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to elbow, cheering, sweating, and singing together, an event never to be repeated was shared by a special few. You know what I am talking about, you could see it in Gregg’s eyes as he poured his heart out and the audience responded as one. I remember Al and I hugging, words not needed, at the sheer joy of helping to orchestrate an event like this. Photographers tried to capture it with cameras, writers with words, but as they say “you had to be there”. We need it, we yearn for it, the shared live music experience.
A letter from the publisher As the effect the virus had around the world may not have been taken seriously enough at first, we all came to realize this would have far reaching consequences as the death toll rose and adjustments like we have never seen before began to happen in our daily lives. The live music industry is simply one sector of society to suffer but it is the sector that SFL Music Magazine and we all share together; it is the communal music experience. I think back to innocent times of the 60’s when 500,000 people from a generation that expressed itself and communicated with each other through music shared a muddy field for three days, elbow to elbow, sharing the food and drink, the music, and the love. When resources got scarce we would take a bite of an apple or peach and pass it on, a swig of a water jug and do the same. We huddled together to shelter from the rain and sleep together in the cold of night while the music kept us warm and secure. Those of us who were there felt the passion of the musicians who sang of freedom, protested a war, made their mark on a generation, and connected with the crowd each in their own way. The connection was exemplified when Stephen Stills felt comfortable enough to open up as he looked out at a crowd larger than anyone had played for before and uttered the immortal words, “we’re scared shitless”. I think of only a couple of years ago when a new generation of Allman Brothers Band lineage made the Funky Biscuit in Boca Raton a must play while touring South Florida. First among them was Devon, Gregg Allman’s son. One night Devon brought Gregg to attend his show and there was a magic in the air that only people who were there can describe. The Allman Brothers may have been the quintessential music act that simply had to be experienced live, for their shows were a shared experience that bolstered the musicians and made each performance a special one. On this night at the Biscuit, Gregg saw owner Al Poliak’s Hammond B3 on the stage, a 1963 B3, an instrument Gregg was known for along with his truly special and soulful voice. As his touring band was playing a special set opening for Devon, Gregg couldn’t resist and he made his way to the stage for an unannounced appearance. This was the moment when the crowd and musicians became one. The Biscuit was bursting at the seams as the crowd grew as if by a magic calling, and again elbow
To illustrate even more... As I have worked with Jesse Finkelstein at Blues Radio International for some years now, we have done performance interviews in his studio, some 500 of them. Jesse broadcasts them on his website and his radio show goes out to listeners all over the world. But these intimate performance interviews with legends, current stars, and newcomers from all genres come into the studio and pour their hearts out with their music and their stories for a camera, and us, at BRI. For Jesse and I, many times a moment of great depth and intimacy comes when without words we look at each other at the same time and know that we shared a special moment of total baring of a soul, connecting with an unseen audience, or us (all of us) by being there in the room live with the artist that cannot be captured in any way other than to be there. We nod in appreciation that we witnessed this moment first hand and smile. That’s what we concert goers are looking for. That’s what we want to share when we go out to music events big and small. We miss it right now as it was taken away from us suddenly. We will cherish even more as we get through this unprecedented time and get to attend live music shows once again when the time comes. We will appreciate everyone involved even more and hope to never take for granted again those moments when we share this experience. I am amazed at the resourcefulness of the community. While events have been cancelled, venues closed (some for good), and an entire industry suffers unlike never before, there are those who adjust and try to help. Many musicians have initiated “live” events from their homes broadcasted over Facebook, Instagram, and the like. Some venues have provided this outlet through their websites. All are encouraging us to enjoy the experience and buy the musicians’ cds and merchandise to try to help those who are out of work. Blues Radio International started doing live interviews on Facebook daily with musicians from around the world relating their experiences as some musicians are stuck out on tour not able to get home, while others are sharing their quarantine. Others provide great stories live, as Bob Margolin did the other day when he shared a memory of his initial audition with the Muddy Waters Band way back when. Other venues are doing their best to help their staff, doing some sprucing up, and trying to find a way to book acts so that when we return to “normal” we can get back to what we love. Countless fundraisers have begun and we are responding. Truly resourceful people are adjusting during these times and there is beauty amongst the devastation happening every day. We are encouraged that there is a pent up need to see each other out again, share the music experience again, report about the music again. We want to thank all of our advertisers and supporters of SFL Music Magazine over the years. We want to thank all of the musicians who made it special to go out and share a night with them. We want to thank the roadies, the managers, the publicists, the venue owners, the staff that work the events, and of course all of you. We are all in this together, and just like in that muddy field many years ago, we will help each other through it. If you have a story to share please contact us. We would love to hear it. Stay safe, follow the guidelines, and keep the faith. See you in the new normal!
Goo Goo Dolls | Hard Rock Live Photo: Jay Skolnick
Grace | Revolution Live Taj Mahal Playhouse Nikki &Potter Matt| Parker Hill | Funky Biscuit Photo: Jay Skolnick
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Bobby The Funky Biscuit Jesse Wilson Malin | | Parker Playhouse Photo: Photo: Jay Jay Skolnick Skolnick
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April 2020
Issue #94 PUBLISHERS Jay Skolnick Jay@SFLMusic.com Gary Skolnick Gary@SFLMusic.com EDITOR IN CHIEF Sean McCloskey Sean@SFLMusic.com SENIOR EDITOR Todd McFliker Todd@SFLMusic.com DISTRIBUTION MANAGER Gary Skolnick Gary@SFLMusic.com OPERATIONS MAGAGER Jessica Delgadillo Jessica@SFLMusic.com ADVERTISING Info@SFLMusic.com CONTRIBUTORS Brad Stevens Ray Anton • Lori Smerilson Carson Tom Craig • Megan Garzone Peter “Blewzzman” Lauro Alex Liscio • Janine Mangini Larry Marano • Nathan Rose Romy Santos • David Shaw Darla Skolnick COVER PHOTO Jay Skolnick SFL Music Magazine is a community newspaper that is published monthly in Boca Raton, Florida. All contents are copyright 2020 by the AWG Group, LLC, and may not be reproduced without written permission of the publisher.
