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THE 2021 Edition
March-April Page 1
THE BI-MONTHLY NEWSLETTER
OF CROSSROADS BLUES SOCIETY
Other Story 1
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Other Story 2
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Title Story
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EDITION
Page 2 The Groove - Crossroads Blues Society Newsletter Editorial Steve Jones, Editor and CBS President
March-April 2021 Edition Page 3
Contents
Editorial……………………………………………….………….………....2
Editorial................................................................................ 2
Contents, Board, Local Radio & Application……….………….3
Contents, Board, Local Radio & Application........................ 3
BITS History Part 2...……………….……………………....….…....4
BITS part 5........................................................................... 4
Live Shows………………………………..……......……………....…..8
RAAC grant, Guitar lessons, Artist relief fund................... 6
Taming Your Music
John Primer remembers Collection....…………………………….…..11
Maxwell Street............................... 7
Review:
Music Cheat You Fair........................................................ 10
Reviews………………………….…………...…………….......13
Music
More Reviews.BITS
Historical .....................................................................
Photos………..…..……..….……………..26 14
More BITS photos.................................................................
Upcoming Shows……………………………………………...…..…..27
29
Upcoming Events (fingers crossed!)..................................... 30
July and August Shows at Lyran Park………. ..…….……….29
Membership News................................................................ 33
Member Update……………………………………..……………......31
Blues Blast Magazine Best Albums...................................... 33
Hope and Anchor,
Blues News Lyran andEvents......................................
and Upcoming Radisson Shows……………..31 34
Blues News and Upcoming Events……………………..……….32
Cover Photo by Rick Davis
Cover photo by Rick Davis
The Groove is a bi-monthly publication of the Crossroads Blues Society. The PDF
version (typically 36 to 40 pages) is emailed to members of Crossroads. Hard copies
(12 pages) are sent out to members without email ($5 membership surcharge).
Editor in Chief: Steve Jones
Music Reviewers: Rick Davis, John Mitchell, Marty Gunther, Bill Graw, Lynn Hetz-
ler, Mark Nelson, Tom Lombardo, Steve Jones and Mark Thompson.
All un-credited content by Steve Jones
Blues on Local Radio Membership Application
WNIJ - 89.5 FM www.CrossroadsBluesSociety.com
Yes! I’d love to be a part of the Crossroads Blues Society!
• Friday evenings from 9 PM to midnight with Harold Brown
Name_____________________________________________
• Saturday afternoons from 1 to 4 PM with David Rosik
Street Address___________________________________
• Saturday evenings from 9 PM to midnight with David James
City________________ State______ Zip Code________
• Rich Gordon fills in regularly
Phone_____________________________________________
Crossroads Blues Society Email Address____________________________________
Officers and Board Members Contact Info Date_______________________
President: This will be a membership for an/a:
Steve Jones sub_insignia@yahoo.com
New -or- Returning Member
Vice-President:
Bill Graw williamjgraw@gmail.com
Individual ($15), Family ($25), Band ($25)
Secretary:
Bonnie Fox bonitafx@gmail.com $5 extra for newsletter via regular mail
Treasurer: Please check all applicable interests:
Terry Keller terry@markpack.com
Festival Volunteer Serve as Officer/Board
Board of Directors: BITS Volunteer Volunteer at Events
Denny Barker harkthebark@mchsi.com
Review CDs Public Relations
Rick Davis rick_davis_937@comcast.net
Bob Haendler rhaendler@comcast.net Edit Newsletter Other:___________________
Ken Pearson cntrylivng@aol.com Please cut out or copy and mail this form and payment to:
Rick Hein mrrickhein@sbcglobal.net Crossroads Blues Society Bring this to
Allen Duerksen cptbynd@aol.com P.O. Box 840 our next meeting
Tom Lombardo whotom@yahoo.com Byron, IL 61010 and get a free CD!
Page 4 The Groove - Crossroads Blues Society Newsletter
Blues In The Schools History Part 5
We continue with our
next segment of our BITS
history.
2016-2017 School Year
Our Crossroads Blues Festi-
val featured Ken Olufs and
Warren Beck on August 27,
2016. A total
of about 150 people from
the community enjoyed Dan Phelps at Orton Keyes
their performance, includ-
ing a harp and 2017 saw the beginning of a new endeavor for BITS- Blues
Ken Oulfs at the Crossroad keyboard workshop they in the Preschool with Rockford Headstart. Dan Phelps
Blues Festival held. spent the morning at Rockford Day Nursery on 02/15/17 in
Rockford doing 4 programs and then did 4 more programs
October 14, 2016, had Mark Dvorak and fill in Steve Jones the morning of 02/21/17 at Orton Keyes in Rockford. Dan
for one program in Shirland and Phelps later performed 5 more programs in the afternoon.
another in Durand; Shirland school in the AM and Durand The following day, Dan spent the morning at Hand-n-
ES in the PM. The morning session at Hand in Rockford for 2 programs on 2/22. In all, a total of
Shirland school had 150 students while the afternoon pro- 300 children were at the 15 sessions.
gram in Durand ES had 300 students.
Mark’s partner David Causey was unavailable, so our Pres- Gerry Hundt returned for BITS on December 21, 2016 with
ident Steve Jones filled in. programs at Highland ES in the morning for 400 students
and Froberg in the afternoon for 450 students. Gerry loves
On December 2, 2016, Bobby Messano joined us for three returning to his old town for BITS!
BITS programs, one at Haskell ES
We had the pleasure to have Tas Cru as part of our BITS
and the other two at Spring Creek ES. The AM session at
program on February 8, 2017. Tas Cru performed at
Haskell ES in Rockford had 300
Thurgood Marshall in Rockford for about 400 students.
students in attendance. The two PM sessions at Spring
The following morning Tas performed at Whitehead ES in
Creek ES in Rockford had 350 students in
Rockford for about 560 students. A great way to start the
attendance total.
year!
On December 16, 2016, Dave Fields performed for about Fruteland Jackson was in Rockton on February 23, 2017, for
425 students in the AM session at BITS at Rockton Grade School in the morning session and
Lathrop ES and 425 students in the PM session at Carlson at Whitman Post ES in the afternoon. 350 and 400 students
ES, both in Rockford. The following were at these two programs.
day Dave returned to perform for about 30 students at
Byron Public Library in Byron.
Tas Cru at Thurgood Marshall
Dave Fields at Carlson ES
March-April 2021 Edition Page 5
Tas Cru at Whitehead ES
Dan Phelps continued in support of our Headstart BITS
effort when spent the morning at Fairgrounds Child Care Fruteland Jackson at Rockton Grade School
Center on February 28, 2017, in Rockford doing 4 pro-
grams and then did 4 more there in the afternoon. On
March 2, 2017, Dan did 4 AM programs at Dennis Early
Education Center in Rockford. In all, a total of 240 children
were at the 12 sessions.
