothers Band - Allman
Tribute from Gulfport, MS. The only OFFICIALLY licensed ABB
tribute band. Great band, we did the complete Fillmore East
Album, from front to back. Liquid Groove Mojo - 1999-2006
We formed a great band, toured Europe twice, had a great
album "Cradle to the Grave", that garnered a top 10 album and top
5 single of the year on the indie charts in Europe in 2005. The
Tapas - 2007 . Jazz Fusion, with one of the best bassists ever
to come out of Arkansas, John Davies. John is a great bassist,
and a good friend. I loved playing in the Tapas. There is so much
freedom in original jazz fusion. Would play there again in a
minute. JPB Touring schedule got to be so demanding that we
had to step back, or I would still be there, happy as can be.
Joe Pitts Band. 2006-present Absolute best band I've ever been
in. Got the best rhythm section in Arkansas. These guys just don't
know how good they are. Jimmy, I've played with for almost 15
years off and on, and would say he's about the best friend I have in
this world, and Dave, is a Belmont College in Nashville schooled
drummer who's constantly reinventing drumming, especially in the
jams, and the jazz that we get into live.. These guys just hit on all
cylinders every night. And push me to the limit constantly. We're
all happy to be where we are, no egos, no problems, no drama.
It's such an enjoyment to be around people who are such good
people, and are such good friends. Your blues-rock power trio is
reminiscent of early Cream and ZZ Top, with a blues roots. How
and where did you find such top-notch players in Jimmy Lynn on
bass, and David Bishop on drums? I had just taken a hiatus from
LGM, and saw Jimmy at local jam in Little Rock. We have been
great friends for years, and Jimmy asked what I was doing. And
i said, "Nothing, what are you doing?". And he said, "Nothing,
want to do something?". I said sure, how bout a trio. He said we
need a drummer. So we looked up on stage, and there was this
young cat that was just swingin'. So, when he came off the
stage, we asked him if he was interested, and he said "Yeah!",
so we go on stage and jammed for almost an hour. And at the
end, we decided no one was leaving the stage until we were a
band. And everyone said "I'm In"!!! And four months later we're
touring, and within 6 or 7 months, we're touring Europe. This
band has exploded with growth. Album in 2007, new "Live" one
coming out in August 2008, and a studio one slated for later in the
year, (winter 2008), so we're just really creating. It's wide open,
and nothing to inhibit the creativity that we all bring to the band. As
you get ready for yet another European Tour, what do you see is in
future for the Joe Pitts Band? Lots of work, lots of miles, and a lot
of great music to be made. You'll be seeing this band in a lot of
different areas in the media, and on tour later this year. For our
readers that are taking the step to stretch out beyond intermediate
playing, whom would you recommend listening to? Also, what
should they focus on? You know, I always learn more from
people who aren't really ''purists'', although, I go back to the roots
and listen to the simplicity, to remind myself of the power that is
implied in the message. I always listen to the cats fusing it
together to get ideas on phrasing. Some that fuse jazz and
blues, some that fuse rock and blues. I love Steve Morse, and
Jeff Beck. Jimmy Herring is a really great guy to listen to. Love
Derek Trucks and Sonny Landreth on slide. But, I listen to a lot of
jazz fusion, like Miles. And incorporate horn lines into guitar
lines. When i found out, and figured out that anything goes, and
that there is no set pattern, then it made me open up to a lot of in
between notes, or passing tones in my playing. But, I never stray
really far away from my roots. I really like listening to the blues
cats today, like Larry McCray, Michael Burks, Sean Costello,
Barry Richman. Love the Kinsey's, Luther and Bernard Allison.
All the cats that really bring it, when they bring it.. Your song and
chord structures are anything but simple with a lot of jazz
influence. I think they call it Acid Jazz now. A blues-rock-jazz
base. How did you develop this new cutting edge style? Just by
listening. I have this incessant record player, playing in my head,
and it's got some cool stuff it keeps repeating. Good thing I can't
play what I have in my head, people would probably think it's really
weird. But, Berklee opened me up to the idea, that there are
only 12 notes in music. The same G note, that you play in jazz, or
bluegrass, is the same exact G note that you play in heavy metal
or punk. It's interpretation. It's how you present it. It's how you
make it sing. I'm constantly learning. I know about enough that
luckily, it's no danger to myself or others, but, it still to this day,
just thrills me when I learn something new. And, I learn everyday.
