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In keeping with those in the previous four years, the blues night arranged by Dave and Shirley Sawyer as part of the Lymm Festival was well supported by a very enthusiastic crowd. On this occasion, the music was provided by the Tommy Allen Band, two members of which, Tommy himself on Fender guitar, mandolin and bass drum and harmonica player Johny Hewitt, set matters running with a stimulating set of acoustic blues. The duo shared the vocals and, amid an array of variously-paced shuffles, they delivered particularly fine versions of “Mean Old ‘Frisco” and “Nine Below Zero”, with Tommy on vocals on the former and Johny on vocals and beautifully delivered wah-wah-drenched harp on the latter.

After a short break, the band’s splendid rhythm section joined the fray - Mickey Barker on drums and Chris Lomas on bass guitar. In full band mode, Tommy Allen delivered the vast majority of the lead vocals, starting with the rousing “Texas Love” and “Listen To Me, Baby”. Johny Hewitt provided the vocals for “Can’t Stop Loving Her”, which afforded him and Tommy the opportunity to strut their stuff with wonderful solos. The first set also included a couple of shuffles and a country-style ballad, but the pick of the session were two Robert Johnson numbers: a lovely rendition of “Milk Cow Blues” and a tremendous, extended version of “Walkin’ Blues”, complete with wailing harp and a cameo performance from drummer Mickey Barker.

The second set began with a medium-paced shuffle, followed by a couple of upbeat rockers, the first graced with a tremendous guitar solo and another taste of magical harp and the second featuring a splendid bass line from Chris Lomax. After a couple of slow blues, the pace was regenerated with “Livin’ In The Belly Of The World” and brought to a climax with a driving delivery of “Mystery Train”. An encore was loudly demanded and the band responded with “Johnny B Goode”, “Little Queenie” and “Whole Lotta Shakin’ Goin’ On”, topped off with a whopping dose of boogie, which saw the previously uninhabited dance floor awash with dancers. Without doubt, a blues night is now an essential feature of the Lymm Festival, and performances like this one can only reinforce that development.

Lionel Ross
(photograph by Gill Fox)

This was the fifth Worthenbury Blues and Roots Festival, building on the wonderful heritage of the Dragon Blues Festivals that graced Wrexham Rugby Club for many memorable years. The venue for the open-air festival is farmland kindly made available by Michael and Elizabeth Brownrigg at the village that lies between Malpas and Bangor-on-Dee in North Wales.

The event comprised a main stage and an adjacent acoustic stage, on which the action alternated in impressively quick succession. The task of opening the show on the acoustic stage fell to Hopson, a trio of local sixth-formers, who were making their first ever public appearance. As if that were not daunting enough, the lads had also been forced to regroup owing to the indisposition of their bass guitarist, Adam Squire, as a result of a broken wrist. Rhythm-guitarist Gavin Hooson bravely filled the gap and joined drummer Alex Squire in the engine room. Led by singer/guitarist John Taylor, the band overcame their first-date nerves and went on to deliver an enthusiastic set that included numbers by Bob Dylan and the White Stripes.

First up on the main stage were Newton-le-Willows-based Papa Legba, with singer/guitarist Alan Crawford very ably supported by his brother, Scott, on bass guitar and Graham Brighouse on drums. Their vibrant set combined some rocked up versions of Robert Johnson and Son House favourites, SRV’s “Pride and Joy” and some beautifully played slow blues, including a fine rendition of Eddy Boyd’s “Five Long Years”. There was also an airing of George Harrison’s “While My Guitar Gently Weeps” and a rousing delivery of Rory Gallagher’s “A Million Miles Away” to provide a terrific impetus to the day’s events.

Back on the acoustic stage, Liverpool-based Naomi Mather entered the afternoon session with the first of two sets, the second forming part of the evening session. Naomi demonstrated her burgeoning talent as a songwriter with a programme of excellent original songs. She accompanied her beautifully clear vocals with highly accomplished playing on acoustic, resonator and lap guitars, showing equal mastery of finger-picking and slide techniques. She also tapped the rhythm on a very effective stomp box. This is a young lady who is surely destined to make a considerable impact across the British blues scene.

The main stage was then taken by storm by Big Blues Tribe, a nine-piece ensemble from the Midlands that boasted no less than a five-piece brass section. Fronted by big-voiced singer/trumpeter Oliver Carpenter, they opened their account very appropriately with “Let The Good Times Roll”, an apt description of what lay in store. Other delights included “King Of The New York Streets”, “St James Infirmary Blues” and a reggae-style version of “I’m In The Mood For Love”, for which Beth Naylor and Abby Brant took over the vocals. They also provided close harmonies on a gospel number before ending a highly entertaining set with an upbeat rocker. The band reported that they were dashing off to a second gig in Worcester. “That’s two gigs in one day,” they boasted. “Come to think of it, it’s only the second gig this year!” one of them added. The truth is more likely to be that they are in great demand, if this performance is anything to go by.