The start of the Spring events brought Billy Flynn on
March 9, 2017. Billy Flynn joined us for three BITS pro-
grams, two AM sessions at Byron MS in Byron and one
PM session at McNair ES in Winnebago. The AM sessions
at Byron MS had 300 students in attendance while and the
PM session at McNair ES had about 380 students attend. BITS with Billy Flynn at Byron MS
March 13th marked the return of Dan Phelps for more
BITS. Dan performed a total of 12 programs at East HS in
Rockford while in town. On March 13, 2017, Dan per- Joe Filisko Harp Workshop (photo by Rick Davis)
formed two AM sessions where 60 students attended and
one PM session where 30 students attended. The following
day, Dan Phelps performed three more sessions for a total
of 90 students in attendance.
A month later on April 20 and 21, Dan performed a total
two AM sessions and one PM session each day. A total of
120 students attended. In all, over 300 students were at the
12 programs.
Dan Phelps then spent the morning at Fairview Early
Education Center on April 26, 2017, in Rockford doing 4
programs. In total, 640 children were at the 4 sessions.
On May 12th, Dave Fields joined us for two more BITS
programs, one AM session at Highland ES in Meridian and
a PM session at Martin Luther King ES in Rockford. The
AM session had 400 students attend while the PM session
had 320 students in attendance.
Gerry Hundt at Highland ES
Fruteland Jackson at Whitman Post ES
Page 6 The Groove - Crossroads Blues Society Newsletter
are being explored; this is a new endeavor and we are excited to
see where it will take us. Donations to support this are being
CBS Receives RAAC Grant accepted; all donations to Crossroads are tax deductible!
On January 11th, the Rock-
ford Area Arts Council
Artist Relief Fund Update
awarded Crossroads Blues
Society a 2021 Community The Rockford Area Covid-19 Artists Relief Fund has so far sup-
Arts Access Grant in the plied ten artists with $500 grants to assist them during the pan-
amount of $2,000 to support demic. We are excited about supporting them and thankful to all
our Blues in the Schools and the donors who have stepped forward to support this great
music education. The Rock- cause. Each of the artists has provided us with a song to use to
ford Area Arts Council re- reward donors. Those who donated at least $25 to the fund re-
ceives support from the City ceived a link to the songs so they can listen to them online and to
of Rockford, the Illinois Arts download them. Those who donated at least $50 to the fund will
Council Agency and its received a commemorative CD of the songs. We expect this to be
members. Crossroads Blues produced in the next month or so, depending when grant re-
Society would like to than quests stop coming in.
the Arts Council, the City of
Rockford and the Illinois The ten songs included in this collection are diverse. In addition
Arts Council for their generous support of our efforts. We hope to blues, there are rock, jazz and rockabilly songs. It is quite the
to conduct as many as ten days of BITS programming with those variety of styles:
funds once schools are back in session
which will allow us to do somewhere 1. Dave Weld and the Imperial Flames – Slip Into A Dream
between 20 and 80 sessions depend- 2. Amanee Avery - Leadman
ing on the duration of the programs 3. Ivy Ford – Hypocrisy
(hour long assemblies versus 20 mi- 4. Gerry Hundt – Sunset
nute long interactive short sessions 5. Dan McMahon – Downtown Girls
for pre-schools and Head Start). We 6. Westside Andy - Just Cuz
look forward to being able to go back 7. Joel Baer Quartet – Stanley's March
to work and bring blues back to the 8. Brother Dave Kaye – Boogie/Hook-Up
schools! 9. Nannette Felix—
10. Wheatbread Johnson – Let’s Party While The World Begins
New Guitar Lesson Project Thank you to the donors who have helped make this possible
and thank you to WREX-13 for helping to promote this with their
super piece on our efforts. You can read about it and see the
Our latest in education and outreach efforts is to provide under- video here: https://wrex.com/2021/02/04/local-non-profit-
privileged students with free guitar lessons. We reached out to providing-relief-for-musicians-to-keep-the-arts-alive/
all Rockford School District 205 schools to determine if there
were students with financial needs who might excel with lessons
on guitar. The first student identified is an Auburn High School
student who will be receiv-
ing a weekly half-hour gui-
tar lesson from long-
standing local music instruc-
tor Wheatbread Johnson.
The second will be a group
of students who we will be
working with at Lewis Lem-
on ES in the afterschool pro-
gram. We are setting up the
first of possibly two half
hour sessions per week
teaching guitar to interested
students as this is being pub-
lished. Other opportunities
March-April 2021 Edition Page 7
John Primer Remembers Maxwell Street
John Primer headlining 2019 Crossroads Blues Festival at Lyran Park (Rick Davis photo)
We look back at the legacy of Chicago’s Maxwell Street deal and I would always bargain with them. Most of the
in this issue. We feature a throwback look at Cheat You time I would just walk around and look at stuff.”
Fair, Phil Ranstrom’s fine film about how Maxwell Street
came to be, how it became a home for the blues and a John went on about the musicians playing on Sundays,
place where urban blues helped give rise to rock and roll, “All the musicians had their spots where they played. They
and the demise of the area due to gentrification. We also performed in the parking lots where stores had been torn
reached out to a few people to get their perspective on down. They borrowed electricity from stores or people that
Maxwell Street through their eyes. John Primer was fea- lived there or some of them used generators. There would
tured in the film and offered to us many insights from his be about 10 different bands that you could see on Sundays.
days on Maxwell Street. They kept a distance from each other and they played for
tips. There were some big names playing down there like:
He looked back at Maxwell Street with fondness. “When Robert Nighthawk, Little Walter, Muddy Waters, Jimmy
I came to Chicago in 1963 my mom and step father told Reed, Howlin Wolf, Eddie Shaw, One Arm John playing
me about Maxwell St. They told me it was a good place harmonica, you could see L.V. Banks, you could see the
to buy cheap clothes, good cheap food and great Chicago bass player - Dancing Perkins and John Embry. You could
blues every Sunday. I remember going there on the bus see the dancing guy named Muck Muck Man down there
one Sunday morning. I had gone down there to check it doing his thing and kicking up dust with no shoes on (he
out with friends on a Saturday, but they didn’t have music didn’t wear shoes in the winter-time either!). There was
on Saturday so I made a plan to go back on Sunday. Once a guy named John Henry Davis, he played with his band
I got there on Sunday the streets were even more crowded called The Mississippi Clarksdale Band on Saturday and
than they were on Saturday. The streets were so crowded I Sunday. He let people come up and play like a jam session.
could barely walk and see things with the smell of onions I sat in with him and his band on Sundays sometimes.”
and sausage everywhere. You could buy most anything
down there. People were selling things on the ground and Primer’s first band got together and used Maxwell Street as
on tables everywhere for cheap. You could make a good a proving ground for their music. “It was about this time
Page 8 The Groove - Crossroads Blues Society Newsletter
when I put my very first band together called The Main- John Primer headlining 2019
tainers. We would rehearse at Arthur Adams house; he Crossroads Blues Festival
was the rhythm guitar player along with Poncho the bass at Lyran Park (Rick Davis
player and James Ford the drummer and myself. Every photo)
time we would go to Arthur’s house we would hear this on bass, James Ford on
old guy upstairs playing guitar and singing blues with drums, Arthur Adams
his kids. So he would hear us play and finally he came on rhythm guitar, La-
up to us and talk to us about playing together as a band verne Adams and Ruby
down on Maxwell Street on Sundays. So agreed and he Ford singer and me on
started to rehearse with us. This guy was Pat Rushing. Pat guitar and vocals. I also
Rushing was the most popular guy playing down there on sat in with John Embry
Maxwell Street because he had his son Louis playing bass and L.V. Banks mostly.
