Archives for category: Uncategorized

John Richards Discusses New Release and Jerry Reed

November 25, 2012 //

Courtesy – John Richards Music

The Nashville Bridge sat down with John Richards at Fido in Hillsboro Village just before the one night only viewing of Led Zeppelin’s Celebration Day at The Belcourt to celebrate John’s forthcoming release My Jazz II.

A lifelong resident of Nashville, John Richards is a guitarist’s guitarist having made the transition from Rock and Roll to Country sideman to accomplished archtop wizardry. The former President of The Nashville Musicians Union, Harold Bradley says, “Exciting would be a good way to describe John Richards. His technique appears to be born of necessity to fulfill his creative imagination…along with his musical riffs, his voice doubles the musical lines…he plays a variety of music from “Cherokee” to “Night Life” and I recommend you listen to John Richards.”

Courtesy – John Richards Music

John Richards is a Nashville native and lifelong musician who was a child protégé of his father, his musical hero. John started his musical journey on the stage of the Ernest Tubb Midnight Jamboree in Nashville and has toured with and backed on radio, television and for live audiences: Tanya Tucker, Johnny Bush, Carl Perkins, R.W. Blackwood, Billy Ealker, Ferlin Husky, Bobby Bare, Barbara Mandrell, Mac Wiseman, Bill Anderson and many more.

He has been compared to Django Reinhart, George Benson, Lenny Breau and Chet Atkins while also winning a PBS Award for his part in the Ken Burns Jazz Series.

John was recently awarded the prestigious “Nashville Jazz and Blues Award for 2012 Guitarist of the Year” from the elite Marion James Blues Society.

My Jazz II was recorded at the famous Gene Breeden’s Studio and Produced by the well known Lloyd Townsend and Imaginary Records. The CD will be released this week. The CD Release Party will be held at World Music Nashville, Friday November 30^th at 7PM

Brad Hardisty / The Nashville Bridge: Why My Jazz II?

John Richards: It’s called My Jazz II as opposed to my Jazz 1 which was my first CD and the reason why it’s called my Jazz II is because the first one never got pushed anyway. It never had any PR.

TNB: When was Jazz 1 released?

JR: That was like 10 years ago or maybe more.

TNB: So this was a whole different period of time.

Vassar Clements

JR: Yes, but, I’ve always played Jazz so, you know it’s the reason why I carried over some of those older cuts; because they’re invaluable, for instance Vassar Clements playing on it. It was Vassar’s last session.

TNB: Did you write some cuts? Do some covers?

John Richards and Victor Wooten at Bass Camp

Richard Smith

JR: On the new CD there are some covers, but, mostly because Vassar Clements played on it and Victor Wooten played on some of the cuts too. Victor is an old friend of mine. Plus, some surprise guests as well. Richard Smith is from England, he’s playing on an impromptu version of …I was on Tom Brash’s guitar actually. I was just sittin’ there with it and we launched into “Cherokee” so we just went with it, just two players, trading bass lines and playing behind each other.

TNB: Victor can play about anything. He plays with Bela Fleck. What’s he doing on your cut?

JR: Victor is playing on my instrumental. It’s called “Twilight Moon.” I have been fortunate. Victor came and played on that for me and I’ve since been at his Bass Camp and we jammed up there and played some shows and it’s like we are getting to know each other even more. It is really neat. He’s an incredibly nice man and if you wanted to know, we really come from the same head in a lot of ways.

TNB: You are both from Nashville.

JR: The Wootens; they were like army brats, they traveled all over the place. They were in California,but, I think, originally, they are from North Carolina. I was born and raised here.

TNB: Did you write anything on this from your own personal life experiences?

Moe Denham

JR: Well, “Pookie Is A Dude” has a lot to do with my life. A dear friend of mine kept on coercing me. He wanted me to sing about his cat. I finally gave in. He said,”Hey man you gotta write a song about my cat.” I said what’s your cat’s name and he said “Pookie!” I was like “Pookie?” ”Yeah you need to call him that, like, Pookie’s a dude” I was like “Pookie’s a dude?” So, I gave in and wrote this song and it’s a fun thing. Also, you got the great Moe Denham playing the Hammond Organ. He’s played with a lot of great jazz players. It’s a full cast man.

TNB: Is it all over the map as far as jazz goes?

JR: It’s everything from original stuff and stadards, but,all of them are my arrangements. There is even a Beatles song.

TNB: What Beatles song?

JR: “Norwegian Wood,” it’s pretty cool. It was done some with a trio and some with Vassar. Some with just you know I like the trio or sometimes four or five pieces.

TNB: Did you have a main guitar that you used on the sessions?

Courtesy – John Richards Music

JR: Pretty much it was my Epiphone Joe Pass Emperor. I just plug it in and go. I don’t have a bunch of pedals.

TNB: How did you get started playing guitar in Nashville?

JR: I always had an interest in music. My Dad and my Uncle used to have these jam sessions three or four times a year. My Uncle lived in Florida and he would come into Nashville and the families would get together and my grandmother and all the women would cook up this great food and we cooked up a bunch of this great music and every year when they would do one of these things I would be wanting to play and I’d want to get right in the middle of it, but, I didn’t have a decent enough guitar until I was about eleven. It was a decent flat type. I was like strumming along with them and my uncle turned to my Dad and whispered, “You’ve been showin’ him some chords, haven’t you?” Dad said, “No, I haven’t been showin’ him anything.” My Uncle says, “Well, he’s playing the right changes for what we are doing.” So, my Mom saw that I really loved it and everything and told Dad, “Ok. He wants it. Now, you know he doesn’t want to go play baseball.” Dad didn’t want me to get involved in the business unless he saw that it is what I really wanted. And I’ve always appreciated him letting me find my way. He was a great guy and a great mentor for me. He was a jazz lover too. I mean, he knew people like Hank Garland, Grady Martin and he ran a shoe shop. He would call me to the back where he had his little radio going all day long and he’d be like “John! C’mon here and catch this lick.” I learned a lot of licks that way. Jerry Reed, Grady Martin licks. He had me back there as fast as he could to have me learn that way. I mostly got ear training, but, it served me pretty well.

TNB: What was your first professional gig?

JR: Probably, with a combo after I had been playing three months. We had a group called The U.F.O.’s and we were doing Ventures music and “Louie, Louie,” all the songs of the day. We opened Madison Square Shopping Center, right in front of the marquee for the movie theater. That was my first big gig.

TNB: So, did you get into Rock and Roll for a while, or did you get into Country?

JR: My trail started with Roger Miller who was a doing that “bluh, bluh, duh, duh.” He would play a little lick at the same time. I was always looking for a little lick because everything was always so new to me. I was open to hear what I could hear and learn. That Roger Miller lick grabbed me and I started doing that little lick and it wasn’t very long after that when I heard Jerry Reed. I was a teenager when I started hearing Jerry Reed and Dad started doing the same thing, he said “Come here! Check this out. Check out this guitar player.”