At each of the previous Worthenbury festivals, there has been a surprise package that has stolen the show. This year’s event was no exception to that rule, as Australian singer/guitarist Rory Ellis proved with his two warmly-received appearances on the acoustic stage. Supplemented by the superb playing of Alex Roberts on lap slide guitar, the man from Geelong produced a stunning mix of powerful vocals, brilliant guitar and banjo playing and hilarious chat. His two sets featured many of the tracks from his most recent album, including the title song, “Two Feathers”, a compilation of high quality original songs, which draw heavily on his eventful life. A particular highlight was “No Love In This war”, while “Home Tonight” was inspired by his spending an eternity trying to find an appropriate exit from the Leicester ring road – an ordeal that has been universally endured. Lost in Leicester, perhaps, but found by a host of admiring fans at Worthenbury.

The headlining act of the afternoon session on the main stage was the recently re-formed Down At Antones. Led by founder member, singer/guitarist Neil Partington, the band comprised bluesinthenorthwest’s own Ken Peace (also a founder member of the band) on harp, Nick Lauro on drums and Steve Brown on bass. On this occasion, the band also included Paul Need, guesting on keys in the absence of usual keyboard player, Glen Lewis. The band shuffled into action with Howlin’ Wolf’s “Riding In The Moonlight” and a fine version of “Black Cat Bone”. The jazz standard, “Mercy, Mercy, Mercy” featured some wonderfully full-bodied harp and tasty guitar and keyboard solos, all immaculately driven by the rhythm section. The nicely varied set included Rice Miller’s slow blues, “Cross My Heart”, and a lovely portion of New Orleans funk in the shape of “Pocky Way”. The icing on the already delicious cake was provided by the introduction of Johny Hewitt to weave his harmonica magic on Lowell Fulson’s “Reconsider, Baby”, followed by top class interplay with Ken Peace on the driving boogie, “Biting The Bullet”, to climax a tremendous set.

Pete Evans, Paul Taylor, Ian Williams and their myriad assistants are to be congratulated on yet another magnificent event. It is entirely fitting that the quality of the line-up and the excellence of the organisational arrangements was matched by a massive attendance and brilliant sunshine.

Lionel Ross

This was the third appearance of the John O’Leary Band at Liverpool Marina, which speaks volumes for their popularity at the city’s premier blues venue. There were a couple of changes to the previous line-up of the band: Wayne Proctor replaced Joachim Greve on drums and singer/guitarist Dave Day was added to the core membership. However, the basic elements were still in place: John O’Leary on vocals and harp, Jules Fothergill on guitar, Jools Grudgings on keyboard and Roger Inniss on bass guitar.

The band opened with “Born In Chicago”, which afforded an immediate opportunity for Day, O’Leary, Grudgings and Fothergill to set down their markers as highly skilled soloists, while a splendid rendition of Junior Wells’s “Snatch It Back And Hold It” featured a cameo solo from Roger Inniss on bass guitar. O’Leary conjured up some mean harp on “Early In The Morning”, which was also blessed with a fabulous solo from Fothergill, before newcomer, Dave Day, delivered excellent lead vocals and tasty guitar on “Need Your Love So Bad” and Steely Dan’s ”Do It Again”. The first set was completed with “Little By Little”, on which Grudgings was the major magician, closely followed by a marvellous interplay between the two guitarists.

The second set began with “Don’t Let My Baby Ride”, for which Jules Fothergill produced a phenomenal solo, enhanced by superb underpinning by Wayne Proctor. Dave Day then resumed lead vocals on the slow blues, “Double Trouble”, which featured some great harp playing from O’Leary, and his own “I Only Want To Have Some Fun” before the highlight of the evening – a fantastic version of “Black Cat Bone”, on which all members of the band excelled, including the superb rhythm section. The loudly demanded encore comprised four numbers sharing a common beat: “Yonder’s Wall”, Elmore James’s “One Way Out”, the original “Roadhouse Man” and everybody’s favourite, “Help Me”. The standing ovation that erupted at the close was completely unanimous and thoroughly warranted by the truly magnificent show.

John O’Leary Band Website

Lionel Ross

The third acoustic blues gig arranged by John and Lorraine Welsh at the Allerton Manor Club was graced by Eddie Martin. At a previous gig, the highly popular blues man had appeared in band mode at the Liverpool Marina, but on this occasion he performed alone, following his presentation of a musical workshop earlier in the day at a school in the West Derby district of Liverpool.

Eddie opened the show with the self-penned upbeat shuffle, “Someone’s Making Money But I Know It’s Not Me”, which he dedicated to the notorious, retired chairman of a failed British bank. Robert Johnson’s “Little Queen Of Spades” briefly slowed the pace before “Toy Ballerina” rolled and tumbled, followed by a rousing delivery of Slim Harpo’s “Shake Your Hips”. A harmonica instrumental in the style of Sonny Terry then demonstrated Eddie’s versatility. That led to a confession that his “One Man Band Rag” was based on a Paul Rishell riff, his guilt over which had subsided when he learned that Rishell had himself borrowed it from Blind Blake. For his own blues ballad, “Rebound Juliet”, Eddie switched for the only time all evening to his second guitar. Other than that, he played his recently acquired 1936 National, Old Goldie, supplemented by rack harp and amplified suitcase.

During the interval, the audience was fascinated by Colin Hall, the Custodian of Mendips, the house that John Lennon had lived in with his Aunt Mimi. Colin described a recent visit to the house by the Beatles tour bus. To his amazement and delight, he recognised one of the visitors as being none other than Bob Dylan, who was performing at the city’s Echo Arena. Colin also confided that the legendary songsmith was unpretentiously melting into the crowd and was both approachable and courteous, contrary to his popular reputation.