, his youngest son playing drums and his two daughters, They all started out
Audrey and Annette, singing. When his kids went back with Pat Rushing and
to school, our band The Maintainers played with him and then one by one left
sometimes when he wasn’t down there at all The Maintain- Pat and got their own
ers could use his spot. Spots were really hard to get down band.”
on Maxwell Street, they were popular and always full.
We were lucky to get hooked up with Pat. We played for Primer played there all the way until things closed down
tips and made about $40 a day sometimes. That was good in 1984, and noted there were many a famous performer
money! We would get there early so no one would get our on Maxwell Street. “There were some big names playing
spot and set up at 8am. We would play from 9am to 3pm. down there like: Robert Nighthawk, Junior Wells, Little
It seemed to me that musicians were jealous of each other. Walter, Muddy Waters, Jimmy Reed, Howlin Wolf, Eddie
They were trying to always cut your head and take your Shaw, One Arm John playing harmonica, you could see
audience.” L.V. Banks, you could see the bass player - Dancing Perkins
and John Embry. You could see the dancing guy named
It was not only blues on Maxwell Street. Gospel played a Muck Muck Man down there doing his thing and kicking
big role in the public performances. Primer noted, “They up dust with no shoes on- he didn’t wear shoes in the win-
had a few gospel bands down there on Sundays too. The ter-time, either!”
most popular one was Jim Brewery. He played guitar with
three women that sang gospel songs. I really liked the way Relations between Blacks and Jews were always good.
he played guitar. I learned from him and watched him play “We all got along because none of us had much and we
chords and liked his rhythm and picking style. all helped each other out to try to make a little something
to get by, Primer noted. “A lot of us were new to Chicago
“After playing all day and watching Jim Brewery I would and met up there on the weekends to make deals and to
be hungry, so I would walk around the corner to Halsted buy things for a good price and to meet people. Most of
Street and go to Nate’s Deli and get me some of that good the stuff was cheap down there because it was rejects or
ole soul food.” Food was an important part of Maxwell second hand stuff, so the store owners were making good
Street. Primer commented, “The soul food was my favorite money on it. Good food, good music and good deals makes
at Nate’s Deli, but the number one place was Jim’s Original for a great flea market!”
Hot Dog Stand on Halsted and Maxwell Street. The best
thing they made there was either the hot dogs or the polish There was good money to be made on Maxwell Street.
sausage.” “Back then I played at Theresa’s Lounge, Lovie’s Lounge,
Bow Tie, Tom Musician Club, and the 1815 Club, Majestic
“If you played good down there, the club owners would Lounge and house parties. When I played at these clubs
recognize you and hire you at their clubs. It was a great on Friday and Saturday nights, I would make about $10 or
way to get your name out and meet other musicians and $15 a night,” claimed Primer. “When I worked on Maxwell
network in the music business in Chicago. If you didn’t Street, I would make $40 a day most Sundays, unless Pat
play down there you would have to audition at a club would cheat us and he would take more. We made about
back then,” said Primer. “None of us were recorded much, $2 or $3 at house parties, so that wasn’t a good gig back
so we didn’t have a way to prove our skills. Pat Rushing then. The whole band would make $20 to split plus free
played at a lot of the clubs in Chicago - West side and food.” Obviously Maxwell Street was a major boon to Chi-
South side, so that helped me and The Maintainers get cago’s blues musicians.
better gigs.”
When asked who he predominantly played with on Max- If it was not for Maxwell Street, Chicago and urban blues
well Street, he said, “I played with Pat Rushing and his might never have evolved and we might not have had rock
kids with The Maintainers band: Robert “Poncho” Gregory and roll. I asked Primer how important did he think Max-
well Street was in creating what we know today as Chicago
March-April 2021 Edition Page 9
Blues? Did it have a bigger impact than the clubs did?
“It was a great place for Chicago Blues because it gave us a
place to play, we could practice and get better, we net-
worked with each other, we pushed each other to become
the best and we had to all have our own individual styles
to show out and be different. But when Muddy Waters
electrified his Blues to get a bigger audience to make more
tips, he changed Blues forever on Maxwell Street! This took
the blues to a different level totally,” Primer stated.
“Coming to Chicago blues was electric and when I was
growing up, in Mississippi it was acoustic. This made a big
impact on me because I loved the sound and was drawn to
it just like everyone else. I had to get an electric guitar and
amp when I came to Chicago, it wasn’t enough to have just
an acoustic guitar.”
We asked John if he ever lived on or near Maxwell Street. John Primer at 2019 Bradenton Blues Festival (Steve Jones photo)
“I lived on the west side of Chicago at 312 S. Leavitt and
Jackson in an apartment with my mom and step father. Columbia College and Chicago Blues Revival are trying to
This was my first place to live when I got to Chicago from bring this back. We need the people in these communities
Mississippi. It was a great place to live. to demand the city start preserving its culture or it will be
lost forever.
“I was 18 years old when I got to Chicago. There were
plenty of stores and girls to flirt with. We lived near Crane Lastly, we asked what else John had to say about Maxwell
High School. Everyone knew each other and a lot of them Street. He feels a new version of Maxwell Street needs to be
came from Mississippi or from down south. It was safe developed. “I truly wish we could have another Maxwell
at night time and everyone looked out for each other. We Street in Chicago because it did so much for me and for my
would sing doo wop on the corner at night just to have career. I know it would help so many other people too.
fun. Sometimes I went to Riverview Park or to the movies “I do think it could be possible and I would love to help
with my friends to hang out. I could hear bands rehearsing this cause. It is truly a shame that Chicago has abandoned
blues, soul music, doo wop, gospel and jazz on every block its history and culture. They can make it into another Beale
near where I lived. Street or another Bourbon Street and make a ton of money
on it. I believe they could get help to do this. One place I
“There was a club around the corner from my apartment think would be a great location would be in the Bronzeville
called Pops Club on Leavitt and Van Buren where they had neighborhood near Muddy Waters house or near the old
blues bands come in there. Some of the bands I would see Checkerboard Lounge on 43rd Street. They could also save
play there on Saturdays were Elmore James, Howlin Wolf, the Forum building on 43rd St. and make that the center of
Eddie Shaw and others. I would stand outside and look in a new Maxwell St. The group Chicago Blues Revival is try-
the window until they ran me away. Then on Sundays I ing to bring the music back to these areas and to teach the
would go see Luther Allison play in a backyard of a house people there about
near my apartment. Oh boy, everyone had a great time their music history.”
back then, I really wish it would be that way today. Things
are so hard and violent now.” When asked if he
thought all this could
We asked John if he thought something like Maxwell Street become a reality, he
could ever return to Chicago? “Yes it is possible, but it said, “Anything is
would be difficult. Chicago has changed a lot. The story possible!”
and history of Maxwell Street needs to be taught to this
generation. That area is now all condo’s, it’s totally dif-
ferent now. Crime is a problem too, but I do believe it can
come back with some hard work.”
