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Trilogy For The Arts

Trilogy For The Arts
Videos and Photos
April 24, 2015

Mmere Dane Group

Mmere Dane Group
Review by Hairy Larry

Duffy Bishop - Find Your Way Home

Duffy Bishop
Find Your Way Home
Blewzzman Review

Hairy Larry and The Flying Hungarians

Hairy Larry and
The Flying Hungarians

Christmas Ball

Christmas Ball
The Other Side
Of Christmas

John Weston

John Weston

Cheryl Culp

Jamming With
The Swing Band Project
May 24, 2012

Friendly Competition

Friendly Competition
Willie "Big Eyes" Smith
And his son Kenny Smith

The Gift

Hairy Larry
The Gift

Roy Hargrove - Emergence

Roy Hargrove

Marsha Music

Marsha Music
Writings From Detroit


Ronnie Presley

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Delta Boogie Radio

Delta Boogie Network

Wire post by Hairy Larry
Posted on Wednesday July 29, 2015

Tonight, Wed. July 29, Joseph Kirby plays at Brookland Methodist. 6:00 taco salad - 7:00 music - Everyone is welcome.

Wire post by Hairy Larry
Posted on Friday July 24, 2015

I visited Eric Kriner's studio this afternoon. Wonderful vintage synthesizer setup. Inspiring!

Wire post by Hairy Larry
Posted on Wednesday July 22, 2015

Looking forward to singing with the Ignite Praise Band tonight at Brookland United Methodist Church.

Wire post by Hairy Larry
Posted on Tuesday July 21, 2015

There has been some instability at They are working on it. Have fun over here.

Wire post by Hairy Larry
Posted on Tuesday July 21, 2015

Link to Trilogy For The Arts playlist.

 What's Happening Now! - Click Now! for more.

Visit Iron Mike Norton on the Delta Boogie Network

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Aug 06, 2015
Iron Mike Norton (Blues / Swamp Stomp / Singer Songwriter)

Snappers in Key Largo, FL -

Ticket Price - -
Key Largo, FL, US
Key Largo, FL US

Visit Iron Mike Norton on the Delta Boogie Network

View Full Schedule

Aug 07, 2015
Iron Mike Norton (Blues / Swamp Stomp / Singer Songwriter)

Snappers in Key Largo, FL -

Ticket Price - -
Key Largo, FL, US
Key Largo, FL US

Visit Jake Lung on the Delta Boogie Network

View Full Schedule

Aug 07, 2015
Jake Lung (Rock / Classic Rock / Blues)

Elks Lodge in Jonesboro, AR - Low Down Saints

Ticket Price - -
Elks Lodge
2113 W Washington Ave, Jonesboro, AR, 72401, US
Jonesboro, AR US

Visit Melody Guy on the Delta Boogie Network

View Full Schedule

Aug 07, 2015
Melody Guy (Other / Singer/Songwriter / Rock/Country/Americana/R&B)

503 Uncorked in Sherwood, OR -

Ticket Price - -
503 Uncorked
16079 Southwest Railroad Street, Sherwood, OR, 97140, US
Sherwood, OR US

Visit Ronnie Presley on the Delta Boogie Network

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Aug 07, 2015
Ronnie Presley / Solo Entertainer (Singer Songwriter / Classic Rock ,Country, Reggae & Blues)

Bimini Bob's in Orange Beach, AL - Ronnie Presley - so

Ticket Price - 0
Bimini Bob's
4851 Wharf Pkwy Suite 116, Orange Beach, AL, 36561, US
Orange Beach, AL US

Visit Stray Dawg and The Wolves on the Delta Boogie Network

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Aug 07, 2015
Stray Dawg and The Wolves (Blues / Indie Blues)

3 Daughters Brewing in St Petersburg, FL - Live Blues at high volumes like it's supposed to be!

Ticket Price - -
3 Daughters Brewing
222 22nd Street South, St Petersburg, FL, 33712, US
St Petersburg, FL US

Visit Andy Cohen on the Delta Boogie Network

View Full Schedule

Aug 08, 2015
and Oh Damns

The Hideout in Chicago, IL - Three Friends Memorial Show with The Returnables, Pamphleteers, Light Coma and Andy Cohen, The Good Points Celebrating the lives of our friends Doug Meis, John Glick and Michael Dahlquist

Ticket Price - -
The Hideout
1354 W Wabansia Ave, Chicago, IL, 60642-1519, US
Chicago, IL US

Visit Andy Cohen on the Delta Boogie Network

View Full Schedule

Aug 08, 2015
Andy Cohen (Blues / Folk / Ragtime)

The Hideout in Chicago, IL - Three Friends Memorial Show with The Returnables, Pamphleteers, Light Coma and Andy Cohen, The Good Points Celebrating the lives of our friends Doug Meis, John Glick and Michael Dahlquist

Ticket Price - -
The Hideout
1354 W Wabansia Ave, Chicago, IL, 60642-1519, US
Chicago, IL US

Visit Anthony "Swamp Dog" Clark on the Delta Boogie Network

View Full Schedule

Aug 08, 2015
Anthony "Swamp Dog" Clark (Blues)

Bucket Sportsbar in Lusby, MD -

Ticket Price - -
Bucket Sportsbar
12020 Rousby Hall Road, Lusby, MD, 20657, US
Lusby, MD US

Visit Chris "Stinger" Stevens on the Delta Boogie Network

View Full Schedule

Aug 08, 2015
Chris "Stinger" Stevens & Tomm "Tee" Beck (Blues / acoustic music / We play a wide variety of covers and the original )

ARKfest/Bobstock 2015 in Marseilles, IL - T & C - Live Acoustic versions of Music from Memory Lane

Ticket Price - FREE
ARKfest/Bobstock 2015
Marseilles, Marseilles, IL, 61341, US
Marseilles, IL US

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Makerbook - The best free resources for creatives.
Posted on Thursday July 23, 2015

All types of media for reuse. Mostly Creative Commons or Public Domain.

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Trilogy For The Arts playlist
Posted on Tuesday July 21, 2015

On YouTube. Nine Videos. Five songs.

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Trilogy For The Arts
Posted on Tuesday July 14, 2015

This is the home page for the Trilogy For The Arts document.

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Alan Lomax Recordings
Posted on Wednesday May 27, 2015

Post war Alan Lomax recordings. Listen online. License for your project.

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Posted on Monday May 04, 2015

An ASU TV piece on my recital. Cool.

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Blues Blast Magazine | Issue 9-13 March 26 2015
Posted on Thursday March 26, 2015

Blues Blast Magazine Senior Writer Terry Mullins has our feature interview with Chicago's own, Johnny Drummer. We have 5 music reviews for you including music from Igor Prado Band and Delta Groove All-Stars, Mike Sponza & Central European Orchestra, The DogTown Blues Band, Cesar Crespo & The Pinball’s Blues Party and RC and the Moonpie Band. Our Video of the Week is Blues rocker Albert Castiglia performing the song "Big Toe".

Address of the link:

Fatum Brothers
Posted on Thursday March 19, 2015

The Fatum Crittenden Orchestra (formerly Fatum Brothers’ Jazz Orchestra) is not your ordinary jazz big band. No sir, no ma’am, we pride ourselves on what makes us unique. Our youth and enthusiasm is equalled by our professionalism and experience.

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Blues Blast Magazine | Issue 9-12 March 19 2015
Posted on Thursday March 19, 2015

Blues Blast Magazine Senior Writer Terry Mullins has our feature interview with Mississippi’s own, Vasti Jackson. We have 5 music reviews for you including music from Big Apple Blues, Blues Condition, Robin McKelle & The Flytones, My Own Holiday and Roy Mette. Our Video of the Week is the amazing John Németh performing his song “Sooner or Later”.