After the upbeat rocker, “The Devil’s Joker”, which described the subliminal criminality of a plausible jester, the second set proceeded with a string of numbers that encouraged audience participation. They started with the boogie, “Bundle Up And Go”, Muddy Waters’s “Close To You” and “Flowers To The Desert”. Eddie then explained that he had written the next song, “Ingolstadt (We’re Coming Back)”, in a fit of pique provoked by the last-minute cancellation of a gig in southern Louisiana at the end of a prodigiously long and tiring journey. The set was completed with another touch of whimsy underpinned by a boogie-woogie beat, followed by two encore deliveries: a train-journey harmonica instrumental and Elmore James’s “Talk To Me, Baby”.

The cosy atmosphere of the Allerton Manor Club was ideal for a typically entertaining performance by Eddie Martin, which combined excellent vocals, versatile musicianship and warm personality in equal measure. Marvellous.

Eddie Martin Website

Lionel Ross

Peter Price and The Stumble at Warrington RnB Festival - 23rd May 2009

Both headlining acts at the Warrington Rhythm and Blues Festival delivered further Contributions from within the North West region: Peter Price (acoustic stage) and The Stumble (main stage). Peter Price was his usual, whimsical self and delivered an entertaining set that included a humorously enhanced version of “Hot Tomales” and a splendid selection of works by, amongst others, the two Johnsons (Lonnie and Robert), Leadbelly and Mississippi Fred McDowell. His powerful vocals were nicely augmented by his dexterous finger-picking, and both were embellished by his amusing asides. One observation that was particularly well-received was that, in the current climate, there was really only one house of ill repute. The whoops and hollers emanating from the audience in sympathetic response said it all.

Following The Cadillac Kings is never an easy task, and it takes another member of the country’s Blues Premier League to rise to that challenge. Needless to say, The Stumble fall comfortably into that category. Fronted by the superb Paul Melville on vocals, they conjured up yet another magical performance. They immediately leapt into action with the bouncing “It’s A Lie”. “Bus Stop” featured a vibrant sax solo from Simon Anthony and the rumba-rhythmed “Sugar Don’t Taste So Sweet” maintained the upbeat mood. A terrific version of “Who’s Been Talkin’?” was blessed with tasty guitar solos from both Johnny Spencer and Colin Black.

The set was full of the band’s customary verve and the dance floor was soon thronging with eager participants, some clearly emboldened by copious quantities from the real ale bar at the back of the room. Paul Melville was at his best, particularly on the slow blues, “All Over Again”, and “Ain’t Nobody’s Business”. The former inspired Simon Anthony to venture into the crowd, while both were substantially graced by the wonderful guitar work of Colin Black. In contrast, “Meet Me At The Bottom” maintained a frantic pace, thanks to the brilliant foundation provided by Boyd Tonner and Dave Heath, on drums and bass guitar respectively.

The set was completed with “Back To Louisiana” and the title song of the band’s most recent album, “Houngan”, before Johnny Spencer led the charge on slide guitar on the ever-popular “Gimme Back My Wig” to climax a fabulous set and an equally marvellous festival. Dave and Shirley Sawyer, Warrington Council and The Pyramid organisation all deserve praise for presenting such a memorable event.

Lionel Ross

Although this was Dani Wilde’s first appearance in Warrington, the Brighton-based singer/guitarist is no stranger to the county of Cheshire: she was born in Macclesfield and lived briefly in Congleton before her family relocated down south. The twenty-two year old was backed by an equally youthful ensemble that comprised her brother, Will ‘Harmonica’ Wilde on harp and vocals, Ben Poole on guitar, Johnny Chase on bass guitar and ‘Little’ Alan Taylor on drums.

The band opened the proceedings at the club’s new Burtonwood location with Will on vocals before Dani entered to lead a fast-moving shuffle and the bouncy “Born To Love Him”. The up-tempo “Come Undone” lifted the gloom created by the slow and mournful “I Love You More Than I Hate Myself” before Dani switched to acoustic guitar on a medium-paced shuffle, which was embellished by an excellent harp solo. The rest of the band then left the stage to leave the Wilde siblings to perform a fine version of Eric Bibb’s “Don’t Let Nobody Drag Your Spirit Down”. The first set was completed with the slow shuffle, “Red Blooded Woman”, and the Green Onions-style, medium-paced rocker, “I Want Your Loving”, on which Ben Poole and Will Wilde went walkabout amidst the audience.

The second set was initiated without the Wildes with Ben Poole on vocals. Dani Wilde then delivered tremendous vocals on a slow blues that referred to her life-changing visit to Kenya. Poole added a tasty guitar solo and Will provided superb tone and phrasing on harmonica. The Green Onions beat resurfaced only to be comprehensively trumped by the highlight of the evening – a stunning version of “I’d Rather Go Blind”, which featured Dani’s powerful vocals to great effect. Apparently, Gary Moore had suggested to her that she would do the song justice – how right he was!

Calm was restored with a slow shuffle that put Ben Poole back in the spotlight and led the way for “Blues Is My First Love – You Come Second, Baby”, a rocking blues written by Will that came complete with an internal rap section. To complete the set, the band really bounced along with their version of “Rock Me, Baby”. For encores, Dani sang a touching tribute to the children of Kenya before sharing the lead with her brother on Mannish Boy (Womanish Girl).