4. NIKKI & MATT HILL 6. JESSE MALIN 10. JASON ISBELL 11. JOHN “BLUES” BOYD 12 - BITE ME BAMBI 14. KENNY G 18. JASON & NICOLE NEWSTED 21. ALBERT CASTIGLIA 22. THE UNLIKELY CANDIDATES 24. SHARI PUORTO 24. POPA CHUBBY 26. BILLY PRICE 28. MONDAY NIGHT JAM 30. MARIA MULDAUR 32. COREY LUTJEN 34. BEATLES ON THE BEACH 2019 38. DAVID JULIA 40. BRANDON “TAZ” NIEDERAUER 42. ALAN DIXON 44. DIANNA REIN 44. GLADYS KNIGHT 45. BRANDI CARLILE 47. CLASSIFIEDS 48. JASON NEWSTED Message to our readers and advertisers As SFL Music Magazine adjusts to the events transpiring over the last several weeks we have decided to put out the April issue, online only. We believe that there is a need to continue to communicate what is happening in the music community we love so dearly and want to be here for all of you, our readers and fellow concert goers and live music attendees, musicians, venues, clubs, and all the people who make the music industry what it is. SFL is dependent on its advertisers to bring you our “in print” all music magazine here in South Florida every month. Our advertisers have been severely affected of course and we are doing our part to give them an outlet to communicate with the public while there are no shows to promote. Our staff is made up of volunteers who contribute their time and effort, photographing, writing, designing, and distributing the magazine for the love of the music. We thank each and every one of them for all their efforts over the years. While there are no shows to photograph or review, our staff has volunteered to contribute whatever they can for the online version of the magazine as well. We will be back in print as soon as possible and look forward to working with all our advertisers to bring you all the happenings in South Florida Music as we return to normal. We honor you for your commitment in the past and will be with you as the new normal presents itself when the disruption to our lives subsides.
Jason Isbell | Charles F Dodge Cener Photo: Tom Craig
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Gulf Coast Records Releases ‘What My Eyes Have Seen’ By John “Blues” Boyd “This album may be the most important and historically relevant blues album in decades” — Kid Andersen I was first introduced to the music of John Blues Boyd by Kid Andersen when we were working together on Billy Price’s new record last year. I was immediately struck by the clarity of his diction and the magisterial tone of his voice. I am not religious, but it sounded like how l would imagine the voice of God… strong, commanding but calm. Filled with warm emotions, a palette with many colors and shades. I could see why Kid raved about John and l was converted in an instant. We had to make a record with John. Neither Kid or l wanted to do covers, John is a completely original artist and deserved songs written for him and him alone. Then Kid told me John’s story. Born in Greenwood, Mississippi in 1945 he was picking cotton in the fields at the age of seven. At eighteen he was run out of town by racist forces for joining Martin Luther King’s Freedom March at sixteen. It was obvious to us both that this record had to be about his life. A life that has witnessed the struggle and oppression of Afro Americans through the dark days of Jim Crow and the murders of many including Dr. King, Malcolm X, and John F. Kennedy. John overcame all this and married and made a good life for himself and his lovely wife Dona Mae in California. The songs that Kid, John, and l have written here are snap-
shots from a life camera. Pivotal moments in a long life, well-lived and John has inhabited them with his body and soul. With the passion and sadness, anger and joy that he felt at the time the events he sings about happened. This record is not just John Blues Boyd’s story but stands as a testament to the struggle and contribution of the Afro American people who have contributed so much to make this country great. It also gives warning of what happens when racism and inequality are allowed to have a voice in society. Modern politics are indeed divided and dark. In John’s songs and memories is a warning that we should all heed about what can happen when we allow evil to prosper. This is a great record by a man who should be regarded as a National Treasure and hopefully, this record will go some way to addressing this but this magic could only happen with the musical brilliance of the great Kid Andersen. You send him lyrics he sends you back musical gold, sometimes within hours. The sweep of his imagination knows no bounds. He hears things that no other producer l have worked with hears and he plucks them from that fertile imagination and makes them come alive. He is the conduit that has pulled this record together and helped John Blues Boyd make what l believe will be one of the seminal Blues records of this or any century. Mike Zito and l are so proud to have this record on our label and have the privilege of working with two giants of the Blues: John Blues Boyd and Kid Andersen. — Guy Hale, Gulf Coast Records
By: Lori Smerilson Carson Movies have a profound effect on people for many reasons, but for Singer/Songwriter Tahlena Chikami, one movie released in 2001 truly affected her life. Having the opportunity to chat with her during this COVID-19 pandemic, she explained this phenomenon, revealed how her band came to be and what fans can look forward to in the coming days with this amazingly talented ska band. SFL Music: How did Bite Me Bambi come together? Love the name! Tahlena Chikami: Oh, thank you. Bite me Bambi sort of started back in like 2018 when Brian Mashburn (guitarist) who was in Circa at the time, formally Save Ferris. He and I started getting together to write some music and we were really having a good time writing songs, and we were like, hey. Who else should we pull in on this crazy idea? We started forming the band from there. So, it’s not a really crazy story but it’s the truth. (she laughed). SFL Music: That’s cool. How did you guys decide on the band name? What inspired it? Chikami: Yeah actually, it’s the quote from the Josie and the Pussycats movie in the early 2000’s. I don’t know if you’re familiar with that. It had like a weird cult following, but I saw that when I was a kid and it was the movie that made me want to be a musician and be in a band. So, when we couldn’t think of a band name, I started looking through the scripts and one of the characters goes, oh, bite me Bambi. I was like, that’s it! So, 12 | www.SFLMusic.com