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 More Delta Boogie Links

21st Century Jazz Composers
Bebop Beatniks
Billy Lee Riley Autobiography
Delta Boogie
Delta Boogie Contents
Delta Boogie Bands
Delta Boogie Links
Delta Boogie Music
Delta Boogie Network Activity
Delta Boogie Network Blogs
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Delta Boogie Network Members
Delta Boogie Network Photos
Delta Boogie Network Posts
Delta Boogie Radio
Delta Boogie Reviews
Delta Boogie Schedule
Delta Boogie Search
Delta Boogie Tumblr
Delta Boogie Video
Delta Musicians
Delta Pickins
Guitar Showdown
Hairy Larry's Merry Pranksters
Hawkeye Herman's Tale Feathers
Larry Donn
Larry Donn's Rockabilly Days
Live Music Archive
Mark Salling's Road Stories
Matt Lucas Music
Matt's Notes
mp3 Archive
Recording for Something Blue
Related To Geeks
Ronnie Hawkins Autobiography
Something Blue
TV Soup



Something Blue

Posted on Saturday August 16, 2014

August 16, 2014 at 10:00 PM CT Something_Blue-Mike by Hairylarry on Mixcloud This is Hairy Larry inviting you to enjoy Something Blue every Saturday night at ten. This week we’ll hear Mike Overall playing with Joe Lee, Jazz Alliance, Giant … Continue reading

Posted on Saturday August 09, 2014

August 9, 2014 at 10:00 PM CST Something_Blue-Dream by Hairylarry on Mixcloud This is Hairy Larry inviting you to enjoy Something Blue every Saturday night at ten. This week we’ll hear Giorgio Gaslini, Jazz Alliance, and Thelonius Monk. Don’t miss … Continue reading

Posted on Saturday August 02, 2014

August 2, 2014 at 10:00 PM CT Something_Blue-Shinola by Hairylarry on Mixcloud This is Hairy Larry inviting you to enjoy Something Blue every Saturday night at ten. This week we’ll hear John Scofield, Derek Trucks, and Background Orcs. Don’t miss … Continue reading

Rag Doll
Posted on Tuesday June 24, 2014

June 21, 2014 at 10:00 PM CT Something_Blue-Rag_Doll by Hairylarry on Mixcloud This is Hairy Larry inviting you to enjoy Something Blue every Saturday night at ten. This week we’ll hear some great blues rock from The Steepwater Band and … Continue reading

Posted on Saturday June 14, 2014

June 14, 2014 at 10:00 PM CT Something_Blue-Buckets by Hairylarry on Mixcloud This is Hairy Larry inviting you to enjoy Something Blue every Saturday night at ten. This week we’ll hear Sonny Burgess and the Legendary Pacers recorded live at … Continue reading

Posted on Saturday June 07, 2014

June 7, 2014 at 10:00 PM CT This is Hairy Larry inviting you to enjoy Something Blue every Saturday night at ten. This week we’ll hear Reverend Peyton and Akashic Record. Don’t miss Something Blue, Saturday night at ten, right … Continue reading

Delta Boogie Music - Click Music for more.