I'm just so humbled and honored to be able to play my guitar for a
living. I'm truly a blessed man, to be able to do what I've always
loved. Thanks Joe for spending some time with us, and anything
you would like to add? This is your solo spot, so to speak. Take
your time. Just to take the time to smell the roses. If you love to
play, play. If you only love to play sometimes, thats cool too.
There is nothing more important than family, friends and life. Live
everyday just like it's the last one. But, the most important thing I
can think of, is. What ever you do, just make it not WHAT you
do, but WHO you are. Because I would rather be a failure at what
I love, than a success, at what I hate. Just strive to be a success
at what you love, be it husband, father, musician, mechanic, or
whatever you do. Because life isn't about what you have.. It's all
about what you've done, who you've touched, and how you've
loved. And that will show in your music. Because then, it will
become better than perfect, because it will be real.
Thanks Mike. You're truly "The" ambassador of the blues in
today's music scene. It's been a pleasure. www.joepitts.com
Joe Pitts Band with Jimmy Lynn and
David Bishop www.myspace.com/joepittsband
David Bishop www.myspace.com/joepittsband
Heres a bit of **Kiwi Flavour** for you all
to read about.. the band in mention being
my pick for the week is...
**Bluetopia**
http://www.myspace.com/blutopiaband
Hailing from Christchurch, South Island,
NZ they are nine musicians, all getting
together adding their mix to form this
awesome band. These fantastic bluesers
have a great line up, consisting of Malcolm
Bishop, Lucy Boanas, Damien Taylor,
Mark Jayett, Nicolas Pegg, Aaron Chandler,
Danny Wilson, Iain McLachlan, Joshua
Hughes. Featuring a four piece horn
section and a rythym section. Their sound
is so uniquly them, and they bring a
whole lot of energy to their playing. Not to mention class and style a
plus which is so refreshing to hear! Whether its get up and dance or
chilling out tunes, they play it. Go visit the site addy listed below to hear
tunes on their player, gig dates and add them as friends. If you love the
blues you wont be disapointed. My personal favourite is **you dont
know me** with beautiful singing by Lucy Boanas.
**Bluetopia** also regulary plays around Christchurch and for any of
you going to be about on the below date, go and check these guys
out.. sure to be a fun night! For more info and to get tickets you can
contact Malcolm via **Bluetopia's* site.
** Bluetopia New Orleans and Blues Night**
25th July, Richmond Club, Christchurch
Enjoy :) Kris www.myspace.com/dolphinx3
to read about.. the band in mention being
my pick for the week is...
**Bluetopia**
http://www.myspace.com/blutopiaband
Hailing from Christchurch, South Island,
NZ they are nine musicians, all getting
together adding their mix to form this
awesome band. These fantastic bluesers
have a great line up, consisting of Malcolm
Bishop, Lucy Boanas, Damien Taylor,
Mark Jayett, Nicolas Pegg, Aaron Chandler,
Danny Wilson, Iain McLachlan, Joshua
Hughes. Featuring a four piece horn
section and a rythym section. Their sound
is so uniquly them, and they bring a
whole lot of energy to their playing. Not to mention class and style a
plus which is so refreshing to hear! Whether its get up and dance or
chilling out tunes, they play it. Go visit the site addy listed below to hear
tunes on their player, gig dates and add them as friends. If you love the
blues you wont be disapointed. My personal favourite is **you dont
know me** with beautiful singing by Lucy Boanas.
**Bluetopia** also regulary plays around Christchurch and for any of
you going to be about on the below date, go and check these guys
out.. sure to be a fun night! For more info and to get tickets you can
contact Malcolm via **Bluetopia's* site.
** Bluetopia New Orleans and Blues Night**
25th July, Richmond Club, Christchurch
Enjoy :) Kris www.myspace.com/dolphinx3
| Bernie Pearl Godfather of Los Angeles Blues Today |
BERNIE PEARL – The Blues “Makin’ It Happen” Man! by T.Roy Taylor
Why did you choose to play the blues? The blues chose me. I began listening to
general folk music like Burl Ives, Pete Seeger (Where Have All the Flowers Gone –
Turn, Turn, Turn); Woody Guthrie, Leadbelly, and Reverend Gary Davis. In 1957 I saw
Brownie McGhee for the first time at my sister’s house when he did a house concert.