John Primer at the
He continued, “Many cities recognize the blues and pre-
Hope and Anchor,
serve its rich history like New Orleans and Memphis. They
Loves Park, IL 2018
make a lot of money from preserving their culture and
(Steve Jones photo)
heritage. Chicago decided under Mayor Daley not to go
in that direction and for that the music and the musicians
suffer. The people in Chicago and its politicians need to
see the wealth it has in its music and culture. I know that
Page 10 The Groove - Crossroads Blues Society Newsletter
More on The Maxwell Street Legacy
With our focus on well Street. It was a place for bargains, good food and good music.
Maxwell Street in
this issue, we The movies have visited Maxwell Street. Most notably, who can
heard from sever- forget Aretha Franklin at Nate’s Deli in The Blues Brothers lm?
al people in addi- Formerly at 807 West Maxwell Street, Nate Duncan sold off his
tion to John Pri- prized place in 1995 to UIC. He worked at the location formerly
mer. We have put when it was owned by the Lyon’s family and he bought the place
those observa- when they retired and continued to operate the restaurant as a Jew-
tions together ish deli. John Lee Hooker also appeared as a street musician outside
here for you. Nate’s in the lm.
A typical Sunday on Maxwell Street As we already
noted elsewhere, A long-time blues icon here in Rockford at Big Cities Lounge, John
Maxwell Street blues originally came from the Mississippi Delta. Grimaldi (AKA Studebaker John), rst discovered Maxwell Street as
That acoustic Delta Blues began to be transformed into electried, a kid working with his dad. “I was pre�y young; I worked for a my
urban blues that we now call “Chicago Blues.” This sound was what father's small plumbing company on the summer break from school.
made bands like The Rolling Stones, The Beatles, The Animals, John We had to go down to Maxwell street to work.” While working
Mayall and the Blues Breakers, The Yardbirds and so many others there, he heard, “People would say that you couldn't drive down the
across the pond took note of and brought back to us in the British street on Sunday's. I didn't know why, .but I soon found out! One of
Invasion as rock and roll. Technology inuenced the blues all over, the jobs we did had a recurring problem, so we got an emergency
whether it was Chicago, Memphis, or wherever, but it was the Chica- call early one Sunday morning.” This was the beginning of Grimal-
go Blues sound that became electric blues and spurred on my gener- di’s blues education.
ation’s early rock icons.
“I had never seen anything like it; the streets were lled with people.
Local Rockford long time DJ Rich Gordon calls Maxwell Street, “A We went to the job and got things xed, then the guy's I was with
magic moment in time.” He compares the original Maxwell Street to went to eat lunch at a deli that had the best corned beef sandwiches
what is going on today in Chicago and says, “It is not the same. in Chicago.” But eating good food was not the biggest thing he
There is a special, magical moment that existed before. It is very diffi- found on Maxwell Street. “I wandered around the Maxwell Street
cult go capture that today; things have changed.” market I heard the sound of live music and followed it till I came to
an alleyway; it was there that I saw Big John Wrencher and his band
Writer and long-time blues fan Marty Gunther (he writes for us here playing. This was a life changing day for me.”
in the Groove, for Blues Blast Magazine and other places) talked
about, “The electricity of the place. I moved to the city early in 1970, Studebaker John recalled, “I had messed around before playing har-
and went there often until leaving in ’83. The music was on every monica, but I never heard anybody play it in a band as the lead in-
street corner, a mix of internationally famous bluesmen, broken strument or play it in the style he was playing it! I was blown away
down wannabes and young whites learning the trade from the by it!!! This raw, three-piece band with one amp (everything was
ground up.” Some of the bands he remembers from Maxwell Street plugged into it) and a cheap guitar and beat-up old drum set. What a
include James Co�on, Junior Wells, Big Walter Horton, Houston sound! I didn't recognize any of the songs, but I loved it just the
Stackhouse and Big John Wrencher. same.”
Marty commented on the Jewish and Black Population there. “Both So now Grimaldi was hooked. “After I was old enough to drive, I
ethnicities had been victimized by society for centuries, robbed of would drive down there in the early mornings on Sundays and go
being able to be part of the mainstream. Despite the day-and-night see Big John and other street musicians playing. I loved the music
differences in upbringing, the similar shared suffering was a major they played and would walk around and look for deals on musical
unifying force. It’s also the reason the blues world is populated by so instruments. I would also go by the record store that would have
many Jewish musicians today.” music playing on a speaker outside the store! It wasn't till later that i
found out they
It was not just blacks that made music famous on Maxwell Street. had recorded
The Jewish community had strong musical ties, too. Swing and jazz many of the
band leader and clarinet player Benny Goodman was from Maxwell street musicians
Street. Klezmer music abounded on Maxwell Street; it is based on and had the rst
Jewish folk tunes and Romani (Gypsy) rhythms and remains popular recorded works
today. Bernard Abrams founded Ora Nelle Record Company on of Li�le Walter
Maxwell and released Li�le Walters rst record in 1947. and others!”
Other than the occasional pick pocket, no one thought the area par- Big John Wrench-
ticularly dangerous and many brought family and friends to Max- er was someone Nate’s Deli was a xture on Maxwell StreetMarch-April 2021 Edition Page 11
Grimaldi could hard-driving, electric sound reecting the intensity of the world
not get enough of. around them.”
“Big John and his
band would go “Two of the musicians most widely considered to be the founders of
down there after a rock & roll, Chuck Berry and Bo Diddley, both played and devel-
late-night gig and oped their talents at Maxwell Street, especially Bo who told me that
sleep in their car he “learned the blues on Maxwell Street",” claims Ranstrom. “Chess
until it got under- Records opened their recording studio in Chicago because of the
way, and then set wealth of blues talent in Chicago … because of Maxwell Street.” Phil
up and start play- rmly believes that, “On any given day, Willie Dixon, Chess’ unoffi-
Big John & Lurrie Bell—Maxwell Street ing as soon as cial talent scout, could walk through Maxwell Street and nd a doz-
people started en eager musicians willing to throw down on someone else’s rec-
coming!!” John recalled. Another of his favorites to see there was ord.”
