Anthony Gomes (left)has come a long way and covered a lot of ground since leaving Canada in the early 90`s. Now living in Nashville, his first stop was Chicago where he won Buddy Guy`s Legends “Best Unsigned Blues Band” competition in 1998. In his own words he explains “I moved to Chicago to become a better musician and moved to Nashville to become a better songwriter”. The young singer/guitarist has released four recordings, the latest , Music Is The Medicine finds him once again teamed with legendary producer, Jim Gaines (Santana, Stevie Ray Vaughan). A new Anthony Gomes Live CD will be released in fall 2007. His live shows are loaded with impressive firepower and intense energy with the current tour covering North America, Europe and of course his hometown show at “The Dollar”.

Julian Fauth, (right) surely one of the most unlikely outdoorsy bluesmen on the local scene went fishing with drummer Bob Vespaziani and shows off his catch.

Living Blues Reader’s Poll Awards Congratulations to Mako Funasaka and Mel Brown who just won the prestigious LIVING BLUES Magazine Reader’s Poll Award for Best Blues DVD for the Talkin’ Blues/Electro-Fi co-production “Mel Brown - The DVD” and further congratulations to Electro-Fi recording artist Mel Brown who also won the Reader’s Poll Award for “Most Outstanding Musician (Guitar) 2007” beating out his old friends B.B. King and Buddy Guy. Full details and a cool photo of Mel are in the current (Aug/07) issue of Living Blues magazine. And lest not we forget the other Canadian, without whom there would be little to talk about. Andrew Galloway, blues aficionado and Electro-Fi main man has helped keep Mel on the musical radar and glad that he’s now a happy, golfclub-swingin’ Canadian.

Ottawa’s JW-Jones (below left) put together a couple of his favourite guitar players and recruited a crack rhythm section for his new album, his firth. Pictured at Clear Lake Audio in North Hollywood are (l. to r.) Little Charlie Baty of Little Charlie and the Nightcats, drummer Richard Innes, JW, guitarist Junior Watson and legendary bass-meister Larry “The Mole” Taylor.

In the Studio: Ottawa’s JW-Jones has just recorded an album with some of his all-time favourite players, Little Charlie Baty and Junior Watson. Marking the first time these two innovative blues guitarists have played together on the same tracks, this has been called “a recording of historical importance”. To add another twist, Charlie plays some mean harmonica on one track while Junior backs him with raw emotion on his guitar. The studio was Clear Lake Audio in North Hollywood, California.

Charlie Baty began playing harmonica at the age of 12 and by 1976 ‘Little Charlie & the Nightcats’ was born. Charlie switched from harmonica to guitar and Rick Estrin took over the singing and harmonica playing. Charlie has released 10 records with Alligator, 3 records with John Hammond on Point Blank, and appeared as a guest on records by Joe Louis Walker, Kid Ramos, and others.

With over thirty years of experience, Junior Watson has reached cult status. Junior has done what all great artists have done: melting diverse styles to create a style all his own. He was a founding member of The Mighty Flyers and stayed with the band for ten years. He then left to join Canned Heat for ten years. All along the way he has backed up and recorded with the who’s-who of the blues including Big Mama Thorton, Jimmy Rogers, Charlie Musselwhite, Kim Wilson and many others (over 70 albums).

JW was thrilled to enlist what is arguably the world’s greatest blues rhythm section, Richard Innes on drums and Larry Taylor on bass. Innes and Taylor have worked together with artists such as the Hollywood Fats Band, Buddy Guy, Kim Wilson, Rod Piazza, Kid Ramos, Junior Watson and Lynwood Slim. The album is due for release in early 2008. (photo on page 18)

Peter’s Players have a website: Peter’s Players has established itself as one of the finest blues concert series in the great north and now they have a new website that will undoubtedly help spread the word further. Visit www.petersplayers.com for all your information regarding Peter’s Players.

Fredericton’s Harvest Jazz & Blues Festival. September 11-16th has over 125 acts across 20 stages in 4 city blocks over 6 fun-filled days on the shores of the Saint John River.

Jazz fans will enjoy Arturo Sandoval, The Stu Jazz Orchestra, SoulJazz Orchestra, Duane Andrews. Molly Johnson, L’il Brian and the Zydeco Travellers, Gov’t Mule, John Campbelljohn, Miami’s Lee Boys and Matt Minglewood.