WARNING! ...Entertainers Beware! ...Scam Alert!
Posted on Tuesday June 02, 2015

WARNING!!  ...Entertainers Beware!   ...Scam Alert!  -  Bingley Music Festival
The Billy Jones Band has been SCAMMED out of $1,2000.00 by the Bingley Music Festival.
We want all of our friends and followers to know that this a criminal operation and the people involved with this shameful deceitful scam are low-lifes and crooks.
Please DO NOT fall victim to this internet scam.  ...they are thieves and liars.
I have sent the original contact e-mail that I recieved from them, the MoneyGram receipts and the e-mail communications log with them to my friends at the FBI Internet Crimes Division.
 We were cheated out of $1,200.00 and will continue to post this warning daily until we are refunded the money stolen from us and/or these crooks are arrested. is an e-mail that we received from our entertainment agency in Orlando.
Subject: festival- from Ted Skorman Productions:
I went online re: this festival and I also decided to send your email to the owner, Ted Skorman and he also agrees this is a scam.  Anything like this would not be negotiated and handled only via emails no phone communication and not to mention their English grammar in these emails is horrible.  A lot of these out of country email scams have the same pattern.  My girlfriend who goes on these dating sites has been scammed a few times (thank God no money was exchanged or personal info) but the same thing with the emails. 
Anyway, you have to be careful now with the personal information you provided them. That’s the scary part. You may have to speak to your friends FBI contact and find out how you need to protect yourself.  You have to contact the credit card bureaus of this in case you gave them your ss# .  It’s a scary prospect Billy so cover your butt as best as possible and stop communicating with these people.  Make sure they don’t see our email addresses either ok.
I saw you forwarded the scam link I sent you but make sure you take our emails out. I don’t want them to start sending us crap.  Let me know if I can assist you in any other way.
From: Ted Skorman 
Subject: RE: anti-terr-cert.jpg / fake work permits / fake check / fake lawyer / fake music festival
He is in over his head. Hopefully he didn’t give them personal information. They have a hook into him now and the emails won’t stop. He is not getting his money back and should hope they can’t scam him more with any info they have. 
-----Original Message----- 
From: Dick Wilson <
To: billyjonesbluez <
Sent: Tue, May 26, 2015 11:56 am 
Subject: Re: anti-terr-cert.jpg / fake work permits / fake check / fake lawyer / fake music festival
If that will make you stop acting like woman so be it. Your 2,000.00$ and ticket will be delivered as requested. 
Stop calling me a scam I beg of you because we are not
Barr. Dickson Wilson 
Address: 25 St John's Lane London EC1M 4LB
Date: Tue, 26 May 2015 12:50:33 -0400
Subject: Re: anti-terr-cert.jpg / fake work permits / fake check / fake lawyer / fake music festival
...first of all "violence is the tool of the ignorant".  ...secondly, I would be pleased to meet you one on one, not to fight you, but because you have sent me a $2,000 check, airline reservations and some kind of PROOF that you are NOT scam artists.  ...I have come to think that you are.  ...relieve my mind and show me that you are not.
-----Original Message----- 
From: Dick Wilson <
To: billyjonesbluez <
Sent: Tue, May 26, 2015 11:29 am 
Subject: Re: anti-terr-cert.jpg / fake work permits / fake check / fake lawyer / fake music festival
I will be happy to meet you one on one.
Barr. Dickson Wilson 
Address: 25 St John's Lane London EC1M 4LB
Date: Tue, 26 May 2015 12:14:31 -0400
Subject: Re: anti-terr-cert.jpg / fake work permits / fake check / fake lawyer / fake music festival
...I will pursue and prosecute this issue to the fullest extent of the law both here in the United States and the United Kingdom.  ...I will make sure that all of my 90,000 followers and everyone that they know are made aware that the Bingley Music Festival and everyone associated with it are criminals and scam artists.
I shall start by contacting the FBI for advice on how to expose you as the low-life predators that you are. 
Anti-Terrorist Certificate Scam
The European Commission has learned of several attempts to defraud individuals and companies via e-mails from persons promising to invest large sums of money. We understand that intended victims of the fraud are asked to provide an “Anti-Terrorist Certificate” in order to allow international money transfers to be made. The certificate is said to be a legal requirement established by the European Commission. Victims are told that they must pay up to EUR 50,000 in order to receive this certificate, and failure to pay the fee will result in the funds being blocked.
Please be advised that any such demands should be treated as a hoax. The European Commission does not require such an Anti-Terrorist Certificate nor does it request fees in association with the international transfer of funds. There is no “Commission Patriot Act of London, July 2005 (Public Law 313)” nor any similar Act, Law, Regulation or Directive.
Persons who receive a request to pay for a certificate of this nature are strongly advised against making any payment. For issues relating to international money transfers, the first point of contact should be your bank. If you suspect fraud, you should contact the anti-fraud authorities in your country.
For information on the European Commission’s activities to stop the financing of terrorism, please visit the following website: .
Scam Concerning Employment with the EU
-----Original Message----- 
From: berneyconsult <
To: billyjonesbluez <
Sent: Tue, May 26, 2015 9:32 am 
Subject: anti-terr-cert.jpg
Attn: Jones
Find attached is the sample of the anti terrorist certificate
that am talking about okay. Its very important for you to obtain one
This is not time for joke please.
Ms Berney
Ms Berney
Berney Consult
22 Booth Street East
-----Original Message-----  
From: BINGLEY MUSIC LIVE 2015 < >  
To: billyjonesbluez < >  
Sent: Mon, May 18, 2015 5:39 am  
Subject: Good morning Mr Jones, 
Good morning Mr Jones,My name is Barr. Dick Wilson from Bingley music
2015. Am writing you in regards to your last message to Bingley
concerning Mr
Daniel and Mrs Kathrine. Be i informed that Mr Daniel is
one of our recruiting
agent while kathrine is also our visa/work
permit agent.
I want to use this
medium to inform you that you should not be afraid
dealing with Mrs Katharine
regarding your work permit or visa. To my
best of knowledge What Mrs kathrine
told you concerning the signing of
the UK form is correct but you have an
option as well to avoid the
£250 Pounds and the option is by coming down to UK
to personally to
sign the required form.
You are not the only artist
involved in this signing issue,many hired
the same lawyer while others came
personally to sign the form.
I don't want you to be afraid in your dealings
with Mr Daniel and Mrs kathrine.
Have a nice day.
Barr. Dick Wilson
-----Original Message----- 
Hi Bingley Music Festival, 
I am writing you to verify that Daniel Ghaayisi and Kathrine Park are official agents of your organization. 
I have been communicating with them about my group performing at your festival and have sent them £400 ($711.46 US dollars) in good faith in order to receive work permits, round-trip airline tickets, $2,000.00 salary and housing & transportation vouchers to perform at your festival, only to be informed that they need another £250 to pay some lawyer that I don't know, and was not previously mentioned, before they will issue the work permits. 
I am strongly suspecting that I have been scammed out of £400 and that Ms. Park and Daniel Ghaayisi have no connection with your festival. 
Needless to say we are let down and very disappointed with what has happened.  ...we were very much excited and looking forward to performing at this great event. 
Please advise me on what I should do about this issue and if these two people are really connected with your festival.  ...we are heart-broken over this situation.  ...please help us. 
Here is a log of the communication between myself and Mr. Ghaayisi and Ms. Park : 
-----Original Message-----  
From: billyjonesbluez <>  
To: berneyconsult <>; bingleymusic <>  
Sent: Thu, May 14, 2015 3:38 pm  
Subject: Re: Attn: Theophilus Jones  
...please send refund.
-----Original Message-----  
From: berneyconsult <>  
To: billyjonesbluez <>  
Sent: Thu, May 14, 2015 3:27 pm  
Subject: Re: Attn: Theophilus Jones  
I have paid the money to the UK boarder agency already but if you need your money as stated in your last mail then I will see what I can do. 
Ms Berney Gabriela  
Berney Consult  
22 Booth Street East  
M13 9EP  
Date: Thu, 14 May 2015 16:17:42 -0400 
Subject: Re: Attn: Theophilus Jones 
...please refund my $711.46.  ...I am truly sorry that this transaction has gone so badly.
-----Original Message-----  
From: berneyconsult <>  
To: billyjonesbluez <>  
Sent: Thu, May 14, 2015 1:58 pm  
Subject: Re: Attn: Theophilus Jones  
Attn: Theophilus,  
You really surprise me with your level of understanding towards this issue. If you ask Daniel he will tell you how long I have been securing work permit on behalf of bingley guest artists.  
There is no way you can sign the form via email or fax because what they need is your original signature or that of your representing lawyer.  
I have done everything I could to contact a lawyer to sign on your behalf because you have just less than 24hrs to append your signature or that of your lawyer.  
The lawyer is asking for £250 only and everything will be fine and done with.  
Sorry I did not inform you about this before now.  
Ms Kathrine  
Ms Berney Gabriela  
Berney Consult  
22 Booth Street East  
M13 9EP  
Date: Thu, 14 May 2015 14:27:54 -0400 
Subject: Re: Attn: Theophilus Jones 
I don't know what is going on here.  ...I have been proceeding forward in good faith.  ...I am expecting the $711.00 that I sent you to get me 4 work permits.  ...I don't want to pay anybody else anything else until I receive 4 work permits. 
What are you asking me to do?  ...I don't understand. 
I have performed in Europe before and never even needed work permits, so this is a new process to me. 
Also, when I need to sign contracts, my agency e-mails me the contract, I print it out and sign it, then I scan it and save as a jpeg file and e-mail the signed contract back to them.  ...that's just how it's done now. 
Why can't I sign the work permit like that?  ...I am very stressed out about this issue.  ...I want to perform on the Bingly Music Festival very badly.  ...please assure me that this transaction is legitimate.  
-----Original Message-----  
From: berneyconsult <>  
To: billyjonesbluez <>  
Sent: Thu, May 14, 2015 9:59 am  
Subject: Re: Attn: Theophilus Jones  
Are you calling me a scam? 
Ms Berney Gabriela  
Berney Consult  
22 Booth Street East  
M13 9EP  
Date: Thu, 14 May 2015 10:52:49 -0400 
Subject: Re: Attn: Theophilus Jones 
Hi Ms. Park, 
I am beginning to become alarmed about this transaction now. 
I do not have anymore money to invest into this project at this time. has taken so much to come this far.  ...I am beginning to suspect scam.  ...please advise me on this issue. I paying my own salary?  
-----Original Message-----  
To: billyjonesbluez <>  
Sent: Thu, May 14, 2015 6:23 am  
Subject: Attn: Theophilus Jones  
Attn: Theophilus Jones
 From: Ms Kathrine Park 
I am glad to inform you this morning that everything is going on fine as plan regarding the UK work permit. There is a form(official UK TIER 5 WORK PERMIT FORM) that needs your original signature on it immediately. But am thinking if i  should hire the services of a lawyer here to sign on your behalf since you will not be available to do so. The form requires your original signature or a representing lawyer. 
Should i go ahead and hire a lawyer on your behalf to sign? Please i need your advise immediately. Or can you come over to UK  between today and tomorrow morning? 
Please get back to me immediately its urgent. 
Ms Kathrine 
thanks Daniel.  ...will do right away. 
-----Original Message-----  
From: Bingley Music Live 2015 PO Box 3127 Bristol BS5 5FR <>  
To: billyjonesbluez <>  
Sent: Tue, May 12, 2015 3:53 am  
Subject: Re: Hi Jones  
Dear Jones
The 400.00 GBP  =       625.455 USD .
On 5/12/15,
> ...thanks Daniel! 
...her fee is 400 Pounds. much is that in US
> Currency?
-----Original Message-----
> From: Daniel Ghaayisi <>
To: billyjonesbluez <>
> Sent: Mon, May 11, 2015 5:49
> Subject: Hi Jones
 I am happy to hear that the U.S. Passport
Office has finally sent the last
> passport as requested by Mrs Park. I want
you to forward same to  Mrs Park
> as
> soon as possible okay.
> Daniel Ghaayisi
> Bingley Music Live
> 2015
> PO Box 3127
> BS5 5FR
> -----Original Message-----
> From:
> Date: Mon, 11 May 2015 11:33:49
> To:
> Subject:
Bingley Contract signed  -  Sponsorship Code:  BM/2015/44-00367
> Hi
> Park,
> The U.S. Passport Office has finally sent our last passport that
we were
> waiting for.  ...FINALLY!
> I hope that it is not too late to be a
part of the
> Bingley Festival.
> Please tell me what you need for me to do to
get our Work
> Permits and I will move as quickly as possible to comply with
what you ask.
> do I send you your fee?
> I am truly sorry that this
process has taken so
> long.  ...thank you for being so patient with us.
> We
are really looking forward
> to this great event.
> thanks,
Theophilus Jones
> Subject: Bingley
> Contract signed  - 
Sponsorship Code: 

The Times and Travels of an American Bluesman.
Posted on Thursday May 21, 2015

It's a long way from the rich, fertile delta lands of North Little Rock, Arkansas, to the Netherlands where he records for Dutch blues label Black and Tan Records, but for Billy Jones it was a route of which he never lost sight.

