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What is the Blues?
Stevie Ray Vaughan
A Spectrum of Blue
Blues Challenge
The Father of the Blues
Early Ladies of the Blues
Muddy Waters
The Blues' British Detour
The Blues in Black and White
Bottom Line Blues
What Goes Around...
The Legend of Robert Johnson
Ladies' Man
The Death of Robert Johnson
John Hammond
The Battle of Memphis: Church vs. Crump
Chicago
Jake and Elwood - Seriously
Festivals: Lifeline of the Blues
K.C. Geiger Park: Past and Future
Lil' Ed Slides Into St. Marys
The Best of the Blues Plays St. Marys

What is the Blues?
by Chris Botkin

blues (blooz)

  1. A state of depression or melancholy. Often used with the.
  2. A style of music that evolved from southern African-American secular songs and is usually distinguished by a strong 4/4 rhythm, flatted thirds and sevenths, a 12-bar structure, and lyrics in a three-line stanza in which the second line repeats the first: "The blues is an expression of anger against shame and humiliation" (B.B. King).
The American Heritage® Dictionary of the English Language, Fourth Edition

Music is a matter of personal taste. We all know what we like to hear, and we don't need to know the music's history or its dictionary definition to know whether or not we like the music when we hear it.

If you grew up listening to music on the radio, you know what pop music sounds like and what country music sounds like. You probably know what classical music and jazz music sound like. But there are very few blues radio stations. What does blues music sound like? The answer might surprise you.

As one of the promoters of the Riverside Bluesfest, I've learned that not only do Blues Guild members need to tell people about our fund-raiser benefiting KC Geiger Park, we also need to tell them what they'll hear when they attend. But trying to describe the sound of a music genre is a little like trying to describe the taste of bananas - it's easier to just hand out a banana. If no banana came with your paper, bear with me as I try to explain the blues with some examples you may recognize from the radio.

Willie Mae "Big Mama" Thornton recorded a blues song in the early 1950s that was re-recorded in 1956 by a new talent named Elvis Presley. Hailed (and vilified) at the time as dangerous rock and roll, "Hound Dog" was pure blues, and it opened the door to more blues songs on the commercial airwaves. Chuck Berry's "Maybelline," Carl Perkins' "Blue Suede Shoes" (also covered by Elvis), Bill Haley and the Comets' "See You Later Alligator," Lieber & Stoller's "Kansas City" (recorded by a lot of artists including Fats Domino), Little Richard's "Tutti Frutti" and too many more to mention became some of the biggest hits of the 1950s. All blues.

It didn't stop there. In the sixties, British rock and roll bands discovered blues masters like Howling Wolf, Willie Dixon and Robert Johnson. The Rolling Stones (named after a Muddy Waters lyric), the Yardbirds, Fleetwood Mac and Led Zeppelin originally formed as blues bands. The Beatles song "Birthday" is standard 12-bar blues (followed immediately on the White Album by "Yer Blues" in case you missed the blues connection). Bob Dylan's "Rainy Day Women No. 12 & 35" ("Everybody must get stoned") is 12-bar blues. Even the corny theme of the TV show "Batman" was boogie-woogie 12-bar blues.

The blues prevailed even through the so-called "psychedelic era" of the late sixties. Jimi Hendrix's "Voodoo Child (slight return)" and "Red House" foreshadowed his posthumously released "Blues" CD. No one led the blues revival more prominently than Eric Clapton. He combined two Robert Johnson songs ("Traveling Riverside Blues" and "Crossroad Blues") and the result "Crossroads" was recorded live for Cream's Wheels of Fire album in 1968. The LP went to #1 in the United States and was the world's first platinum-selling double album; and the song introduced a lot of young rock fans to the blues, including yours truly.

Despite the plague called "disco" the blues survived the 'seventies. The Steve Miller Blues Band (Capitol Records made them drop the word "Blues" from their name) recorded "Mercury Blues." The Doors sang "Roadhouse Blues." The Allman Brothers "One Way Out" and Lynyrd Skynyrd's "Call Me The Breeze" and Aerosmith's "Train Kept A-Rollin'" are all pure blues. Van Halen's "Ice Cream Man" was a remake of a 1950's Chess Records blues song that was considered too risqué to release at the time. And the connection between rock and the blues just doesn't get any clearer than ZZ Top's medley, "Waitin' for the Bus/Jesus Just Left Chicago."

In 1977, the Fabulous Thunderbirds lost their rhythm guitar player when the lead guitarist's little brother split to form his own band. But that's another column.


"Blue Notes" is a series of The Evening Leader guest articles about the blues. The column above appeared Thursday, April 9, 2009.

Chris Botkin is a member of the St. Marys Blues Guild, organizers of the annual Riverside Bluesfest, scheduled for Labor Day Weekend in KC Geiger Park. For more information, visit the website, www.stmarysblues.com.

This column's Blues Classic is "Waitin' for the Bus/Jesus Just Left Chicago" by ZZ Top. It was released in 1973 on the Tres Hombres album, the band's third and their first Top Ten album.

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Stevie Ray Vaughan
by Chris Botkin

In 1977, the Fabulous Thunderbirds lost their rhythm guitar player when lead guitarist Jimmie Vaughan's little brother split to form his own band. Stevie Ray Vaughan was a self-taught guitar virtuoso who could play rock and jazz, but he preferred the blues. His story is a metaphor for the glory, the irony and the tragedy that is "the blues."

Stevie Ray Vaughan was the son of a hard-drinking asbestos worker who moved the family whenever work took him to a different city, mostly around Texas. While living in Dallas, Stevie was fired from his job at a Dairy Mart after accidentally falling into a 55-gallon drum of grease. That's when he decided to devote his life to playing the guitar. He was 14.

By age 17, Stevie had quit school and moved to Austin, following older brother Jimmie. It was 1972, and Stevie Ray Vaughan would spend the next decade playing in a variety of bands around Austin, Texas, waiting for the proverbial break.

An Atlantic Records executive saw Stevie Ray Vaughan and Double Trouble play at a party and recommended them to perform at the Montreaux International Jazz Festival in Switzerland. They got the job, and became the first unsigned act ever to play the famous festival.

But for some reason they were scheduled to play Montreaux during an acoustic jazz night, sandwiched in between trios playing piano and upright bass. The jazz crowd was stunned by the band's powerful blues electric guitar riffs and actually booed, but it so happened that Jackson Browne and David Bowie were among the audience members not booing that night.

Browne gave the band 72 hours of free recording time at his own studio in Los Angeles and Bowie invited Stevie Ray to play on his upcoming album, Let's Dance. At Browne's studio, Double Trouble recorded ten songs on Thanksgiving weekend in 1982, and sent the tape to legendary producer John Hammond (who had discovered Aretha Franklin, Billie Holliday, Bob Dylan and Bruce Springsteen, among others).

Hammond got them a contract with Epic Records and used the tapes to produce Stevie Ray Vaughan and Double Trouble's debut album "Texas Flood." The album sold more than half a million copies and the band was an "overnight success." It only took ten years.

By 1986, huge album sales and sold-out concert stadiums were common events. Also common was Stevie Ray Vaughan's alcohol problem and cocaine addiction. The alcohol had been a daily habit since Stevie Ray's days at home, sneaking drinks from his dad's friends as a teenager. By 1986, he was dissolving the cocaine in Scotch as an early morning ritual to begin his day. After collapsing during a tour in Europe, he finally sought medical help.

From then on, Stevie Ray Vaughan attended Alcoholics Anonymous meetings even while on the road, and often testified to his audiences about his problems to urge them to avoid substance abuse. A song written about his recovery, "Crossfire", was released in 1989 and became the band's only #1 pop hit.

On August 27, 1990, much like Buddy Holley, "The Big Bopper" and Ricky Valens' ill-fated scheduling of a small plane to save travel time three decades earlier, Stevie Ray Vaughan took a seat on a helicopter chartered by Eric Clapton's tour. In a thick fog, the helicopter overshot the landing pad and crashed into a hillside, killing Vaughan at the age of 35. His body was identified by his brother Jimmie, and Clapton.

Stevie Ray Vaughan carried the blues on his back through the 1980s and expanded its audience. He never had children, but he left behind a legion of devoted fans and musicians who were influenced by his style and talent. Listen at area fairs and festivals this summer and you'll hear SRV standards like "The House is a-Rockin'" or "Texas Flood" or "Crossfire" or "Pride and Joy."

Like Stevie Ray Vaughan, everyone regrets choices made in life. Everyone remembers better days, and hopes for better days to come -- despite knowing that life isn't fair. Trying to reconcile regret, hope and hopelessness -- that's the blues.

So is celebrating joy. But that's another column.


"Blue Notes" is a series of The Evening Leader guest articles about the blues. The column above appeared Wednesday, April 15, 2009.

Chris Botkin is a member of the St. Marys Blues Guild, organizers of the annual Riverside Bluesfest, scheduled for Labor Day Weekend in KC Geiger Park. For more information, visit the website, www.stmarysblues.com.

This column's Blues Classic is "Texas Flood" by Larry Davis and Joseph Wade Scott, performed by Stevie Ray Vaughan and Double Trouble. It was released in 1983 on the Texas Flood album, the band's first studio album.

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A Spectrum of Blue
by Chris Botkin

It's a rich irony that a music that arose out of torment and heartache should provide so much joy. Maybe there are some wires crossed deep in the human psyche that trigger pleasure where there should be pain. Perhaps the old saying "misery loves company" means there is comfort in reliving others' sorrows. Whatever the reason, something about the blues brings joy into people's lives, and there is a style of blues for almost every musical taste.

The great Chicago bluesman Willie Dixon liked to say: "Blues are the root; the rest is the fruit." It was Dixon's way of recognizing that most forms of American popular music derive from the blues. With jazz, R & B, rock and roll, country and zydeco as descendants, it's not too surprising to note that the genre called "the blues" itself contains a wide diversity of musical styles.

The Riverside Bluesfest invites blues artists who perform many different blues styles, to give the St. Marys audience a taste of the rich variety of blues music. If you like music, there will be something in the blues to strike a chord with you.

Some of the differences in blues styles can be defined by geography. Chicago blues, Kansas City blues, Delta blues and Texas blues all have distinctive sounds of their own. Muddy Waters (McKinley Morganfield, 1913-1983) was the quintessential Chicago blues master, and his success enabled Chess Records to build a stable of blues stars in the 1950s that dominated the genre for three decades. Lonnie Brooks (2007 Bluesfest), Elvin Bishop (2008) and Lil' Ed & the Blues Imperials (coming this year) are Chicago bluesmen.

Kansas City blues artists Louis Jordan and Big Joe Turner ignored the city's predominant jazz scene in the 1940s to create jump blues, which led to Rhythm & Blues. Stacy Mitchhart (2008), the Inner City Blues Band® (2009) and The Tommy Castro Band (2009) play Rhythm & Blues, while the Doghouse Daddies (2007 and 2009) play swing/Kansas City blues.

Robert Johnson (1911-1938), Charley Patton and Son House were famous Delta blues singers, and the Delta blues style has been studied and copied by blues artists ever since (Led Zeppelin's Delta blues "When the Levee Breaks" is the blues fan's favorite song on their fourth album.) Cleveland Fats (Bluesfest 2007) plays Delta blues he learned from Robert Lockwood Jr. who learned it from Robert Johnson himself.