Dani Wilde is undoubtedly a very talented performer. She is a competent guitarist, her powerful voice is hugely impressive and her songwriting ability is considerable, as the high proportion of original compositions demonstrated. She also projects an easy self-confidence when she chats between numbers. At the age of twenty, brother Will is already a highly skilled harmonica player and his rasping vocals show distinct potential. All in all, this is a fine young band that is surely primed to progress.

Lionel Ross

Several artistes have made a massive impact at the excellent blues gigs at Liverpool Marina but none more than Galveston-raised Hamilton Loomis. The extent to which he had transfixed the audience at his first appearance in Liverpool in 2008 was amply demonstrated by the venue’s first full house.

The singer/guitarist from Texas was backed by a fabulous band that comprised two sons of Louisiana, Stratton Doyle on tenor sax and Kent Beatty on bass guitar, and drummer Jamie Little from Birmingham – England, that is, not Alabama. They opened their account with an upbeat, funky instrumental, followed by the heavier beating “Whatever You Want” and the slow and funky “Legendary”. They then upped the tempo with “Working Real Hard”, which features on the Blues In Britain 2009 album.

A taste of New Orleans-style funk and a slow blues made way for a superb bass guitar solo from Kent Beatty before “The Best Worst day Of My Life” led into a heart-felt tribute to the sadly departed Bo Diddley, who had been a major influence on Hamilton Loomis’s development. The tribute was played on a red, box-shaped guitar presented to Loomis by Bo Diddley and suitably signed by ‘The Man’. Jamie Little played a blinder on a terrific version of “Roadrunner”, on which Hamilton used a selection of unlikely slides on his guitar including a mic stand, drums sticks and even Stratton’s sax. The set was concluded with “Take A Number And Stand In Line”, complete with another phenomenal bass guitar cameo.

The harmonica entered the mix on the opening number of the second set, with the main man showing that his instrumental prowess is not limited to the guitar. “In the States,” he declared, “this is known as a Mississippi sax.” “We call it a gob iron”, came the instant riposte from one of the punters. Credit is also due to the other band members for their versatility, as Stratton Doyle switched effortlessly between magnificent sax and keyboard all evening and the backing vocals provided by Doyle and Jamie Little were consistently excellent.

Favourite numbers, “No No No”, “What It Is” and “Bow Wow” were particularly well-received, with enthusiastic and impressive participation by the enthralled audience. “Bow Wow” also featured a peregrination around the room by Hamilton Loomis while “Voodoo Doll” set the scene for an entertaining instrumental shoot-out between Loomis and Doyle. “Slow Lover” delivered a fabulous harp solo before drifting in and out of an urgent boogie beat and ending with a heavy-rocking glimpse of “American Woman”. Wonderful stuff.

The wildly demanded encore came in the form of some Texas blues funk to complete a truly memorable evening. Hamilton Loomis is undoubtedly one of the brightest stars of the current blues scene, combining fine vocals and superb instrumental artistry with the priceless ability to work an audience. He is surely destined for a place on the blues top table.

Hamilton Loomis Website

Lionel Ross

Flickr photo from the always excellent Paul Webster.

Tas Cru is a singer/songwriter/guitarist from Quebec, Canada. In Quebecois, Tas Cru means ‘raw potato’, the moniker recognising his ‘raw-edged vocals and peeled-bare slide guitar’. Grizzle n’ Bone is Tas Cru’s third album and comprises thirteen tracks, twelve of which are original compositions. He is backed by Chip Lamson on keyboards, The Slow Happy Boys (Jeremy Walz on guitars, Chris Wroblewski on bass and Andy Hearn on drums) and The Stacked Deck Singers (Jenny Macri, Meaghan Manor and Montana Rodriguez). In addition, Gretchen Koehler plays fiddle on one of the tracks (“The Prophet Of Lynchburg”).

The album opens with the driving title track, complete with tinkling piano and gentle slide guitar. In complete contrast, “One Eyed Jack” is slow and bluesy and features B3 organ and the backing choir. “Woman Won’t You Love Me?” is a medium-paced shuffle, while “Tulsa Tornado” is rather more soulful and “Money Talks” is an upbeat rocker. Further variation is provided by “Come To Testify”, an a capella gospel number, which is followed by the mellow and jazzy “All Good”.

“Can’t Get Over Blues” is another shuffle, while “Let’s Just Pretend” is a plaintive, acoustic ballad that leads into “Brand New Shoes”, which possesses shades of Little Willie John and JJ Cale. “Make My Woman Cry” is slow and reflective in complete contrast to “Prophet of Lynchburg” with its fiddle-enhanced bluegrass aura. The album is concluded with a very different, slow-paced version of the Jackie Wilson classic, “Higher And Higher”.

This is a very enjoyable, nicely varied album, which gives every indication that Tas Cru is a highy accomplished and entertaining blues performer.

Tas Cru Website

Lionel Ross

The Academy, located in Buckley, Flintshire, is a venue that caters for dance instruction, fitness and entertainment. One of its strands of entertainment is a regular blues gig, which has been attracting an increasingly large audience. The Stumble was the latest band to grace the Academy, which gives some indication of the high level that organiser, Ellie Jones, is targeting.