Cary Bell. If he had one regret, it was probably note ever seeing any
of the bigger names there. “I never did see Robert Nighthawk or any His idea has good merit. “The Rolling Stones, themselves, would not
real big stars out there like Muddy Waters or Howlin’ Wolf.” have been formed if it wasn’t for the two albums that 18 year old
Mick Jagger had in his hand while waiting for a train at the Dartford
Grimaldi never played on Maxwell Street. While he never played Station in 1961, inspiring Keith Richards to approach him and begin
there, he noted, “It inspired me and many others to play music on a a conversation about their mutual love of the Chicago Blues. It was
creative level.” And in addition to the corned beef, John enjoyed the this famous meeting that led to them forming a group rooted in the
Maxwell street polish and pork chops at the local Maxwell Street blues, and it was those two albums, Rockin’ at the Hops by Chuck
eateries. Despite not playing there, John and his band would hang Berry, and The Best of Muddy Waters, that sparked the engine of
out there. “After we started working as musicians, we would go arguably the greatest rock and roll band ever,” Phil mused. “Can you
down there at all hours of the night just to get something to eat!” imagine rock & roll without The Rolling Stones, along with all the
other bands they inspired?”
The demise of Maxwell Street was something on the minds of musi-
cians there long before the 1990s. Grimaldi mentioned, “I think there Ranstrom concluded in his comments to us, “It was Maxwell Street,
was a loss of culture and of community. Chicago is known all over along with other forces that collided during this period — poverty,
the world as the capital of the blues, but instead of embracing that prejudice and forced migration — that brought blacks and Jews to-
the political parties were embarrassed by it and swept it under the gether in this unlikely place and created a musical revolution.”
rug and then nally tore it down. If you read one of the last inter-
views of Robert Nighthawk he talks about them wanting to tear The legacy and impact of urban Chicago Blues and their evolution
Maxwell Street down, and that was in 1963 or so!” along Maxwell Street and on Chicago’s West and South sides created
a whole new sound for music to take. The 1960’s began with major
Studebaker John noted about Maxwell Street and its’ inuence on the inuences from folk music and the British Invasion inuencing our
blues and what it led to. “I think it had a big impact on Chicago rock and roll. With just the former and not the la�er, what would
blues, which in turn inuenced artists to evolve into the music we rock music have become? Certainly the music in places like Memphis
call rock and roll.” Musicians loved to play there. “There was not and elsewhere also evolved; rockabilly and a rawer form of jump
much difference in the club scene; it was just a job to most of the blues emerged, but without the Chicago inuences the British inva-
musicians who loved to play and perform. The only difference was it sion may never have happened. It is hard to imagine no Beatles,
was raw and wild on Maxwell Street. It wasn't slick. It was real.” Rolling Stones, Eric Clapton, Led Zeppelin and so many other bands
and their music in our musical lexicon. Without Chicago’s Maxwell
Phil Ranstrom produced the lm Cheat You Fair. He personally feels Street and the urban blues that they gave us, our musical lives would
that the rock and roll we all grew up on would not have existed be a lot different than they are today.
without Maxwell Street. “I believe that without Maxwell Street, rock
& roll would not have been created as we know it,” Ranstrom said. New Orleans has Bourbon Street. Memphis has Beale Street. Chicago
“It was Maxwell Street that put Chicago on the map as “ground ze- had Maxwell Street, but let it
ro” for the electric blues, an idiom born out of necessity. In order to slip away from them. It is sad
be heard in that there is no landmark place
the large, like that in the Windy City.
outdoor There are some iconic clubs
crowds, there still, but even they are
blues artists downtown and on the North
had to ampli- Side now. Maxwell Street and
fy their in- the essence of the origins of
strument Chicago’s urban blues may no
and, thus, longer exist in any original
created an physical locations, but it is part
entirely new of the hearts and minds of mu-
kind of blues sic lovers and the knowledge of
A typical Sunday on Maxwell Street — a raw, its’ roots must be preserved. LiĴle Walter - Maxwell StreetPage 12 The Groove - Crossroads Blues Society Newsletter
Cheat You Fair: The Story of Maxwell Street
Cheat You Fair: The Story of Maxwell The lm moves into part two where it begins by highlighting The
Street Great Migration where blacks in America moved north. Histori-
A Documentary Film by Phil Ranstrom ans note the period 1900 to 1940 as the years of this migration; the
Narrated by Joe Mantegna lm notes that Chicago was a focus for migrating African Ameri-
Big Shoulders Digital Video cans mostly from 1910 to 1930. The prospects of escaping Jim
2 hours and 10 minutes Crow racism and ge�ing jobs in the factories, slaughterhouses and
other industries made Chicago look good. The co�on industry
According to Wikipedia, “Cheat You down south was also being ravaged by boll weevil infestations, so
Fair: The Story of Maxwell Street is a many agricultural jobs had disappeared. Unfortunately, the Blacks
2006 documentary lm that details the who moved to Chicago found racism up North, but on Maxwell
history of Chicago's Maxwell Street Street and the area on Chicago’s West Side Blacks were more wel-
community, including the rise and fall comed as the next wave of “immigrants. They t in there well
of the Maxwell Street Market. where Blacks and Jews formed strong bonds and the only color
that ma�ered was green, the color of money.
Phil Ranstrom produced, wrote, and directed the 90-minute lm,
which is narrated by actor Joe Mantegna. The documentary was Black musicians brought their music to the clubs and streets of
edited by Justin Kulovsek at Big Shoulders Digital Video in Chica- Maxwell Street and the surrounding blocks. It began in the 1920s
go. The documentary was featured at the 2008 Sundance Film Fes- and 1930s with acoustic musicians like Daddy Stovepipe and Un-
tival in Park City, UT and the Chicago International Documentary cle Johnnie Williams, but the hustle and bustle of Maxwell Street
Film Festival in 2007. drove early innovators to electrify and amplify their music. Micro-
phones, ampliers (ranging from dedicated amps to modied ra-
Cheat You Fair won a 2012 Chicago/Midwest Emmy Award in dios used to accept microphone inputs) and later innovations
Category #26 for Outstanding Crafts Achievement Off-Air: Musi- made the music louder and truly solidied the “sound” of urban,
cal Composition/Arrangement. It was also nominated in Category Chicago Blues. Li�le Walter was the rst to cup his harp over his
#27 for Outstanding Crafts Achievement Off-Air: Writer – Pro- microphone and was a huge Maxwell Street musical presence.
gram / Non-News category.” Artists would play in clubs on Saturday evenings to the wee hours
of Sunday morning and then move a few blocks to Maxwell Street
So this lm is now fourteen years old and won a Midwest Emmy and play all day until things closed down at 6 PM. Urban, electric
eight years ago; why are we looking at it today? Mostly, we are blues were dened in Chicago and Maxwell Street was instrumen-
trying to get this lm out into the blues world. It never really got tal in playing a vital role in urban blues which helped inuence
the exposure it should have in our genre and it affords the viewer and spawn rock and roll. Junior Wells, Bo Diddley and so many
a great history of the blues as part of the legacy of Maxwell Street. other artists made more money playing on Maxwell Street on Sun-
days with tips than they did in clubs on Fridays and Saturdays.