TNB: Jerry did a lot of nylon string guitar stuff.

JR: There is a big story with all of that. Because, I got really voracious into Jerry Reed stuff, but, I didn’t know that he tuned for a lot of stuff that he played. I didn’t know if he was overdubbing or what, so, I learned how to play verbatim in standard tuning. I would be in the same key. One day I had heard, I always had my ear to the ground, about some new music shops and somebody I knew told me about this new music shop that opened up. They had all these handmade guitars and stuff that were way beyond glorious. These were like the finest handmade classical guitars and flamenco guitars made. The ones you only hear about and I was sitting there and I was getting to play these things. They kept bringing them back, bringing them down. They would have them way up on the wall, like Ramirez; beautiful handmade guitars. I used to love the work on flamenco guitars. They had beautiful knobs. They weren’t even knobs. They were works of art and pearl sometimes, I mean just gorgeous. They had all this gold work that went up on the side and around the sound hole. Jerry Reed got me hooked into playing classical guitar.

TNB: So you learned how to do that style?

photo – Brad Hardisty

JR: Yeah, I was playing one guitar in particular and this tall gentleman comes by and I noticed he was kind of coming by now and then. I was just sitting there probably playing for like an hour. Finally, he came by and said, “Man you sound like Glen Campbell!” I was like doing Jose Feliciano, “Light my Fire” and all that stuff. And he said,” Yeah, you sound like Jose Feliciano too.” I said, “Thank you sir, but, my real idol is Jerry Reed.” He said, “Well yeah? Hit me a lick!” I went into a lot of it and I was doing it in standard tuning and he just cracked up and he said, “You know, Jerry is a friend of mine.” I was like “Jerry’s a friend of yours, huh.” He was like, “I’m going to call him and tell him about you.” That’s when I found out for the first time that I doubted someone’s word, because, that was like me being Elvis for some teenage girl or something. He got on the phone for like a fifteen minute conversation with this man so I played a little bit louder just in case it was Jerry. I wanted him to hear what I was doing somewhat. Then, he gets off the phone after just having a “bang-up” conversation. He said “It’s settled, Jerry wants to meet you.” I was like, “Jerry wants to meet me? That’s terrific.” Then he says, “Yeah and he’s going to call ya.” I said,”He’s going to call me.” I kept saying this in my mind… okay. He convinced me enough that when I got home from school, I would sit by the phone. In those days there were no coda phones. If you didn’t catch the phone, you just missed the call, period! There was no way to know who called you ever. So anyway, this one particular day my Mom was going down to Madison Square Shopping Center, going to Shoney’s which was the highlight of my… I mean Shoney’s was it in those days as a kid. If she mentioned Shoney’s my ears lit up. But, I said, :”Mom you know I normally would go with you, but, I think I better stay here and wait for a call from Jerry.”

TNB: How old were you?

photo – Brad Hardisty

JR: I was fourteen. Anyway, I didn’t want to do anything that would keep me from being able to race to that phone. At the time, that was back when they had these long, long chords so you could put it in any room in the house, but, you had to have a really, really long chord. And it went all the way down the hallway to my parent’s door where their bedroom was. I could just race down the hall and I was like, “Oh shoot! I got to go to the bathroom!” I was like ready then the phone rings so I go running down there to grab the phone and you know how when you have been around someone for so long you kind of pick up their mannerism and there speech? I had never heard this voice in my life. He said, “John?” I said “Jerry?” He said, “No this isn’t Jerry, but, this is Jerry’s manager and Jerry wants to speak to you.” So then he puts Jerry Reed on the phone and Jerry said, “Well son, I hear you sound like me.” I said, “Well, I try to Jerry.” Jerry said, “Well hit me a lick! Do you have something on tape where I can hear it?” I said “Well, I just happen to have a little reel to reel.” I had recorded “Oh What A Woman” or “Guitar Man” or something. Jerry said, “That will do. Let me hear that!” So, I put it on and it sounded like Jerry Reed on a 78 because my voice was like three times higher and anyway I played this thing and I heard him on the other line and he was just cracking up! He was like, “Son, I gotta meet you. You gotta come down to my office.” Jerry’s office was at Columbia Records. It was called Vector Music. That was his publishing company. I got into Jerry so much that I went down there, I had just bought a guitar that was like a three quarter size Decca that I bought with paper sales, because, I used to be a paper boy when I was a kid and I wore these kind of hats when I was a kid. That’s why I brought it back. That is another story. Anyway, I brought this guitar and I didn’t have a case for it. I had on sneakers, blue jeans, A Hooker Header yellow racing jacket with big red stripes with embroidery that said, “I love my Hooker Headers.” Also, a fishing hat like Jerry wore. The guitar was thrown over my shoulder and his manager came to the door and said, “You gotta be John.” I said, “Yes sir! That’s me!” He said, “Well, Jerry’s there so go on in.” It was really an amazing thing because something happened later that would make me never forget meeting him that day. I will never forget he had on this turtleneck with a very low collar and he had sleeves rolled so they kind of “belled” out. It was kind of a light blue sweater and then he had on electric blue pants. He was putting when I came in he had his set up in there. He said, “Well son, come on in here.” We sat down. He said, “Well, play me something. Let me hear ya.” So, I started playing one of his tunes and he said, “Well, son, that was really good! I like that, but, this is the way I actually play it and he tuned down my little Decca and played his tune on it and then he would give it back to me and he would say, “That s the way I play that.” I was like, “Oh! You tune for those things.” “I tune for a lot of the stuff. “ We spent, like, I mean it seemed like forever, like, three hours together doing that back and forth, me playing him a song and them him showing me how to do it right. Before I left that day, they gave me practically all of Jerry’s albums. The last one that he gave me had the same exact outfit that he had on the day I met him, so, I will never forget it. And he signed it, “Keep cookin’ Jerry Reed.” The name of the album was Cookin’.

TNB: That was the outfit he was wearing when you met him?

JR: Yeah, so, I never, never, ever forget what he had on that day.

TNB: So, from then on you were hooked.

JR: Oh yeah! I got voracious on Jerry Reed! I used to play at Ernest Tubb Record Shop and if I wasn’t doin’ some kind of Country rebellion then I was like, just playing Jerry’s stuff. He influenced me so much. Now, earlier, I mentioned Roger Miller, so, when Jerry Reed started the scatting, he used to scat, but, he wouldn’t he be doin’ it while he was playin’ his licks. I learned to do that from Jerry Reed and then it came in handy when I got into George Benson, because, I was already scattin’.

TNB: George Benson was doing the Wes Montgomery thing.