The pride of Preston certainly lived up to their ever-rising reputation with a beautifully balanced programme of blues, much of which can be found on their two excellent albums, The World is Tough and Houngan. They opened their account with the upbeat shuffle, “Small World, Baby” and “You Upset Me, Baby” before delivering their first rumba of the evening, “Saturday Night”. The slow blues, “All Over Again” was, as ever, particularly well-received, featuring the superb vocals of Paul Melville and fine solos from Colin Black on guitar and Simon Anthony on sax. The rest of the first set comprised a splendid mix of mood and tempo, which included a brilliant version of the Wolf’s “Who’s Been Talkin’” and culminated in a superb performance of the aforementioned “Houngan”.

The second set began with “Bus Stop” and a terrific rendition of “Ain’t Nobody’s Business”, complete with another belting guitar solo. “Your Love For Me” introduced a Bo Diddley beat into the proceedings, which was followed by a taste of rock and roll in the shape of “Little Maudie”. Rumbas and shuffles vied for prominence while drummer, Boyd Tonner, assumed lead vocals on Chuck Berry’s “Oh, Carol” drifting seamlessly into “Bee-Bop-A-Lula”. “The World Is Tough” completed the set and the magnificent show was concluded with the rousing “Gimme Back My Wig” by way of an encore.

A standing ovation appropriately hailed the quality of the performance and indicated that the Academy is well on the way to establishing itself as a serious blues venue.

The Stumble Website
Buckley Academy Website

Lionel Ross

Until Easter 2008, it is fair to say that The Backbones were relatively unknown in the UK. They then took the main stage of the Burnley Blues Festival by storm and Holland’s best-kept secret was dramatically exposed. The band comprises Pieter ‘Big Pete’ van der Pluijm on lead vocals and harmonica, Sander Kooiman on guitar, Joost Tazelaar on drums and Jules ‘Lord Julius’ van Brakel on bass guitar.

The stall was set out from the start with a superb, pulsating variation on a Lester Butler theme in acknowledgement of one of Big Pete’s major influences. At the tender age of 23, he had been hand-picked to front Butler’s band on a European memorial tour, after which he formed The Lester Butler Tribute Band that boasted the talents of the equally phenomenal Matt Schofield. Otis Spann’s “I’m In Love With You, Baby” was followed by the bouncing shuffle, “You The One”, before a brilliant delivery of the Junior Wells slow blues, “Come On In This House”, which featured a terrific guitar solo. Pete then switched to chromatic harp for a hard-driven, jazzy instrumental that was beautifully underpinned by the band’s excellent rhythm section. The soulful “Nobody’s Waiting For You”, which will be included on a forthcoming new album, led into a slow shuffle, complete with a fabulous harp solo, before the first set was concluded with Wells’s “Love Me” with more guitar-based magic from Sander Kooiman.

The second set built on the marvellous foundation of the first session, with brilliant guitar and harp solos enhancing Sonny Boy Williamson’s “Keep It To Yourself”. A funky number then made way for the highlight of the evening, an absolutely fantastic version of “I Wish You Would”, which generated a mesmerising groove and featured an awesome harp solo. A slow shuffle then provided a suitable prelude for a wonderfully smouldering number, which delivered another sparkling cameo from the rhythm section. John Brim’s “Ice Cream Man” received the full treatment before the set climaxed with a magnificent rendition of “Automatic”, another classic from Lester Butler’s repertoire.

A wildly demanded encore came in the shape of Lowell Fulson/Jimmy McCracklin’s “Tramp” to complete a superlative show. This really is as good as it gets, and the encouragingly large audience lapped it up.

The Backbones website

Lionel Ross
(photograph by John R Welsh)

For more excellent photographs of the gig click here

This was the first gig presented by John and Lorraine Welsh at Haig House, the home of Garston Royal British Legion. The venue is spacious and comfortable and ideally suited to the large attendance that was attracted by the appearance of The Stumble. The atmosphere was excellent: a perfect match for a superb performance from the pride of Preston.

The band bounced into gear with “It’s A Lie” and “You Upset Me, Baby” before lead guitarist Colin Black switched to harp for “Kind Of Girl”. The slow and bluesy “Flesh And Bone” gave way to the upbeat “Bus Stop”, the first of several numbers from the band’s brilliant new album, Houngan. Vocalist, Paul Melville, then excelled on a fabulous rendition of “Ain’t Nobody’s Business”, which also featured sublime guitar work from Black and Jonny Spencer and a fine tenor sax solo from Simon Anthony. “Gonna Paint The Town Tonight”, a dose of unadulterated rock and roll, was followed by the rumba-rhythmed “Saturday Night” and “Leadin’ Me On”, with Anthony switching to baritone sax for the last two numbers. The first set was brought to a close with “The World Is Tough”, the excellent title track of the band’s previous album.

The second set opened with the Bo Diddley beat of “Your Love For Me” and a second helping of rumba with “Sugar Don’t Taste So Sweet”. The slow blues, “All Over Again”, then brought the house down, as it always does, with Melville once again magnificent on vocals, Black delivering a magical guitar solo and Anthony providing another excellent sax solo as he went walkabout amid the audience. The galloping pace of “Meet Me At The Bottom” was contrasted with the calming balm of “Sit Right Here” and the hypnotic beat of “Houngan”, which saw Colin Black revert to harp and Simon Anthony to baritone sax. Meanwhile, a splendid-looking didgeridoo remained conspicuously unplayed in the absence of any guest appearance by Harper.