The lm is narrated by Joe Mantegna, the famed actor who is now Muddy Waters was one of the artists who never played there for
well known for his thirteen year run in the CBS series Criminal free or tips because it looked bad. He did busk there, though, to
Minds. Since 1977, he has appeared in dozens and dozens of hit promote his many new recordings even though he and his family
movies and television shows. He began his acting career in 1969 claim otherwise- it was a way to make good money because there
on Broadway in Hair and has done much on the stage in addition were huge, generous crowds who came to Maxwell Street to hear
to the silver screen and TV. In fact, he won a Tony Award for per- them play.
forming in Glengarry Glen Ross. His voiceover career most nota-
bly began in 1991 as the voice for Fat Tony in Fox Television’s The The nal part of the lm focuses on the problem all cities have-
Simpsons. His cool and suave demeanor and tone here as narrator gentrication. Chicago, New York, Detroit and every major and
is excellent as Mantegna makes point after point about all the as- minor city
pects presented in the documentary. has and is
going
The lm has three distinct sections. The rst part focused on how through
Maxwell Street came to be what it was. After the Great Chicago forms of this.
Fire, that area was left untouched and it quickly became a place for The City
street vendors to prosper, both the businesses who lost their build- fathers like
ings and to the many who were desperate to live after the re. The Mayor Daley
area was populated by a host of immigrants, but it was the 50,000 and his suc-
Jewish people escaping Russia and Eastern Europe who looked for cessors and
a new and safe home. the Chicago
City Council Big Daddy Stovepipe on Maxwell StreetMarch-April 2021 Edition Page 13
used blight Chicago’s West Bo Diddley’s
and crime as Side. Many a blues and Junior
support of artist appears in the Wells’ inter-
the need to lm and the history views in the
“clean up” depicted is a won- lm wound up
their cities. derful remem- being their nal
The reality is brance and learn- interviews
two fold; one ing opportunity for
is that white music fans and
folks fear the historians both.
infringement The lm gained
of their terri- some notoriety on
tory by release but in my
Buddy Guy being interviewed for the lm blacks, and mind it pre�y
two is that much has lan-
rich people can use areas usurped from the poor to become even guished as a blues
richer. Nothing is done to address the underlying problems of lm and did not
poverty and joblessness, it is just the opportunity to grab land and get proper notice
turn it into protable ventures that led to Maxwell Street’s demise by blues fans and
as it has led to the demise of many poor people’s homes and busi- organizations.
nesses. Crossroads is
championing the
Chicago long planned for Maxwell Street’s demise. Rather than lms’ resurgence and to place it in a context in our musical genre
manage the vending and entertainment fairly, they let it run wild where more people can see it and learn from it. It is a wonderful
with no market manager. It was not unsafe; only two beat officers documentary that is also disturbing since the end game is the loss
patrolled on Sundays and the area was very safe and even family of culture. To make up for that, this lm helps to maintain the
friendly as vendors looked out for each other and the mo�o of one vivid and wonderful legacy of a place where urban blues was born
store became the street’s mo�o,’ Cheat you fair.” There may be and where the music that gave us rock and roll began. Maxwell
negotiating and there may be a li�le “cheating” here and there but Street may be gentried now, but the history of immigration, mi-
by and large you were ge�ing a fair and good deal in your transac- gration, cultural assimilation, retailing and music is captured in
tions. The City left Maxwell Street and the 16 square blocks to go this lm for all to learn from and enjoy. If you have not seen this
unmanaged. They stopped garbage pickup and trash blew all lm, it is worth watching for each and every blues fan; you will
over. Store owners and vendors took it on themselves to clean up. not be disappointed except for the fact that Maxwell Street is gone.
Pornography vendors were selling their wares illegally and with
the City’s knowledge because that and the lth they were creating Reviewed by Steve Jones
would allow them to have UIC become the eventual owners of
that area in August 1994. A decade later, UIC still lacked adequate
dormitories for their students but gave up about 75% of the land to Ora-Nelle Record
development by an ex-City councilman who made millions devel- Company was on Max-
oping condos. The story is told in every city where the poor have
well Street; the record
their lands and businesses taken without adequate recompence
company burned
and help in moving their livelihoods and homes and the rich get
richer. Maxwell Street was one of Chicago’s biggest ascos in de- down, taking most of
stroying the colorful cultural heritage of over a century on Chica- the their records with
go’s West Side at the expense of the almighty dollar for those who the re
already
had more
than their
share.
The lm is
Another Maxwell
a wonder-
ful depic- Street Record Maker
tion of the was Maxwell Radio
heritage of Record MArt
culture and
music on
Maxwell Phil Ranstrom interviewing 99 yr. old Uncle
Street and Johnnie WilliamsPage 14 The Groove - Crossroads Blues Society Newsletter
Music Reviews
Dennis Jones- Soft Hard & lays down some electrifying guitar licks with the sizzling
Loud shuffle “Front Door Man,” driven by a solid groove estab-
10 Tracks lished by the rhythm section. With soothing vocals, Dennis
https://dennisjonescentral. follows up with the smooth R&B title “Nothin’ On You,”
com/bio including the beautiful harmonizing backing vocals from
Allison August and Michael Turner. With a reggae guitar
Since the mid 1960’s, British opening and the reassuring lyrics “I hate hate but I don’t
and American rock bands hate you,” a strong message is delivered in “I Hate Hate.”
have combined blues and The band takes a no holes barred approach to the track
rock elements that have “Gonna Be Alright,” showing the real versatility of this
gone through many stylistic explosive power trio. Dennis keeps the fire burning with
changes and influenced other his signature blues rock guitar style that erupts on the tune
genres through the ages. They recreated electric Chica- “When I Wake Up.” The band invites the keyboard veteran
go blues music with faster tempos that leaned toward a Jason Freeman on the B3 for a note bending extravaganza
more aggressive sound heard in rock. With the fusion of on the powerful track “I’m Not.” Dennis Jones completes
blues and rock becoming popular with UK bands like the Soft, Hard & Loud as ferociously as it opens with his social
Rolling Stones, the Yardbirds, the Animals, John Mayall & commentary on the horrors of slavery outlined in the tune
the Bluesbreakers, and Peter Green’s Fleetwood Mac, the “Burn The Plantation Down.”