Texas blues has been around since the days of Blind Lemon Jefferson (1894-1929), but it became big more recently with the rise of Austin as a music center in the 1970s. Albert Collins, Johnny Winter and Stevie Ray Vaughan are examples of Texas blues "gunslingers." Sonny Boy Terry (Bluesfest 2008) plays Gulf Coast Texas harp blues.

Some blues styles are known simply by the types of music they are. Blues rock and swing or jump blues are examples. Blues rock is the most prominent of these styles. ZZ Top, George Thorogood & the Destroyers and Kenny Wayne Shepherd are blues rockers. Scotty Bratcher and Joe Bonamassa (both from 2007) are Bluesfest examples.

Then there are the blues styles that are defined by the predominant instruments used to play them. Harp (harmonica) blues, electric blues, slide guitar blues, barrelhouse (piano) blues are some of these. Ana Popovic (Bluesfest 2008) is in a class of her own, playing electric/blues rock/European blues.

Coming to St. Marys on Labor Day weekend, you will hear: Johnny Reed & the Houserockers play harp blues; Josh Boyd & the V.I.P. Band and Ricky Gene Hall & the Goods play blues rock; Davina & the Vagabonds play barrelhouse and jump blues; Mark Laurens and Zydeco Fire introduce zydeco music to St. Marys; and The Code Blue Band play an R&B/Chicago blues mix.

Not to mention the four Riverside Bluesfest Blues Challenge bands that will appear. Because... that's another column.


"Blue Notes" is a series of The Evening Leader guest articles about the blues. The column above appeared the week of April 20, 2009.

Chris Botkin is a member of the St. Marys Blues Guild, organizers of the annual Riverside Bluesfest, scheduled for Labor Day Weekend in KC Geiger Park. For more information, visit the website, www.stmarysblues.com.

This column's Blues Classic is "Hoochie Coochie Man" by Willie Dixon, performed by Muddy Waters. This original 1954 release was voted number 225 by music industry professionals on Rolling Stone magazine's list of the 500 Greatest Songs of All Time, published in November 2004.

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Blues Challenge
by Chris Botkin

The Riverside Bluesfest, St. Marys' annual music festival, features national, regional and local blues bands. This Labor Day weekend will bring bands from Chicago, San Francisco, Kansas City and Minneapolis to the stage in K.C. Geiger Park, along with six excellent blues bands from around Ohio.

Setting the stage for the shows on Saturday and Sunday, Sept. 5-6, will be bands from the St. Marys area. For the second year, these acts will be chosen by a judged competition, known as the Riverside Bluesfest Blues Challenge.

Modeled on the International Blues Challenge (IBC) hosted annually in Memphis, Tennessee by the Blues Foundation, the local Blues Challenge pits area bands against each other for the opportunity to perform on the Bluesfest stage. This coming Sunday, May 3, the Blues Challenge Finals will take place at the St. Marys Eagles Lodge.

Five bands have performed at preliminary Blues Challenge showcase events at Varsity Lanes, C & C Loft & Lounge or Buffalo Wild Wings (Lima) to advance to the finals. In alphabetical order, they are Chip Brogan Layin' Low, Lady Bird & the Dirty Dirty Earthworms, MC Blue, The Nightcrawlers and Shootin' Blanks.

Chip Brogan Layin' Low finally got put together as a project of music veterans, drummer Howard Bonifas and lead guitar player Brogan, in 2008. Guitarist Dave Young, bass player Robin Huelsman and Brogan live in Celina, Bonifas is a St. Henry resident. Every Friday at TD's Pub & Grub in Coldwater, Chip Brogan Layin' Low plays nothing but the blues, and that's exactly the way the band members want it.

In late 2007, Celina residents John Remington (guitar, vocals) and Doug Wendel (bass, vocals) recruited drummer Brad Barton from St. Marys to form Lady Bird & the Dirty Dirty Earthworms around Stephanie Rogers' vocals. Rogers is a Celina native who is also trying to make a name for herself in the Columbus, Ohio music scene. The band's set list includes blues songs from eight decades and an eclectic variety of songs that showcase Rogers' big voice. www.myspace.com/ladybirdandthedirtydirtyearthworms

The Nightcrawlers are the musicians who remained after Dave Lyles left Big Worm & the Nightcrawlers early this year. Brett "Hoss" Mullins from Celina (guitar, vocals), Bryan Wireman from Waynesfield (bass) and Indian Lake's Rick Yates (drums, vocals) make the Nightcrawlers a power trio with punch. Wireman and Yates had been in "Big Worm" for years, Mullins joined in 2008 after playing five years in Razzberry Jam. The Nightcrawlers play a mix of classic blues, southern rock and country. www.myspace.com/nightcrawlersband

Front man Jerry Orik from Celina added John Lessick's bass to a band project he was working on in 2007. With Celina's Tom Luth (drums)and Kent Krogman from Rockford on keys, the band MC Blues was born. Guitarist Rick Barr from Coldwater joined the band a few months later. MC Blues plays Chicago-style blues and Detroit-style Rhythm & Blues, with some classic rock & roll standards added for variety.

Shootin' Blanks is a St. Marys band that was put together in 2006 by Terry Rasche (guitar, vocals) and Randy Speckman (bass, vocals) after the break-up of Speckman's former band Glory Days. Rasche, drummer Brian Sands and lead vocalist Jason Solomon are former members of the band Last Call. Brad Townsend from occasionally sits in to add keyboards, harp or a second guitar to their sets. Shootin' Blanks plays blues with a classic rock edge and some surprise "album cuts" from the sixties and seventies thrown in. www.myspace.com/shootinblanksband

All five of these area bands are long on talent and love for the blues. They will all be in the same place on Sunday, May 3, starting at 1:00 pm at the St. Marys Eagles Lodge. If you like the blues or just want to hear what it's all about, here's your sign: the 2009 Riverside Bluesfest Blues Challenge is free and open to the public.

What the blues is all about has fascinated performers and listeners alike ever since the blues was introduced to the world outside the deep south, more than a century ago. But that's another column.


"Blue Notes" is a series of The Evening Leader guest articles about the blues. The column above appeared the week of April 27, 2009.

Chris Botkin is a member of the St. Marys Blues Guild, organizers of the annual Riverside Bluesfest, scheduled for Labor Day Weekend in KC Geiger Park. For more information, visit the website, www.stmarysblues.com.

This column's Blues Classic is "Highway 49" written by Chester Arthur Burnett, performed by George Thorogood & the Destroyers. Chester A. Burnett, an imposing 1950s Chicago bluesman at six foot, six inches tall and 300 pounds, is better known as Howlin' Wolf.

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Father of the Blues
by Chris Botkin

Unrecorded history did not never happen. Worldwide throughout time, the way people talk, the way they look, the way they work and the songs they sing have been shaped by their unique cultures, without the benefit of a single written word.

Just as certain Appalachian dialects better represent the actual sound of Elizabethan-era English common speech than any accent heard in Great Britain now does, African elements of the blues were preserved in the American South. And just as Appalachian/Elizabethan speech patterns were insulated from the changes that evolved in British speech by the barrier mountains of their new home, for hundreds of years racial barriers, more impenetrable than any mountain range, insulated the culture of blues music from change.

By the late nineteenth century the country had begun the long process of removing racial barriers, and the blues slowly began to find a wider audience. But that welcome change also exposed this oral culture to outside influences. If not for the right man being in the right place at the right time, the blues would not have long survived the turn of the 20th century.

William Christopher Handy was born in 1873, in the Florence, Alabama log cabin his grandfather built. William's grandfather had become a minister upon Emancipation, and his father was also a pastor.

Observant and studious by nature, William was more interested in music than in the family trade of the ministry. He had a keen ear and a sharp memory for musical sounds, and he wrote in his journals of ringing and percussive rhythms made by coal-shovelers, or of the distinctive pitch and tempo of bird calls he heard around Florence.

W. C. Handy became an educated man who was in demand as a teacher, but he discovered that he could make more money as a traveling musician than he could in a classroom. He played cornet all over the country and in Europe for the Mahara Minstrels from 1896 to 1903, and led the Knights of Pythias in Clarksdale, Mississippi from 1903 until he moved the band to Beale Street in Memphis in 1909.

Handy's ear for music served him well. He was a natural arranger and composer, and songs he heard on the road found their way into the repertoire of his bands. In 1903, he listened to a poorly-dressed man playing "the weirdest music I had ever heard" by sliding a pocket knife up and down the strings of a guitar and bending notes. Handy tried to write down the weird notes as best he could -- and the blues entered recorded history.

Handy’s bands played for black audiences and white audiences, and when he noticed that certain songs were enthusiastically received by both he began to tailor his compositions accordingly. A mayoral campaign song he wrote remained extremely popular even after the election. Handy changed some lyrics, renamed it “Memphis Blues” and sold the publishing rights for $100 in 1912. Soon he had his own publishing company. He published “St. Louis Blues” in 1914, and his fortune was made.

He continued to write and publish blues songs all his life. W.C. Handy’s blues formula, most noticeable in the repeated first line of the lyrics and the 12-bar structure, is still a powerful musical pattern. By his own account, he didn't invent the blues, he simply recorded the blues on paper. But if W.C. Handy had not done so, blues music would have faded from public memory.

It was Handy's particular genius to recognize the blues as a distinct cultural genre (a strange concept a century ago), then to transcribe it according to his expert ear and extensive travel and research, and finally to distribute it in the mass media of the time, published sheet music. Not only did that earn Handy his livelihood, it earned him the title of his autobiography, "Father of the Blues."

There may be no "Mother of the Blues," but there sure are a lot of mistresses. But that's another column.


"Blue Notes" is a series of The Evening Leader guest articles about the blues. The column above appeared Tuesday, May 5, 2009.

Chris Botkin is a member of the St. Marys Blues Guild, organizers of the annual Riverside Bluesfest, scheduled for Labor Day Weekend in KC Geiger Park. For more information, visit the website, www.stmarysblues.com.

This column's Blues Classic is "Saint Louis Blues" by W.C. Handy, arranged by Luther Henderson Jr., performed by Columbus, Ohio native Teeny Tucker. It was released in 2008 on the Two Big M's album, Tucker's tribute to pioneer blueswomen Willie Mae "Big Mama" Thornton and Big Maybelle.

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Early Ladies of the Blues
by Chris Botkin

The first licensed radio station in the country, Pittsburgh's KDKA, went on the air in 1920. The sudden popularity of radio and the gradual economic advancement of (then still segregated) blacks nationwide resulted in a new market for so-called "race music." In 1922, a struggling Wisconsin record company began to print 78s by blues artists and market them by mail-order. In doing so, Paramount Records became an important archive source of blues history. Other record companies soon followed.

In the blues' early years, through the Roaring Twenties, female singers were the stars. Performing for the most part to black audiences in the South, the women who sang with traveling minstrel bands were popular and well-paid.

One such singer, Ma Rainey (Gertrude Malissa Nix Pridgett Rainey, 1886-1939), has a better claim to the title "Mother of the Blues" than anyone. Born in Columbus, Georgia, she began touring as a minstrel singer at the age of 14.

In a story much like W.C. Handy's, Rainey told of a girl she heard in a small town in Missouri in 1902 singing a strange, sad song that so affected her that Rainey learned it from the girl and made it part of her act. Rainey later claimed to have named the song's style "blues."

Paramount Records offered Ma Rainey a recording contract in 1923, after she had been performing the blues for more than 20 years. She eventually recorded many blues classics, including the original version of "C.C. Rider," later covered by Lead Belly, Peggy Lee, Mitch Ryder and the Detroit Wheels, The Animals, Elvis Presley, Jerry Lee Lewis, Janis Joplin, The Grateful Dead, Bruce Springsteen and many others.