JR: Except, Wes Montgomery didn’t sing or scat.

TNB: He didn’t, but, style wise, he had a lot of Wes Montgomery.

JR: Oh yeah, Wes influenced a lot of people. Wes was just a monster jazz guitar guy. The octave thing was great, but, his bebop was just amazing. He was great; a great player.

– Brad Hardisty, Nashville, TN thenashvillebridge@hotmail.com

Tags Jazz, Jerry Reed, John Richards, Vassar Clements, Victor Wooten

Categories Country Music, Ernest Tubb Record Shop, George Benson, Jazz, Jerry Reed, John Richards, Moe Denham, Music, Nashville, Richard Smith, Uncategorized, Victor Wooten, Wes Montgomery

The Four Patron Saints of Music City

November 17, 2012 //

photo – Brad Hardisty

After much thought, I really wanted to salute a few key individuals for perpetuating Nashville as Music City. I could have written about 100 individuals both musicians and business people that make things happen and gone into Classical Music, Christian Music and Gospel Music, but, in the end, I needed to break this down to four people from different directions musically that make Nashville “Music City” and give way more than they take from the community.

For those that live here, you may understand what I am talking about, but, for those from all over the world, maybe I will open a few eyes and ears.

For any number of reasons, I could have written about Little Jimmy Dickens, Emmylou Harris, Dolly Parton, Jim Lauderdale, Charlie Daniels, Ricky Skaggs, Little Richard, Elizabeth Cook, Taylor Swift, Vince Gill, okay I could go on. You may agree with my list or you may not. These are whom I call four essential pillars that hold up through thick and thin and inspire others to create and grow in the Nashville community.

Marty Stuart supporting band member Kenny Vaughan at Ernest Tubb’s Music Store CD Release Party, photo – Brad Hardisty

Marty Stuart, born September 30, 1958 in Philadelphia, PA, has been one of country music‘s most eclectic artists, performing and recording diverse types of country music.

He is of French, English, Choctaw, and Colombian descent.

In 1979, when Lester Flatt died. Stuart pushed forward and worked with fiddler Vassar Clements. He also worked with guitarist Doc Watson. In 1980, he joined Johnny Cash‘s backing band. The previous year, Stuart made his first solo album, With a Little Help From My Friends, on Ridge Runner Records

In 1985, Stuart accompanied Johnny Cash to Memphis and played on the “Class of ’55” album that also featured Carl Perkins, Roy Orbison, and Jerry Lee Lewis. At the end of the session Perkins presented him with his guitar.

When does Marty become a Patron Saint? I believe it started when he had a heated run-in with Columbia Records when they dropped Johnny Cash from their roster. When he stuck up for the “Man in Black” it cost Marty his own album, Let There Be Country which Columbia decided not to release at that point. With Marty, principal comes before dollar signs.

Marty has performed with the best of the best, Johnny Cash, Lester Flatt, Earl Scruggs, Bob Dylan, Merle Haggard and Travis Tritt to name a few. Marty saw his first solo success with Hillbilly Rock on MCA Records.

Marty contributed to the AIDS benefit album, Red Hot + County.

Marty’s interest in the heritage of Country Music lead to the showing of his private collection of music memorabilia at the Tennessee State Museum in 2007 as “ Sparkle & Twang : Marty Stuart’s American Musical Odyssey” in 2008.

Marty Stuart has published two books of photographs he has taken of some of Country Music’s most historic Artists including, “Country Music: The Masters” with some of the final photos of Johnny Cash.

Lately, Marty has been the touchstone to Neo-Country proudly wearing the badge of Nashville past bringing classic country into the future with his last two recordings, Ghost Train (The Studio B Sessions) and Nashville Vol. 1: Tear The Woodpile Down.

Marty’s vast knowledge of the history of Country Music and support of classic artists such as Porter Wagoner despite the lack of Nashville label interest has helped to perpetuate what the outside world considers to be true blue Nashville Country.

Buddy Miller stands at the crossroads of the past and the future as the Godfather of what is now known as Americana, which encompasses everything from old time gospel music to red dirt Country.

Buddy has managed to put a canons worth of Gospel, Country tinged rock, and the most original of tracks out of his own living room with his wife, Julie Miller. Buddy is a great musician, songwriter, producer and collaborator. I believe that last skill is what makes Buddy one of the four patron saints. A great collaborator where all are welcome under his tent that bring something to this new idiom described as Americana.

Buddy is the house band leader for The Americana Music Awards every year, able to play with just about every artist including Robert Plant who when he decided to put together his Band of Joy project, Buddy Miller was his only choice for bandleader. Buddy put together a band of Nashville all-stars that included Darrell Scott as the utility man on everything from fretless banjo to pedal steel.

Last year’s Majestic Silver Strings featured guitarists Bill Frisell, Marc Ribot and Greg Leisz, with guest vocalists including Emmylou Harris.

To top that, Buddy is releasing on Black Friday, a new album with Jim Lauderdale, Buddy and Jim.

Buddy’s ability to reinterpret with a working knowledge all things country, rock, old time gospel and folk has singularly help to build a new arm of music radio and business with a firm avenue for those outside the box.

Artists such as The Avett Brothers and Mumford and Sons in some way owe some credit to Buddy Miller in helping to define a way to market this new indie branch of the music tree.

Marion James

Marion James may be the most constant and longest lasting member of the Music City Patron Saints. Marion has been a longtime performer and resident living nearby what used to be the hot bed of Blues, Soul, Rhythm and Blues on Jefferson Street. Marion’s biggest hit was The Top 10 Billboard Hit, “That’s My Man.”

Marion James at 30th Annual Musicians Reunion and Benefit, photo- Brad Hardisty

Marion James, known as Nashville’s “Queen of The Blues” was playing on Jefferson Street back in the day with a young Jimi Hendrix who had just gotten out of the military. As a former member of Fort Campbell’s Screaming Eagles, Jimi Hendrix and his new best friend Billy Cox had their own band The King Kasuals but also played with Marion James and others.

The musicians on Jefferson Street, Johnny Jones, Christine Kittrell, Little Richard, Ray Charles and many others were featured on one of the biggest Rhythm and Blues stations of the day, Nashville’s own WLAC.

Marion was featured prominently in The Country Music Hall of Fame’s exhibit Night Train To Nashville. A photo of one of her live performances with Billy Cox on bass is featured on Volume Two of the Night Train To Nashville Collection.

Several years ago, Marion James started the Musician’s Reunion shows that featured the stars from back in the day on Nashville’s Northside to benefit the Marion James Musicians Aid Society, that she started to help aging musicians with medical costs as well as support the American Cancer Society and the Nashville Rescue Mission.