Born into the segregated south, he was exposed to the driving beat of the Blues when he was still an infant. In the crib, he could hear it as it permeated the walls against which he slept. This sound which spoke to him gave him an early direction in life which he has pursued to this day.

His early memories are of a juke joint from where he would draw inspiration; the images, and the folks he knew then are the stuff of his song. They gave him a mind-set that would drive him to perfect his craft as a guitar slinging blues man.

Billy Jones is betting that the Blues can experience a revival of interest. What is needed is a fresh infusion of imagination. And to capture a bigger share of the Black music market, what is needed is for the Blues to once again become relevant to the African American experience.

We spoke with him upon the release of his latest CD My Hometown.

Before we talk of how a Delta Blues artist gets signed by a Dutch-owned label, ie Black and Tan Records, let's talk of how you started in this business. What was your first exposure to the Blues, and what are some of your earliest memories of this music?

"I was raised from the age of six months in my grandfather's cafe and boarding house, The Cedar Street Cafe - 903 Cedar Street - North Little Rock, Arkansas. The room that we lived in was directly behind the wall of the main ballroom where the juke box was. My crib was on the other side of that wall, so as a baby I would be laying there listening to Elmore James, Big Joe Turner, Jackie Wilson, B. B. King, Muddy Waters, Sam Cooke and all the blues and soul greats while the cafe customers played records and partied well into the night. My bed would vibrate on the bass notes. That was my first exposure to the music. I absorbed the music as I could literally hear it in my sleep. One of the first thoughts that I remember having was that I wanted to be like B.B. King and Elmore James.

There was this dangerous juke-joint/nightclub place down the road from my grandfather's cafe called Jim Lindsey's Place. Many of the big "chittlin' circuit" stars of the day used to perform there like Howlin' Wolf, Sonny Boy Williamson and Bobby Blue Bland. Sometimes at night when everyone else was asleep, I would sneak out of the room and climb up high in an old chinaberry tree and watch what was going on over at Jim Lindsey's Place. I could hear the band from there and pretend that it was me onstage.

All the pimps, players, dealers, whores and gangsters used to hang out there and someone was always getting shot or stabbed on a regular basis. Remember that this was the segregated south, so whenever someone would call for an ambulance for a shooting, or fight, at a the club, they would send a hearse from the black owned funeral home instead of an ambulance. If the victim was still alive they would take them to a black doctor. ...If not, they would take them to the funeral home.

Of course I thought that these were the "beautiful people" and I wanted to be just like them when I grew up. Especially the musicians, with their tight-legged, sharkskin suits and Stacy Adams shoes, their jewelry and the way they wore their hair in a process. And the women! ...the way they used to dress back then was so glamorous! ...and of course Bobby Blue Bland's Cadillac. ..."No medical school for me dad... I'm gonna be a blues star."

The house band for Jim Lindsey's Place lived in an upstairs room over the club, and during the day I would go over there and try to hang out around them. They could tell that I really wanted to be a guitar player.

There was this one musician who played at the club named Red Harpo... he told me that he was Slim Harpo's brother. I believed him. Whether he was or not, one thing is true, Red could play the hell out of a guitar! ... There was an air of excitement about him. Women would fight over him. He would let me come up to his room sometimes and talk to him while he would sip "Golden Rod" wine on ice and play and sing for me and show me how to play the new hit songs of the day, while I soaked-in all the information that he was giving me about being a real musician.

By the time I was fourteen years old, I was hanging out at 'Williams Pool Hall.' One day this older guy pulled up in a 1957 Chevy station wagon packed full of amplifiers, microphones and drums He came in. He had that same air of excitement about him that Red had. He said that he was in a band and he had a gig booked in Lonoke, Arkasas that night and that he heard me play guitar and they were looking for a guitar player. He said that his name was Hosea Levy and that he and his younger brother Calvin Levy would pay me $6.00 if I played with them and Willie Cobb, Little Johnny Taylor and Larry "Totsie" Davis that night. I didn't tell him that I had never played in a band before. I was fourteen years old and I was going on the road! I was trying to be cool and I agreed to go with him. But I was so excited to be going to play with a real band!

That was the first day that I went on the road with the Levy Brothers Band, and the beginning of a lifetime journey into the world of the blues . I've been on the road ever since. So it was "on the job training" for me."

Now, how old were you when you first picked up the guitar? How did you become this accomplished musician that you are today?

"It's hard for me to remember when I didn't have a guitar... it's just something that I've always wanted to do.

Because I loved guitars so much, around age four, or five years old, my uncle Vernon had given me a little plastic toy guitar with a music-box handle that played 'Pop Goes the Weasel' when you turned it. It was instant love. I used to stand in front of the juke box with that little guitar and pretend that I was every artist whose record was playing. I was always running around holding that guitar. I don't think I ever put it down.

I think I really started getting serious about it during the summer between the 5th and 6th grade.
I didn't play with the other children in my neighborhood that much. I hung around adult musicians and spent most of my time learning songs from records and trying to sound like the guys on the recordings. Sometimes I would hang out with the winos and perform for them. Some of my family thought I was weird. But music is both my occupation and my recreation. And I spent almost every waking moment playing it and studying and imitating the artists that I idolized. ...I guess that I was kinda weird."

How did you start to playing gigs traveling from military installation to installation entertaining military members and their dependents? Were you in fact in the military at the time?

"No. I was not in the military. I always regretted that I didn't join the Air Force. I think that I would have liked it. This was during my twenties, after I had started my own band and was playing a lot of Rick James, Cameo, Funkadelic, Stanley Clarke, Hendrix, Bar-Kays, Commodores, Gap, Zapp, and that kinda thing. At that time I was being booked by this big-shot "Clive Davis" type guy named Gene Williams, who was really hooked-up with the Grand Ol' Opry and the Nashville scene and was managing Ferlin Husky, Claude King and Donna Douglas, who played the part of Elly Mae on the television show The Beverly Hillbillies.

Since he couldn't book a black band in the Country Music Capitol of the World, he started booking me into NCO and Officer's clubs on Naval Stations, Air Force Bases, Army Posts and military installations all over the United States. I lived the military lifestyle without actually being in the military. GI women are great!

I learned a lot and made a lot of friends... to this day I have the highest respect for military personnel. They are great people. They work hard and they play hard... and they love hard."

Where did this traveling take you?

"To over 42 states... countless times. And to many clubs and shows that were booked off-base when we were in whatever city. I did that for ten years. I loved it!"

So you weren't traveling to Europe. It wasn't while traveling like this that you first met Jan Mittendorp of the Black and Tan Record label? How did he come to sign you for his label?

"I met Jan Mittendorp in 2004 when I sent a promotional CD of my music to him. He liked what I was doing and flew me over to Amsterdam to record some of my songs for Black and Tan Records.

A few months later, after the 'tha Bluez' CD was released, I went back to do a month-long tour of Europe to support the release. We liked each other instantly and have been working together ever since.

He's a great guy to work with, and I have complete artistic freedom to style my music any way that I see fit."

According to sources you have a unique take on the "corporate game" as it pertains to the music industry. Can you share your ideas on the recording industry in general? How did you develop this perspective on the record industry?

"Let me be the first to say that I have said a lot of senseless crap in order to get attention in my time. I'm not sure which particular proclamation you are referring to, but it may be the time that I said that some labels have chosen to force feed the public old ideas rather than offer them new ones. And that the response of the youth audience has been to ignore the music in droves."

What I want to do is to re-introduce the young urban audience to the music of their heritage by presenting it in a format that they can appreciate.

I think that one of the reasons that the blues industry is becoming stagnant is because many labels discourage original ideas and many label owners are basically "wannabe" artists and bookkeepers, business guys who want to "handle" and "direct" their artist's careers in order to live out their own musical fantasies by dictating to the artist how the career ...and the music should go....sometimes before it is even written, instead of allowing the artist to be fully creative. That makes for mediocre songs. Some want to impose their own musical limitations into the creative process. They want the artist to be the "idiot savant" like Blind Tom, and create these musical masterpieces on demand, but let the label owner make all the business decisions and of course ...handle all the money.