A singer in Rainey's troupe had talked the band into giving his sister an audition when they played Chattanooga in 1912. Bessie Smith was hired as a dancer because Rainey was the lead singer, but Ma coached her for almost a year on the road.

Columbia Records, copying Paramount's success, made Bessie Smith (1894-1937) its first blues artist in 1923. Columbia billed her as the "Empress of the Blues." She scored a big hit with her first record and went on to become the highest-paid black entertainer of her time, appearing on Broadway and once in a movie. The film was "St. Louis Blues," released in 1929, based on W.C. Handy's song.

That year marked the end of women's domination of the blues. The Great Depression and "talkies" (movies with sound) combined to wipe out vaudeville and nearly ruin the recording industry. But not all blues ladies' fortunes fell in 1929.

Memphis Minnie (born Lizzie Douglas, 1897-1973) was a multi-talented performer who sang, played five instruments and wrote her own material. At the age of 13, she ran away from her Louisiana home to Memphis and performed in night clubs and on the street. In 1929 she married guitarist Kansas Joe McCoy, and a Columbia Records talent scout heard them playing on Beale Street, beginning her 40-year recording career.

Memphis Minnie was a blues pioneer, moving to Chicago in the 1930s. Adolph Rickenbacker had produced the first electric guitar in 1932; Les Paul's solid-body "log" was created in 1939 and Leo Fender's "Stratocaster" went into production in 1946. Memphis Minnie had already started playing the electric guitar by 1942, long before the more famous Chicago blues men. She once beat both Big Bill Broonzy and Tampa Red in a guitar contest. With Broonzy, Memphis Minnie founded electric South Side Chicago blues.

Memphis Minnie wrote "When the Levee Breaks," later covered by Led Zeppelin. With Bessie Smith, she was inducted into the Blues Hall of Fame in 1980, its first year.

Big Bill Broonzy, who played Chicago many times with Memphis Minnie, did a favor for a Mississippi juke-joint operator by letting him open for Broonzy in some Chicago clubs. The audience had no problem hearing his booming voice but his acoustic guitar accompaniment was drowned out, until he got an electric guitar in 1945.

Muddy Waters was heard everywhere after that. But that's another column.


"Blue Notes" is a series of The Evening Leader guest articles about the blues. The column above appeared the week of May 11, 2009.

Chris Botkin is a member of the St. Marys Blues Guild, organizers of the annual Riverside Bluesfest, scheduled for Labor Day Weekend in KC Geiger Park. For more information, visit the website, www.stmarysblues.com.

This column's Blues Classic is "Hustlin' Woman Blues" by Memphis Minnie. Recorded in 1935, it features Memphis Minnie on guitar and vocal, "Black Bob" on piano, Casey Bill Weldon on steel guitar and Bill Settles on bass.

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Muddy Waters
by Chris Botkin

Many legends haunt the blues pantheon. The superstition and licentiousness of the early twentieth century Delta blues of Son House, Charley Patton, and Tommy and Robert Johnson. The northward migration up the "Blues Highway," US 61, from the Delta to Memphis and on along the Mississippi River. The electric guitar revolution of the late forties, the emergence of Chicago as a blues mecca in the fifties. The British blues phenomenon of the sixties; the ironic passing of the blues torch from black masters to white acolytes in the seventies.

The Muddy Waters story includes all these legends and more.

Born McKinley Morganfield in rural Mississippi in 1913, Muddy Waters' mother died when he was young and he was raised by his grandmother in nearby Clarksdale, in the heart of the northwest Mississippi Delta floodplain region. He reportedly got his nickname because he liked to play in the mud as a child.

Muddy Waters' early musical influences were Clarksdale native Son House and Delta blues legend Robert Johnson. He emulated House's dark, powerful vocals and Johnson's bottle-neck slide guitar style. Living in Clarksdale, Waters had ample opportunity to hear both blues masters perform live.

Muddy Waters' inspiration to move to Chicago came through Robert Johnson, in a way. Musicologist Alan Lomax came to the Delta in 1940 to record Robert Johnson for a Library of Congress project to document country blues. Lomax did not know it until he arrived, but Johnson had died two years before. He found other blues musicians to record, including Muddy Waters.

When Waters heard the recordings, he was amazed to discover he sounded "just like anybody's records." Encouraged, he continued to perform locally until finally moving to Chicago in 1943.

Success didn't happen overnight. He lived with relatives and worked in a factory to support himself while playing blues clubs at night. After he "went electric" in 1945, Big Bill Broonzy let him open for a few club dates. Waters recorded a few unreleased songs for Columbia Records and then Aristocrat Records, a new company formed by brothers Phil and Leonard Chess.

In 1948, Aristocrat had a regional hit on their hands when they released Muddy Waters "I Can't Be Satisfied", and Waters' popularity in Chicago clubs took off. Aristocrat became Chess Records and in 1950, Muddy Waters' song "Rollin' Stone" became a nationwide blues hit for the label. Both songs heavily influenced a certain British blues band a decade later.

Muddy Waters and Chess assembled arguably the best blues band of all time, with Waters on vocals, Little Walter Jacobs on harp, Jimmy Rogers on guitar, Otis Spann on piano and Elgin Evans on drums. Waters wrote much of his own material, but bass player Willie Dixon also contributed many songs that have become blues classics.

The rise of Rhythm & Blues in the late fifties began to pull black audiences away from the old blues performers, and Muddy Waters, with other Chess artists like Howlin' Wolf, began to see their popularity wane. Unknown to the Chicago bluesmen, help was on the way from an unexpected source - England.

But that's another column.


PLEASE NOTE:

Half-price advance sale of 2009 Riverside Bluesfest tickets ends Memorial Day. There is still time to obtain Riverside Bluesfest tickets for $10 each.

Before midnight on Monday, May 25, send your 1) name, 2) address, 3) telephone number and 4) the number of tickets you want: by email to "blues@ridertown.com", or by US mail to "Riverside Bluesfest, PO Box 514, St. Marys, Ohio 45885." Orders received or postmarked before the deadline will honor the $10 price. The price after Memorial Day will be $15 per presale ticket or $20 at the gate day-of-show, per day.

Mail checks payable to "St. Marys Community Foundation." All Riverside Bluesfest proceeds benefit KC Geiger Park.


"Blue Notes" is a series of The Evening Leader guest articles about the blues. The column above appeared the week of May 18, 2009.

Chris Botkin is a member of the St. Marys Blues Guild, organizers of the annual Riverside Bluesfest, scheduled for Labor Day Weekend in KC Geiger Park. For more information, visit the website, www.stmarysblues.com.

This column's Blues Classic is "Rollin' Stone" by McKinley Morganfield a.k.a. Muddy Waters. Recorded in Chicago in February of 1950, Waters sings and plays electric guitar.

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The Blues' British Detour
by Chris Botkin

The caprices of circumstance are stranger than fiction, or a grounds keeper for the Chicago White Sox could never have inspired the sixties pop music British Invasion.

Born in Chicago in 1898, Jimmy Yancey was a vaudeville tap-dancer and boogie-woogie piano player who supported himself as grounds keeper at Comiskey Park throughout his life. After performing for more than thirty years, Yancey made his first recordings in 1939.

In 1928, Alexis Koerner (later spelled Korner) was born in Paris to an Austrian father and a Greek mother. The family moved to Switzerland and North Africa before settling in London in 1940. The Battle of Britain was raging and the Nazi Luftwaffe continued to bomb London for two years. One memory Alexis later recalled was listening to a blues record as a teenager during an air raid: "From then on, all I wanted to do was play the blues." The artist on the record was Jimmy Yancey.

Korner met blues harp player Cyril Davies in 1949 and they began to play as a blues duo with Korner on piano and guitar. By 1955 they had opened a blues club in London and they invited American blues artists, many of whom were unknown in England, to perform there.

In 1961, Korner and Davies formed the band Blues Incorporated with a flexible roster of like-minded musicians that became the cornerstone of British blues. Over the next few years, Blues Incorporated members included Charlie Watts, Ginger Baker, Brian Jones, Mick Jagger, Keith Richards, Rod Stewart, Jimmy Page and, briefly, Robert Plant. These musicians went on to form the Rolling Stones, Cream, Faces, Yardbirds and Led Zeppelin.

The first band John Mayall ever played in formed after they saw Alexis Korner's band play the blues in Manchester (Mayall's home) in 1955. Korner persuaded Mayall to move to London in 1963. Later that year John Mayall's Bluesbreakers had a steady gig as the house band at the Marquee Club, and by 1964 they had a recording contract and backed John Lee Hooker on tour in Britain.

The Bluesbreakers' flexible band lineup, whether by design or necessity, closely followed the Blues Incorporated model with overlapping and constant personnel changes. The band became an incubator of blues and rock and roll talent. John McVie, Peter Green and Mick Fleetwood (Fleetwood Mac); Jack Bruce and Eric Clapton (Cream); Mick Taylor (Rolling Stones); Walter Trout, Coco Montoya, Robben Ford and many more stellar blues musicians were Bluesbreakers.

Cyril Davies died in 1964 just prior to his 32nd birthday. Alexis Korner went on to record with B.B. King, Eric Clapton, Ian Stewart, Nicky Hopkins, Peter Frampton and many others in a multi-faceted career that was active until his death on New Year's Day in 1984.

Jimmy Yancey died in 1951. He entered the first class of Rock and Roll Hall of Fame inductees in 1986 under the induction category of "Early Influence" as "the progenitor of boogie-woogie piano." Also inducted that year in that category were the legendary Delta bluesman Robert Johnson and the blues guitarist and songwriter who became "The Father of Country Music," Jimmie Rodgers.

John Mayall, age 75, is still touring with the Bluesbreakers.

Late one night in the early sixties, the Rolling Stones went to stay overnight at Alexis Korner's house after a performance in London. The usual way to sneak in late was to climb through the kitchen window, and they were surprised to find Muddy Waters' band there, sleeping on the floor. Sober minds might have been struck by the coincidence: the Stones had been named for Muddy Waters' signature 1950 song, "Rollin' Stone."

At the time, Muddy Waters' career was fading and the Rolling Stones were yet to find success. In a caprice of circumstance that was lucky for Muddy, he had played a 1959 concert date in Houston, Texas, with a 15-year-old albino in the audience. But that's another column.


"Blue Notes" is a series of The Evening Leader guest articles about the blues. The column above appeared the week of May 25, 2009.

Chris Botkin is a member of the St. Marys Blues Guild, organizers of the annual Riverside Bluesfest, scheduled for Labor Day Weekend in KC Geiger Park. For more information, visit the website, www.stmarysblues.com.

This column's Blues Classic is "I Ain't Got You" by Calvin Carter, performed by The Yardbirds. It was recorded in London in September, 1964, including Eric Clapton on guitar.

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The Blues in Black and White
by Chris Botkin

John Dawson Winter III was born in Beaumont, Texas in 1944. His parents encouraged his and younger brother Edgar's musical development, and by the mid 1950s the duo appeared on a local children's television show, singing to Johnny's ukulele accompaniment. In 1959, Johnny was fifteen, and their band Johnny and the Jammers, featuring Edgar on keyboard, cut a single called "School Day Blues" on Houston's Dart Records that got them regional attention.

Johnny began to frequent Beaumont's black blues clubs despite the racial tensions of the times. Born with albinism (as was Edgar), he could not have been more conspicuous. But no one bothered him, which he attributed to his sincere appreciation of the music. He heard Muddy Waters (who he calls his biggest influence), Bobby Bland, B.B. King and others.