that’s what we went with. SFL Music: You’re an actress as well. You were in a couple of movies (Faking It and I kissed A Vampire as well as shows Parks and Recreation and Gilmore Girls). How did that come about? Did you start at an early age? Was there something that inspired you to get into acting and singing? Chikami: Well according to my parents I’ve always been a ham. Around the age of nine I ended up doing musical theater. I was that kid, and so I did that for a long time. Then when I was about fifteen a friend of a friend got me an interview with his agent and that’s how I got my first agent. So, I started acting on TV and movies and I did that up until pretty recently. I’ve kind of taken a step back to focus more on music, but it was a super fun time when I was doing it, and I really enjoy it still to this day. SFL Music: How did you get into music? When you were in Musical Theater you probably had theory and all of that stuff. Did you take music lessons on your own? Chikami: Yeah, my parents are really responsible for my musical taste. I’m really lucky. I think they have good taste and now it’s my taste (she chuckled). My parents were younger during the nineties. They were like in their early twenties. So, I grew up in a house that was playing like two-tone ska music and Green Day. Also, classics like The Beatles and stuff like that. So, my parents really influenced me and we always had music on. If we were cleaning the house, we had music on. If we were hanging out on a Friday night eating pizza, we had music on. Then as I got older and I got involved in musical theater, my parents put me in
voice lessons which, super helpful, and that’s where I got a lot of theory and stuff like that. SFL Music: Do you have other musical influences besides the ones you mentioned? Chikami: Yeah, vocally a lot of my influence comes from my uncle gave me a Linda Ronstadt tape when I was a kid and I watch her. Janis Siegel from The Manhattan Transfer, the jazz singer. A Lot of people are kind of like, who? I grew up listening to a lot of Manhattan Transfer. They’re actually my first concert my parents took me to when I was ten. I was a super cool kid if you can’t tell. Musical theater and The Manhattan Transfer. Everyone was lining up to be my friend. SFL Music: They should! Chikami: Then there’s Pink. My mom and I got really into Pink and I just love her voice and how strong and powerful she is, and so I draw on inspiration from her as well. SFL Music: Is that where you get some ideas for your music? What inspires your music? Chikami: It’s mostly Brian Mashburn and myself who write the music and we just draw a lot on older. We’re really big fans of two-tone ska, 60’s ska, rocksteady, and we like to have sort of that mixed with more of a poppier influence. You know, that have catchy melodies, and we like to have songs that will get stuck in people’s heads (she laughed). SFL Music: I definitely can see that. I love the video “Hot Lava.” Looks like you put some of your acting skills into that video. Chikami: Thank you. SFL Music: How did that come about? Did you have that idea? Chikami: You know, what’s funny is, we had been working on that video for a while. We were really excited about the song. We wanted a really good video idea, and out of nowhere, we were sitting in a meeting with our director Chris Graue and I go, what if I’m in a library dancing on a table? We had no idea what we were doing. I just blurted it out and we sort of just started running with it from there. Chris was like, I like that idea! That’s interesting. So, we just sort of snowballed from there with everybody in the band coming up with ideas and stuff and Chris came up with that really great script, and then we were super stoked when we read it, and we were really excited to do it. We’re really happy with how it turned out. It was super fun. SFL Music: What can fans look forward to with the show?
Chikami: That’s a good question. I would say, find what you love and do that. Don’t try and chase what you think is popular. I mean with ska, like I would play ska if nobody was listening to ska or if everybody’s listening to ska. I love to play. It’s music I love listening to, and I think when you find your people in that scene, they’re excited to have somebody playing what they love, what they enjoy, and if you find those people, you’ll always be able to have a good time, have a good show, and everybody’s just grateful that we’re all in it together. So, I think that would be my advice really. Just do what’s genuinely you and what you love because chasing the latest trend, that’s gonna come and go. So, when you find your people, like that’s a sweet spot. SFL Music: Very good advice. Chikami: Thanks. SFL Music: What are you doing with this downtime so to speak since you can’t be out playing? Chikami: Yeah, with seven people in this ska band, we’re not even allowed to be in the same room together (she chuckled). So, we’ve been working on some different ideas. One of the things we did recently was we post our Instagram asking for cover requests from fans, and so everybody through out, they ran the gamut. It was very interesting. So, we picked a couple and we’re working on some arrangements and going to get a video out hopefully soon to everybody. We’re trying to work on writing new music. I mean we might as well take the time since we’ve got nothing else going on. We’re actually talking about new merch ideas too which has been kind of cool to catch up on. On some things like that, designing merch and what not. SFL Music: Are you guys working on a new album? New songs? Chikami: Yeah, we have some songs that we want to get more videos out for. We’ve really been enjoying this whole one video, one song kind of thing. It’s cool to have a visual representation of the song, be it lyric, video or full-blown music video. So, we’ve been in talk with Chris who has done all of our music videos so far, about some ideas so, once this whole thing is done, we can start getting right back to work and getting new stuff out for everybody. SFL Music: Is there any place in particular you are looking forward to playing? Chikami: Yeah. We’re hoping to hit the road again soon and we’re hoping to get farther reaching then we ever have before. We’ve only done little trips so we’re hoping for a big tour this year. That is our hope. Once all of this is done, we’ll be able to finalize all that good stuff.