I have musician friends who sign with these carpet-bagger type of record labels who have them out touring all over the world and making records. The artists never see any reasonable amount of income for it and don't have what they need to get by on, while the record company guys screw them out of most of the money with the promise of those mysterious mechanical royalties that never seem to appear. If they do appear, then it's just enough to pay back the advance that you probably didn't get from the record company in the first place. The artists are like slaves to these guys. Now that's blues tradition!

Some want formulas and repetition of familiar patterns and mimicry that they can re-package into neat little categories and sell to the public, much like the rock guys keep re-packaging Jimi Hendrix, and the Rasta guys keep re-packaging Bob Marley, or the blues guys keep re-packaging Muddy Waters and Robert Johnson. That has nothing to do with art or creativity or even music. It's just standard snake-oil sales tactics.

When I first started sending my songs out to labels in order to shop for a recording deal, one of the biggest blues label owners in the game wrote me and said that I had no idea about what the public, especially the black audience wants to hear on a blues record and that I really needed to decide if I was going to be a bluesman, or a soul man, or a rock guy and to stick to that one thing, because if I released a recording with all those musical styles on one cd, the audience would be confused and wouldn't buy it. I think that he seriously underestimated both the musical tastes and the intellect of the general public.

The "my Hometown" cd is exactly that. It's the biggest project that I have ever been involved with. The songs on the cd are being well received by people who listen to all types of music... not just blues.It was recently chosen by KLM Royal Dutch Airlines, Continental Airlines, Czech Airlines and 25 other international airlines to be included in their in-flight audio entertainment listings. If you are traveling by airplane please check it out on your in-flight audio player. The songs became available for passengers to listen to in the month of November. (..."that's a commercial!") This recording has been gathering very positive critical reviews from music writers and getting high rotation international radio airplay. The "my Hometown" cd has been featured in several music publications. Has been #1 on XM Satellite Radio, and is presently #6 on the Real Blues Magazine Top 100 cd's charts. ...and I'm just getting warmed up!

As much as this applies as much to the existing Blues labels, I am certain that this take applies more to the Big Four labels of the recording industry. How does Jan's approach differ?

In any business situation there is gonna be negotiation and compromise. Jan is a pretty straight forward and honest guy. He's open to new concepts and ideas and I like working with him. ...He's cool.

I'm sure that if I were signed to one of the big four that you mentioned, that 'my Hometown' would have never seen the light of day. I would have had to release a cd that sounds just like every other blues cd out there. The only thing that ever changes about some of those products is the name of the guy singing.

Now recording for Jan's label and having toured Europe, you can certainly answer this: do you feel that the record industry is different in Europe than it is here in the States?

Yes... In America the record industry has become an assembly-line, one-beat type of thing.
All the rap songs sound the same. All the blues songs sound the same. All the subject matter sounds the same. If one song is a hit, then there is a rush to make every song after that sound just like that one.

In Europe the music is not shaped by trends and fads.. It's shaped by talent.. ..and it just has to be good.

Not that I'm down on corporate American music companies, but they are about numbers, not music. There is plenty of great music in America, but it is coming from the home studios and independent artists. There's some fantastic stuff that's coming off the streets that is re-shaping the dynamics of the industry.

Do you find the audiences here and abroad different? In what ways?

Yes... The European audience seems to listen to a wider spectrum of music than the American audience. They are open to all types of music and will listen to anything based on whether they like the song or not.

I find that Americans tend to see music in the same way that they see fashion and fads.
There is a "herd" mentality involved here where everybody wants to do what everyone else is doing.

It's like musical segregation. If jazz is in vogue, then everyone in a certain peer group wants to listen to only jazz. Anyone who listens to anything different is considered un-cool by that group. Same with blues. Same with Hip-Hop. I think that this makes for a poor musical diet. There is something to learn from every musical genre.

I once had a friend who gave me an album of Iranian sheep herder songs. At first listen, I dismissed it as illogical noise because I was not familiar with the scales and melodic patterns that were being played on what sounded to me like a banjo... I'm sure that it was an instrument specific to the region that the music came from and not a banjo, and I didn't understand the language that the songs were being sung. But by the third listen I had discovered that the music was fantastic!; the passion and intensity of the singer's delivery was amazing... and I found myself listening to it all the time. I ended up writing one of my most popular songs, 'Reconsider Baby', based on what I learned from that experience. Some music critics and scholars theorized that I had crafted the song by combining blues with hip-hop and Latin music. I don't suppose that they have ever heard much Iranian sheep herding music. I still have that album... it's one of my most treasured possessions.

How did you come to refer to your music as "Bluez"? Is this to differentiate your music from the music created by the "record industry"?

Yes, it is...I have studied many types of music, including jazz, country, rock, funk, R&B, punk, new wave or whatever, and I wanted to incorporate some of the elements from all of these styles into my original music.

I didn't want to use the standard term "blues" because I realized the to the youth audience blues equals old. I didn't want to align myself with the "old blues guy" stereotype because this music anything but that.

There is no mention of the mule or the cotton or the tractor on this project. Those are issues of today's audiences grandparents. While most blues music is focused on the past...this is music for the 21st century. And while most blues music is written by men for men, many of my songs are directed to the female listener. They address some of the social concerns and romantic intricacies of modern-day urban existence. This music is something new and different and delivers social commentaries and messages that the urban audience can relate to.

Also, by creating my own musical terminology it causes the search engines of the internet to "learn" that word and associate it with me. So that if you type Billy Jones Bluez into your computer the search engines will bring up lots of information about my music.

Try it.

How long have you worked to infuse an urban element into your music? How has it been received by your audience?

I never intentionally set out to "urbanize" my music. I just wanted to learn everything that I could about my craft and how to please the audience that was in front of me that day. It was just natural evolution. The reception has been overwhelmingly positive from the general public... not so much by the blues purists.

Can we hear more of this influence on this latest CD of yours, than on your previous?

Definitely on the "my Hometown" cd. On previous releases you can hear hints of the influence, but I had to "dumb it down" a little in order to appease the label owners and record songs that were a little more predictable in order to get them to release the recordings. However, when I met Jan Mittendorp and signed with Black and Tan records, part of our agreement was that I would have complete artistic freedom; I would write the music the way that I thought it should be... If it wasn't too "artistic" to release, then Black and Tan would release it. This has been my most popular recording ever! Although my "Prime Suspect for the Blues" cd did well, there's no comparison to the response that "my Hometown" is receiving.

Presently a number of Black artists are working to merge Blues music with Hip-hop. This would include artists such as Billy Branch, Russ Greene, Chris Thomas-King, among others. In fact, R L Burnside even did his take on this cross-infusion of the Blues, which was met with mixed reviews. Do you see your music going in this direction?

What these artists understand... and the reviewers and "experts" probably don't, is this:
Hip-Hop has evolved from blues and is very much a part of it.... Hip-Hop is the blues of today.
If you analyze the greatest hip-hop songs of all time, like "The Message" by Grand Master Flash and The Furious Five, or "How Do You Want It?" by Tu Pac Shakur ...(which is based on the hook from "Body Heat" by Quincy Jones),'s easy to hear that these songs are pure blues with African/Jamaican bass lines and drum beats. Of course, the stories that these songs tell are undeniable blues themes that reach deep into the heart of the African American experience. I love a little "gangsta" in my blues.

Do you agree with the assertion that the white artist has been more closely bound by tradition, whereas the Black artist has always been more progressive in their approach to the music, looking for the "next big thing"? This, perhaps, can be seen more in Jazz than in Blues.

Are these attempts at cross-infusion done more for the music, or is it being done for the rewards that the urban artist seems to be enjoying, the "bling"?

Definitely for the music. I don't think that it has very much to do with the "bling".... little if anything.
Of course any artist wants to be well compensated for their work... I certainly do.

But the battle between the blues purist and the blues artist has gone on long before now. The artist wants to be artistic and create and innovate.... the purist doesn't want anything to change. No new instruments, no synthesizers, no drum machines, no new nothing. If Muddy didn't do it... it's wrong.