One night in 1962 he and Edgar were the only whites in the audience at a B.B. King show. Johnny kept sending people to the stage to ask King to let Johnny play with him. Reluctant at first, eventually enough people had asked to convince King to loan Winter his guitar for a couple of songs. B.B. took his guitar back after Johnny got a standing ovation.

In 1968, Rolling Stone magazine reporters Larry Sepulvado and John Burks wrote a glowing review of Winter in a story on the Texas music scene. "Imagine a 130-pound cross-eyed albino bluesman with long fleecy hair playing some of the gutsiest blues guitar you have ever heard." The article prompted gigs nationwide and a bidding war erupted for Johnny's contract among major record labels. Columbia Records won with a highly-publicized six-figure offer that reportedly was the biggest-ever contract in recording industry history at the time.

Johnny Winter's first "official" album, "Johnny Winter" came out to wide acclaim in 1969. His songs were covered by the Rolling Stones and John Lennon, he toured relentlessly and played Woodstock. Winter recalled, "It was really muddy. Crowded too." His band "Johnny Winter And" featured Fort Recovery, Ohio native Rick Derringer (Richard Zehringer), who was a founding member of The McCoys, on second guitar. The album Johnny Winter And Live, recorded at the Fillmore East in 1971, was Winter's best-selling release. Johnny Winter was riding the crest of success.

And then, his "recreational" use turned into heroin addiction, an affliction Johnny battled throughout the seventies. Between albino-related health issues and the drug treatments, his inspiration and endurance suffered. Johnny Winter began to look in a different direction for music projects.

Ever since Muddy Waters' heyday in the early 1950s, management had tinkered with Muddy's style and presentation, trying to keep him current. The usual "best of" late-career album compilations and one terrible "psychedelic" style album did little for his reputation or bank book. When he appeared at The Band's 1976 farewell concert, documented by Martin Scorsese in the film "The Last Waltz," it looked like Muddy Waters' farewell appearance, too.

Then Johnny Winter persuaded his label Blue Sky Records to sign Muddy Waters, with Johnny on board as producer and session guitarist. It fulfilled a life-long dream of Johnny's to work with the blues master. With an old-school blues purist at the helm, Waters' 1977 album "Hard Again" was recorded in two days in the Chicago blues style of the 1950s. It won a Grammy and reintroduced Muddy Waters to blues audiences.

Winter produced a new album for Muddy Waters each of the next three years. The four Winter-produced albums were Muddy Waters' last, and they were the best-selling albums of his career spanning five decades. A grateful Waters took to referring to Johnny as his "adopted son."

Muddy Waters received the most votes on the very first ballot of Blues Hall of Fame inductees in 1980; he was inducted as a performer into the Rock and Roll Hall of Fame in 1987. He died of heart failure in 1983 at the age of 68.

Johnny Winter's problems were only beginning. But that's another column.


"Blue Notes" is a series of The Evening Leader guest articles about the blues. The column above appeared the week of June 1, 2009.

Chris Botkin is a member of the St. Marys Blues Guild, organizers of the annual Riverside Bluesfest, scheduled for Labor Day Weekend in KC Geiger Park. For more information, visit the website, www.stmarysblues.com.

This column's Blues Classic is "Third Degree" by Eddie Boyd and Willie Dixon, performed by Johnny Winter. Originally written and recorded by Boyd in 1961, Winter made it the title song of his 1986 album. Johnny Winter, guitar.

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Bottom Line Blues
by Chris Botkin

A unique tension exists between art and commerce. The artist is devoted to creating art. The act of creation by definition results in something new, original.

The businessman, on the other hand, is driven to make money. That sounds like a put-down, but the truth is that business has been integral to society since the advent of agriculture, circa 10,000 B.C., when man ceased to be a nomadic hunter-gatherer and began to share responsibilities through trade.

Trade, business, relies on the exchange of products of established value. The value of a new item, produced by an artist, is unproven. Business therefore has no interest in art. Artists, who view commerce as a distraction, have no interest in business.

In the music industry, this tension has resulted in the uneasy symbiosis of musicians and managers. When both sides know their roles and art and business are balanced, something like magic can happen. Brian Epstein's management of the young Beatles is the archetype example. But when the artist cedes all control to the manager and business calls all the shots, more than art is lost.

Following his four-album collaboration with his childhood idol Muddy Waters, Johnny Winter returned to recording in the mid 1980s. His work in that period earned him four Grammy nominations and his 1988 induction into the Blues Hall of Fame. But by the early 1990s, Johnny was in trouble.

As a recovering heroin addict, Johnny Winter received ongoing methadone treatments. Compounding his health problems, he had a taste for straight vodka. He began taking anti-depressants. The cocktail of medications and alcohol drastically affected his health.

At the same time, unknown to Johnny his manager Theodore "Teddy" Slatus was involved in numerous back-door deals. For example, a record producer named Roy Ames released many "unofficial" Johnny Winter albums for which Johnny never was paid. Slatus was an alcoholic who controlled Johnny much like Colonel Tom Parker had controlled Elvis Presley.

Throughout the nineties Johnny Winter was in a fog most of his waking hours, but Slatus did nothing to discourage Johnny's self-destructive habits. In 2000, Johnny fell and broke his hip. By 2003, he had wasted away to nearly 90 pounds. When a doctor began a program to wean Johnny off the anti-depressants, Winter began to take a renewed interest in his affairs and asked Slatus some pointed questions. An irate Slatus reportedly called the doctor and demanded, "I want him back on that stuff!"

Winter's friend Paul Nelson saw the exploitation and helped Johnny overcome it. When Slatus was finally fired in 2005, Nelson was there to take benign control. Lawsuits were filed against Slatus and Ames, Johnny Winter was put on a healthier diet and the drug treatments were strictly managed. The result was that Johnny was back up to 140 pounds by 2007, alert and hungry for the road.

Johnny Winter's guitar playing began showing the fire that made him a rock star forty years earlier, and he finally recovered enough from his hip injury to stand on stage during concerts. Complications from albinism (his eyesight is failing) still afflict him. Dismissing the word "comeback" when applied to his career, he simply says, "I've been real lucky, and now I want to play as long as I live. I wouldn't know what to do if I wasn't playing." Spoken like an artist.

The levels of artist management can be imposing even when they aren't stifling. Tour managers, booking agents, record companies and corporate agencies with hundreds of artists under contract all add to the bureaucracy. The artist ultimately supports all the people in the background, and the people in the background ultimately force "success" on the artist -- for better or worse.

The bill for it all comes due at the ticket booth. It wasn't always that way. But that's another column.

NOTE: The blues world was saddened recently by news of the death of Koko Taylor, 80, on June 3, 2009, in Chicago. The winner of more Blues Music Awards than any other artist, she was known worldwide as the reigning "Queen of the Blues."


"Blue Notes" is a series of The Evening Leader guest articles about the blues. The column above appeared the week of June 8, 2009.

Chris Botkin is a member of the St. Marys Blues Guild, organizers of the annual Riverside Bluesfest, scheduled for Labor Day Weekend in KC Geiger Park. For more information, visit the website, www.stmarysblues.com.

This column's Blues Classic is "Wang Dang Doodle" by Willie Dixon, performed by Koko Taylor. Originally released as a Chess Records single in 1965, it reached #4 on the R&B charts and Taylor made it her signature song.

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What Goes Around...
by Chris Botkin

New technology frightens no one as much as the people who make their living selling old technology.

In the last decade, internet "file-sharing" through P2P (peer-to-peer) connections made at web sites like Napster and Kazaa scared the willies out of record companies, who saw millions of people exchanging digital songs without paying royalties. Dire forecasts predicted that the coming death of the music industry due to P2P would make paid live performances the only profitable option open to artists.

Today, of course, the market is adjusting, and Amazon, CD Baby, iTunes and many other web-based outlets sell individual songs and albums, and instantly deliver them online. The internet turned out to be a powerful marketing tool for new recordings. Who knew?

For hundreds of years, paid live performances really were the only way for musicians to earn money. Then Thomas Edison invented his cylindrical record-and-playback system, the phonograph, in 1877. The gramophone, which recorded one-sided discs instead of cylinders, came a decade later. By the turn of the twentieth century, gramophone disc mass-production was possible - before then, recording artists had to sing their songs dozens or even hundreds of times, because the best recording systems were only able to cut 100 or so records at once.

Between 1901 and 1920, discs were sold in 5-inch, 7-inch, 8-inch and 10-inch diameters, one-sided and two-sided, tracking either from inside-out or outside-in, at playback speeds ranging from 60 to 120 rpm, on hard rubber, shellac, celluloid and other usually brittle materials. Nevertheless, sales flourished.

Then came radio. New technology. Record companies panicked when their sales plunged.

Of course, the market adjusted. Surviving record companies banded together to standardize their product, finally. 78 rpm became the international playback standard in 1925, and amplified "electrical" recording was adopted to enhance fidelity (a high-end player manufactured by Victor in 1925 sold for $500 -- about $8,000 in today's money). The 78 dominated the record business for 20 years (until the invention of the vinyl 33-1/3 rpm disc in 1948), and radio turned out to be a powerful marketing tool for new recordings. Who knew?

But what does technology have to do with the blues?

In the 1930s, H.C. Speir had a hobby-shop recording studio in the back of his music store in Jackson, Mississippi. A white man, Speir had developed an ear for popular black music, and he became known to record companies as a reliable talent scout. Companies like Paramount Records would pay him for every song that was released on a record by artists he recommended.

In 1936, a young Delta bluesman who had made a regional name for himself as a singer and guitar player came to audition for Speir. His idols Charlie Patton and Son House (and his friend, Willie Brown) had made 78s of their music, and, not to be outdone, he was hoping Speir would recommend him for a record deal. At the time, Speir was disappointed with his current arrangement with the American Record Company, so he didn't bother to record the audition. But he sent the musician's name to them, anyway.

ARC recorded a handful of his songs, releasing some of them as singles on the Vocalion label. The first one was a small hit, but later releases didn't match its success, and only two recording sessions were ever scheduled. Half a century later, Columbia Records acquired the rights to the recordings and released them all as a historical reference, hoping for enough sales to justify the project's expenses. What Columbia got for the 2-CD set was a 1990 Grammy award and the very first blues platinum record (more than one million units sold).

That young bluesman came to a tragic end in 1938 at the age of 27, and was buried by Leflore County, Mississippi, in an unmarked grave. If not for getting his songs recorded, history would have soon forgotten the name Robert Johnson.

History did not forget. But that's another column. At least.


"Blue Notes" is a series of The Evening Leader guest articles about the blues. The column above appeared the week of June 15, 2009.

Chris Botkin is a member of the St. Marys Blues Guild, organizers of the annual Riverside Bluesfest, scheduled for Labor Day Weekend in KC Geiger Park. For more information, visit the website, www.stmarysblues.com.

This column's Blues Classic is "Sweet Home Chicago" by Robert Johnson. This mix features a 1:30 intro of Robert Johnson singing to his own guitar accompaniment, recorded in 1936 for Vocalion Records, followed by the 1980 The Blues Brothers movie soundtrack version.

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The Legend of Robert Johnson
by Chris Botkin

Keith Richards thought he was hearing two guitar players the first time he listened to Robert Johnson on a record - playing solo.

George Harrison said Robert Johnson and Ravi Shankar were the only guitar players he ever listened to. Ravi Shankar doesn't play the guitar.

Eric Clapton says Robert Johnson is the most important blues musician who ever lived.