Chikami: We really like to have an exciting live show. You know, you can listen to music in your home and that’s cool and that’s one experience, but you get out there, at a ska show with your friends or with people you’re just meeting for the first time. Ska is a big family. Everybody welcomes everybody. You dance. We like to be exciting. High energy, and really get the crowd involved, you know, clapping, singing, dancing. We’re all about high energy.
SFL Music: Well, fans are looking forward to seeing the live show. Is there anything else you want fans to know about what Bite Me Bambi is doing now?
SFL Music: What advice would you give to a new band coming up or a new musician?
SFL Music readers keep an eye open for future shows and music you won’t want to miss!
Chikami: I would just say right now, just follow us on our social media. We’re trying to keep posting fun and interesting stuff, and then hopefully soon we’ll have a brand-new video once we can all be in one room together (she chuckled).
Kenny G | Kravitz Center Photo: Jay Skolnick
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GO SEE IT LIVE!
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Blues-Rock Guitar Ace Albert Castiglia Drops Live Album ‘Wild and Free’
“This record is for the Albert Castiglia hardcore fans. It captures Albert’s electricity and passion when he’s with his people!” - Mike Zito
The new album by the Albert Castiglia Band, Wild and Free, was recorded live at The Funky Biscuit live in Boca Raton, Florida. This in-your-face live performance captures the energy and guitar mastery that Castiglia shares with his audiences each time he takes the stage. With special guests Mike Zito, John Ginty, and Lewis Stephens, this is THE live album Albert Castiglia fans have been waiting for! Wild and Free has everything blues fans are looking for: great songs...guitar virtuosity...and the raw power and emotion behind Castiglia’s live performances. The Miami-raised musician served an apprenticeship while backing legendary blues musician, Junior Wells. He later went on to work with singer Sandra Hall. Never content to allow himself to be confined to any particular category, Castiglia embarked on a solo career that’s yielded nine critically-acclaimed albums and constant kudos for his exceptional instrumental prowess, searing vocals, and
live performances that have dazzled audiences from coast to coast. It’s little wonder that Miami’s New Times lauded Albert as South Florida’s “Best Blues Guitarist” or that USA Today was inspired to remark, it’s a revelation to discover the thrilling retro electric-blues from this astonishing young guitarist.” Bluesabout.com called Castiglia, “one of those mid-tier artists that is just one album away from breaking big and becoming a household word in the blues world.” M Music & Musicians notes, “Castiglia’s back-to-basics approach follows in the footsteps of those who fostered the blues in the Mississippi Delta and the smoky late-night haunts of Chicago.” After the highly successful and critically-acclaimed release of 2019’s Masterpiece on Gulf Coast Records, Castiglia was nominated for two 2020 Blues Music Awards in the categories of “Blues Rock Album Of The Year” and “Blues Rock Artist.” www.albertcastiglia.net www.facebook.com/albertcastigliaband
THE UNLIKELY CANDIDATES
By: Lori Smerilson Carson Many young adults leave high school with an uncertainty of what they want to do for a career. This was not the case for Lead Singer/Songwriter Kyle Morris and his friend/bandmate Guitarist Cole Male. Having the opportunity to catch up with this extraordinary talented band while their tour was postponed due to the COVID-19 pandemic, he revealed how The Unlikely Candidates formed over a decade ago, and how he, Male and the rest of the band (Lead Guitarist Brenton Carney, Bassist Jared Hornbeek and Drummer Kevin Goddard) work together to make their amazing Alternate Rock music. SFL Music: So how did the band come together? Kyle Morris: It started with me and Cole. We went to the same high school. We were friends. We were playing at like a little high school party and basically just kind of started messing around with covers like Green Day songs whatever. I don’t know, I guess, it somehow hit me that I wanted to start a band for some reason. Neither of us ever played in front of anyone. Like I never sang in front of anyone. He had never played in front of anyone. I asked him the next day if he wanted to start a band and we basically never stopped. It’s been twelve years. SFL Music: Who would you say are your influences? Morris: We had a bunch. I mean, back in the day we were listening to a lot of Kings Of Leon and Weezer and Bright Eyes, Then we got into the Strobes and Young The Giant. There was a bunch that guitar, old rock stuff. SFL Music: What influenced you to become a singer? Did you sing in school? 22 | www.SFLMusic.com