How was it that Sam “Lightnin” Hopkins, “Mississippi” Fred McDowell, and
Mance Lipscomb taught you to play? My brother, Ed Pearl, opened a club in Los
Angeles called the Ash Grove. And unfortunately, I wasn’t there for the opening.
Brownie McGhee was one of the first blues artists booked at the Ash Grove. Jesse
Fuller was the first live blues act I saw there. Sam “Lightnin” Hopkins showed up a year
later and I took one paid lesson from him. He would ask me to come up onstage and
jam with him. It was similar with Mance Lipscomb and “Mississippi” Fred McDowell. We
all became friends. When they went out of town I would listen to their recordings and
learn that way too.
What events led you to play with Stevie Ray Vaughn? I had a company called “Big
Time Blues”. I was working with Benson & Hedges for their local events and blues
festivals. They ask if my band could play with B.B. King at a press conference. I said of
course. It just so happened, that Stevie Ray Vaughn was there and that is how I ended
up playing with him as well.
You were awarded the Handy Award in 1987, which is the prestigious Blues
Music Award, for Producer of the Year. Harmonica Fats and you were both
nominated for the same award for “Two Heads Are Better” and “Blow Fat Daddy
Blow”, two acoustic CD’s, which you recorded with him. Is that correct? Yes
that’s true. Fats did all the vocals but the CD was credited to, and featured both of us.
You produced Papa John Creech’s last album “Papa Blues” and he won the Handy
Award for Best Instrumentalist - Other (Violin).
What was that like recording on, working with and producing an artist of “Papa
John Creech’s” caliber? In the late eighties Henry Butler, a piano player, introduced
us and I struck up a relationship with him and he was playing light jazz at the time. My
band backed Papa John on a tour and Harmonica Fats also toured with us. I put all the
details together and used my six-piece band to record the music. The date Papa John
was supposed to record and sing he had mistakenly booked another gig so my band
played the songs, I sang where he was supposed to sing, so when he came to record
we could just punch him in. Everything was very precise and when Papa John came to
the studio he laid down his parts. I challenge you to hear where we punched him in. It’s
that good! He didn’t want to sing but I convinced him to anyway. Papa John was very
brilliant and creative with lots of high energy. He was very charismatic and lots of fun.
What was the most memorable moment when you produced Papa John? When
he sat perched on the barstool in the studio and began sawing away with the electric
violin with his mastery and fearlessness. He had severe arthritis in his back.
You created “Nothin But the Blues ”on KPPC in 1968 as a DJ (Host) and you were L.A.’s
first all blues DJ on FM radio.
How was the show received in the beginning and how did it end? The blues
community listened but I am kind of vague on why it didn’t continue.
In 1980 you went to work at KLON (now KKJZ) and you suggested a family style blues
festival. As Artistic Director for most of the festivals from 1980-1990 you played a major
role in founding the first KLON Blues Festival, now known as the “Long Beach Blues
Festival” and won the Handy Award in 1987 as Blues Producer of the Year in part for
your production of the Long Beach Blues Festival that same year and numerous other
local shows.
That’s quite an accomplishment? Some of the shows were broadcast and on public
radio and I think that could be a reason for their popularity and the award. I was the
Artistic Director with a fluctuating role. Maybe the change in management had
something to do with it.
Didn’t you play onstage live with Big Mama Thornton and what was it like? I
went to New York in 1966 to see what the blues scene was like there. I went with Long
Gone Miles to see if we could make some inroads, which we didn’t. I just wanted to come
back to L.A. So I left and when I got back to L.A. Big Mama Thornton was opening at
the Ash Grove and her guitar player quit. My brother asked if I could play electric blues
and I told him I had been practicing and I could. I went to Big Mama’s dressing room
and played a couple of B.B. King licks for her and she said you’re hired! I played with
her for a month. She was powerful and very professional. After performing with her she
broadened my horizons on the blues.