Blues fans will enjoy the Dutch Mason Tribute , Shemekia Copeland, Detroit Women. Garrett Mason. Big Dave McLean with Doc MacLean, Warren Haynes, Mark Stafford, Watermelon Slim and Rob Lutes www.harvestjazzandblues.com

2008 Blues Music Awards Category Changes: The Blues Foundation has announced several changes for the nomination process currently underway in preparation for the 29th Blues Music Awards next May when it will once again recognize the finest in Blues performances and recordings. They will now recognize the increasing number of video releases by honouring one DVD title with a Blues Music Award. They will be eliminating the Comeback category due to a historical shortage of qualifying releases; and they will restrict nomination eligibility in non-album categories to two consecutive Blues Music Awards unless the artist has an eligible release in the third year.

While there is likely to be little controversy over adding the DVD category, the elimination of the Comeback Album category may be more surprising because the perennial shortage of real Blues releases qualifying for the category is generally unknown to the public.

The most significant change, of course, is the expanded restriction on the eligibility to be nominated in a given year. The move is actually a continuation of the Foundation’s effort in recent years to address an oft-heard complaint about the Blues Music Awards-the same people win every year. While this has not been as widespread as some suggest and is a problem in other musical genres as well, The Blues Foundation has nevertheless undertaken steps to address this legitimate concern. In recent years, The Blues Foundation has, with their permission, named categories after B.B. King and Pinetop Perkins and correspondingly removed them from future consideration in these categories. Under the change announced today, a two-time winner in a non-album category such as Contemporary Blues Male Artist or Instrumentalist-Bass will not be eligible for a third consecutive nomination unless that musician has released a CD during the current eligibility period. After sitting out a year, the musician would be once again eligible in the following year.

The Board also agreed with the committee, deciding against adding zydeco, international and Blues/rock categories at this time. Individual zydeco releases may have limited Blues content and has just been awarded a Grammy category. The Blues Music Awards are already open to international artists and releases, and artists have been nominated in recent years from Europe and Australia. While there is some sympathy for the Blues/Rock category that appeals to many fans, especially younger ones, the categories already include three Contemporary Blues categories.

2007 International Songwriting Competition Opens: The International Songwriting Competition (ISC) is now accepting entries for the 2007 competition. As the only major songwriting competition with a REAL Blues category, ISC Offers better exposure, bigger prizes ($150,000 (US) - including $25,000 (US) cash) and the best judges for any songwriting competition in the world. Judges for 2007 include: Jerry Lee Lewis, John Mayall, Kenny Wayne Shepherd and 7 record label presidents from major and independent records labels (Including Bruce Iglauer (Founder/President Alligator Records). For entry information and a complete list of judges please visit www.songwritingcompetition.com

Touched by the Blues: Toronto expat and blues aficionado Eli Marcus, now living in Israel, has published a new 170 page pocket book about the unsung heroes of the blues... many with a Toronto connection (check out “Bird” Stafford’s memories of being on the road with Hock Walsh). It’s a fun book to read and just may bring a tear to your eye. “Touched by the Blues” takes you backstage as blues musicians tell it from the gut... from hard knocks to magic moments playin’ the blues! Price is $19.95 including Postage Worldwide. Order from www.bluesforpeace.com

- Brian Blain, Wm. Perry, Eric Thom

Big Road Blues Tour

Doc MacLean and Big Dave McLean

Doc MacLean and Big Dave Mclean are setting out on a 55-date coast to coast tour - The Big Road Blues Tour. Doc says “It’s a blood and guts van tour put together by two guys who have each done this for over 35 years. No roadies, no entourage. Two guys with National guitars. We’re playing everything from house concerts to convention centers, coffeehouses to fist-fight saloons and prisons.”

I’ve been a touring musician since 1972. As an independent artist working in the small, niche market which is blues/ roots/ Americana, I’ve had to study, learn and develop techniques and strategies to stay alive and keep doing what I love. In a rapidly changing world this has encompassed everything from personal health and fitness, to creating new work and figuring out how to bring it to market. As a teenager soaking my harps in corn liquor I never imagined a career in the blues might involve business plans, market research, and an understanding of spreadsheets and relational databases. Or that my home office would involve anything more than a record player and a coffee pot.