But when Bob Dylan and Muddy Waters switched from acoustic to electric guitar the purists said that they were ruining the art-form. Look at all the great classics that were created because they ignored the "experts". I have concluded that the purists are just a handful old guys who's opinions don't really matter.

What the artist is trying to do is stretch the boundaries of the music and infuse elements that will appeal to a contemporary audience and to bring something new and relevant to the table.

However, if the "experts" want to tell the artist what the song should sound like before it is written, there probably won't be much "bling" forthcoming. They won't sell many to people who buy cd's today. If an artist can reach the public and they love the music, then the "bling" will be just a pleasant side-effect.

As far as the musicians that are bound by tradition, I don't think that they are so much bound by tradition as maybe lacking in imagination and a working knowledge of modern beats and rhythmic patterns.

In order to compete effectively in the music business you have to stay on top of current events. That means that you have to have an understanding of contemporary musical styles and trends.

I remember reading in a biography of Elvis that no matter where he was he was always listening to the radio in order to monitor musical trends and to hear what his competitors were doing. And he was Elvis!

Music is about constantly learning. Some guys don't like to put out that extra effort to stay on top of it. They want to play the same old stuff that they already know and pass it off as "keeping the music alive". Many of them are taking the safe road of mimicking artist of the past and sticking to a pre-determined formula or constantly re-recording old songs for an old audience instead of reaching out to draw in a new audience. Kinda like a boxer "laying on the ropes" and making easy money and waiting for the bell.

There's nothing wrong with that, I know many who make a decent living doing it... for a long time I did it. But now I think have something that I want to say, and I want my music to appeal to a mass audience.

Is this image (the rewards) a creation of the "corporate entertainment business"?

No, it is not... it's a creation of the hip-hop industry and the age of music video. It is an expression of what the young black audiences wants to see. What they want to be.

One of the biggest obstacles to selling blues music to young blacks is that the blues industry projects the images of poverty and ignorance and servitude as part of it's selling points, and young black people overwhelmingly reject that picture.
There is an overseer mentality to the whole scene.
If you have ever had to be poor then you probably wouldn't want to buy products that imply poverty.

Young black people want their heroes to be successful, tech savvy, dress well, have money and nice cars. Not so much "workin' for the man" and "moseyin' on down da road." The blues industry needs a major image make-over in order to connect with young black America.

Do you feel that these urban images as it is depicted in Hip-Hop more closely reflect the Black condition as it exists today?

Yes... black people have worked hard to escape that lifestyle and better their condition.The other images have nothing to do with this century.

Do you feel that the urbanization of Blues music is an effective way of reaching a younger market? To what market are you ultimately hoping to appeal?

Definitely... it's the only way to reach the younger market.

I want my music to appeal to everyone. That's what seems to be happening. The stories that I tell on this cd are true and universal. People across all genres are embracing the music

Mmere Dane Group Live at The Spot Underground on January 14, 2015
Posted on Tuesday March 31, 2015

Mmere Dane Group Live at The Spot Underground on January 14, 2015

From their facebook page.

Musicians- Riley Stockwell- Guitar, Marcus Monteiro- Sax, Sam Kurzontkowski- Double Bass, Tim Lee- Drumset, Ben Paulding- Percussion
Genre: Groove Based Jazz/World Music
Hometown: Holliston, MA

Footwear - Starts with horns and percussion. Imitation from guitar. A kind of a hard bop head in time. Bass joins with a repetitive part in 4 and improvisation begins with a sax solo. Bass solo. Percussion answering bass while drums stay on a groove. Sax joins on end of solo with echo effect on. Guitar solo. Hanging notes with reverse envelope interspersed with picked lines and occasional harmonies. The same melodic fragment at the end of the solo. Now the guitar plays the head. Drums fills and ends with guitar echoes.

The bulk of the song is modal over a two bar pattern. Inventive improvisation keeps this interesting. The group works together well answering each others ideas.

Life Of The Mind - Spacey intro. Free jazz influenced jam band. Percussive guitar part episode then into a groove like a latin clave. Guitar and sax play the head. In 7. And then 8. Improvisation over this 7 then 8 pattern held together by the bass. Guitar solo with tasteful wa wa. Kind of like funk played in time. Rhythmic episode and then the sax solo. Now the drummer is holding the beat with bass out. Guitar interlude on the head. Drum solo with the guitar holding the rhythm. Back to head. Guitar first and then with sax. A melodic variation and then with harmonies. Ends with a little fade.

Again a nice arrangement with a real head and a very short improvisational form. Using 7 then 8 time during the improv parts forces inventiveness and makes their sound different than a funk band.

West End Strut - Starts on the head. Again in time. Quickly into guitar solo before the time becomes obvious. Sax solo. Guitar chords supporting the solo. Echoes of fusion. Bebop sax solo. Head interlude. Guitar solo playing notes. I think the time is 4-2-4-4-2. Simple yet difficult to count. Catchy once you get it. Guitar moves out of notes into extended timbre then back to notes with some soaring. Signals the end of his solo with the head. Now the guitar plays some bebop figures in a solo extension. And the head. Drum solo with rhythnmic background from percussion, bass and guitar. Out on the head.

Again a short unusual pattern. This time it persists throughout the piece.

The Green Dragon - Very melodic intro. Then a 4 bar 3/4 pattern. Surprisingly complex with a latin tinge. Guitar solo. Sometimes the time shifts to 4 and 2. A melodic figure signals the bass. Guitar and sax play head over bass. The melodic fragment starts the sax solo. Time continues to shift relying on the bass pattern for definition. Drums soloing behind the sax solo. Now they are working together rhythmically. Ends on this rhythmic high point.

An original by Riley Stockwell that sounds more like late 20th century jazz then funk/jam jazz. I get the feeling that this is a very simple arrangement with a lot of room for variation from performance to performance.

Five Of Swords - Strong feel of five but hard to count. Extended head/intro and then guitar solo playing lines against the complex bass pattern. Ok, I'm counting this in 10. But more like 4-2-2-2 than 5-5. After the solo the guitar plays with the bass and there is a drum feature. What further complicates the 10 beat rhythm is that it starts on 2. Ends on this riff over drums.

This band is obviously into playing in time but they manage to do this with substantial variation and considerable groove.

Morning Talks - This original by Sam Kurzontkowski is very much in the fusion vein. Melodic extended head followed by a bass solo. Spacey guitar high ringing chords at the end of the bass solo and then sax and guitar call and response. Really sweet. No definite duration on the parts, sometimes trading bars and sometimes extended phrases with occasional overlapping counterpoint. Segues into a nice guitar figure and then melodic harmony between the sax and guitar building to a strong motif. The melodic harmony repeats but goes to bass to end.

This 9 minute song held my attention with no problem whatsoever.

Keoka - Another Riley Stockwell original. Extended melodic head. Guitar solo. Short bebop/blues figures. Gestures stacked on top of each other. A fusion interlude and then sax. Much sparser overall and very powerful becoming percussive with stacatto and heavily accented phrasing. Post bop. Strong performance. Guitar repeating some of the sax phrasing. Both guitar and sax. Hard to tell who's soaring and who's vamping. Fusion interlude. Great ensemble work. Drums under head on the way out. Sudden stop.

They just keep getting better.

These young musicians write great songs but they also cover other 21st century jazz composers showing that they are deep into contemporary jazz literature. I love listening to live recordings at the Live Music Archive but this recording really made me want to see their show.

Oscar Peterson Plays Jerome Kern
Posted on Sunday March 15, 2015

Oscar Peterson Plays Jerome Kern

A Fine Romance
Can't Help Lovin Dat Man
I Won't Dance
Long Ago and Far Away
Lovely To Look At
Ol' Man River
Pick Yourself Up
Smoke Gets In Your Eyes
The Song Is You
The Way You Look Tonight

The Jonesboro Public Library subscribes to the Freegal program for it's patrons. Freegal allows card holders to download or stream music from their computer. The library offered is large and varied but not real strong on contemporary jazz. They do, however offer many great Oscar Peterson albums so I have been downloading them. Downloading six songs a week it only took me two weeks to get this Jerome Kern anthology. When I put them in my media player they came up in alphabetical order so probably not the way they were intended to be listened to.