One of my favorite songs of yours is “Rocks & Gravel Boogie” track 17 of the
19 tracks from the album “Old School Blues” recorded Jan 15th & 23rd, 2008
and March 1st and 2nd, 2008 at Pacifica Recording Studios. How did you write
this song? This is a signature type song. I didn’t write “Rocks & Gravel Boogie”, it’s
based on Mance Lipscomb’s song, but with some added traditional verses and vastly
changed arrangement. I can play Mance’s version like Mance but what I did is take
some of Mance’s words and some of John Lee Hooker’s style with just one chord and
came up with it. XM Satellite Radio, on the channel called Bluesville, also chose to play
this song on their station.
You are now gigging in L.A., correct? “Get me a gig”! (Bernie) You ever hear of
Pee Wee Crayton, an artist from the fifties? (T. Roy) No. (Bernie) He was and is a
legend and you would think he was gigging all the time right? Well I was talking to him
on the phone one time and I mentioned how he must be really booked up and he said,
No, “Get me a gig”! I thought just because he’d been around for so long he would be
gigging steady, but that wasn’t the case.
What is the secret to your continued success? I don’t have success (commercial
success)! My success is being able to put myself into it and play.
Mike Dollins, Blues Guitar News editor, told me when it comes to the blues, all roads
lead to you. What are your thoughts on that statement? Well you’d have to ask him
that! He made the statement. I’ve done lots of different styles with lots of different blues
players and a lot of people who know me tend to call me, because I’ve been around for
a while, and I do have a certain taste and style that I play. Of course, there are lots of
people who have never heard of me either. My way of approaching the blues is with my
way of playing. Now you might see a caution sign on the way…
T. Roy Taylor www.myspace.com/audiogate
August 2008
Bernie, ever so modest in his blues stature, as He is the God Father of Los
Angeles blues today, the Editor, Mike Dollins
Why did you choose to play the blues? The blues chose me. I began listening to
general folk music like Burl Ives, Pete Seeger (Where Have All the Flowers Gone –
Turn, Turn, Turn); Woody Guthrie, Leadbelly, and Reverend Gary Davis. In 1957 I saw
Brownie McGhee for the first time at my sister’s house when he did a house concert.
How was it that Sam “Lightnin” Hopkins, “Mississippi” Fred McDowell, and
Mance Lipscomb taught you to play? My brother, Ed Pearl, opened a club in Los
Angeles called the Ash Grove. And unfortunately, I wasn’t there for the opening.
Brownie McGhee was one of the first blues artists booked at the Ash Grove. Jesse
Fuller was the first live blues act I saw there. Sam “Lightnin” Hopkins showed up a year
later and I took one paid lesson from him. He would ask me to come up onstage and
jam with him. It was similar with Mance Lipscomb and “Mississippi” Fred McDowell. We
all became friends. When they went out of town I would listen to their recordings and
learn that way too.
What events led you to play with Stevie Ray Vaughn? I had a company called “Big
Time Blues”. I was working with Benson & Hedges for their local events and blues
festivals. They ask if my band could play with B.B. King at a press conference. I said of
course. It just so happened, that Stevie Ray Vaughn was there and that is how I ended
up playing with him as well.
You were awarded the Handy Award in 1987, which is the prestigious Blues
Music Award, for Producer of the Year. Harmonica Fats and you were both
nominated for the same award for “Two Heads Are Better” and “Blow Fat Daddy
Blow”, two acoustic CD’s, which you recorded with him. Is that correct? Yes
that’s true. Fats did all the vocals but the CD was credited to, and featured both of us.
You produced Papa John Creech’s last album “Papa Blues” and he won the Handy
Award for Best Instrumentalist - Other (Violin).
What was that like recording on, working with and producing an artist of “Papa
John Creech’s” caliber? In the late eighties Henry Butler, a piano player, introduced
us and I struck up a relationship with him and he was playing light jazz at the time. My
band backed Papa John on a tour and Harmonica Fats also toured with us. I put all the
details together and used my six-piece band to record the music. The date Papa John
was supposed to record and sing he had mistakenly booked another gig so my band
played the songs, I sang where he was supposed to sing, so when he came to record
we could just punch him in. Everything was very precise and when Papa John came to
the studio he laid down his parts. I challenge you to hear where we punched him in. It’s
that good! He didn’t want to sing but I convinced him to anyway. Papa John was very
brilliant and creative with lots of high energy. He was very charismatic and lots of fun.