US was also developing blues rock with bands like Lonnie
Mack, the Paul Butterfield Blues Band, and Canned Heat. His latest album is my first exposure to Dennis Jones, a cel-
ebrated blues rocker performing his world class songwrit-
The trend continued in the late 60s and early 70s with the ing, vocals, and exceptional guitar playing skills. His new
UK bands Ten Years After, Savoy Brown, the Climax Blues album left me craving more from this experienced blues
Band, and Foghat, paralleling their US counterparts John- man on a mission and delivering his brand of the blues
ny Winter, the Allman Brothers Band, and ZZ Top, repre- with authority. For those long time loyal Dennis Jones fans,
senting a hard rock trend. I think you will find Soft, Hard & Loud a great addition to
your collection.
That blues rock genre is increasing popular in today’s
blues world as well, with artists like Albert Cummings, the Review by Rick Davis
late Gary Moore, Tommy Castro, Coco Montoya, Bernard
Allison, the late Stevie Ray Vaughan, Joe Bonamassa, Tin- Catfish Keith- Blues at Mid-
ley Ellis, Alastair Greene, Dennis Jones, and Tab Benoit just night
to name a few from a long list of contemporary blues rock Fishtail Records
artists. www.catfishkeith.com/
13 Tracks
LA based Dennis Jones, a hard edge blues rocker calls
upon his experience as singer, songwriter, and guitarist to I’ve been following Catfish
release his seventh album Soft, Hard & Loud, an original Keith for a number of years,
eclectic collection of blues, soul, rock, and reggae genres and his work never ceases to
showcasing his musical talents. impress me – he somehow
transports the original spirit
With a very funky style guitar style blended with his artis-
of old Delta blues into the 21st
tic and powerful rock guitar solos, Dennis weaves a tale of
Century, with music that sounds simultaneously old and
an impaired relationship with his significant other who can
new. Over his 40-year career, Keith has covered Lead Belly,
only focus on her self-centered life in the tune “Revolves
Blind Willie Johnson, Bob Wills & His Texas Playboys, Eliz-
Around You.” With a melancholy ambiance created with
abeth Cotton, Mississippi John Hurt, and many more. His
both guitar and vocals, Jones enters into a thought pro-
newest effort, Blues at Midnight, though, is 100% Catfish
voking relationship with the blues, exposing his feelings
Keith original songs.
about a musical genre that is near and dear to him with the
next track, “I Love The Blues.” With a powerful warning Produced by Catfish Keith and Penny Cahill, Blues at
to wake up before it is too late, “Like Sheep” outlines a Midnight is Keith’s 19th album. Keith plays 13 different
complacent society with the gritty vocals “have we reached guitars throughout the album, ranging from a 1927 Gib-
a peak/ the picture’s looking bleak/ how’d we get so weak/ son Nick Lucas Special to a 2018 National Reso-Phone
like sheep,” saturated with blues rock guitar solos. Jones Exploding Palm Baritone Tricone. Listen for his innovative
‘stomp-board’ with a pick-up built in, which punctuatesMarch-April 2021 Edition Page 15
his smooth voice and tricky guitar work. live or on a recording before. Fortunately, that is no longer
“Xima Jo Road” is a strong introduction to the album, the case.
featuring the plucky foot-stomping blues Catfish Keith is
known for. “Pack My Little Suitcase” is fun and playful Brenner handles piano here and adds a little organ and vo-
little tune that really showcases his talents. Like so many of cals. For most of the album Dan Hostetler is on drums, Ron
Keith’s other songs, “Jumpin’ Jack Rabbit” makes it hard to Kadish is on double bass, Joe Donnelly is on baritone sax
just sit still and listen. The title track “Blues at Midnight,” and Gordon Bonham is on electric guitar. Merill Garbus is
is heavy-duty blues tune that shows off Catfish Keith’s the vocalist, Craig’s son Nate appears on electric bass for
versatility as a musician. “Pony Run” gallops along, driven three cuts, and Dena El Saffar handles the strings on the
Keith’s melodic voice and non-stop foot-stomping style. next to last cut. The final cut’s players are included below
“Weep Like a Willow (Hey, Pretty Mama)” brings out the as they are a mostly different group.
best of Keith’s voice, guitar, and stomp-board, while “Your The album begins with a pretty jazz piece entitled “Life Is
Head’s Too Big” shows off Keith’s delicious and sometimes Precious.” Featuring Brenner on piano along with drums
wicked sense of humor. “Roll You in My Arms (Just Like and double bass, the cut has a bit of a lilting feeling and
a Wagon Wheel)” has a full, rich and somewhat seductive expresses hope and feelings about what the title describes.
sound. Keith snarls and growls in “Can’t Be Undone,” Next is “Tut’s Boogie Woogie,” and here are added bari-
which features a punchy beat, twangy guitar, and tricky tone sax and electric guitar. The piano is predominant, but
lyrics. sax and guitar get their time soloing and do an admirable
job. A mid-tempo boogie woogie, the band is tight and
“West Indian Waltz” is a quiet and wistful instrumental offers a thoughtful cut for the listener to enjoy. We’re back
piece that feels like resting under a warm sunset after a to the trio with added vocals by Merrill Garbus on “No
long day. Keith brings back the album’s overall peppy step One Should Die Alone.” Brenner’s son Nate handles the
with “Move to Louisiana,” which features the talented bass here and on the next cut. A somber song, with ethereal
Randy Sabien on violin. “Way Out West” is classic Catfish vocals and restrained but cool piano. The lyrics describe
Keith: stomp-board banging out the beat while limber what no one should have to do, which is pass from this
vocals scatter across his phenomenal instrumental work. world by themselves. “Spring Is Near” adds trumpet to the
Peter Madcat Ruth plays harmonica on the final cut, “Oh, last song’s protagonists. The cut opens with some pretty
Mr. Catfish,” which is arguably the best song on the album. horn work and then Grabus returns with some passionate
I have several Catfish Keith albums, and I thoroughly enjoy lyrical efforts about the burgeoning of Spring. Brenner then
them all. I’ve also seen him perform a few times in con- offers up some equally thoughtfully delivered piano and
cert, and his recorded works are a true representation of works into a bouncy and slightly rollicking groove to fit
his stage show – authentic, entertaining, and 100% Catfish the mood. Quass takes over on his horn for a great solo and
Keith. If you want to hear what blues is meant to sound then he, Garbus, and Brenner take us home to complete a
like, give Blues at Midnight a listen. really nice jazz number.
Brenner gets into some straight up blues with “Some Sexy
Blues For Ya Right Here, Y’All.” The backline, he, dou-
Craig Brenner –
ble bass and baritone make up the players here. The cut
Passages
begins with some slick piano work; the sax then gets it’s
Self Released
turn to solo and lays out some nice slow blues. The guitar
www.craigbrenner.com
then enters the mix and gives us it’s musical take on the
8 tracks
piece. Brenner then takes over, jazzing up the slow blues
Craig Brenner is a Bloom- a bit. The guitar returns for more thoughtful licks before
ington, Indiana based piano Brenner completes the number for us. Sweetly done! It’s
player, teacher and musician. back to boogie time with “Paradiddle Boogie Woogie.”