According to Dr. Ken Carroll, Director of Jazz Studies at ASU, Oscar Peterson is the best jazz pianist in the history of jazz. His virtuosity is astounding and he can play anything from jazz to blues to boogie woogie to classical. So I was amazed to hear his simple, straightforward renditions of these Jerome Kern standards. He keeps his virtuosity well hidden until he plays "Ol' Man River". Not to say that there's anything wrong with his arrangements. Not a note out of place and not an extra note. Then on "Pick Yourself Up" he really lets loose with amazing streams of notes interspresed with what could be single finger melody lines.

With "Smoke Gets In Your Eyes" he is back to the same sound that he had on the first six songs but with some ornamentation. As he continues through the piece the playing gets simpler and simpler and sounds better and better.

"The Song Is You" is uptempo and he starts off cooking but contrary to "Smoke Gets In Your Eyes" he doubles down and gets amazing for a while before coming back to the melody to close.

On "The Way You Look Tonight" He chords through the melody on the head giving his bass player some room to play. Then he solos once around keeping it pretty restrained. He comes back to chords on the way out and the drummer and the bass player get some space to work out.

He takes some liberties with "Yesterdays" on the intro repeating themes in different octaves with full keyboard runs in between. When he comes to the song the melody dominates but still with substantial fills. Only when he gets to the end of the piece do we get the simple straightforward arrangement that characterize this album.

I love listening to virtuoso pianists playing great jazz, especially standards. But displays of virtuosity turn me off. I'm here for the song, not the pianist. On this album Oscar Peterson presents Jerome Kern's standards in a way anyone can enjoy.

ProleteR - Rookie
Posted on Monday March 09, 2015

ProleteR - Rookie
Listen or free download here -

By The River - Lifted stylistically from 1920s jazz complete with tight female vocal part and improvised horn counterpoint. There is just a dab of 21st century mixed in so a 1920s jazz aficianado might notice. A little bit of vocal processing or sung vocal processing at the end.

No Place I Can Go - Gershwinesque. Drum machine like beat brings the hiphop. The female vocal is a little bit lower and darker and not always on top. The drums are just enough out of style that I find them distracting but I don't think a hiphop listener would even notice.

Not Afraid - Djangoesque. With a DJ and some spoken word as a short interlude before piano takes the melody. The most hiphop influence so far. Soaring female vocal in the background. Piano solo. Freddie Green comping on guitar. Spoken parts like found music. Another DJ interlude brings us back to the vocalist still in the background. Very short form repeated with contemporary interludes.

Throw It Back - Glenn Miller sound. Rapper over the thirties jazz orchestra. Clarinet solo. Again the drums are a little bit out of style compared to the orchestra. Again a repeated short form.

Inna - Impressionist. Clarinet and woodwinds. Hiphop beat and finger snapping. DJ scratching the vocals. Processed sounding female vocals. Some harmony between the DJ and the vocalist. Ends electronic sounding.

My Melancholy Baby - Very pronounced drumming takes us out of another early jazz sound. Trombone and trumpet exchange improv parts. Tight female vocals are very twenties. Hiphop meets Preservation Hall.

Stereosun - Disco hop. Scratching. 8 bar form repeated. Like an intro played over and over. Then a lighter texture on the same form. Picking back up to the opening sound. Processed female vocals. Rapping in the background. Drum solo. Hand drums and kit or machine.

Throw It Back (instrumental) - 8 bar form becomes very repetitive without the hip hop enhancements. The piano is pretty interesting and then back into the intro part with sax enhancement. Clarinet. Brass. You begin to hunger for the vocalist and you get a little bit at the end of the form a few times. What a tease.

Seven songs ranging from 2:30 to 4:00 minutes makes for a 25:30 quick listen. ProleteR is a gifted composer and arranger who has absorbed historic jazz styles and uses them well in a hiphop environment. I like it.

Weather Report - Live in Offenbach - September 28, 1978
Posted on Sunday February 22, 2015

This is my listening assignment so it's not really structured like a review. Still, for your perusal. The music beats my writing hands down.

Weather Report - Live in Offenbach - September 28, 1978

- Joe Zawinul (keyboards)
- Wanye Shorter (tenor and soprano saxophone)
- Jaco Pastorius (electric bass)
- Peter Erkskine (drums)


01. Black Market
02. Scarlet Woman
03. Young and Fine
04. The Pursuit of the Woman with the Feathered Hat
05. A Remark You Made
06. River People
07. Thanks for the Memories
08. Dolores / Portrait of Tracy / Third Stone from the Sun
09. Mr. Gone
10. In a Silent Way
11. Waterfall
12. Teen Town
13. I Got It Bad and That Ain't Good / The Midnight Sun Will Never Set On You
14. Birdland
15. Introductions
16. Fred & Jack
17. Elegant People
18. Badia

Previously unreleased recordings from pioneering fusion band Weather Report playing live in the 1970s

Black Market

Starts with laughing or cawing. Electric keyboard solo with comping. Bass and sax then with keys. A head part. Sound like sax multiphonics or the keyboard could be harmonizing. Simple repetitive part. Free jazz sax solo with just sax and drums. Bass and keys back and we're back on the repeating head. Great single line solo from Zawinul on organ/synth. Bass solo with harmonies. Everyone playing short bursts. Out.

This is great playing and every part of it is experimental except for the overall arrangement which is kind of definitely solos and ensemble work. They do, however improvise throughout even during the ensemble work and they don't hesitate to enter on someone else's solo. The most powerful part was the minimalist sax and drums solo. So free.

Scarlet Woman

Starts on keys. Kind of a flute sound. Vocal countdown and thunder. Countdown electronicized somehow. Drums. A motif on bass and keys. Bluesy and then some scale excerpts. Wayne shorter on soprano sax. Spacey solo keyboard work. The return of the motif on bass. Keys answering with melodic improvisation. Again the scale excerpts with soprano sax and it ends.

A keyboard feature with a very small skeleton. Quite experimental really. and listenable throughout.

Young And Fine

Short intro and the tenor on the head. This is a Weather Report classic. Instantly recognizable. The head repeats modulated down. Free jazz sax solo over drums bass and keys modal accompaniment. The head short version. Keyboard solo. vi-ii-V-I accompaniment. Sax and keys on outtro.

Extremely good work on a concise version of a great song.

The Pursuit of the Woman with the Feathered Hat

Arpegiatted piano intro. Blues riff on bass. Melody on soprano sax. Zawinul is cueing a change. Drum fill and then funk bass. R&B bassed modal jazz. Whoa oh oh vocals. Jaco and Joe. Shorter improvising on soprano sax.

Generally speaking not enough harmonic content for my taste but they do pull it off.

A Remark You Made

Acoustic piano intro. A real song with a change. Tenor sax on the melody. A sparse keyboard interlude. Back to sax. Jaco playing the melody on bass. Keys and sax trading melodic lines. This is a classic jazz ballad sound presented in a different way. Bass repeating a melodic fragment. Out on sparse keys improv.

This is a Joe Zawinul song and as far as I'm concerned it's all the way there. The album "Heavy Weather" started with two Zawinul compositions, "Birdland" and "A Remark You Made". This is a very successful jazz album commercially as well as artistically.

Weather Report is an outstanding band for their writing, performance, and innovation. This particular lineup with Jaco on bass is one of the best bands in jazz history. Hearing a live show like this brings that out. The studio recordings are great but sometimes we all need another take on things and live is live. It's the unpredictability of live music that makes it so compelling.

This is the first 40 minutes of a 2 hour concert. The whole concert is on YouTube. Recommended.

Sam Rivers
Posted on Monday February 09, 2015

Sam Rivers

I found Sam Rivers here.