The broad-ranged miscellany continued with “Let The Good Times Roll” and the medium-paced shuffle, “Be My Baby” when an unplanned hiatus occurred as a result of Jonny Spencer’s breaking a string. No problem. Undaunted, Paul Melville, simply filled the gap with a wonderful a capella delivery of “Sign Your Name”, accompanying himself on beer glass and coin. The climax arrived in the form of “Gimme Back Your Wig”, expertly driven by Spencer on slide guitar and the first class foundation of Boyd Tonner on drums and Dave Heath on bass guitar. The applause was deafening as was the call for an encore, to which the band responded with “Small World”.

There is little doubt that Haig House will be used again to host a blues gig: there is absolutely no doubt that The Stumble will be invited back.

The Stumble website

Lionel Ross
(photograph by John R Welsh)

for more excellent photos of the gig by John, click here

Aynsley Lister’s first appearance in Warrington broke the attendance record at the club and occasioned the posting of the first ‘house full’ notice at the entrance of the venue. The blues/rock singer/guitarist from Leicester was backed on this occasion by Midus Guerreiro on bass guitar, Simon Small on drums and Ian Parker Band keyboard player, ‘Morg’ Morgan.

The gig began with a return performance from David Roper on guitar and vocals and Mike Kyle on harmonica, who performed an enthusiastic set of acoustic blues. Their varied programme included the excellent slow blues, “Don’t Shake My Hand”, which evoked fond memories of that song’s originators, The Hoax. The young duo is planning a tour with Manchester-based Ernie’s Rhythm Section, which will provide them with a fine opportunity to increase their exposure and develop their experience.

The Aynsley Lister Band opened their single, extended set with the medium-paced rocker, “I’m Coming Down”, followed by a slow-burning number and “What’s It All About?”, a blues/rock ballad that featured a brilliant guitar solo. The ballad is one of several tracks on the band’s album, Hurricane, that were included in their set. Other numbers from the album included the plaintive “Soul” and the title song, on which ‘Morg’ Morgan delivered the goods on keyboard.

A fine version of “Purple Rain”, complete with a beautifully played guitar solo, was the calm before the storm, as the set rose to a climax with four heavy rocking numbers. Among them, “Time Is Running Out On Me” featured some tasty interplay between Aynsley and ‘Morg’, while “Balls Of Steel” completed the greatly appreciated programme with shades of Status Quo.

A full house of happy punters is the all-too-rare dream of promoters, particularly in the unpredictable world of blues clubs. It is to be hoped, however, that attendances will continue to be high as this year’s calendar of events unfolds. It is no less than the organisers, Ray and Barbara O’Hare deserve.

Lionel Ross

Who better to start a new year of blues shows than the man who conjures up the most authentic images of the Mississippi Delta, Kent DuChaine? True to form and armed with Leadbessie, his trusty, 75-year old  National steel guitar, the maestro delivered a superb evening’s entertainment.

The first set ranged over a couple of Bukka White numbers, Willie Dixon’s “The Seventh Son”, “Little Red Rooster” and Leadbelly’s “Rock Island Line”. It also included the excellent, original composition, “Edgmont Station”, with its wonderfully intricate rhythms, and fine versions of “St James Infirmary Blues” and “Summertime”. It ended with a first taste of Robert Johnson, with “Last Fair Deal Going Down”, and the love song, “I’ve Been True To You”, which was written for the lady who was then his ‘second ex-wife-to- be’.

The second set opened with “Sweet Home Chicago” and Little Willie John’s “Fever”, followed by what was nothing short of a master class in the playing of several Robert Johnson classics. There was also a terrific rendition of Sippy Wallace’s magnificent ode to optimism, “Trouble In Mind”. The marvellous performance was concluded with an uplifting encore that combined “Swing Low, Sweet Chariot” with “When The Saints Go Marching In”, which prompted enthusiastic participation from the highly appreciative audience. Another great night at The Marina.

Lionel Ross

(photograph by John R Welsh)

Ian Parker

It seems incredible, but this was Ian Parker’s first appearance at the Warrington RnB Club for five long years. Not surprisingly, the club was packed out to welcome him back to the fold. As a bonus, the crowd was treated to a support set from singer/guitarist David Soper and harmonica player Mike Kyle, who are both students at the University of Manchester. They delivered an entertaining programme of acoustic blues, culminating in an a capella version of “Boneman” to set the scene nicely for the evening’s main performers.

Ian was backed by his now well-established band of ‘Morg’ Morgan on keys, Steve Amadeo on bass guitar and Wayne Proctor on drums. They opened an extended single set with “Every Day I Have The Blues”, followed by the funky “Take My Hand” and the slow rocker “All The Time”, which featured a smouldering guitar solo. “She Cries” made way for the old favourite “Funny How”, complete with a lovely helping of key tinkling from ‘Morg’ Morgan.

For the next three numbers, a couple of ballads and the upbeat “Keep Me Walking”, Ian and Steve Amadeo switched to acoustic guitar and bass guitar respectively before providing a splendid version of Robert Johnson’s “When You’ve Got A Good Friend”. The slow blues “Love So Cold” was embellished by a wonderful, vintage Parker solo before the pace was upped with the upbeat rocker “Where I Belong”, the title track of the band’s most recent studio album.