Marion James continues to perform today. Marion James recorded in the 80’s a blues landmark album with The Hypnotics that lead to sold out shows in Europe and also released a solo album called Essence that featured Nashville guitarist Jack Pearson as well as session bassist Bob Babbitt.

Recently, Marion released Northside Soul on Ellersoul Records which reached #10 on the Living Blues Charts.

Marion James, not only is an accomplished vocalist, but, writes many of her owns songs. Marion James is The Queen of The South when it comes to the Blues.

Marion continues to support the North Nashville community through her organization as well as efforts to get out the history of Jefferson Street to the rest of the world.

Jack White is probably the newest patron saint as one of the four cornerstones of the Nashville Music Community. I’m not sure what the tipping point was when Jack decided to move to Nashville, but, I imagine meeting Loretta Lynn and asking if he could produce her must have been a big nod in that direction.

The White Stripes started performing “ Jolene” long before Jack moved to Nashville, but, Van Lear Rose, the album that brought a Grammy nod as well as new ears to listen to Loretta Lynn was a huge milestone.

Wanda Jackson and Jack White (Associated Press Photo)

Since working with Loretta Lynn, Jack has gone onto record with Ricky Skaggs, Produce “The Queen of Rockabilly”, Wanda Jackson, invite Porter Wagoner to open for The White Stripes at Madison Square Garden shortly before his passing and worked with many of Nashville’s Rock and Roll Community while spotlighting its heritage.

Jack represents what Rock and Roll is all about with a balance between the blues, rock and roll and country. Jack and his record company, Third Man Records solidify Music City’s Rock and Roll Community which has seen tremendous growth in the last three to four years.

Nashville, whose first real travelling stars, The Fisk Jubilee Singers, has seen a lot of changes over the years. Lower Broad almost turned into a dangerous ghost town when Opryland took over the Grand Ole Opry and most of what downtown had left musically in the late 70’s.

It took many starts and stops before seeing a permanent positive growth record with the opening of today’s Country Music Hall of Fame and numerous new projects downtown.

Nashville is about to see a new golden age for the “Athens of the South.” Nashville has probably one of the biggest collections of colleges and universities in America. Now, just about every genre of American music has a piece of the pie and venues grow by leaps and bounds.

Peter Frampton may have moved here to early, it definitely spurred him on to return to the guitar in a big way, but, sadly he decided to move before Nashville really started to realize its potential as one of the coolest cities in America.

If you are a musician, especially a guitarist or a songwriter, there is no better place to be in the world today no matter what style you play.

– Brad Hardisty, Nashville, TN thenashvillebridge@hotmail.com

Tags Music City, Nashville, The Four Patron Saints of Music City

Categories Buddy Miller, Fisk Jubilee Singers, Guitar, Jack White, Jimi Hendrix, Loretta Lynn, Lower Broad Nashville, Marion James, Marty Stuart, Marty Stuart & His Fabulous Superlatives, Music, Music City, Music Row, Nashville, Night Train To Nashville, Rock Music, Third Man Records, Uncategorized, Wanda Jackson

Jeron Blind Boy Paxton Makes Cover of Living Blues

November 17, 2012 //

Jeron Blind Boy Paxton may be one of the greatest multi-instrumentalists of this generation that you have not heard of yet. Jeron just made the cover of the current print edition of Living Blues Magazine without even releasing a single official recording in the United States.

“The idea for this issue has been coming together for quite a while now. It started last year when Corey Harris turned me on to Jeff Scott, the Virginia acoustic bluesman and nephew of the great John Jackson. But what really made the idea take off was when photographer/writer Bill Steber turned me on to the young bluesman Jeron “Blind Boy” Paxton. Paxton is an amazing young musician who can play most anything with strings and play it exceedingly well. He is easily the most talented young acoustic bluesman to come along in many, many years. He is the closest thing to a living “prewar” bluesman I’ve heard since Alvin “Youngblood” Hart’s first record came out in 1996.” – Brett J. Bonner, Editor, Living Blues Magazine

The issue features photographs of Jeron produced in the a way that fits the time period of his chosen music expression. Blind Boy appears like somebody being discovered from the past for a new generation. “The tintype images produced by Bill Steber for this issue are printed in their original form—as reversed images. The optics of all ground-glass lenses render a scene upside-down and backwards. Modern cameras correct for this by the use of mirrors or digital electronics, but cameras in the 19th century, when the wet-plate collodion process was in use, could only render a scene as the lens projected it. Hence all non-negative images from the 19th century are backwards. In keeping with the integrity of the wet-plate collodion process, LB has chosen to publish Steber’s tintypes in their original form.” – Brett J. Bonner, Editor, Living Blues Magazine

Jeron Blind Boy Paxton, Memphis 2010, photo – Brad Hardisty

I first met Jeron at the Folk Alliance in Memphis, Tennessee in late 2010. Jeron had come to the conference with friends, The Carolina Chocolate Drops that included newest member, Hubby Jenkins.

Jeron Blind Boy Paxton, Memphis, 2010, photo – Brad Hardisty

I actually talked shop with Jeron sitting in some chairs on the second level of the Hotel. Jeron’s interest in early 1900’s music and knowledge of particular styles was way beyond my own comprehension and I enjoyed getting his perspective on that time period speaking as if he was visiting 2010 from that time via “Back To The Future”.

When I finally heard Jeron play, it was actually playing some banjo after finding that a grand piano in an enclave was locked up. After hearing Jeron explain and play some rare songs from an era almost 100 years ago, I asked if he had recordings I could get, but, found out that he had not recorded yet.

I asked Jeron if he would be interested in doing some recordings while in Memphis. Jeron had some kind of flu or cold and was not feeling that well, but, said he would see how he felt later.

Dom Flemons playing bones, Jeron, banjo, Hubby Jenkins, Memphis Folk Alliance, 2010, photo – Brad Hardisty

I contacted one of my best friends, Brad Dunn (nephew of Donald “Duck” Dunn, Booker T. & The MG’s as well as son of Bobby Dunn who ran the King Records, home of James Brown, office in Memphis back in the 60’s). Brad was Vice- President of recording studio, Leeway Music and had several recent recordings done at Leeway in recent history. Brad was definitely interested in working some kind of deal if Jeron wanted to record while in Memphis.

Unfortunately, Jeron was not feeling well for the duration of the Folk Alliance Conference and that did not happen.

Dom Flemons, Jeron listening in, Memphis Folk Alliance 2010, photo – Brad Hardisty

What did happen was Jeron Blind Boy Paxton got some serious respect as he was involved with a forum talking about the earliest forms of folk music both American as well as Irish, Welsh and other forms by some of the most respected musicians and professors in each genre.

Jeron at Memphis Folk Alliance 2010, photo – Brad Hardisty

Dom Flemons and Hubby Jenkins of The Carolina Chocolate Drops participated playing “bones” during the forum.