This book extensively covers the experimental music I was raised with that ran parallel to the music we have been studying in class. At the beginning of the chapter on Creative Jazz Scarufi writes "Creative music was obviously related to experiments by John Cage, Karlheinz Stockhausen and Morton Feldman..."

He also includes a database of musician bios where he says "Arkansas-raised tenor saxophonist Sam Rivers (1923), who had studied at a conservatory of music, represented the highbrow alter-ego of Ornette Coleman's free jazz."

So I was intrigued

Luminous Monolith - from the Fuchsia Swing Song album (December 1964)

Amazing musicians with drummer Tony Williams, pianist Jaki Byard and bassist Ron Carter. The piece is episodic starting with a kind of swing feel after a short arpeggiated intro. Quickly into a drum break. Then the intro again kind of juiced up. Swing again. Then Free Jazz sax sound with just piano comping. Swing again then solo Free Jazz sax. Continues like this with very short episodes and with the Free Jazz infecting the swing parts. Piano solo with straight episodes. Constant stylistic changes. Drum solo. Back to sax. Now Free Jazz is dominating the swing with occasional other styles thrown in. Short drums and then back to sax, swing and then Free Jazz ending.

This was 1964. Because of Tony Williams work with Miles Davis' Second Great Quintet and all of his other work in jazz his style has been fully assimilated. He is considered to be one of the most influential 20th century jazz drummers. Probably because of this his breaks do not sound as revolutionary now as they did in 1964.

At the time Free Jazz was not well accepted. It's practitioners were over hyping how new it was and many listeners had difficulty grasping the transition. I think Luminous Monolith does a good job of showing the growth of Free Jazz out of Swing and Bebop styles.

Euterpe - from the Contours album (May 1965)

Another amazing band with trumpeter Freddie Hubbard, pianist Herbie Hancock, bassist Ron Carter and drummer Joe Chambers.

Piano intro. Bass and piano, then Sam Rivers on flute. The bass is playing a repeated pattern with the piano varying chords on top of it. The flute has an extended melody without repetition. The muted trumpet is more thematic yet still constantly varying. The piano plays a scale of chords building energy and then back to a more constant part. Piano and bass only in a bass solo. The bass remains repetitive. An extended part of his solo centers around a single tone. Flute enters. More Euterpic meanderings. Very sparse accompaniment. Down to a trio in what could be called a piano solo. Almost all chorded moving into some notes. Like the other solos repetitive and tending to focus on a single note or tone. The flute enters with a melodic motif that is repeated and then varied. Ending with a repeated bass line and a sparse, comped, piano part.

This is a very listenable piece with none of the noise and anger associated with Free Jazz from this era. Very modal sounding and very exploratory. No recognizable melody until the last flute solo.

Mellifluos Cacophony - from the Contours CD

Head with sax and trumpet in a strong Free Jazz style followed by swinging sax solo with intermittent bursts beyond bebop. Piano solo. Heavily patterned with repeated motifs up and down the scale. Strong right hand emphasis. Trumpet. After a cacophonic head they are taking turns and they really lose the cacophony. I guess this is the mellifluos part. Hubbard follows Hancock's lead with occasional repeated motifs but not as often with a lot of scale type soloing as well. Drum solo. This is actually a kind of standard jazz arrangement. Chambers is definitely laying down a pulse. Out on the head which sounds less experimental the second time around. I think the repetition shows that it is arranged and written out removing some of the spontaneity.

I love these pieces. I would call them Free Jazz influenced rather than Free Jazz school. They are from Rivers first two albums and so they probably do not represent his most experimental work. I certainly intend to listen to more.

Search for Sam Rivers on Spotify

Net Neutrality Countdown
Posted on Tuesday January 27, 2015

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Hairy Larry

Andy Cohen in Brookland on February 4 at 7:00 pm
Posted on Saturday January 24, 2015

Andy Cohen will be playing at the Brookland Methodist Church on Wednesday, February 4. At 6:00 pm we will serve ham and beans. At 7:00 music and worship featuring Andy Cohen. The church is located at 301 W. Matthews about a block from the Brookland Post Office. There is no charge for the music or the food but donations will be accepted.

This Monday is Bluegrass Monday with Monroe Crossing
Posted on Thursday January 22, 2015

Dear Bluegrass Friends,

KASU’s Bluegrass Monday is back this Monday night with a band returning by popular demand for an incredible eighth appearance in our concert series.

Monroe Crossing will perform a concert of bluegrass music on Monday, January 26, at 7:00 p.m. at the Collins Theatre, 120 West Emerson Street, in downtown Paragould, Arkansas. The concert is part of the Bluegrass Monday concert series presented by KASU 91.9 FM. KASU will literally “pass the hat” to collect money to pay the group. The suggested donation is at least $5 per person.

Named in honor of the creator of bluegrass music, Bill Monroe, the band Monroe Crossing plays traditional bluegrass music, Gospel songs, original melodies and their own unique treatments of songs that weren’t originally bluegrass tunes. The band performed over 150 concerts in 2014 at bluegrass festivals, churches and venues across the country. Monroe Crossing has recorded 13 CDs and has produced a concert DVD. A new CD, including music recorded live at past Bluegrass Monday performances, will be available for purchase at the concert.

Based in Minnesota, Monroe Crossing is the only bluegrass band ever to be named “Artist of the Year” (2004) by the Minnesota Music Academy. The group has also been inducted into the Minnesota Music Hall of Fame and has received numerous awards from the Minnesota Bluegrass and Old-Time Music Association. In both 2007 and in 2014, the band received the prestigious invitation to appear at the showcase concert at the International Bluegrass Music Association’s annual convention.

Members of Monroe Crossing include Lisa Fugile who plays fiddle and sings. She was raised in Nigeria, Africa, and she first discovered bluegrass music through a 78 RPM record of music by Bill Monroe.

Matt Thompson of Mankato, Minnesota, plays mandolin and fiddle. He is a past winner of the “Mandolin Player of the Year” award given by the Minnesota Bluegrass and Old-Time Music Association. He also serves as emcee for the band during their concerts. Thompson has been playing bluegrass music in many bands over the past 30 years, including True Blue, a group which appeared on Garrison Keillor’s “A Prairie Home Companion” nationally-syndicated public radio program.

Mark Anderson plays bass in the group. His first musical experience was playing in alternative rock bands, but his musical tastes changed dramatically after being introduced to bluegrass music in 1995.

Derek Johnson sings and plays guitar. He co-founded the High 48s Bluegrass Band, a group which released four CDs, toured nationwide, and won the prestigious Rocky Grass bluegrass band competition in 2008.

David Robinson plays banjo for the band. He became interested in folk and blues music at a young age, but exposure to a local bluegrass band led him to begin playing banjo at age 14. His banjo playing is influenced by David Holt and Earl Scruggs, and he also taught himself how to play guitar, mandolin and harmonica.

Monroe Crossing has been a full-time, professional bluegrass band since the year 2000. More details about the band, including videos of past performances, are available at and at

Tickets will be distributed at the theatre beginning at 5:00 p.m. Tickets must be obtained in person, and seating will be first-come, first-served.

In addition to the concert, Terry’s Café, 201 South Pruett Street in Paragould, opens on Bluegrass Monday nights to welcome bluegrass music fans. The café serves a catfish buffet meal beginning at 4:30 p.m. on the evenings of Bluegrass Monday concerts. Concessions will also be available at the Collins Theatre.

Bluegrass Monday concerts are held on the fourth Monday night of each month. These concerts are presented with support from Bibb Chiropractic, the Posey Peddler, Holiday Inn Express and Suites of Paragould, the Northeast Arkansas Bluegrass Association and KASU.

KASU, 91.9 FM, is the 100,000 watt public broadcasting service of Arkansas State University in Jonesboro. For more information, contact KASU Program Director Marty Scarbrough at or 870-972-2367. Bluegrass Monday is also on Facebook (search “Bluegrass Monday”). To be removed from this emailing list, reply to this message.

I’m looking forward to seeing all my bluegrass friends Monday for another memorable night of music and entertainment with Monroe Crossing.


Marty Scarbrough

KASU Program Director

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