Morris: No. I never sang in front of anybody until that day. It was like, I think senior year of high school. Not even my family knew I could sing. So, I thought that maybe I would do that, but I never had any training or whatever. Basically, the first time I started singing for real was when I started this band. SFL Music: Jared, how about you. Did you have any professional training? Jared Hornbeek: Nope. I mean, I started playing music when I was about thirteen. I picked up a bass and joined a band. I was out in southern California. I joined a band. We were called Run Doris Run and we did some touring. At that point I was like yeah, I’m going to do this. It kind of consumed my life. I dropped out of high school and continued on, and that band stopped playing, and then eventually met up with Kyle and Cole and they needed a bass player. SFL Music: How did you guys all meet up? Hornbeek: They would come out to LA for recording sessions and they would stay at my parents’ house and sleep in the garage. We’d drink alcohol late into the night and hang out. It’s like hey, we all love music. Let’s all have a good time. You know? SFL Music: That’s cool. How does the writing come about as a band or are you the main songwriter Kyle? Morris: We’ve done it every different way you can pretty much imagine over the years. It usually just starts with the music. Like you know, somebody will play something and I’ll kind of restyle over it until I get like some sort of melodic thing or lyrical thing
that kind of connects, and then I’ll just build out from there. I’d say that’s about how it happens like 90% of the time. It starts with the music and then I kind of freestyle elements. SFL Music: What inspires your songs? Morris: I mean everything. A lot of its just like subconscious. I’m kind of just like vomiting stuff onto the track. It’s like whatever’s just in my head. Also, you know, can be whatever situation is just kind of like happening to me at the time. That’s kind of the stuff that comes out of your mind and stream of consciousness. I’ve written songs that have been based on poems or books or other people’s songs like the song “Call My Name” which is like an adaptation of The Tell-Tale Heart (Edgar Allan Poe), and there’s another song called “Best Things In Life Aren’t Free.” I was reading this book Tai Pei by Tao Lin. I put a lot of that imagery in there. So, a lot of books. A lot of just kind of whatever’s going on. SFL Music: Are you an avid reader? Morris: I try to always be reading something. Yeah. I’m sure there are people that are more avid, but yeah. There’s always at least one thing I’m reading. SFL Music: Oh, that’s cool. Do you have a favorite type of subject to read about? Morris: Usually it’s just like surreal. Like fiction. SFL Music: So, what can fans look forward to with your show? Morris: It’s just a very high energy, like loud, rock ‘n roll show. Like it’s dramatic. It’s got a lot of passion. We’re definitely not shoe gazers so, we’re pretty much playing like we’re in an arena at any stage that we’re on. Like you kind of get that huge, big rock band vibrato. We’re really engaged with the audience too and just trying to make sure everybody has a really good time. SFL Music: Is there anything else new coming out besides the video, your latest hit single “Novocaine.” Morris: Yeah, I think we’ve got a song that’s coming out in the next month. So, I guess stay tuned for that. It’s something that’s going to be coming up on the horizon pretty quickly. SFL Music: Does it have a title? Hornbeek: It’s called “Invincible.” Morris: Yeah. SFL Music: What inspired it? Hornbeek: I don’t know. That was a weird one. On the last couple tours before we get up and perform, we’d be listening to a lot of jock jams, and I think that kind of inspired this song because it’s like a big, like pump up track. Kyle wanted to do something like very, I don’t know, shanty and anthemic but then, add a little bit of that like new age, jock jam feel so, it’s just kind of us filtered through, you know? One of those songs. Kind of how Queen did “We Will Rock You.” We wanted to do a little something like that. SFL Music: So, you really like to get the audience engaged in the show?
Morris: Yeah, for sure. SFL Music: downtime?
What are you guys doing with this pandemic
Hornbeek: We’re doing a Flatten the Hump Day is what we’re calling it. Three PM Central time on Wednesdays. We’re gonna be doing a livestream and trying to keep that going every week until this all blows over and we’re all going to get back out on the road. We’re doing that, and I know the guys are all doing some writing back home on their own. Morris: Yeah, congratulations! Hornbeek: A lot of cooking, (he chuckled). SFL Music: So, what would you recommend to up and coming artists? Morris: Just basically outwork everybody. There are so many people that are doing this that you really just have to outwork everybody. Like if you want to get ahead, you kind of have to put in the hours. Obviously, talents a big deal, but like being smarter and working harder pays way bigger than it is because there’s plenty of talented people that won’t make it. You just really have to put in more hours and try to learn from people that have come before you. SFL Music: That’s good advice. Was there anything else you want fans to know? Morris: Just that we’re gonna have more stuff coming out. Hang in there and hopefully we’ll see them all soon. Hornbeek: Yeah, we’ll be hopefully back on the road after July is what everyone’s hoping for. So, keep your eyes and ears out for any concert dates coming up. SFL Music readers keep a look out. You certainly won’t want to miss this talent!
Shari Puorto | Funky Biscuit Photo: Jay Skolnick
Popa Chubby | Funky Biscuit Photo: Jay Skolnick
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Billy Price | Funky Biscuit Photo: Jay Skolnick
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ested in old-timey Appalachian music, bluegrass, blues and was fortunate enough to meet some of the great American musical pioneers, all of the people I just mentioned, Victoria Spivey, Doc Watson. You name it, there they were, and we could listen to them up-close and personal. It was a very special time.