His website tells us: “Craig is
Merriam Webster defines paradiddle as, “a quick suc-
a blues, boogie woogie, and
jazz pianist, composer, teacher, and recipient of numerous cession of drumbeats slower than a roll and alternating
arts grants. Craig leads Craig Brenner & The Crawdads, is left- and right-hand strokes in a typical L-R-L-L, R-L-R-R
a member of The Ragin’ Texans, and has produced sev- pattern.” No bass here, but otherwise the lineup is the
en CDs. He is the founder of Bloomington Boogies: The same as the last cut. Hostetler sets the pace throughout as
Bloomington Blues & Boogie Woogie Piano Festival.” He piano, drums and baritone sax share fronting the group
has appeared with Bo Didley and opened for the likes of B.
and playing together in this fast paced and fun boogie. The
B. King, C. J. Chenier, Queen Ida, Buckwheat Zydeco, Gary
Burton, Richard Thompson, Wayne Toups, Honeyboy Ed- next cut offers up a completely different approach, sound
wards, Matt “Guitar” Murphy, the Radiators, Duke Robill- and style. It is a mix of viola and violin in a classical piece
ard, Jimmy Rogers, and Terrance Simien, and many more. I with a sacred feel to it and it is called “For My Brother.”
had heard of him before but never have seen or heard him The strings are beautifully played and overlayed withPage 16 The Groove - Crossroads Blues Society Newsletter
each other. This solemn cut is really well done and was all
performed by Dena El Saffar. The album concludes with “All Around the World” sets things in motion. It’s a funky
cut with a nice groove. Hammond organ and horns help
what I’d have to call techno reggae, entitled “Looking For out here, with early solos on organ and trumpet. Bracken
A Job.” The song bemoans, “I send my resume here, I send sings with emotion and Bygrave wails on his guitar. A
my resume there,” with the frustration of looking for a job sax solo is the last of the solo offerings. All in all, this is a
with a very unsuccessful feeling to the result. Here the en- great hook to get the ball rolling. “Shake It” follows, with
semble varies from the rest of the album. Brenner and his more good vocal work by Bracken and Yu in support. A
thoughtful guitar solo is followed by a tenor sax solo are
wife Lori do the vocals, and he adds organ and piano here.
sweet and the horn support throughout is nicely done.
Nate Brenner is on bass, synthesizer and other effects, Tim Bracken breaks out his harp on the jumping cut “Friday
Brookshire is on drums, and Mike Baker is on guitar. Joe Night.” He and Bygrave trade licks and it’s a fun time
Donnelly adds his baritone sax again while Jake Beisar on with lots of harp to appreciate. Next is “On The Town,”
alto sax and Dave Pavolka appears on trombone to round a medium tempo-ed blues shuffle with more good harp
out the horn section. Synthesized reggae with an ultra-slow and guitar. We get to swing and jump with “On The Up,”
where harp, guitar and piano give us some pretty solos.
beat with layers of organ, horns, piano synth and sounds. “Good Behaviour” follows, a track with some more funki-
It’s interesting and fun. ness and horn arrangements. The guitar solo rings out for
Brenner is a talented musician and songwriter. He com- the listener to take notice here. The tenor sax and horns in-
posed and arranged all eight cuts in this CD which he calls terplay with the vocals a bit; it’s a fun ride. “I’ll Be Fine” is
a reflection of his past two years of life. Our world is small; next and opens with some more swell horn work. Bracken
croons and state’s how he’s a changed man to his woman.
it turns out Craig has often played at my wife’s nephew’s
The horns blare and the organ supports then well, too.
distillery in Bloomington and his step-daughter worked
there. That’s far less than the proverbial six degrees of sep- “100 Days” kicks off the second half of the CD. It’s a
aration. I can’t wait to catch up with Craig and get to see somber blues ballad with vocals, organ and guitar driving
the cut. The harp solo is sublimely cool. Bracken offers
and hear him play live. In the meantime, I can listen to his
up another thoughtful guitar solo that’s special, too. Next
recordings. I’ll be stocking up on the other albums soon- is “C’mon Baby,” a slick cut with more horns to enjoy.
this is really good stuff with an eclectic mix of styles and Sax and guitar solos are also very fine, here. “My Baby’s
genres to enjoy. I highly recommend checking him out! Alright” turns things down tempo-wise in a jazzy feeling
cut. The sax take s a turn first at a solo and later the guitar
Reviewed by Steve Jones offers one up, too. “So Glad” opens with some more harp
in another song with a nice, funky feel to it. The harp is
The Flaming Mudcats – Forever featured throughout as Bracken blows some distorted and
And A Day cool stuff as the backline helps drive the cut along. The gui-
Mudcat Music tar finishes things off and then the harp fills in with it for
www.theflamingmudcats.com the outro. “Your Daddy” is a fun song with Bracken asking
14 tracks his girl why her daddy doesn’t like him. A medium tempo
swing, it moves along well. The guitar solo and later harp
I first got to hear New Zealand’s
solo help sell this one. Things finally start to break out
Flaming Mudcats in 2012 on their with “Black Limousine,” a driving cut with honky tonk pi-
debut album and was totally im- ano. Bracken adds some more cool harp to the mix as does
pressed. When they told me they Bygrave on his guitar; over all it’s well done! The album
were coming to America in summer 2013 we added them concludes with “Forever And A Day” with a downhome
to our first ballpark festival in June. 2014 saw their follow feel. Lots of hand clapping and fun here as the boys have a
up album and we had them at Lyran Park in 2015 at our good time and Bracken chugs on his harp.
fest. 2018 saw their third release and here with their fourth
album the guys add fourteen original songs that they wrote I enjoyed the album and all the great original songs. If
and arranged. It’s always a fun time to get and hear their there is one, minor complaint it might be that I was waiting
new stuff! for one or two of the songs to cut loose and open up the
pace a bit more- more dance numbers! But the stuff here is
The band is Craig Bracken on lead vocals, harp and tenor all good. Bracken excels on vocals and harp, Bygraves gui-
sax, Doug Bygrave on guitar, Johnny Yu on bass, backing tar shines and the horns play a big role in the over sound
vocals and acoustic guitar, and the venerable Ian Thomp- and feel of the album. It’s always an exciting thing to get a
son on drums. Guest musicians abound here, mostly new album from these great New Zealand musicians and
revolving around a horn section that plays a big role in the I was so happy to get and hear this new one. It’s too bad
sound and feel of the album. Andrew Hall on sax, Mike they live on the other side of our planet because The Flam-
Booth on trumpet, and Jono Tan on trombone make up the ing Mudcats always put on a great show and now have
horn section. Ron Stevens adds the Hammond organ and fourteen fine new tracks to add to their repertoire!
on piano is Mike Walker. Steve Cournane is on congas and
Reviewed by Steve Jones
percussion.You can also read
