Portrait : John “Juke” Logan (1946-2013)

Rockin' the blues

Three albums and a live with Doug MacLeod, that's about it, but enough to get a hell of a foot-stomping time. Three albums that rock, swing, boogie by a jack of all blues trades who unravels and revamps the blues with a rockin' heart, injecting different styles he feels like. But make it clear, it's not blues-rock.
This brilliant chameleon from South California (1) who was a real and respected blues connoisseur could put a J.J. Cale touch here, a Zydeco or New Orleans carnival beat there, a Latin feel a la Los Lobos (he was a good friend of David Hidalgo) or a bit of soul, always with a sharp sense of tasty exciting arrangements and generally a good dose of humor in his songwriting.

Portrait : Johnny B. Moore

 

From Clarksdale to Chicago

Johnny Belle Moore is an authentic son of the Delta : he was born in 1950 in Clarksdale, Mississippi, one of the iconic birthplaces of the blues. He first learned how to play guitar at age seven from his Baptist minister father Floyd Moore, and quite naturally played and sang gospel in his dad's church. In 1964, like so many elder blues musicians, he moved up to Chicago with his family after his mother died.
In the Windy City, Letha Jones, the widow of pianist Little Johnny Jones, took him under her wings and introduced him to the blues, playing lots of records to him. The young man was caught by the blues fever and got further guidance from Jimmy Reed that he had already met back in Clarksdale during his childhood.

Portrait : Blues Boy Willie

The man from Memphis… Texas

There's a town in Texas about 130 km south east of Amarillo, in the middle of endless cotton fields, named... Memphis. It's in this “Texas Delta” that one William Daniel McFalls better known as Blues Boy Willie was born in 1946. His father was then a tent show musician known as West Texas Slim that once accompanied Ma Rainey. He was blowing the harmonica and the young Willie wanted to do the same. When his father was out at work he used to sneak in and snatch one of his dad's harps to practice. Later, his father left the “devil's music” to become a preacher, and the young Willie would sing gospel in his dad's church.

Portrait : Sven Zetterberg (1952-2016)

→ Special thanks to L.C. for introducing me to this exciting bluesman from Sweden

Soul of the blues

It took him just a short year to master guitar perfectly when he was already 24. So perfectly that he was able to back the great Muddy Waters at a 1976 show in Stockholm. Since then he could compete with the best US blues guitarists. But his discovery of the blues goes back way before that when by the age of 12 he used to listen to blues on his small radio. After hearing Walter Horton, he started playing harmonica, and later started to sing, soon becoming a skilled blues singer.
His first band, Telge Blues, active from 1972 to 1976, released a unique album in 1975. He was singing and playing harmonica. It is when the band split that he decided to practice guitar intensively.

Portrait : Big George Jackson (1949-2021)

 Nothing Like the Rest (1994), Beggin' Ain't For Me (1998), Big Shot (2001), Southern In My Soul (2003)

Nothing but the groove

George Albert Jackson, dubbed “Big George” when he reached 6,5 feet, certainly was the best kept secret of the Twin Cities (Minneapolis-St Paul) where he was born in 1949. The release of his first opus Nothing Like the Rest in 1994 on the small local label Cold Wind Records rightly caught the attention of the Dutch label Black and Tan that published his next three albums (Beggin’ Ain’t For Me in 1998, Big Shot in 2001, and Southern In My Soul in 2003) and opened him the doors of concert halls and festivals on the Old Continent from 1999.

A momentary lapse of inspiration

 On sabbatical leave. Will be back soon.

Meantime, I invite you to explore Onurblues through the Archives or the Tags.

Take all care of yourselves in this instable world.

Journey To Nawlins, Chapter XVI : The Piano “Professors” (Jelly Roll Morton, “Tuts” Washington, Champion Jack Dupree, Professor Longhair, Fats Domino, Eddie Bo, Ellis Marsalis, Huey "Piano" Smith, Allen Toussaint, James Booker, Dr John, Henry Butler, David Torkanowsky, Tom McDermott, Jon Cleary, Davell Crawford)

A century in ivory
Among the sacred instruments of New Orleans music, piano comes next to the iconic brass instruments. The Crescent City counts numerous influential pianists who brought an essential contribution to the unique New Orleans sound for a century.

Blues 'N' Trouble : highlands boogie & loch blues Not swamp blues but loch blues, not Mississippi Hill Country style but Highlands boogie, not moonshine fueled but soaked in old whiskey, here are...

The volcanic bluesboys from Scotland

Boogie, jump, stomp, shuffle, honky-tonk, ragtime, rock'n'roll..., Blues 'N' Trouble is the most exciting blues band I've heard in a long time. This deserved making a pause in the Journey To Nawlins series (that will continue very soon indeed).

B.B. King who was backed by Blues 'N' Trouble on several occasions in his UK tours complimented them as “the best white blues band in the world”. The album "Lazy Lester Rides Again" (1987) on which they backed the Louisiana bluesman was crowned with a WC Handy award. Still, Blues 'N' Trouble remains largely unknown to many blues fans though it gained a cult status among sharp connoisseurs and local supporters along his touring path.

Journey To Nawlins, Chapter XV : Wild Injuns Down In New Orleans* (The Wild Tchoupitoulas, Bo Dollis & The Wild Magnolias, Big Chief Monk Boudreaux, Donald Harrison Jr & Congo Square Nation, Chief Adjuah & the Xodokan Nation of Maroons, And Many More...)

Flamboyant Black Masked Indians

Mardi Gras Indians are probably the most exotic and picturesque element of New Orleans unique cultural traditions. Actually the term “Mardi Gras Indians” is not used by those it designates. They rather call themselves “Black Indians” or “Masked Indians” or “Black Masked Indians”/”Black Masking Indians”, “masking” meaning dressed in personally hand-crafted costume.

Journey To Nawlins, Chapter XIV : Mem Shannon (complete discography)

The man from Phunkville

Mem Shannon is a bluesman. But a bluesman from New Orleans, which means that he plays his own local recipe of blues ― I called it Shannon's blue gumbo groove ―, a typical New Orleans mix of swamp rock & blues, R'n'B, soul…, all in a thick funk gravy, with a very attractive jazz underlining, and always a saxophone around. Appealing, exciting, spellbinding !

Born in New Orleans just before Christmas 1959, Shannon started to play guitar in his mid-teens, and got serious about it after seeing B.B. King in concert. King's economical playing style was a major influence for Shannon who always cover a few King's songs during his gigs, a fact largely confirmed through the videos selected below.