Robert Johnson died at the age of 27 in 1938, from pneumonia (incurable at that time) caught while he was recuperating from being poisoned. He left behind a half-sister, one illegitimate son he did not know, one "adopted" son only four years his junior, a first wife and child who both died in childbirth, an abandoned second wife dead from neglect, three step-children, countless female admirers and a legendary musical reputation among his blues-playing contemporaries.

The only hard evidence of his life are the 29 songs he recorded in 1936 and 1937, two photographs, and a death certificate. Everything else about him was for decades the subject of mystery; even his name.

Robert Johnson was the result of an affair his mother, Julia Dodds, had with Noah Johnson while Charlie Dodds, his mother's husband, was living in another state due to a family vendetta, under the assumed name of Spencer, with Charlie's mistress Serena. After some hard years in migrant worker camps, Julia took Robert and his half-sister to live with Charlie and Serena and their children in Memphis, all under the name Spencer.

Unsurprisingly, Robert's mother soon moved out. Robert stayed in Memphis until he became an unruly seven-year-old, when Charlie sent him to live with his mother and her new husband Dusty Willis in Robinsonville, Mississippi. Robert Spencer was a teenager with a modest talent for the harmonica when he learned his father's name was Johnson. He began using the name Johnson from time to time.

He was a quick student of music, and he sought out local musicians Willie Brown and Charley Patton for lessons on the guitar. When Son House came to live in Robinsonville, Robert was awed by the intensity of House's songs and he sneaked out to the local "jook joints" to hear House, Patton and Brown play whenever he could.

They weren't very impressed with Robert. They tolerated his harmonica playing, but laughed when he tried to play their songs on the guitar.

Still a teenager, Robert resolved to find his father. He moved the 210 miles south to his birthplace, Hazelhurst, Mississippi, the last place he knew his father to have lived.

He may not have found Noah Johnson, but he did find employment in jook joints serving the area's WPA work gangs. He also found an extremely good blues guitar player named Ike Zinnerman, who claimed to have learned to play the guitar while sitting on tombstones in a graveyard at midnight. Robert and Ike worked the joints at night and Robert practiced in the woods by day, honing his playing skills by ear.

When Robert felt good enough about his playing, he moved to Clarksdale in the heart of the Mississippi Delta, where Son House was born, and made a name for himself in the very home of the blues. Finally confident of his ability, he decided it was time to return to Robinsonville, and pay his old mentors a visit.

By now, Robert was clearly the best guitar player and performer of the group. He knew every song and could play any style of music, and he had the uncanny ability to perform a song, words and all, after hearing it only once. Charley Patton was pleased, but Son House, a fiery preacher as well as a bluesman, was terrified. There was only one way Robert Johnson could have become so good in such a short time. "He's gone now!" House declared. Obviously, Robert had sold his soul to Satan.

Crossroads deal with the devil or not, it was women that led to Robert Johnson's demise. But that's another column.

"Blue Notes" is a series of The Evening Leader guest articles about the blues. The column above appeared the week of June 22, 2009.


Chris Botkin is a member of the St. Marys Blues Guild, organizers of the annual Riverside Bluesfest, scheduled for Labor Day Weekend in KC Geiger Park. For more information, visit the website, www.stmarysblues.com.

This column's Blues Classic is "High Water Everywhere" by Charley Patton (originally recorded in 1929 by Patton in Grafton, Wisconsin for Paramount Records as "High Water Everywhere Part 2"), performed by Joe Bonamassa on his 2006 CD "You and Me." Bonamassa played a solo acoustic version of this song at the 2007 Riverside Bluesfest.

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Ladies' Man
by Chris Botkin

Son House lived to the ripe old age of 88 and played the blues to generations of audiences who knew nothing of its origins. For more than 30 years after Robert Johnson's death, House would recite to rapt listeners the legend of Johnson meeting the Devil at the crossroads.

House may have been reminded of the bluesman Tommy Johnson (15 years older than Robert, no relation) who actually claimed to have traded his soul in exchange for guitar talent. Tommy's claim was, admittedly, drunken braggadocio, while Robert never made the claim himself. Perhaps that's what led House to believe it really true of Robert.

Robert Johnson was a small, wiry man. Animated during performances, he would stomp both feet in rhythmic accompaniment to his guitar. His dexterity allowed him to innovate on the guitar - he was the first to pick out a bass line while strumming chords, and he could finger-pick extended runs up and down the neck of the guitar, all while singing. Keith Richards once commented that Johnson must have had three brains to master that technique.

Johnson also knew he was attractive to the ladies and he used that knowledge unabashedly. At 18, he married a local sweetheart, Virginia Travis, and they moved in with Johnson's relatives in Robinsonville, Mississippi. He was a sharecropper and a doting husband at that age, but tragedy struck when Virginia and their unborn child both died during childbirth. She was 16 years old. As one whose childhood had been complicated, Robert reacted strongly to the sudden end of his own family. He turned to music as a way off the farm.

Soon after Virginia's death, Son House moved to Robinsonville, and laughed at Robert's guitar playing.

Unhappy working the fields and unsatisfied with his musical ability, Robert Johnson picked up and left to find his father. Robinsonville had been the closest thing to home that Johnson had known, but he found he enjoyed traveling. On the road, he soon learned that women would take good care of him wherever he went, and he took to charming the least attractive woman he met as a safeguard against accidentally riling boyfriends or husbands.

Upon reaching his birthplace of Hazelhurst, Mississippi, where he hoped to find his father Noah Johnson, Robert soon met Calleta Craft, ten years his senior, who had three children by previous marriages. They were secretly married in 1931, and she doted on him while he played the jook joints in the area and practiced.

When Robert suddenly decided to move to Clarksdale, he packed up the entire family lock, stock and barrel without telling anyone, not even Callie's family. His wanderlust was growing and Callie found herself alone for extended periods. Finally, brokenhearted, she called home to Hazelhurst for her family to retrieve her. Robert had abandoned her and her children completely. She died a few years later.

In the meantime, Robert had moved in with Estella Coleman and her son Robert Lockwood, Jr. in Helena, Arkansas. Johnson felt at home in Helena and he was fond of Robert Jr., who had taken up the guitar even before his mother began her relationship with Johnson. Johnson, who usually was extremely protective of his playing style and would avoid playing in front of anyone he thought was trying to copy it, willingly taught Robert Jr. the tricks of the trade. Robert Jr. went on to a very successful and influential blues career of his own.

Robert Lockwood, Jr. died in 2006 at the age of 91. He lived the second half of his life in Cleveland, Ohio, where he performed and recorded with his band that included a guitar player named Mark Hahn, known to 2007 Riverside Bluesfest attendees as Cleveland Fats.

By 1936, despite being a well-known regional blues musician, Robert Johnson had yet to cement his legacy -- or to quit fancying the ladies. But that's another column.


"Blue Notes" is a series of The Evening Leader guest articles about the blues. The column above appeared the week of June 29, 2009.

Chris Botkin is a member of the St. Marys Blues Guild, organizers of the annual Riverside Bluesfest, scheduled for Labor Day Weekend in KC Geiger Park. For more information, visit the website, www.stmarysblues.com.

This column's Blues Classic is "Dead Or Alive" by Robert Lockwood, Jr., performed by Cleveland Fats on the 2006 CD "The Way Things Are." Lockwood sat in on electric 12-string guitar -- his last recording.

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The Death of Robert Johnson
by Chris Botkin

Robert Johnson's friends and mentors Son House, Willie Brown and Charley Patton had made the long trip up to Wisconsin to record 78s for blues pioneer Paramount Records. Robert naturally wanted to make his own records, if only to prove his worth to them. When H.C. Speir recommended Robert to Don Law at the American Record Company, it resulted in a trip to San Antonio, Texas for the 25-year-old bluesman.

In three days during the week of November 23, 1936, Johnson sang and accompanied himself on guitar while Vocalion Records recorded songs destined to populate the blues pantheon: Terraplane Blues, Rambling On My Mind, Cross Road Blues, Walking Blues, Come On In My Kitchen, Sweet Home Chicago and others. The first release, Terraplane Blues, sold 5,000 copies, a fair success for a so-called "race record" during the Depression. It was Johnson's biggest hit, and prompted Vocalion to call him back for another recording session the following year.

In Dallas on Saturday and Sunday, June 19 and 20, 1937, Robert Johnson recorded more original songs, including I'm a Steady Rollin' Man, Hellhound On My Trail, Travelin' Riverside Blues and Love In Vain.

The recordings, while not setting any sales records, nevertheless exposed Robert Johnson's music to a national audience. Johnson discovered he could find work wherever he went, and a four month road trip suited his wanderlust perfectly. With musicians Johnny Shines and Calvin Frazier - who found the trip convenient, having just killed two men in Arkansas - Robert Johnson left Helena, Arkansas for St. Louis, Chicago, Detroit and Windsor, New York and New Jersey, playing Memphis on the way home again. Frazier stayed behind in Detroit.

The next year, Johnson left home in Helena for a trip through his childhood hometown of Robinsonville, Mississippi on the way to a job outside Greenwood, Mississippi. He met Honeyboy Edwards in Greenwood, and they played at a country roadhouse called Three Forks for several weeks.

Robert Johnson's celebrity had taken away his caution with with women. True to form, Robert had been seeing a local woman, but, unknown to him, she just happened to be the wife of the man who ran the roadhouse. On August 13, 1938, harmonica legend Sonny Boy Williamson II was also performing at Three Forks, and the place was packed and rowdy.

Sonny Boy Williamson II had been around a while, and he noticed the reckless attraction between Robert and the lady. He also noticed the attention it was receiving from the roadhouse man and others in the room. When he saw someone hand Robert a bottle with the seal broken, he was ready and slapped it out of Robert's hand, breaking it open on the floor.

"You don't know what might be in it," Sonny Boy warned.

"Don't never knock a bottle of whiskey out of my hand," a furious Johnson shot back.

Sonny Boy had to watch as Johnson accepted a second bottle. Minutes later, Johnson could not sing. Soon, he left the building, sick. Accounts vary, but the whiskey had likely been poisoned with strychnine or lye.

Robert Johnson barely survived the poison by sweating it out of his system in bed at a friend's house over the next three days. But he had contracted pneumonia in the meantime, for which there was no cure in 1938. He died on August 16, and was buried the following day by the county of Leflore.

Meanwhile, his records had attracted the attention of John Hammond. Hammond was organizing a huge event called "From Spirituals to Swing" to take place in Carnegie Hall, featuring all forms of black music. Hammond called Don Law at Vocalion Records to send Johnson to New York City for a performance that in all likelihood would have caused a sensation and made Robert Johnson rich and famous.

The first "From Spirituals to Swing" concert took place on December 23, 1938. But that's another column.


"Blue Notes" is a series of The Evening Leader guest articles about the blues. The column above appeared the week of June 15, 2009.

Chris Botkin is a member of the St. Marys Blues Guild, organizers of the annual Riverside Bluesfest, scheduled for Labor Day Weekend in KC Geiger Park. For more information, visit the website, www.stmarysblues.com.

This column's Blues Classic is "Love In Vain" by Robert Johnson. This mix features Robert Johnson singing to his own guitar accompaniment, recorded in 1937 for Vocalion Records, followed by the only song not composed by Mick Jagger and Keith Richards on The Rolling Stones' 1969 album "Let It Bleed."

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John Hammond
by Chris Botkin

Art originates in all corners of the world, but for it to become "fashionable" it must pass through a media center. What W.C. Handy did to document and perpetuate the blues, John Hammond did to integrate it.