Jeron Blind Boy Paxton, Uncle Dave Macon Days, Murfreesboro, TN 2012, photo – Brad Hardisty

Recently, this last summer, while attending Uncle Dave Macon Days in Murfreesboro, Tennessee, I found Jeron entertaining and jamming with local musicians as he continued to spread some old time music played with unusual depth.

Jeron Blind Boy Paxton, Uncle Dave Macon Days, Murfreesboro, TN – photo – Brad Hardisty

Jeron said he had recorded a 78 record in England, but, that was the extent so far. Living Blues Magazine’s great spotlight piece will continue to build some momentum till Jeron decides what to do beyond attending folk and blues festivals.

In a way, he is like Jimi Hendrix in the early days jamming and meeting everybody he can along the way before getting out to the world in general.

– Brad Hardisty, Nashville, TN thenashvillebridge@hotmail.com

Tags Carolina Chocolate Drops, Jeron Blind Boy Paxton, Living Blues Magazine

Categories Folk Alliance, Folk Music, Jeron Blind Boy Paxton, Music, Uncategorized, Uncle Dave Macon, Uncle Dave Macon Days, Uncle Dave Macon Days 2012

George Jones Final Show Will Be In Nashville

November 15, 2012 //

George Jones Final Show at Bridgestone Arena

Outback Concerts in association with Country Music Hall of Fame member George Jones announce the final Nashville show as part of The Grand Tour to be held at Bridgestone Arena in Nashville, TN on Friday, November 22, 2013.

Tickets go on sale tomorrow, November 16, 2012.

Special guest Tanya Tucker will be on hand for the Nashville concert amongst other friends of The Possum, yet to be announced.

“The Grand Tour will have surprises throughout the shows – you never know who may show up! The Possum has lots of friends so it is going to be the most exciting thing to see who shows up during the final show. You should come too – and we can be surprised together!” said Jones.

George Jones, often referred to as the “the greatest living country singer” will mark the end of an era with 2013’s farewell tour titled “The Grand Tour”. The tour is expected to make approximately 60 stops next year. “I Don’t Need Your Rockin’ Chair”, “Who’s Gonna Fill Their Shoes”, “White Lightning” and “He Stopped Loving Her Today” will surely be part of each night’s set list, along with plenty of guests and surprises.

Tickets for the Nashville show go on-sale Friday, November 16th at 10am at all Ticketmaster locations.

Fans of ‘The Possum’ can see him at his upcoming concerts listed below or at www.georgejones.com.

George Jones on Tour (2012-2013)
11/09 – Branson, MO – The Mansion Theatre
11/10 – Morton, MN – Jackpot Junction Casino
11/16 – Peoria, IL – Peoria Civic Center
11/17 – Hiawassee, GA – Anderson Music Hall
11/23 – Winnie, TX – Nutty Jerry’s Winnie Arena
11/24 – Bossier City, LA – Horseshoe Casino
12/01 – Elizabeth, IN – Horseshoe Casino
12/15 – Jackson, TN – Carl Perkins Civic Center
02/02 – Tunica, MS – Sam’s Town
02/07 – Lakeland, FL – Youkey Theater
02/22 – Greenville, TX – Greenville Memorial Auditorium
02/23 – Forrest City, AR – East Arkansas Community College
03/15 – Joliet, IL – Realto Square Theater
03/16 – Muncie, IN – Emens Auditorium
03/22 – Chattanooga, TN – Memorial Auditorium
04/05 – Fairfax, VA – Patriot Center
04/06 – Knoxville, TN – Knoxville Coliseum
04/19 – Atlanta, GA – Fox Theater
04/20 – Salem, VA – Salem Civic Center
04/27 – Huntsville, AL – Mark C. Smith Concert Hall
05/17 – Charlottesville, VA – John Paul Jones Arena
05/18 – Spartanburg, SC – Memorial Auditorium
06/01 – North Tonawanda, NY – Riviera Theater
06/02 – Lancaster, PA – American Music Theater
11/09 – Grant, OK – Choctaw Event Center

George Jones is the #2 best-charting country artist of all time, with a staggering list of hit singles in every decade since the ’50s. The Beaumont, Texas native also has 143 Top 40 hits to his name, has received two Grammy Awards, was a 2008 Kennedy Center Honor recipient, is a Country Music Hall of Fame inductee, was presented with a GRAMMY(r) Lifetime Achievement Award this year and holds a National Medal of Arts. At 80, Jones continues to be an active country music superstar, headlining dozens of concerts each year.

– Brad Hardisty, Nashville, TN thenashvillebridge@hotmail.com

Tags George Jones, Nashville, Tanya Tucker

Categories Bridgestone Arena, Country Music, George Jones, Music, Nashville, Tanya Tucker, Uncategorized

The Marshall Tucker Band Deploys Tour Truck to Aid Hurricane Sandy Victims

November 9, 2012 //

Yesterday in Spartanburg, South Carolina, the legendary southern rock group The Marshall Tucker Band dispatched its tour truck to collect donations that will be transported to hurricane victims. The Marshall Tucker Band tour truck was stationed outside of the Spartanburg Memorial Auditorium from 4:30 to 7:30 PM. Additional trucks are also in the works for donation collections in Anderson and Chesnee, South Carolina.

Lead singer Doug Gray, along with other members of The Marshall Tucker Band, were on hand to thank those wishing to help.

“People in that part of the country have supported The Marshall Tucker Band for over 40 years,” says Gray. “We’ve made a lot of friends up there, have watched people’s families grow and have grown with them. So, on a personal level, I know a lot of their pain.”

“Palmetto Sound Works in Spartanburg has been kind enough to help with aiding the hurricane victims … they will also be sending several trucks.” Gray notes. “One wonderful couple from New Port Richey, Florida has already donated 4,000 blankets.”

The band asks that people not bring cash donations.

Gray adds, “If you want to contribute cash, please contact the American Red Cross. We’re primarily looking to collect coats and blankets since it’s starting to get cold up there.”

UltimateClassicRock.com recently crowned the MTB’s “Can’t You See” the #1 Greatest Southern Rock song ever recorded.

-(from official press release) Brad Hardisty, Nashville, TN thenashvillebridge@hotmail.com

Tags Marshall Tucker Band

Categories Music, Rock Music, Southern Rock, Uncategorized

Marion James Celebrates Birthday at Jefferson Street Sound

November 4, 2012 //

Marion James at Jefferson Street Sound B-Day Party, photo – Brad Hardisty

Marion James, Nashville’s “Queen of The Blues” celebrated her birthday at Jefferson Street Sound during what has been a busy year, with the release of Northside Soul on Ellersoul Records as well as the 30^th Annual Musicians Reunion at Bourbon Street Blues and Boogie Bar to benefit The Marion James Musicians Aid Society.