A Conversation with
Maria Muldaur
Jesse Finkelstein: In addition to being an highly respected musician, songwriter, and singer, that you also eventually became true music historian. Was that a surprise to you? Maria Muldaur: No, not at all. I started in the early ‘60s and being part of the folk scene of the early ‘60s. People still come to me and ask me about that whole period because they say, if you were in the ‘60s, then you don’t remember it, but I not only was there, but I do remember it all well. We were interested in the folk revival of the early ‘60s. We were people in the urban North discovering and starting to explore all kinds of American roots music, which, of course, they call folk music. We were here listening to old 78’s and old Library of Congress compilations and Smithsonian compilations of early American roots artists, like a lot of the blues artists, Skip James, Son House, Bukka White, Mississippi John Hurt, just to name a few off the top of my head, and also a lot of Appalachian music, a lot of bluegrass. That was music that already was speaking to us, somewhat, from the past, so we thought that that people we were hearing on these recordings were all long gone, but it turned out they were perfectly alive and well and living in the South, where most of this music originated. People started going down and trying to locate them and bringing them up north to concerts and putting them on in coffee houses, concerts, folk festivals and so forth. All of a sudden, this music, which might have faded away into obscurity, got new life and was much greater exposure. I was just right in the heart of all of that and passionately inter30 | www.SFLMusic.com
JessFinkelstein: You actually went and found some of them. What’s amazing to me is, today, people can go on the internet and find information instantly, and most are too lazy even to do that. You actually had to get in a car or bus and travel on the chance of finding them. Maria Muldaur: A lot of times, we were given a hint. For instance, Mississippi John Hurt has a song called Avalon, so somebody had the bright idea, go to Avalon, Mississippi, and looked for him there, and that’s where they found him. There was a group called the friends of old-time music who were especially interested in finding old-timey Appalachian artists, and they found Doc Watson and his family. They brought them up north to concerts, and I happened to go to one of those concerts. It was a life-changing experience for me because I not only fell in love with Doc Watson’s music, but the fiddle playing of his father-in-law, Gaither Carlton. Afterwards, there was a big party at Alan Lomax’s house, who lived not far from there in the Village, in Greenwich Village in New York City. For those of your listeners who don’t know who Alan Lomax is, he was one of the great collectors and chroniclers of this early music. He would go in the South on field trips and record all these amazing musicians. So there was a party at his house, and I went up to Gaither Carlton and asked him. I said, I wish you lived in New York City because I’d love to learn how to play fiddle from you ... It was a very simple way of playing the fiddle that he had, and probably that’s why I was attracted to it because, I thought, I could do that. Anyway, he invited me to come to North Carolina, and he would teach me, so I took him up on his invitation, and that led to an amazing experience of going to the south. I had never been far out of New York City in my life, and, all of a sudden, I was in the middle of the Blue Ridge Mountains, living in Deep Gap, North Carolina with Doc Watson and his family and getting to experience, firsthand, how music was such an important part of their lives. They didn’t have television. After supper every night, various kinfolks would wander down the trail from their cabins further away in the mountains and just gather on the front porch and sing these beautiful hymns and play beautiful banjo and fiddle and guitar. I learned to play fiddle. I learned my first fiddle tunes from them. What an amazing experience, just to witness that way of life that was so different than life in New York City. It was really special. I feel blessed that I was able to do that. JessFinkelstein: What sort of a context did that give you? Because it’s one thing to listen to that same piece of music in isolation, either in the city or some other location and be impressed by it, like it or have an opinion about it; it’s another thing to actually have lived the life of musicians and been with them and seen how it’s produced.
How does that change the way you view that music? Maria Muldaur: It made it so much more real, and it wasn’t just the music. It was just the way they lived, the way they related to each other, the way they lived in way more harmony with the environment, without making a fuss about it in any way. They had a garden. They lived off the land. Even though Doc Watson was blind, he had rigged up the electricity in his house. They had a spring house where they canned all their vegetables and stuff and had them for the winter. God, I still remember the meals. They’d get up at 6 in the morning. They didn’t have a gas stove. They had a huge, wood-burning stove, and his wife, Rosa Lee, was making biscuits, and there was homemade jam and butter and sausage and gravy and eggs, a country breakfast fit for a king. To my young mind, it made a big impression on me. Just the way they lived their lives was very much more whole, and that’s reflected in the music. The music is very pure and simple, and that’s how their life was. JessFinkelstein: People listen to Reverend Gary Davis, but you actually knew and spent time with him. Can you tell us what he was like and what those sessions were like? Maria Muldaur: Gosh, he was just amazing. He chewed on a little cigar, and he always had a little cigar hanging out of the side of his mouth. Anybody’s who’s heard him knows, he played this incredible unique style, a very dynamic style of guitar playing and singing that people are still trying to decipher and decode and figure out how to play today. I know several great musicians who have made their living just teaching Reverend Gary’s style guitar to other people. He just had boundless energy. To us, he seemed very old. He probably was in his late 60’s at the time, and after taking part in one of these hootenannies, he’d come over. I had a loft with a girlfriend, my roommate. We had a loft, and we could stay up all night. People gathered, and he was telling stories and playing for us and having a little nip of whisky out of a little hip flask. Then he’d come early in the morning. He said, Sunday morning, I better get uptown; I’ve got to preach today. We took him uptown. He preached at a little storefront church there. The things he talked, that night at the party, were the things he preached about, so there wasn’t that much difference between the Saturday night and the Sunday morning. A lot of folks that are really puffed up with a lot of pompous, self- righteous religiosity have traditionally made a big thing out of the fact that the blues was the music of the devil, and they’ve tried to promote this big dichotomy of the music of the devil and the music of the Lord. With someone like Reverend Gary Davis, it was seamless. It was all part of life, and whatever subjects got addressed in the blues were perfectly valid as things to address, from a spiritual point of view, when he was preaching. A lot of people talk about preaching the blues, and the blues fulfills that function in a way. Jesse Finkelstein: Maria, thank you for sitting down with us today. Maria Muldaur: It was my pleasure, Jesse. Let’s do it again sometime.
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with various industry reps (of which I was one) came to an end, Cory - who was on a mission - politely and confidently introduced himself to as many of us as he could while handing out business cards and copies of his CD. I remember thinking to myself that if the music on this disc was on the same high level as this young man’s enthusiasm - and it is - that he›d have a bright future ahead. Well done, Cory! Review The Traveling Blues Band consists of: Cory Luetjen on vocals and guitar; Deon McNeill on drums; Patrick Harrison on bass; Jonathan Link on saxophone; Glenn Bickel on B3 and keys; and special guest Dwight Martin on harmonica. “Just The Blue Notes” is the band’s second release, all eleven tracks were penned by Cory.