John Hammond was born to wealth and privilege. He studied classical music at Yale, but from an early age he had been fascinated with black music and he left school to pursue a career in jazz, not as a performer but as a listener. His "apprenticeship" of living in Greenwich Village in the early 1930s brought him into contact with Bessie Smith, Count Basie and Billie Holliday. Through his writing, radio announcing and record producing, Hammond is credited with discovering these and countless other major recording artists throughout his 50 year long career.

His affection for jazz naturally led him to jazz's ancestor, the blues. He discovered Big Bill Broonzy, Sonny Terry, Pete Johnson, Joe Turner and Robert Johnson, among others. By 1936, Hammond was having some personal success promoting black musicians, and he was also working for their integration in the music world. Vibraphone legend Lionel Hampton joined Benny Goodman's big band through Hammond's introduction. But the white audience was too slow in warming up to jazz and blues to suit him.

His solution was to promote a showcase event, presenting the history of American black music, from the cotton fields to Harlem speakeasies, to the upper crust of white society trend setters. The first "From Spirituals to Swing" concert took place in Carnegie Hall on December 23, 1938 (the second and last one was a year later). When Benny Goodman appeared with Teddy Williams at the 1938 show, it was the first racially integrated music performance ever seen on a major American stage. Then, the performance of Albert Ammons with Pete Johnson, Meade "Lux" Lewis and Walter Page caused a different sensation.

Albert Ammons was a Chicago cab driver and a self-taught piano player who was influenced by fellow Chicagoan Jimmy Yancey. From Yancey and others, Ammons developed his pounding style of boogie-woogie piano playing. He met Meade "Lux" Lewis at work (another cab driver) and they began performing "four-hands" piano together in South Side Chicago.

The 1938 "From Spirituals to Swing" concert was New York's introduction to boogie-woogie blues, and it influenced popular music for nearly two decades afterwards. Quickly adopted by big band leaders like Count Basie, Duke Ellington, Benny Goodman, Tommy Dorsey (lead singer: Frank Sinatra) and too many others to mention, boogie-woogie became a staple of swing music.

John Hammond lost some interest in jazz during the "be-bop" era of Dizzy Gillespie and Charlie Parker in the late 1940s, but he came back with a vengeance, discovering a remarkable list of talent. His protégées include Aretha Franklin, Bob Dylan, Bruce Springsteen, George Benson and Stevie Ray Vaughan.

Folk singer/activist Pete Seeger said jazz was integrated ten years before baseball because of John Hammond. Under the category of "Lifetime Achievement," Hammond was inducted into the Rock and Roll Hall of Fame (with Robert Johnson and Jimmy Yancey) in its first year. In 2008, he entered the Blues Foundation Hall of Fame, in recognition of his tireless promotion of the blues.

John Hammond's blues legacy lives on in a more immediate way through his son. John Hammond Jr. is perhaps the premier authority on - and most enthusiastic performer of - classic and nearly-forgotten acoustic blues. Called "the white Robert Johnson," he has recorded roughly one blues album a year since 1962, and has influenced blues guitarists from Jimi Hendrix to Robbie Robertson to Duane Allman to Michael Bloomfield.

Like most things passing through New York, the blues set the trend but didn't receive much credit for it. Big Band Swing became the favorite music of my father's generation without teaching them much about where it came from. To get the full story of the blues, you have to follow the path the old Delta blues players took to get off the farm: through Memphis, to Chicago.

But that's another column, or two.

"Blue Notes" is a series of The Evening Leader guest articles about the blues. The column above appeared the week of July 13, 2009.

Chris Botkin is a member of the St. Marys Blues Guild, organizers of the annual Riverside Bluesfest, scheduled for Labor Day Weekend in KC Geiger Park. For more information, visit the website, www.stmarysblues.com.

This column's Blues Classic is "Boogie Woogie Bugle Boy" by Hughie Prince and Don Roye, performed by the Andrews Sisters. The song was written for the 1940 movie "Buck Privates" starring Bud Abbott and Lou Costello with the Andrews Sisters.

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The Battle of Memphis: Church vs. Crump
by Chris Botkin

Robert R. Church (1839-1912) was born a slave. After the Civil War, he established himself as a businessman in Memphis, Tennessee.

Yellow fever killed more than 8,000 people in Memphis between 1867 and 1879, and caused many more to leave. When people abandoned the city during the yellow fever outbreaks, Robert R. Church stayed and bought their properties at pennies on the dollar. He owned bars, hotels, restaurants and real estate, and built Church Park and Auditorium on Beale Street; all, obviously, integrated.

Memphis' black community grew under Robert R. Church's entrepreneurial leadership, and he became the first black millionaire from the South. This was the uniquely friendly environment blacks enjoyed in Memphis when W.C. Handy moved there in 1909.

That year, E.H. Crump won election to the Memphis City Council, beginning 45 years of his domination of Memphis politics. Crump, a Democrat, was corrupt and ruthless but a popular administrator. Under his direction, Memphis developed the best fire department in the country. He constantly improved city utility services while making them affordable, and he kept taxes low.

Crump commissioned W.C. Handy to compose an election campaign song. Titled "Mr. Crump Don't Like It," the song was a local favorite even after the election (which Crump won). Handy changed the lyrics and published the tune in 1912 as "Memphis Blues." It was the first music ever published with the word "blues" in the title, cementing Beale Street's claim to being "birthplace of the blues."

Church had made Beale Street a magnet for music and entertainment. Under Crump, it also teemed with gambling, prostitution, drugs and murder. A century ago, Memphis was the South's second-largest city (New Orleans was bigger), and Beale Street combined rural Mississippi Delta jook-joint lawlessness with urban vices. The blues thrived there.

From 1909 to the Great Depression, Beale Street was home to music not heard in any other city. Early "jug bands" playing homemade instruments (like the Mississippi Sheiks), W.C. Handy's Knights of Pythias, Ma Rainey, Memphis Minnie, Big Bill Broonzy, Robert Johnson and countless other blues acts performed there. Many of them lived in Memphis.

Meanwhile, the "Crump Machine" ran Memphis. It strong-armed businesses into buying insurance from Crump; forced political rivals to leave town; beat reporters who crossed him. When Crump refused to enforce Prohibition, the Tennessee legislature passed a bill that specifically removed him from the mayor's office. Crump was elected to Congress instead, and won reelection as Memphis' mayor again in 1939.

Robert R. Church's son, Robert R. Church, Jr., continued his father's civic work, and more. He became active in politics, forming the Lincoln League in 1916, which in a few months registered 10,000 blacks to vote. The following year he founded the Memphis branch of the NAACP. Robert R. Church Jr. believed politics was the only way blacks could obtain civil rights.

A Republican, Church maintained an uneasy truce with Crump, until Estes Kefauver threatened to defeat Franklin Roosevelt in the 1940 presidential election. Church was well connected in Republican politics, and Crump knew that if FDR lost, Church would become even more influential in Memphis.

Crump took violent action to prevent that. Church's properties were seized under the pretense of owing back taxes, his associates' businesses were harassed, causing some of them to close. The Church Park and Auditorium was renamed "Beale Avenue Auditorium" and the Church family home was burned to the ground to "test fire-fighting equipment." Robert R. Church, Jr. relocated to Washington, D.C.

The loss to Memphis of Robert R. Church, Jr. marked the end of Beale Street as the home of the blues. In truth, throughout the 1930s, the Depression had already forced many blues artists north, either to record their music or to find work of some other kind.

North, to a new home of the blues: Chicago. But that's another column.

"Blue Notes" is a series of The Evening Leader guest articles about the blues. The column above appeared the week of July 20, 2009.

Chris Botkin is a member of the St. Marys Blues Guild, organizers of the annual Riverside Bluesfest, scheduled for Labor Day Weekend in KC Geiger Park. For more information, visit the website, www.stmarysblues.com.

This column's Blues Classic is "When The Levee Breaks" by Memphis Minnie and Kansas Joe McCoy, performed by Led Zeppelin, who recorded this version in 1970 for their untitled fourth album. This recording represents a virtual history of the blues, from Lizzie (Memphis Minnie) Douglas' Louisiana roots, to her acoustic career in Memphis and her electric career in Chicago, to the British blues phenomenon of the 1960s and '70s. The lyrics refer to the great 1927 Mississippi River Flood in Greenville, Mississippi, when 13,000 people who were evacuated to a levee watched the river continue to rise.

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Chicago
by Chris Botkin

They came primarily from Mississippi, but also from Louisiana, Georgia, Florida, Tennessee.

William Lee Conley Broonzy arrived in 1920; Hudson Wittaker a few years later. Lizzie Douglas arrived in the early 1930s; William James Dixon arrived in 1936. Theodore Roosevelt Taylor arrived in 1942, just before McKinley Morganfield arrived for good in 1943. Edward Harrington arrived in 1950. Chester Arthur Burnett, who arrived in 1953, called Hubert Sumlin to follow in 1954. George Guy arrived in 1957. Joseph Benjamin Hutto arrived in 1959; Lee Baker Jr. arrived in 1960.

Some made their given names famous: Willie Dixon, Hubert Sumlin, J.B. Hutto. Some performed under stage names like "Big Bill" (Broonzy), "Tampa Red" (Whittaker), "Memphis Minnie" (Douglas), "Hound Dog" (Taylor), "Muddy Waters" (Morganfield), Eddy "The Chief" Clearwater (Harrington), "Howlin' Wolf" (Burnett), "Buddy" Guy and "Lonnie Brooks" (Baker).

They, and thousands more like them, came to Chicago to work, and they brought the blues with them.

World War I began what became known as the "Great Migration" of African-American laborers from the South to the industrialized North. In 1916, blacks represented 2% of Chicago's population. By 1970, blacks were one-third of the population of Chicago.

An active destination of the Underground Railroad dating back to the 1840s, 19th-century Chicago nevertheless was no more hospitable to black workers than most American cities were. But World War I brought European immigration to a halt. At the same time, the war increased the demand for manufactured goods, and industry was forced to open up to black employment. Word traveled fast.

The migration north continued throughout the Depression, and was given a boost by the success of International Harvester's improved cotton picking machinery in the 1940s. Thousands of southern field laborers found themselves replaced by the cotton harvesters, and they followed friends or family who had already moved north.

A common culture grew in Chicago's neighborhoods where the new transplants found themselves.

Clubs like Silvio's, Gatewood's Tavern, Pepper's Lounge, Club Zanzibar, the Flame Club and the 708 focused the blues in Chicago's West and South sides. Theresa's Lounge became famous in the 1950s as a place where the world's most famous bluesmen would just hang out. The open air market held every weekend on Maxwell Street (no longer in operation) also attracted blues musicians and audiences, as commemorated by the 1980 movie "The Blues Brothers" in a street scene that featured John Lee Hooker (1917-2001) performing "Boom Boom".

In 1981, the Rolling Stones stopped in to Buddy Guy's club the Checkerboard Lounge on 43rd Street to perform as Muddy Waters' backup band. Readers of this column know the backstory between Muddy and the Stones. Eric Clapton and Stevie Ray Vaughan also jammed at the Checkerboard. Buddy Guy has since sold his interest in the club, but in 1989 he opened Buddy Guy's Legends downtown in the Loop on South Wabash Avenue.

Of the clubs mentioned above, only Legends has survived. But many other blues clubs large and small carry on thriving businesses. Downtown, Blue Chicago has two locations within walking distance of each other on North Clark Street. The Chicago House of Blues puts current pop acts on its main stage, but the blues is played seven nights a week on the Backporch Stage in the restaurant area of the club on North Dearborn Street. There are far too many smaller (and less commercial) blues clubs in Chicago to list here.