A group of friends enjoyed the music of The John Richards Trio while enjoying Fried Chicken, Shrimp Gumbo and a special cake for the occasion.

Marion let the group know that the discussion has begun to erect two statues on Jefferson Street of Jimi Hendrix and Little Richard where it all began. It was important to get the support of the music community as benefits may be needed in the future to help raise the funds for the commemorative statues that will further enhance the heritage of Music City.

John Richards and Jerry Stockard at Marion James Birthday Party 2012, photo – Brad Hardisty

Marion James finally, thrilled friends as she joined John Richards on guitar and Jerry Stockard on drums, singing “Candy” from her recent release as well as a “you-had-to-be-there” performance of “Someday.” It was a special night for a special lady.

– Brad Hardisty, Nashville, TN thenashvillebridge@hotmail.com

Categories Jefferson Street, Jimi Hendrix, John Richards Group, Marion James, Music, Nashville, Uncategorized

Good Morning CMA!

November 1, 2012 //

Bridgestone Arena, photo – Brad Hardisty

First shots of the new rising sun, CMA morning in Nashville where the day will be invaded by Country Music fans from all over the world looking for show hosts Carrie Underwood and Brad Paisley as well as big radio stars Keith Urban, Lady Antebellum and Little Big Town.

GMA Stage after Reba, CMA 2012, 9AM, photo – Brad Hardisty

Today started off with the announcement that Taylor Swift’s new album, Red, is on pace for the biggest first week sales in a decade with 1.208 million copies moved.

Ryman, CMA 2012, 9AM – photo – Brad Hardisty

Early winners were announced on Good Morning America, with Kenny Chesney and Tim McGraw winning Musical Event of The Year for ”Feel Like A Rock Star.” Although that may have been the mainstream duet, the real reach was Snoop Dogg’s collaboration with Willie Nelson, Kris Kristofferson and Jamey Johnson called “Roll Me Up and Smoke Me When I Die” that was up for an award in the same category.

Tootsies, CMA 2012 – 9AM, photo – Brad Hardisty

Toby Keith and director Michael Salomon won the Music Video of the Year category for their viral video smash “Red Solo Cup.”

Tear down at Bridgestone, CMA 2012, photo – Brad Hardisty

Reba McEntire performed bright and early just an hour ago from in front of tonight’s awards venue, The Bridgestone Arena which was simulcast on ABC’s Good Morning America.

Legends Corner, CMA 2012, early morning, photo – Brad Hardisty

After the quick set and early award announcements, the stage outside the arena was quickly tore down with roadies moving road cases and setting up for the next free set.

Lower Broad, CMA 2012 early morning, photo – Brad Hardisty

Nashville is a town that almost never sleeps with live music down Broadway almost 24 hours a day.

Just across the street from Bridgestone, there were Chevy trucks with wraps celebrating the show out in front of Tootsie’s while right around the side of Legends Corner, Big & Rich was bigger than life with a special mural for the show celebrating their return.

The day has just begun.

– Brad Hardisty, Nashville, TN thenashvillebridge@hotmail.com

Categories Big & Rich, CMA Awards 2012, Country Music, Country Radio, Music, Nashville, Snoop Dogg, Uncategorized

Ryan Bingham at Marathon with La Santa Cecilia

October 24, 2012 //

Ryan Bingham at Marathon, photo – Brad Hardisty

Ryan Bingham received a warm welcome in Nashville on October 9^th at the recently opened Marathon Music Works, an old industrial space revamped into a room about twice the size of The Cannery Ballroom with the stage exactly where it needs to be; right in the middle of the eastern wall, with a great view and sound from just about anywhere.

Ryan is out on tour with a Nashvillian band in support of Tomorrowland on his own imprint Axster Bingham Records, which is an even bigger turn in tone from the T-Bone Burnett produced Junky Star.

It can be said that Ryan was anxious for the show with the new band, having left on his twitter page, “NASHVILLE! Just got in & ready for the show at Marathon Music Works tomorrow. Come party with us! Tuesday Funday!!!” @RyanBingham.

As far as the band goes, they sounded big; there would be something to his set that a fan of The Black Crowes, Bob Dylan, Tom Petty, The Wallflowers or anything in that vicinity would like.

Ryan Bingham in Nashville, photo – Brad Hardisty

Even though he got an Oscar for “The Weary Kind,” Ryan avoided that like Jack White avoids, “Fell In Love With A Girl.”

The set was heavy on the new album starting out with the new single, “Guess Who’s Knocking.” The good size crowd was into the set early on, but, if there was a “Honky Tonk Women” for Ryan, it would be “Hard Times” from the 2007 Lost Highway release Mescalito.

In fact, it seemed like Mescalito hung heavy in the room, since it appeared that the Nashville crowd made it known that it is the favorite so far, with the crowd almost drowning out Ryan in a sing-along to “Hard Times” as well as “Southside of Heaven.” In fact although the set continued to build in enthusiasm, for the crowd “Hard Times” was the peak coming in at song number three in the set.

It would have been more appropriate if “Hard Times” had been the closer.

It was interesting to see what was in the set. It was either brand new or before 2008 except for “Hallelujah” off of Junky Star.

Ryan made reference to living in Houston at one time, which gives that link to the Texas-Red Dirt scene as well as remembering living in a van down by the river before going into a solo number as part of the encore.

Ryan Bingham, photo – Brad Hardisty

Ryan’s voice really is John Kay from Steppenwolf, but with the poetics of modern day Hayes Carll and Justin Townes Earle coming to mind with the rock band sensibilities now of The Wallflowers.

Ryan is probably the strongest of the new crowd of writers, he could be the one that continues to grow crowds of followers and be around ten years from now. The challenge may be that while he continues to broaden his approach with albums like Tomorrowland is to come up with an album in the future that connects as well as Mescalito did.

Ryan Bingham with La Santa Cecilia in Nashville, photo – Brad Hardisty

All around it was a strong show that included a rendition of “Boracho Station” with members of opening act, La Santa Cecilia, featuring Jose Carlos on accordion and singer Marisoul, with her strong thick voice was a good mix with Ryan. It would be interesting see a future recorded duet.

After a couple of acoustic numbers, the rest of the band came out to finish off the crowd with another strong cut from Mescalito, “Bread and Water.”

La Santa Cecilia in Nashville, photo – Brad Hardisty

La Santa Cecilia opened up mixing Spanish with English as much as they mixed Conjunto and Tejano with Jazz and the nineties rock classic, “Tainted Love.”

I don’t think Nashville has seen quite anything like them. They would be an interesting group in East L.A.; they were mind opening in Nashville. Marisoul had a great voice with traditional conjunto and bossa nova inflections and the depth of Roberta Flack, “Tainted Love” was like an Alfa Romeo taco truck driving through Gwen Stefani’s teenage bedroom in Anaheim.