Cory Luetjen And The Traveling Blues Band Just The Blue Notes Preface Whenever I offer advice to bands competing in the International Blues Challenge the thing that is on top of my list is to stress the importance of networking. Sure winning is great but for the other ninety-eight percent of the bands involved, returning home with hundreds of representatives from the industry and new fans knowing about you, your band and your music - that is winning! As a matter of fact, it was Cory Luetjen’s networking skills that led to us meeting. As a mentoring session in which IBC participants got to mingle
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I’ve always been a firm believer that the two best ways to make an already good blues band much better are to add a saxophone or a keyboard. Cory did both, and on “Stop” the disc’s opening track, that decision is immediately paying dividends. The chemistry Cory, Jonathan and Glenn share while collectively playing, then individually passing the lead around from the guitar, to the sax and to the B3, makes for one hell of a masterful musical presentation. Throw in the profound rhythm Deon and Patrick are pushing out and a raspy, early Johnny Lang sounding vocal delivery, and The Traveling Blues Band add up to one hell of well rounded group. With the four piece rhythm section settling into a solid groove behind him, Cory takes “I’m Gonna Love You” and absolutely runs with it. It’s a nearly seven-minute love ballad that’s kind of separated into two parts. Half of the song features Cory emotionally and passionately professing his love to his lady, while the the other half features him stepping out and crushing it on several relentless blues guitar outbursts. On this humorous track, with Cory playfully singing about all the instruments his lady doesn’t like, as he mentions the ones that appear on the track, those players each take a
quick (probably not to upset her) solo. On the other hand, when he claims that his baby is “Crazy About A Saxophone” Jonathan gets to light it up on several well done solos. Fun song. “My baby left me all alone, turned my happy house into an empty home. Broke my heart in two, and gave me these Same Old Blues”..... Wearing his heart on his sleeve, Cory’s emotional and heartfelt vocals have a way of transferring his pain right to the listener. When you talk about ‘selling the song’ Cory nailed that.....with a sledge hammer! By songs end I found myself hoping it wasn’t written from a real life experience. The musical accompaniment on the track could not have been more perfect. The stinging guitar leads, the solemn organ leads, the sensitive sax leads and the remorseful rhythm all made the hair on my arms stand up. Each and every time I replayed this song (and it was many) it gave me “The Same Old Blues” and each and every one of those times I swore I just listened to a song worthy of “Song Of the Year” in any blues competition. Yeah, it’s a blues song but at least it’s a “Suitcase” Cory is hoping his clothes fit into and not a matchbox. This one has all the energy of high speed locomotive and that right there tells you that it’s a rhythm fueled smoker. Adding Dwight Martin’s skillful harp blowin’ to this one was an extra added boost. The lyrics on “The Way You Move” are all about how turned
on Cory gets watching his lady dance. That said, this smooth shuffle will have just about everyone in the place moving. This dance floor filler is highlighted by another phenomenal rhythm performance led by Deon and Glenn at disc’s best on drums and piano. Apparently, Cory doesn’t know how thrilled I get while listening to a slow and low down blues song that happens to also be the longest track on the disc - because if he did, I think he would have actually pointed out in the jackets liner notes that this track was dedicated to me. Because of it’s length, Cory, Jonathan and Glenn all get to take extended guitar, sax and organ solos, and with Deon and Patrick in that precise rhythm groove mandated by a song like this, “Whiskey Drinking Woman” was nine minutes of pure blues bliss. The blues do not get any better than this! Other tracks on “Just The Blue Notes” include: “Love You ‘Til Your Blues Are Gone”, “I Thought I Knew the Blues”, “Do It For Me’, and “Left Me With The Blues”. If my enthusiasm thus far has not made it clear, let me come right out and say it - “This is a must have CD!” Cory Luetjen may be one of the best new vocalists; The Traveling Blues Band may be one of the best new blues bands; and “Just The Blue Notes” may be one of the best new releases; that I have heard in years. To find out more about Cory Luetjen and the band; to purchase the CD; or to request a copy for airplay; just go to www. travelingbluesband.com. - Peter “Blewzzman” Lauro
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A Message From Kelley Shanley, President & CEO of the Broward Center for the Performing Arts Dear friends, These have been unprecedented days for our community and there are more to come. You are undoubtedly experiencing significant disruptions to your life and routine, and I can certainly say that this has been among the most challenging time of my career. I know many of you may be disappointed that you will not be attending a performance, coming to a workshop or taking a class. More than 100 performances scheduled at the Broward Center and Parker Playhouse over the next 30 days had to be cancelled or postponed. Our after school and weekend classes are now all on hold and thousands of Broward County students will not be attending dozens of educational performances in the weeks ahead. These steps were of course essential and are vital to protecting the health of our community. But we are already looking ahead. From our perspective at the Broward Center, the arts will always be part of how we define our legacy. The songs we sing, the stories we tell, the music we share with our children and grandchildren. The lessons we teach our children as they come to life on a stage or in a play. We are confident the arts will keep us connected in the days ahead, and while we may not be attending performances or greeting each other in person in the coming weeks, come join us on social media where we’ve put together a playlist of music from our postponed shows or share the arts you are enjoying from home. Please follow us on Facebook, Twitter, Instagram, YouTube and join the conversation with #BrowardCenter . And check out what’s happening in arts education at our Broward Center Education page. This crisis is going to have a dramatic impact on all of us. We are a strong community; we are a resilient community; and we have the opportunity to support one another through the challenges that lie ahead. The Broward Center will be gathering place again, and with your help, together we will be able to continue our mission to build community through the arts. Stay healthy — and stay in touch with us. Sincerely,
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David Julia | Funky Biscuit Photo: Jay Skolnick
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ad - kelsey
Brandon “Taz” Niederauer | Funky Biscuit Photo: Jay Skolnick
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is belting and growling the hell out of the vocals; just like Little Walter did, Steve Bell’s blowin’ some serious blues on harp; just like Willie Dixon and Elgin Evans did, Alex Dixon and Alvino Bennett are rockin’ the rhythm; and just like Muddy and Jimmy Rogers did, Melvin Taylor, Gino Matteo and Joey Delgado are killing it on the guitars. That’s what traditional blues sounded like then and thanks to these cats, that’s still what traditional blues sounds like now. Don’t fix it if it ain’t broke! The track also features a fourth generation Dixon - Alex’s daughter and Willie’s great granddaughter, Leila, making her recording debut on background vocals. Another Willie Dixon Classic - which Buster Benton had a big hit with in 1973 - is “Spider In My Stew”. Other than the fact that this time it’s Sugar Blue and Rico McFarland laying down the killer blues licks on the harp and guitar, not much has changed. Just like when Willie said “Chicago is loaded with the blues”, this track is, as well.
