Born in New York City in 1950, he first discovered blues listening to his father's old 78-rpm discs from Leadbelly, Josh White or Meade "Lux" Lewis. Later, in Tennessee, he met and learned from great finger picking guitarist Sam McGee (1894-1975) and B.B. King's supposed cousin Furry Lewis (1893 or 1899-1981).
Some characteristics make the Mardi-Gras Indians of New Orleans quite unique : strong Afro-Caribbean musical roots immediately identifiable in their rhythmic patterns (bass drum, congas, cowbell, tambourine…); incorporation of brass jazz; traditional lyrics in Creole French patois; constant call-response between the lead singer and the background vocalists; and last but not least sumptuous costumes as colorful as a party of tropical birds in the jungle.
Fletcher belongs to this new generation of bluesmen who do not limit themselves to one blues style but explore most of them and blend them together to forge their own personal signature. Fletcher debut album mixes jump, swing, boogie, Texas style, Chicago or Memphis sounds, infusing a rock'n'roll energy in many of the songs, and delivering long soulful guitar solos. The only kind of blues absent from the album is acoustic roots blues.
From his stand, trumpet player, singer, band conductor, master of ceremony Boney Fields is putting out a show that could almost make James Brown suddenly pass for a novice. Fields heats up the audience as much as his own musicians, like when he's directing Samb to slow down then re-accelerate the tempo at the end of the 13-minute long killer “Late Comer”.
From the beginning, blues was an old acquaintance of the Stones and continued to be, hidden and ready to set an ambush in most of the Jagger-Richards repertoire. In 2016, eleven years after their last studio opus, the band took the public by surprise, releasing a full album of blues covers.
Not only Solberg and his group were Allison's regular touring band, but this talented guitarist also co-wrote much of the Allison's repertoire during these periods and brought his skills as arranger and producer. In the second chapter of their collaboration, both musicians released three albums considered by many as the best Chicago blues albums of the 1990s : “Soul Fixin’ Man” (1994, also released as “Bad Love), “Blue Streak” (1995), and “Reckless” (1997).
Between his two stretches of work with Allison, he played and toured with many blues musicians and bands among whom John Lee Hooker, the Legendary Blues Band, the Nighthawks, Elvin Bishop...