If No Doubt was a conjunto band, they might be La Santa Cecilia. La Santa Cecilia, named after the patron saint of musicians, basically took everything they like having grown up on the West Coast and rolled it into an “everything but the kitchen sink” burrito.

Three members of La Santa Cecilia after the opening set, photo – Brad Hardisty

They kept the crowd captivated with the mainly acoustic instrument interplay and the strong vocals, everything even a bluegrasser could love. Hopefully, La Santa Cecilia will be back sooner than later.

Ryan Bingham set list:

Guess Who’s Knocking
Heart of Rhythm
Hard Times
Sunrise
Keep It Together
Heard’Em Say
Southside of Heaven
Beg For Broken Legs
Western Shore
Dollar A day
Day Is Done
Never Far Behind

Encore

Boracho Station (Ryan acoustic w/ members of La Santa Cecilia)
Tell My Mother I Miss Her So
Hallelujah
Ever Wonder Why
Sunshine
Bread and Water

– Brad Hardisty, Nashville, TN thenashvillebridge@hotmail.com

Categories Americana Music, La Santa Cecilia, Marathon Music Works, Music, Nashville, Rock Music, Ryan Bingham, Uncategorized

Emanuel Cook and Joe Patti’s: Pensacola Gold

October 20, 2012 //

Emanuel Cook, photo – Brad Hardisty

Taking a break from the Nashville nightlife, I headed south through Alabama to Pensacola, Florida where the summer crowds had died down and the weather was a perfect 80 degrees during the day and a crisp 70 at night. Pensacola comes alive for its every other month art gallery crawl on Friday night where local artists show their latest creations in and around old town Pensacola on Palafox with musicians playing music in clubs, on overhanging porches and the city parks.

Emanuel Cook was jamming by the park near the end of the action. Emanuel is a guitarist who once played with Miami, Florida native Betty Wright. Emanuel easily moves between Jazz and Blues with eclectic taste. One of his favorites is Gino Vanellis’, “ I Just Wanna Stop” that Emanuel just throws in like its nothing at all, between a cover of Muddy Waters’, “Hoochie Coochie Man” and “ Black Water,” by The Doobie Brothers.

Emanuel Cook is a local Pensacola treasure mixing up jazz chords, open blues configurations and singing with a warm, rich resonant voice.

Emanuel is a little hard to find on the web, but, look him up playing somewhere along Palafox if you are ever down by the gulf. Tell Emanuel you read about him on The Nashville Bridge.

I jammed with him for a while and got a picture of Emanuel playing my Luna Dobro hybrid.

Down the street, Vinyl Music Hall is the club that brings the bands down by the bay.

Joe Patti’s, photo – Brad Hardisty

When you are down in Pensacola, you got to get yourself some fish! Joe Patti’s is the place to get it fresh. For over 75 years, Joe Patti’s has existed down on Pensacola Bay. During the 1960’s, Joe Patti’s Seafood was sought after up and down the Florida and Alabama Gulf Coast by the finest restaurants.

photo – Brad Hardisty

Nowadays, the retail operation is world class, where not only do they have fresh seafood, where you can find all the panhandle favorites such as grouper, pompano and redfish, but, also Florida lobster, Gulf shrimp and even catfish.

photo – Brad Hardisty

The store also includes fresh sushi, a wine shop and a delicatessen, with everything from fresh baked Italian bread, homemade Gelato to all kinds of seafood salads and the largest collection of imported olive oil that I have ever seen in my travels.

Lobster Salad from Joe Patti’s Deli, photo – Brad Hardisty

I opted for an early lunch of Lobster Salad which contained full lobster claw pieces, some shrimp in lime juice with a little salt, cilantro and red and green onions. It was great straight out of the half pound size plastic container, but, may have been even better on a hot sourdough baguette with some of their fresh roasted garlic spread.

Backside pier area of Joe Patti’s Seafood, photo – Brad Hardisty

While there was plenty of great food to bag and eat out by the pier, Joe Patti’s has a restaurant around the corner mainly catering to the lunch crowd from Tuesday thru Saturday. It’s called Captain Joey Patti’s Seafood and Deli on C Street.

fresh Florida lobster at Joe Patti’s in Pensacola, photo – Brad Hardisty

The fish is fresh from the dock, with Grouper and the catch of the day fried in their own seasoned cornmeal batter. A big shrimp basket with fries is less than $13, while the catch of the day is less than $10.

The food is like the best home cooked seafood you could imagine, nothing fancy, but, everything will bring you back for more.

I ate their twice trying their seafood gumbo with chunks of shrimp and crab one day and the catch of the day with cheese grits and cole slaw on the side the next.

The fish with two sides was less than $10. The cole slaw was another thing. It was some of the best creamy cole slaw I ever had. I detected some tang with the sweet, possibly a little pickle juice. I was unable to find out the secret from the waitress. You’ll have to try it and see what you think.

photo – Brad Hardisty

Everything was so good at Joe Patti’s that I plan on getting a Styrofoam cooler from Dollar General on Monday and loading up some fresh catch for Tennessee before I head back.

Key Lime Pie at The Fish House, Pensacola, Florida, photo – Brad Hardisty

One more thing you need to try in Pensacola. Key Lime Pie is a Florida trademark. I have seen shows that claim they found the best or so and so has always been considered the best in Key West. Well, The Fish House right on the bay makes the best Key Lime Pie in the world. It is natural yellow instead of tinted with food coloring to make it green. It melts in your mouth along with the mile high fresh meringue on top toasted to a nice brown.

You gotta have some Key Lime Pie when you’re in Florida. Music, food, white sand beaches, beautiful women and a nice small downtown nightlife make Pensacola one of the greatest escapes south of Nashville.

– Brad Hardisty, on location in Pensacola, Florida thenashvillebridge@hotmail.com

Categories Emanuel Cook, Joe Patti's Seafood, Key Lime Pie, Music, Pensacola Beach, The Fish House Pensacola Florida, Uncategorized

Hot October Night At 30th Annual Musicians Reunion

October 12, 2012 //

photo – Brad Hardisty

Nashville’s Queen of the Blues, Marion James, who had a Top 10 hit in 1966 with “That’s My Man” on Excello Records whom also once had a young Jimi Hendrix in her band at Club Del Morocco, presided over the proceedings of the 30^th Anniversary of The Jefferson Street Musicians Reunion & Benefit which celebrated the Rhythm and Blues era of 1950-1970 that was Nashville on Jefferson Street, 4^th Avenue and even a part of the Printers Alley where the event took place last Sunday, Oct. 7^th, starting at 2Pm at Bourbon Street Blues and Boogie Bar.