Alex Dixon’s VINTAGE DIXON Presents: “The Real McCoy” Featuring Lewis “Big Lew” Powell Dixon Landing Music There is so much I can tell you about Alex Dixon - Willie Dixon’s grandson - and Dixon Landing Music; and with all the wonderful and valuable information provided on the two sided one sheet enclosed with the disc, I could fill up paragraph after paragraph telling you about what I just read as well. However, since all that is available online, I’d much rather let you read about it yourselves and go straight to telling you about the album and music I just heard instead. “The Real McCoy” is the third release on Dixon Landing Music and I’m honored to say that I have had the pleasure of writing about all three. Of the disc’s eleven tracks, six are Alex Dixon originals/collaborations and five were written by or collaborations of gramps and uncle Wolf - that would be Willie Dixon and Chester “Howlin’ Wolf” Burnett. In addition to being an extremely talented bunch, many of the musicians joining Alex Dixon - on bass - are lifelong friends who grew up together on the south side of Chicago as well. They include: Lewis “Big Lew” Powell on vocals; Alvino Bennett on drums and vocals; Steve Bell and Sugar Blue on harmonica; Melvin Taylor and Rico McFarland on lead and rhythm guitar; Gino Matteo on slide and rhythm; Joey Delgado on rhythm guitar; and, Leila Dixon and Whaia on background vocals. The opening track - “Nothing New Under The Sun” (A. Dixon) - was recently released as a single on the same date (Jan. 7) that the Muddy Waters classic “Hoochie Coochie Man” (W. Dixon) was released, back in 1954.....and that’s not the only similarity. Just like Muddy did on that Chess release, “Big Lew” 42 | www.SFLMusic.com
There are certain claims that certain legendary blues men can make that no one would dare dispute. When Willie Dixon says “I Am The Blues” who’s gonna tell him he’s not? When John Primer claims to be the “Real Deal”, who’s gonna tell him he isn’t? Along those lines, Lewis “Big Lew” Powell has me thinking that when it comes to singing the blues, he may just be “The Real McCoy” (A. Dixon). So here I am, four tracks into the disc and I’ve had something to say about all of them. If I’m not careful, two things could easily happen: the first is that as impossible as it seems, I’ve got to become a bit more selective or this will be a very long read; and secondly, with the abundant amount of incredible tradition blues, I’d hate for my descriptions to become redundant. That said, this being a track that features harp master Sugar Blue at his very best, makes telling you about “My Greatest Desire” (A. Dixon) a public service announcement. The next two tracks are titled “Howlin’ For My Darling” (W. Dixon & C. Burnett) and “Groanin’ The Blues” (W. Dixon) and on them both, “Big Lew” clearly testifies that when it comes to howllin’ and groanin’, ain’t nobody got nothin’ on him. The latter track features Melvin Taylor, a long time favorite of mine, on the disc’s most scorching guitar solo. Hands down, the disc’s smoker is “Chi-Town Boogie” (A. Dixon & L. Powell). Other than Alex, Lew and Alvino occasionally harmoniously shouting out the songs name from time to time, the track is basically an instrumental which features everyone in all out jam mode. Think “Whammer Jammer” - but with Steve Bell doing the renowned harp work - highlighted by three guitarists. Other tracks on what I’m calling a must have CD that’s highly likely to appear on “Best Traditional Blues” ballots include: “When I Make Love” (W. Dixon); “10,000 Miles Away” (A. Dixon/A. Bennett/ L. Powell); and two bonus tracks: “I Want To Be Loved” (W. Dixon); and the true instrumental version of”Chi-Town Boogie”. For more information, and to hear some music clips from “The Real McCoy”, just go to www.vintagedixon.com and you can also check Alex out at www.facebook.com/alexdixonbandvintagedixon/ - Peter “Blewzzman” Lauro
Diana Rein | Arts Garage Photo: Jay Skolnick
Gladys Knight | Hard Rock Live Photo: Jay Skolnick
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Brandi Carlile | Hard Rock Live Photo: Jay Skolnick
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Photo Larry Marano
Jason Newsted