Each year, the City of Chicago presents the "largest free blues festival in the world." Since 1984, Grant Park has played host to the Chicago Blues Festival in early June, annually attracting more than half a million visitors to hear the world's premier blues artists.

Before the Chicago Blues Festival was started, before Legends or Blue Chicago or the House of Blues existed, Chicago's rich blues tradition inspired a Chicago-born-and-bred Albanian-American to form a partnership with a Canadian-born American immigrant to promote the blues - for laughs.

It worked. But that's another column.

"Blue Notes" is a series of The Evening Leader guest articles about the blues. The column above appeared the week of July 27, 2009.

Chris Botkin is a member of the St. Marys Blues Guild, organizers of the annual Riverside Bluesfest, scheduled for Labor Day Weekend in KC Geiger Park. For more information, visit the website, www.stmarysblues.com.

This column's Blues Classic is "Spoonful" by Willie Dixon, performed by Howlin' Wolf. Recorded in Chicago in 1961, Hubert Sumlin accompanies Wolf with a distinctive guitar line, Otis Spann plays piano and composer Willie Dixon plays bass.

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Jake and Elwood - Seriously
by Chris Botkin

Blame Canada.

During the 1960s, the Canadian government subsidized a 60-seat coffeehouse in Ottawa down the hill from Parliament. Called Le Hibou ("The Owl"), it was devoted to culture and the arts, presenting a wide range of events from international films, to poetry readings, to theater, to music. Much of the music was blues.

The teenage son of an advisor to Prime Minister Pierre Trudeau, Dan Aykroyd was a regular at Le Hibou. There, he saw Buddy Guy, Howlin' Wolf, James Cotton, Pinetop Perkins and many other blues greats: he even filled in once as a back-up drummer for Muddy Waters.

By 1975, Aykroyd was a writer/performer on NBC-TV's "Saturday Night Live." He had rented a small club near the studio for its parking lot - the story goes that the bar was cheaper than a New York parking space. Aykroyd filled the juke box with a mix of blues and new music and kept some instruments and amplifiers there to jam on. The SNL cast often stopped in to unwind after rehearsals; one was original cast member John Belushi.

Belushi came to SNL through his work in Chicago's Second City comedy troupe and the National Lampoon Radio Hour, which he had directed. His Second City parody of the eccentric performing style of Joe Cocker (not a bad blues singer) led to a famous SNL duet with Cocker himself. It took Belushi meeting Dan Aykroyd in New York to learn about his blues birthright as a Chicago native.

A recurring SNL character was the Killer Bee, as whom Belushi would perform unlikely feats with a samurai sword while dressed in a bumblebee costume. With SNL music director Howard Shore, Aykroyd and Belushi wrote a musical sketch of Slim Harpo's blues song "I'm a King Bee" that was performed on the show in January, 1976. Belushi sang, Aykroyd played harp, both dressed as bees. No one knew it at the time, but the Blues Brothers had just been born as insects.

Some historical context is instructive. The state of the blues in 1976 was precarious. Blues artists who found success had become rock-and-rollers. The Blues Foundation was not founded until 1980. Stevie Ray Vaughan would not break out until 1982. Disco was a pandemic. Other than in blues enclaves like Austin (Antone's opened in 1975) and Chicago, the blues was more a relic than a revival.

To feed their blues fascination, Belushi and Aykroyd began singing with local blues bands. Howard Shore jokingly suggested they call themselves the "Blues Brothers." Aykroyd began writing Blues Brothers sketches in a notebook called "the tome" because it grew so thick. Ultimately, it grew into a movie. With keyboard player Paul Shaffer, a backup band of standout blues musicians was put together, and the Blues Brothers made their SNL debut, not as a comedy sketch but as the program's musical guests, in April, 1978.

The act was an immediate sensation. The Blues Brother's debut album "Briefcase Full Of Blues" hit #1 on the pop charts in 1979. The Blues Brothers movie was 1980's eighth-biggest U.S. box-office release.

Not since Elvis Presley's "Hound Dog" had so many people been introduced to the blues. Purists will disapprove, but the Blues Brothers did more to promote and preserve the blues than any other act in the seventies, bringing a huge new audience to the genre. Joliet Jake (Belushi) and Elwood (Aykroyd) Blues might be fictional comic characters, but their underlying blues devotion and talent were real, and their impact was undeniable.

John Belushi died in 1982 from an overdose of cocaine and heroin. In 1992, Dan Aykroyd collaborated with other celebrities to found the House of Blues chain, dedicated to promoting blues music and folk art. He continues to host the weekly House of Blues Radio Hour in character as Elwood Blues, showcasing blues artists and promoting blues festivals throughout North America.

And there are a lot of blues festivals to promote. But that's another column.


NOTE: Come to Summerfest Blues on Sunday afternoon, August 16, in the St. Marys Summerfest entertainment tent. "Blues Brothers Tribute - The Soul Men" will perform and help promote the Riverside Bluesfest. It will be lots of fun with great music that everybody knows. Don't miss it.


"Blue Notes" is a series of The Evening Leader guest articles about the blues. The column above appeared the week of August 3, 2009.

Chris Botkin is a member of the St. Marys Blues Guild, organizers of the annual Riverside Bluesfest, scheduled for Labor Day Weekend in KC Geiger Park. For more information, visit the website, www.stmarysblues.com.

This column's Blues Classic is "Boom Boom" written and performed by John Lee Hooker, recorded in Chicago in 1961. In his only appearance in motion pictures, Hooker performed a version of this song in the 1980 movie "The Blues Brothers".

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Festivals: Lifeline of the Blues
by Chris Botkin

Because the blues is ancestor to so much American music from jazz to rock to country, you hear a little bit of the blues in music from all those genres. Maybe that's why all-blues radio stations are so rare: it's heard in almost everything else.

The problem, from the blues fan's perspective, is that most people don't know they're listening to the blues when they hear it in jazz, rock or country music. Short of buying a radio station, what can a blues fan do to promote and listen to just the blues?

The answer to that is: hold a blues festival. Since the early 1970s, the number of annual blues festivals has steadily increased around the world.

The 1969 Ann Arbor Blues Festival was perhaps the first of its kind. Organized by University of Michigan students and financed by the University Activity Center, it featured B.B. King, Muddy Waters, Howlin' Wolf and many more blues legends. UM budgeted funds for another show the following year, but a nearby rock concert on the same day pushed the 1970 Ann Arbor Blues Festival deep into the red, and it wasn't held in 1971. But elsewhere, blues festivals proliferated.

"Blues Festival Guide," an online directory, currently lists more than 400 blues festivals held worldwide in 2009. Most of these are in the United States, no fewer than twelve are in Ohio. And this directory is far from comprehensive: at least six other annual Ohio blues festivals are not listed.

In 2009, Ohio blues festivals were scheduled in Lima, Marietta, Cleveland, Canton, Gahanna, Columbus, Kent, Pomeroy, Dayton, Pickerington, Cincinnati, Bascom, Lebanon, London, Sunbury, Bellville, Galena, Centerville, Worthington and, of course, St. Marys. Blues is also featured at other festivals like the Black Swamp Arts Festival in Bowling Green. Indiana blues festivals take place in Fort Wayne, LaPorte, Madison and Lafayette.

Hosting any kind of festival is not a passing fancy. It requires lots of manpower, expertise and capital. The St. Marys Blues Guild is a volunteer group of dedicated blues fans from our area who happen to be experienced in marketing, audio, radio, video, internet, catering, electrical and construction. Groups like ours have spontaneously formed all over the world, dedicated to "keep the blues alive."

Ohio blues fans are particularly active. The granddaddy of Ohio blues organizations is the Columbus Blues Alliance, which is now in its 20th year. The non-profit CBA is extremely helpful and generous with its promotion and advice.

Since 1980, the Blues Foundation, headquartered in Memphis, Tennessee, has become affiliated with more than 175 blues groups from a dozen countries. Not counting the St. Marys Blues Guild, ten Blues Foundation affiliate societies are in Ohio - by far the most from any state.

"Due to economic conditions," the San Francisco Blues Festival will not take place this year, marking the first time since 1973 that the "oldest ongoing blues festival in the world" will be silent. Past SFBF performers include Riverside Bluesfest artists Tommy Castro, Lil' Ed & the Blues Imperials, Elvin Bishop and Lonnie Brooks, as well as artists mentioned in these Blue Notes columns like Koko Taylor, Stevie Ray Vaughan, B.B. King, Buddy Guy, Johnny Winter, John Mayall and many more.

The current "economic conditions" of California have been well-publicized. The SFBF web site does not elaborate on the decision to suspend the festival, but if it is like most blues festivals (including many in Ohio), it is (or was) subsidized by government agencies; money that is not available in California this year.

The Riverside Bluesfest is in the minority of blues festivals that book national acts, in that it is not subsidized by public funds - in fact, just the opposite. The purpose of our Bluesfest is to subsidize a public facility: K.C. Geiger Park. But that's another column.


NOTE: Come to Summerfest Blues on Sunday afternoon, August 16, in the St. Marys Summerfest entertainment tent. "Blues Brothers Tribute - The Soul Men" will perform and help promote the Riverside Bluesfest. It will be lots of fun with great music that everybody knows. Don't miss it.


"Blue Notes" is a series of The Evening Leader guest articles about the blues. The column above appeared the week of August 10, 2009.

Chris Botkin is a member of the St. Marys Blues Guild, organizers of the annual Riverside Bluesfest, scheduled for Labor Day Weekend in KC Geiger Park. For more information, visit the website, www.stmarysblues.com.

This column's Blues Classic is "Red House" composed by Jimi Hendrix, performed by Walter Trout and the Radicals. This version was recorded live at the July 2, 1989 Midtfyn Festival in Denmark.

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K.C. Geiger Park: Past and Future
by Chris Botkin

Beginning in 1946, St. Marys American Legion post members spearheaded a public drive for bond issues to construct a local hospital. Despite some controversy, the hospital became a reality and in 1954, a year after it opened, Joint Township District Memorial Hospital was finally dedicated to the memory of servicemen from the four-township area who had died in WWII.

Long trains used to roll through St. Marys many times a day. I grew up in a house two blocks from the tracks, and we could hear the rumble of the trains at all hours. The tracks were strictly forbidden ground to us as kids, so we naturally gravitated there, leaving pennies on the rails and counting the cars, often more than a hundred. You knew it was going to be a long train when there were two or three diesel engines in front.

When the trains passed through town, most city residents' access to JTDMH was blocked for up to fifteen minutes at a time. In emergency situations these delays could be extremely dangerous. To relieve this, an underpass was excavated at the railroad crossing on Main Street. But that was only part of the solution: there still was no access east across the river to the hospital.

In the early 1970s, the Greenville Road Extension project, with the bridge over the St. Marys River, finally completed unobstructed-by-railroad access to JTDMH. A side benefit of this new road was that approximately 70 acres of former landfill area owned by the City of St. Marys now had street frontage. Previously, this site could only be reached from South Street, by driving on the river bank under a railroad trestle.

A private bequest and other funding was obtained for a new city park, a contest was held to name it, and in 1977 K.C. Geiger Park, between the St. Marys River and the Miami-Erie Canal, was opened to the public.