What was the most memorable moment when you produced Papa John? When
he sat perched on the barstool in the studio and began sawing away with the electric
violin with his mastery and fearlessness. He had severe arthritis in his back.
You created “Nothin But the Blues ”on KPPC in 1968 as a DJ (Host) and you were L.A.’s
first all blues DJ on FM radio.
How was the show received in the beginning and how did it end? The blues
community listened but I am kind of vague on why it didn’t continue.
In 1980 you went to work at KLON (now KKJZ) and you suggested a family style blues
festival. As Artistic Director for most of the festivals from 1980-1990 you played a major
role in founding the first KLON Blues Festival, now known as the “Long Beach Blues
Festival” and won the Handy Award in 1987 as Blues Producer of the Year in part for
your production of the Long Beach Blues Festival that same year and numerous other
local shows.
That’s quite an accomplishment? Some of the shows were broadcast and on public
radio and I think that could be a reason for their popularity and the award. I was the
Artistic Director with a fluctuating role. Maybe the change in management had
something to do with it.
Didn’t you play onstage live with Big Mama Thornton and what was it like? I
went to New York in 1966 to see what the blues scene was like there. I went with Long
Gone Miles to see if we could make some inroads, which we didn’t. I just wanted to come
back to L.A. So I left and when I got back to L.A. Big Mama Thornton was opening at
the Ash Grove and her guitar player quit. My brother asked if I could play electric blues
and I told him I had been practicing and I could. I went to Big Mama’s dressing room
and played a couple of B.B. King licks for her and she said you’re hired! I played with
her for a month. She was powerful and very professional. After performing with her she
broadened my horizons on the blues.
One of my favorite songs of yours is “Rocks & Gravel Boogie” track 17 of the
19 tracks from the album “Old School Blues” recorded Jan 15th & 23rd, 2008
and March 1st and 2nd, 2008 at Pacifica Recording Studios. How did you write
this song? This is a signature type song. I didn’t write “Rocks & Gravel Boogie”, it’s
based on Mance Lipscomb’s song, but with some added traditional verses and vastly
changed arrangement. I can play Mance’s version like Mance but what I did is take
some of Mance’s words and some of John Lee Hooker’s style with just one chord and
came up with it. XM Satellite Radio, on the channel called Bluesville, also chose to play
this song on their station.
You are now gigging in L.A., correct? “Get me a gig”! (Bernie) You ever hear of
Pee Wee Crayton, an artist from the fifties? (T. Roy) No. (Bernie) He was and is a
legend and you would think he was gigging all the time right? Well I was talking to him
on the phone one time and I mentioned how he must be really booked up and he said,
No, “Get me a gig”! I thought just because he’d been around for so long he would be
gigging steady, but that wasn’t the case.
What is the secret to your continued success? I don’t have success (commercial
success)! My success is being able to put myself into it and play.
Mike Dollins, Blues Guitar News editor, told me when it comes to the blues, all roads
lead to you. What are your thoughts on that statement? Well you’d have to ask him
that! He made the statement. I’ve done lots of different styles with lots of different blues
players and a lot of people who know me tend to call me, because I’ve been around for
a while, and I do have a certain taste and style that I play. Of course, there are lots of
people who have never heard of me either. My way of approaching the blues is with my
way of playing. Now you might see a caution sign on the way…
T. Roy Taylor www.myspace.com/audiogate
August 2008
Bernie, ever so modest in his blues stature, as He is the God Father of Los
Angeles blues today, the Editor, Mike Dollins
New MySpace Blues Guitar News friends that joined up, and left cool
comments on our MySpace site. This is called, "Passing the Biscuits."
comments on our MySpace site. This is called, "Passing the Biscuits."
| Mouse click photos and graphics to visit other blue sites and information. |
Robert Nighthawk, Arkansas Legend
Ginny
Becton, an
Arkansas
singing
sensation,
you just
got to
hear.
Click
photo for
the full
story by
T. Roy
Taylor.
Becton, an
Arkansas
singing
sensation,
you just
got to
hear.
Click
photo for
the full
story by
T. Roy
Taylor.
Click their photos, visit their sites and tell them Blues Guitar News Sent you.
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