The blues has had its ups and downs since the big revival of the 1960s. I got going in the early 1970s when there was still a great deal of excitement. White, middle class America was still discovering and exploring the blues, and many of the great recording artists and performers from the earlier generations were touring. As a young player in those days I never would have dreamed of making a record. Why would anybody do that when Muddy or Wolf, or Sonny and Brownie were playing down the street? What could we possibly have to say? Next, a steady decline in public interest took place as the blues scene became dominated by cover bands playing out fairly standard set lists. Authenticity and pedigree became important- just as in classical music. People were wanting real stories, from artists they could believe in. It’s taken some time, but I’m here to tell you- if you don’t know already- that the blues is back. I know, I know - it never really left but now it’s bigger, stronger, healthier. The tree has more branches, and they are bearing some sweet fruit.

The radically different nature of the music business in the digital world has helped nurture the blues, just as it has with other, niche artforms. With the world as our market, the fan base is big enough to be viable. And the internet provides the means to reach them. A tour like the one I’m on now would simply not have been possible even a few years ago. It’s not just a matter of me getting in touch with people in far away places- it’s the fact that people in these places are better organized than ever before, and better informed about the music they love.

Blues Societies across Canada have contributed greatly to the success of this tour. As a whole I’m very impressed by the way they are both honoring the history and promoting the future of the blues and the artists who make it. In some smaller communities the Blues Societies are assuming greater importance, not only as social organizations for their members, but as service organizations using the blues to aid a variety of worthy causes from cancer research to homeless shelters. As much as they help me by promoting my shows, I want to help them make a difference in their communities. It’s great to be performing for people who care- not only for the artists, but often for a greater good. Whenever any of us deliver a great show for them, the blues world gets a little bigger and brighter for all of us. That’s our main job: to create and deliver. As our public becomes larger our ability to make a living is enhanced, and our chances to create significant new works are increased. Blues Societies are playing a vital role in the current blues revival.

I’m very grateful for the help of over a dozen Canadian Blues Societies or their members including, Canada South Blues Society, Great Lakes Blues Society, Halton Blues Society, East Coast Blues Society, Montreal Blues Society, Ottawa Blues Society, Hornby Island Blues Society, Okanagan Blues Society, Bruce County Blues Society, Saskatoon Blues Society, Regina Delta Blues Association, and the Toronto Blues Society. The Harvest Jazz and Blues Festival, Atlantic Jazz, and the Lake of the Woods Heritage Festival, are organizations which perform many of the same functions. Nearly half of the 55+ Big Road Blues Tour dates came with assistance from these groups or their members. It’s so great to have friends up and down the line!

- Doc MacLean

Tate's Vintage Gallery

Here is another in our ongoing series of revealing portraits of relatively obscure artists who dared to be different written by Blues aficionado and reporter Gary Tate. Gary welcomes your comments at gmtgt@yahoo.com.

Prior to his return to prominence prompted by several acclaimed releases on Black Top Records, Robert Ward was known only to Keepers of the Flame. Connoisseurs knew Ward as the guitarist for the Ohio Untouchables, a group he formed in 1960 after leaving his Georgia birthplace and relocating in Dayton, Ohio. They backed up the Falcons featuring Wilson Pickett on 1962’s “I Found A Love”. After leaving the Untouchables (a later incarnation the Ohio Players would explode to prominence with “Fire” and “Love Rollercoaster”) Ward recorded a few solo records including “Fear No Evil”, but he primarily concentrated on Motown studio guitar duties backing up acts like the Temptations and Undisputed Truth.

Ward’s highly distinctive style incorporates a dazzling vibrato-soaked tone, and the Black Top releases gave notice those signature guitar chops were fully intact. Ward’s warm soulful vocals were shaded by a gospel feel.

Dave Hussong- a Dayton deejay and blues aficionado---hooked Ward up with the Scott brothers (Hammond and Naumann) owners of Louisiana-based Blacktop Records. Ward’s 1990 label debut “Fear No Evil wasn’t a mere one-off: It was followed by celebrated releases like “Rhythm Of The People”, “Black Bottom”, and “New Role Soul”.

Ward’s facility for assimilating many diverse styles into a convincing whole proved especially satisfying for those seeking Blues that reached beyond the traditional 12-bar format. Now living in semi-retirement in Dry Branch, GA, Ward’s music continues to cast its mystical spell---wherever and whenever it’s heard.

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Loose Blues News

Big Road Blues Tour

Doc MacLean and Big Dave McLean

Tate's Vintage Gallery

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