Fifteen years later, K.C. Geiger Park was showing signs of wear. The money that had built the park did not fund its routine maintenance. A group of local volunteers (including myself) met in early 1993 and privately formed the K.C. Geiger Park Maintenance and Improvement Committee to address the park's needs and promote its use.

Committee fund raisers established a park trust fund with the St. Marys Community Foundation. The City of St. Marys welcomed the community involvement, and, between the efforts of the Committee and the City, soon the condition of K.C. Geiger Park had never been better.

The K.C. Geiger Park Committee continues to privately fund improvements to the Park - far more than $100,000 worth over the years - while adding to the park fund. The Summerfest Duck Race raised more than $130,000 in the fifteen years it was operated by the Committee, but in April 2006 we began to plan a bigger event: one that would take place in K.C. Geiger Park.

The Riverside Bluesfest is now in its third year. Other than essential services (like electricity) provided by the City of St. Marys, the Bluesfest is entirely privately funded by sponsors, ticket sales and the Committee. The St. Marys Blues Guild plans, and about 300 other local volunteers staff, the annual event that has attracted visitors from as far as Oregon, Florida and Texas.

The short-term goal remains park maintenance, but the stated long-term goal of the Riverside Bluesfest is the future construction of a permanent, professional-quality outdoor stage and amphitheater at K.C. Geiger Park for the entire community to use. This is an ambitious project that needs as much support as possible. Many events could be held at "Riverside" throughout the year including, of course, the annual Riverside Bluesfest.

Presale Bluesfest tickets are $15 each, and are available locally at Chief and Pantry Pride Supermarkets, Schwieterman Pharmacy, the Chamber of Commerce and St. Marys Eagles. Buy your tickets today and support one of Ohio's most beautiful municipal parks.

And prepare yourself for some first-class entertainment. But that's another column.


"Blue Notes" is a series of The Evening Leader guest articles about the blues. The column above appeared the week of August 17, 2009.

Chris Botkin is a member of the St. Marys Blues Guild, organizers of the annual Riverside Bluesfest, scheduled for Labor Day Weekend in KC Geiger Park. For more information, visit the website, www.stmarysblues.com.

This column's Blues "Classic" is "Sweet Home St. Marys (Bluesfest Theme)", lyrics by Dean Axe with help from Robert Johnson, performed by Backyard Bash. This version was recorded in 2007 in St. Marys, Ohio, for the St. Marys Blues Guild.

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Lil' Ed Slides into St. Marys
by Chris Botkin

"A lean loose-jointed Negro had commenced plunking a guitar beside me... As he played, he pressed a knife on the strings of the guitar... The singer repeated the line three times, accompanying himself on the guitar with the weirdest music I had ever heard." -- W.C. Handy, in his autobiography "Father of the Blues."

Handy was waiting for a train at the station in Tutwiler, Mississippi in 1903 when he heard his first slide guitar player. It is the earliest known citation of a music that later became known as "the blues."

Slide guitar has always been a basic tool of the blues. Robert Johnson, Muddy Waters, Elmore James and J.B. Hutto all used a slide, carrying its distinctive sound from the turn-of-the-century Mississippi Delta to mid-century Chicago. Used to control the vibrating length of the strings, a slide allows guitarists to vary the pitch of notes even in-between the frets of the guitar, resulting in subtle "blue notes" and flashy glissandi (smooth transitions between notes, sometimes spanning octaves).

The control over pitch that a slide gives a guitarist ironically can also lend a reckless quality to the sound of the music produced. This combination of subtlety and freedom distinguished the heyday of Chicago blues throughout the 1950s: it was rowdy no-holds-barred party music that performers and listeners alike sometimes literally threw themselves into.

"I once saw my uncle J.B. Hutto fall flat on his back at the Wise Fools Pub. I ran over to help him, and he looked at me and said, ‘Don’t do it. Let me lay right here for a minute.’ He just kept playing, and he never missed a note. I knew he was hurting, but he was smiling the whole time."

Thus Edward Louis "Lil' Ed" Williams describes part of his Chicago blues apprenticeship under his uncle J.B. Hutto. Lil' Ed took all his uncle's mentoring to heart: the slide, the energy -- even the fez -- and it has served him, and fans of old-school Chicago blues, well.

When Alligator Records founder Bruce Iglauer brought Lil' Ed and the Blues Imperials in for a studio test in 1986, he was unprepared for what came next. Never having recorded in a studio before, the band plugged in and performed for Iglauer and the staff like they were an audience at a night club. With the tape running, 30 songs were recorded in three hours - without any overdubs or retakes.

Iglauer signed them to a recording contract on the spot. A dozen of the songs were released as Lil' Ed & the Blues Imperials' first album, Roughhousin'. The national press erupted over Roughhousin' and Lil' Ed & the Blues Imperials suddenly found themselves in demand, not just in their familiar Chicago neighborhood clubs, but at blues festivals all over the world.

"Williams represents one of the few remaining authentic links to the raucous but pure Chicago blues." -- The Chicago Tribune.

"Raw-boned, old-fashioned Chicago blues has a new young master - Lil' Ed Williams." --The New York Times.

"The world's #1 houserocking blues band." -- The Boston Globe.

Lil' Ed and the Blues Imperials headline the Saturday, Sept. 5 show at the 2009 Riverside Bluesfest for K.C. Geiger Park. Six outstanding blues bands lead up to the 9:30 pm final act, including the Doghouse Daddies from Kansas City, Josh Boyd & the V.I.P. Band from Toledo, Mark Laurens & Zydeco Fire from Yellow Springs, the Code Blue Band from Columbus and area bands Lady Bird & the Dirty Dirty Earthworms and MC Blues.

Presale Riverside Bluesfest tickets, $5 off the gate price, are available locally at Pantry Pride and Chief Supermarkets, Schwieterman Pharmacy, St. Marys Chamber of Commerce and Eagles Aerie 767 (a primary sponsor). All Riverside Bluesfest proceeds benefit K.C. Geiger Park.

Join the legion of "Ed Heads" at the Riverside Bluesfest on Labor Day weekend a week from Saturday. And don't forget about the Sunday show - but that's one more column.


"Blue Notes" is a series of The Evening Leader guest articles about the blues. The column above appeared the week of August 24, 2009.

Chris Botkin is a member of the St. Marys Blues Guild, organizers of the annual Riverside Bluesfest, scheduled for Labor Day Weekend in KC Geiger Park. For more information, visit the website, www.stmarysblues.com.

This column's Blues Classic is "Take Five", first written by Dee Clark, Kal Mann and Cornell Muldrow, performed by Lil' Ed and the Blues Imperials. Originally recorded in Chicago by Hound Dog Taylor in 1973, Lil' Ed and the Blues Imperials offer this version on their latest CD, "Full Tilt."

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The Best of the Blues Plays St. Marys
by Chris Botkin

A non-profit organization headquartered in Memphis, Tennessee, the Blues Foundation was founded in 1980 with three objectives: to preserve the blues, celebrate the blues and educate people about the blues.

Now an international organization with 165 affiliates worldwide, the Blues Foundation fosters education with its Blues-In-The-Schools program, it perpetuates blues history through the annual Blues Hall of Fame and occasional Lifetime Achievement Award ceremonies, and it celebrates excellence in blues musicianship by presenting the annual Blues Music Awards.

What the Emmy is to television and the Oscar is to movies, the BMA is to the blues. Originally known as "Handys" or "W.C. Handy Awards" in homage to the Father of the Blues, a BMA is the highest recognition of blues music excellence in the world today.

The 2009 Blues Music Award winner for "Band of the Year" is the Saturday headline act at this week's Riverside Bluesfest: Lil' Ed and the Blues Imperials. (They also won this award in 2007.)

In 2008, the Sunday headline act at this week's Riverside Bluesfest, Tommy Castro, won two BMAs: "Entertainer of the Year" and "Contemporary Blues Album of the Year" (for the 2007 album "Painkiller").

Taking up guitar at the age of ten, Tommy Castro's first influences were Eric Clapton, Mike Bloomfield and 2008 Riverside Bluesfest headliner Elvin Bishop. Learning more about these bluesmen led Castro to discover their influences, including B.B. King, Buddy Guy, Elmore James and Muddy Waters.

After playing in a few local groups Castro landed a job as guitarist for the Dynatones, a nationally touring band that averaged 300 performances a year. He left the Dynatones after two years on the road, to return home to the San Francisco Bay area and form his own band. In 1993 and 1994, the Tommy Castro Band won the Bay Area Music Award as "Best Club Band." Their west coast popularity landed them a three-year gig as the house band on NBC-TV's late-night "Comedy Showcase" program, which aired following "Saturday Night Live" from 1997 to 2000.

In the meantime, Castro was writing songs and the band was releasing albums. Not only his performing skills, but also his songwriting skills, became well-known. Bands nationwide began to routinely cover Tommy Castro-penned songs like "Suitcase Full Of Blues," "High On the Hog" and "Can't Keep A Good Man Down."

A few weeks ago on August 11, Tommy Castro's eleventh album was released, his first on Alligator Records. "Hard Believer" debuted at #1 on Amazon.com's Contemporary Blues Chart and #2 on the Billboard Blues Chart.

Billboard: "Castro combines the earthy soulfulness of Albert Collins and B.B. King with the polish of Robert Cray."

Blues Revue: "Castro’s energy and charisma leap right out of each and every one of the cuts on the album. Castro’s clearly got the goods and knows how to use them."

Philadelphia Inquirer: "Castro plays infectious, roaring roadhouse romps with incendiary licks and a touch of New Orleans soul."

The Tommy Castro Band caps off the 2009 Riverside Bluesfest at 9:30 pm Sunday, Sept 6. Six excellent blues bands precede Castro on the stage at K.C. Geiger Park, including the Inner City Blues Band® from Columbus, Johnny Reed and the Houserockers from Toledo, Davina and the Vagabonds from St. Paul, MN, Ricky Gene Hall and the Goods from Columbus and area bands The Nightcrawlers and Chip Brogan Layin' Low.

Lil' Ed and the Blues Imperials headline the Saturday, Sept. 5 show at the 2009 Riverside Bluesfest for K.C. Geiger Park. Six outstanding blues bands lead up to the 9:30 pm final act, including the Doghouse Daddies from Kansas City, Josh Boyd & the V.I.P. Band from Toledo, Mark Laurens & Zydeco Fire from Yellow Springs, the Code Blue Band from Columbus and area bands Lady Bird & the Dirty Dirty Earthworms and MC Blues.

Presale Riverside Bluesfest tickets, $5 off the gate price, are available locally at Pantry Pride and Chief Supermarkets, Schwieterman Pharmacy, St. Marys Chamber of Commerce and Eagles Aerie 767 (a primary sponsor). All Riverside Bluesfest proceeds benefit K.C. Geiger Park.

Don't miss the 2009 Riverside Bluesfest this coming Saturday and Sunday: two outstanding shows featuring the best of the blues, right here at home.


"Blue Notes" is a series of The Evening Leader guest articles about the blues. The column above appeared the week of August 31, 2009.

Chris Botkin is a member of the St. Marys Blues Guild, organizers of the annual Riverside Bluesfest, scheduled for Labor Day Weekend in KC Geiger Park. For more information, visit the website, www.stmarysblues.com.

This column's Blues Classic is "Make It Back To Memphis", written by Castro/Hayes and performed by the Tommy Castro Band. This is new material, released on August 11, 2009, on Tommy Castro's latest CD, "Hard Believer."

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Riverside Bluesfest
c/o K.C. Geiger Park Improvement Committee
P.O. Box 514
St. Marys, Ohio 45885

blues@ridertown.com

 

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