Ian had confessed earlier in the set that he was consciously limiting the inclusion of his more introspective compositions but he allowed himself the interpolation of “Don’t Hold Back” into the mix, which built to an angst-ridden, breathless climax. However, the predominant, feelgood mood was quickly restored with another driving number that reached an impressive crescendo with the whole band blending magnificently. Two encores completed a superb show: a Tom Waits-like ballad and a fabulous rendition of Hendrix’s “Angel” with some sublime artistry from Ian Parker on guitar.

Lionel Ross

This was the second Carlisle Blues Festival, following the spectacular success of the first festival twelve months ago. The venue was the Swallow Hilltop Hotel, which was fully booked for the event and substantially supplemented by a large number of non-resident punters.

The festival was opened on Friday evening by the Sean Webster Band with a mix of rousing blues rock and angst-filled ballads. Sean led the charge on vocals and guitar, ably backed by the ubiquitous Dave Raeburn on drums and Tom Latham on bass guitar. The trio took no prisoners and ended their powerful set with an excellent vocal rendition of “I’d Rather Go Blind” and the slow blues, “Have You Ever Loved A Woman?”.

The Kyla Brox Band provided a complete contrast with a sophisticated, jazz-tinged set, which included “She Knows”, the title track of their latest album, featuring a superb sax solo by Tony Marshall. “Too Long” delivered an excellent guitar solo from Marshall Gill, while the pace was increased with “Guilty” and “What’s Left On The Table”, which afforded all the band members the opportunity to strut their stuff, not least Danny Blomeley on bass guitar and Phil Considine on drums. The set underlined Kyla Brox’s impressive vocal quality and her considerable songwriting skills.

Nine Below Zero presented another aspect of the blues spectrum with a storming set of rock and roll right from their opening number, Canned Heat’s “On The Road Again”, with some excellent harp playing from Mark Feltham. They dragged a couple of well-received selections from their 30-year old album, Live At The Marquee before a fine version of the Four Tops’ favourite “I Can’t Help Myself”. Dennis Greaves was in fine form on guitar and Mark Feltham took the vocals on “Bring It On Home”, the band’s new DVD. A rocking set was completed with a bouncing delivery of Woolly Bully”.

It is never easy for a headlining act to provide the icing on the cake of a lengthy programme but Rab McCulloch and his band pulled it off with ease with the festival’s first real helping of blues. His rasping vocals were brilliantly complemented by his superb guitar playing, not least on the slow blues, “Too Many Dirty Dishes”. The upbeat rocking blues, “Louisiana Bayou”, was contrasted with the slow shuffle, “Travelling Blues” and a fabulous performance of a vibrant boogie. The man from Ulster completed a marvellous set with “Voodoo Chile” and a tasty helping of jump jive. Credit must also be given to Rab’s splendid band, which comprised Rab Braniff on harp, Seamus O’Neil on drums and Sumi Kal on bass guitar. All in all, it was a great start to the weekend.

The Saturday afternoon session began with a terrific set from Californian Guy Tortora, backed by three excellent musicians: Janos Bajtala on keys, Brendan Canty on bass guitar and Adam Roman on drums. Their nicely varied programme included “Living On Credit” (the title track of Guy’s most recent album), a lively jug band number and “Nobody’s Fault But Mine”, which featured a marvellous piano solo. There was a heartfelt tribute to the exploited plantation and mill workers in the form of “When Cotton Was King” and a fine version of Curtis Mayfield’s “People Get Ready”. The set was concluded with the Eric Bibb/Dave Bronze composition, “Too Much Stuff”.

Yet more variety was provided by Two Timers - singer/percussionist Sarah James and guitarist Gordon Russell. Their combination is an archetypical blend of opposites with the seated Gordon playing the undemonstrative foil to the flamboyant Sarah, who switched effortlessly between drums, tambourine and harmonica. The talented duo delivered a range of musical styles covering down home blues, pacey rockers, “The Devil And The Deep Blue” (a poignant lament) and, to end the set, “Good Glasses” with its driving rockabilly beat.

Headlining the afternoon proceedings were Nicky Moore and The Blues Corporation, comprising Timmy Moore on guitar, Daniel J Kyle on acoustic guitar, Ed Collins on drums and Peter Shaw on bass guitar. They performed a mix of well-loved favourites (“Resting In he Blues”, “Statesboro Blues” and “Sea Of Blues”) with some newer compositions. The latter selection included “Northern Girl”, a love song for his wife, who hails from Workington, “Hog On The Log”, the title track of the band’s latest album, and “Picture” – another love song! Does this mean that Nicky is becoming sentimental as his dotage approaches? The answer, perhaps, is in the title of his closing number – “Hear Me Howling”. Back to normal then.

When Jon Amor was introduced as the opening act for Saturday evening, it was reported that he and his band had just returned from a three-week tour of Canada – an announcement that evoked an “ooh” from the well-impressed crowd. Jon was backed by an excellent young band that combined brothers Dave and Chris Docherty on guitar and bass guitar respectively and drummer Si Small. They began with a heavy rocking instrumental contrasted with a couple of slow and moody numbers. “Can’t Keep Living Like This”, from John’s debut album, made way for a boogie, which afforded Dave Docherty the opportunity to deliver a tasty solo. The heavy rocker, “If I Were You”, provided a sample of Jon’s Unknown Soldier album, while “Feeding Time” moistened many an eye as it elicited very fond memories of The Hoax. A brilliant set was concluded with “24 Hours” and “Changed”, both embellished with trademark solos from the maestro.

Next up were local heroes, the Olly Alcock Band. Olly is not a native Cumbrian, being originally from Yorkshire, but he is held in great esteem and affection in his adopted region. The band set their stall out with “He Always Wants Something For Nothing” as a bouncing opener and went on to deliver an enjoyable mix of shuffles and upbeat funky blues. They also performed an excellent version of Paul Butterfield’s slow blues, “Driftin’ Blues”. Backed by bass player Eddie Chicken and newly recruited drummer Harry Harrison, Olly and Roz Sluman alternated to great effect with guitar and sax solos respectively. The set was also enhanced by Olly’s laid-back patter between numbers.

Ian Siegal returned to the stage on Sunday afternoon, this time in solo, acoustic format. To no-one’s surprise, he delivered a magical set, opening with “The Silver Spurs”, followed by a Delta blues number and a terrific version of “Ain’t Nobody’s Business”. The wonderfully varied mix also included songs by Kris Kristofferson, Steve Earle and Tom Waits. But the number that raised the roof more than any other was a dramatic saga of a Mexican fighting cock. Ian Siegal is a captivating performer, who possesses one of the very best blues voices of the present era – deep, rich and with a gritty edge, it is as near as you can get to the legendary Howlin’ Wolf.

The honour of topping the bill on Saturday evening was granted to Louisiana-born and Texas-raised bluesman Sherman Robertson, who was magnificently supported by Jules Grudgings on keys, Gary Rackham on bass guitar and Jamie Little on drums. He began with a hard-driving rocker before delivering a superb rendition of “Tin Pan Alley”. A funky ballad led to “Dust My Broom”, another high-paced rocker and the driving, funky-edged “She Rocks My World”, which featured some lovely slap bass and tremendous solos from Sherman and Jules Grudgings. The rest of the vibrant set mingled rocking and slow blues, incorporated a couple of walkabouts and ended with a rip-roaring boogie. It was a fabulous show that admirably showcased Sherman Robertson’s excellent vocals and dazzling, seemingly effortless guitar playing. An indication of the crowd’s wish to delay the end of the set (and of the day) was the call for no less than three encores.

Aynsley Lister provided another change of mood with a predominantly fast-paced set of home-spun blues rock. The slow blues, “Always Tomorrow” was balanced by “Upside Down”, a heavy-driving rocker with pounding drums and bass, and “Balls Of Steel”. “Running Out On Me” was a medium-paced shuffle with a tasty guitar solo while the excellent ballad, “Rain” was embellished with top class vocal harmonies from drummer Richard Spooner and bass guitarist Midus (pronounced Midoosh), who formed yet another brilliant rhythm section. It was a polished, well-delivered performance that was warmly received by the appreciative audience.

What a weekend! From start to finish the quality of the music never wavered and the organization was unfailingly slick. Nick Westgarth and his tireless team of helpers deserve enormous credit. Thanks and congratulations are also due to MC, Mark Singleton, who fronted the festival with commendable warmth and good humour. Surely the incredible standard cannot be continued for another year – but isn’t that what we said last year? Over to you, Nick.

Lionel Ross

[Note from Editor: The excellent pictures were provided by Paul Webster - thanks Paul.  He will be publishing his full set to his Flickr account as soon as he has a couple of hours free.]

http://www.flickr.com/photos/bigoax-blues/

As the third gig on an extensive European tour, this was Jake Walker’s first appearance in Liverpool. The man from New York City was backed by Leeds-based trio, Crosscut Saw, who comprised guitarist/harmonica player Alex Eden, drummer Richard Ferdinando and stand-in bass guitarist Ben Coleman.

Crosscut Saw opened the proceedings with three numbers before welcoming Jake Walker on stage, who announced his arrival with the funky “Confidence Man”, the title track of his recently released album. He then delivered an excellent version of Muddy Waters’s “Can’t Get No Grindin’”, followed by a funky-edged, rocking instrumental and the bluesy ballad, “Time For Love”. Jake added a lively slide guitar to the next number prior to ending the first set with his splendid instrumental tribute to Freddie King, “Mondo Freddie”.

The second set was again opened with three numbers from Crosscut Saw, including a fine rendition of a compelling Mississippi Hills number. Jake Walker then provided another brilliant helping of Freddie King’s repertoire in the form of “Tore Down”, breaking a string in the process. Alex Eden admirably filled the potential hiatus with a solo performance accompanied by acoustic harp. Jake resumed with “Miniskirt”, another number featured on his new album, followed by a very distinctive rendition of “Walkin’ The Dog”. He then inserted a second, but briefer, interlude to allow himself the opportunity to chat to members of the audience before raising the stakes with “Cross Cut Saw”, complete with more tasty guitar work. Still in Albert King mode, he then brought the set to a close with “Laundromat Blues”.

This was another very enjoyable evening at Liverpool Marina, which was well supported by a healthy gathering of regular punters, despite the counter-attraction of the MTV Awards Ceremony at the nearby Echo Arena. There again, given the choice – no contest.

Lionel Ross

(photograph by John R Welsh)