Marion James – Nashville’s Queen of the Blues, photo – Brad Hardisty

A great collectible program was available that had the lineup of bands as well as a comprehensive piece on the importance and history of the people and places that made up the great Rhythm & Blues era in Nashville.

There are mentions of Johnny Jones, Jimi Hendrix, Earl Gaines, Little Willie John, Gene Allison, and Christine Kittrell. The included story entitled; “Scuffling: The Lost History of Nashville Rhythm & Blues” was written by Daniel Cooper in 1996 and is one of the most comprehensive articles written about the scene that was played out at The Baron, Club Del Morocco, The New Era, The Club Revillot, Maceo’s (a great photo of Ray Charles playing at Maceo’s is featured in the program), Sugar Hill, Deborah’s Casino Royale, Ebony Circle, Pee Wee’s, even a beer joint called Behind The Green Door (Marion claims to have came up with the name of this joint).

Nashville had its own R&B imprints back in the day, Bullet, Tennessee Republic, Excello, Calvert, Cherokee as well as Athens, Sims, and Sound Stage 7.

The importance of Music City’s R&B, was just as huge as Memphis, although not as well known to the rest of the world. The music of Nashville was in thousands of southern state jukeboxes and being played on the mega powered Nashville pride WLAC back in the day.

Jimi Hendrix with The King Kasuals, Club Del Morocco, early 60’s

There are discussions right now to start a fund to erect a statue of Jimi Hendrix near where the Club Del Morocco once stood on Jefferson Street. While Seattle has every right to claim Jimi as their own, it was here along with best friend and brother in arms, Billy Cox, that Jimi spent his time honing his skills and developing his songwriting craft (building riffs with Billy that would show in later compositions) in probably the most demanding city then and now for a guitarist to prove his worth.

Jimi may have lost out a guitar dual to Nashville’s great and gracious Johnny Jones, but, performing in Nashville only strengthened his resolve and allowed Jimi the opportunity to tour with the powerhouse performers of the day like Little Richard & The Isley Brothers. Johnny later paid tribute to Jimi by releasing his own version of “Purple Haze” with Jimi’s former band, The King Casuals in 1969 on the Brunswick label for all you collectors out there.

John Richards, photo – Brad Hardisty

Starting at 2PM, the New Orleans feel of the Bourbon Street Blues & Boogie Bar, began to heat up with local favorites John Richards, Miranda Louise and Delicious Blues Stew getting the party started. The stage announcer, Peter Burger, plays saxophone with Stacy Mitchhart and also got to play in Marion James during her “burn- the- house- down” set!

There was a great silent auction to benefit the Marion James Musicians Aid Society that helps to support the musicians that made the scene happen between 1950-1970; especially with medical costs. As you all know, being a musician means forgoing a lot of insurance benefits. It was a chance to give back to the community that gave us so much.

Classic Cropper by Michael Patrick Maness, photo – Brad Hardisty

I myself eyed a print of Steve Cropper signed by the artist Michael P. Maness, after a few bids, one very close to the cut off time, it is all mine! While there were several other great pieces of art of BB King, Stevie Ray Vaughan and an autographed Buddy Guy gig poster, it is rare to come across an art piece of Steve Cropper, my personal icon for what he has been able to achieve in his life, that so captured the essence, Hawaiian shirt, custom orange Fender Telecaster and all. It will go on the wall next to my art print of another Memphis legend, Furry Lewis.

Those in attendance included Baton Rouge Bluesman Larry Garner, as well as current King of The blues in Nashville, Nick Nixon. I had heard Steve Cropper was out of town, but, I did hope to see Billy Cox at the event with no such luck. I did catch him once hanging out with old friends at a Sunday night Blues Jam at Carol Ann’s, so; he is seen around town now and then. It would have been great to see Larry Carlton or Dan Auerbach from The Black Keys show up at one of these events, maybe, down the road apiece.

Tom Cat of Bad Moon Blues Band, photo – Brad Hardisty

The Bad Moon Blues Band featuring Tom “Tom Cat” Whisenhunt, who has won a pair of Blues Guitarist awards, did some Strat-o-castin’ which started turn the heat up in the joint.

Regi Wooten, photo – Brad Hardisty

As the afternoon settled early evening, it was Carissia and Company that set the bar featuring Regi Wooten on Guitar. Although his brother, Victor Wooten, may be more well known, it was Regi’s guitar style that inspired Victor to go for some of the things he is known for on the bass.

Carissia, photo – Brad Hardisty

Playing of “Taps” to honor those Nashville blues musicians who have passed on. photo – Brad Hardisty

Carissia and Marion James look on as candlelight procession starts, photo – Brad Hardisty

Before Marion James’ set, there was a candlelight procession honoring passed Jefferson street artists such as Earl Gaines and Jimi Hendrix, before making mention of those who have passed on recently such as Nashville’s Donna Summers and Bob Babbit. Finally, after a moment of silence, “Taps” was played by a lone trumpet.

Lola Brown (daughter of Dr. Dorothy Lavinia Brown, the first black female surgeon in the south) performed a stirring Gospel rendition of “I’m Goin’ Way Over Yonder” and Carissia took a turn on the classic Curtis Mayfield, “People Get Ready.”

Samuel L. Dismuke Jr., photo – Brad Hardisty

When Marion James took center stage with “The Queen’s Band,” the tiny stage was covered with some of Nashville’s finest performers on everything from horns, guitar to Hammond B3. Marion had three backup singers, including Lola Brown. There were at least 10 musicians, including Samuel L Dismuke jr. Jr. on trombone, who Marion said she considered to be one of her sons onstage. There was no denying why Marion James is the current “Queen of the Blues.”

Everybody stopped for about 30-40 minutes. Nobody was eating their Cajun burgers or swallowing down a couple of fries. There was no talking or chitchatting or wandering around. Time stood still as Marion cut through like a hot knife in a stick of butter.

Marion James, “The Queen of the Blues”, photo – Brad Hardisty

It was an electrified performance that was not to be missed. Marion not only sang some of her classics, but, some of her new songs from the new release on Ellersoul Records, Northside Soul with the attack of Sister Rosetta Tharp in a street fight with James Brown. Marion won!

This was the main event, although, a great late night jam featuring the Andy T Band and Nick Nixon was still in the wings. After several hours, the night built to a crescendo and I left with my Steve Cropper print rolled carefully.

photo – Brad Hardisty

It was the end to another successful year for The Jefferson Street Musicians Benefit sponsored by Jefferson Street Sound.

– Brad Hardisty, Nashville, TN thenashvillebridge@hotmail.com

Categories Bad Moon Blues Band, Billy Cox, Blues Music, Bobby Blue Bland, Bourbon Street Blues and Boogie Bar, Bullet Records, Carissia and Company, Cherokee Records, Christine Kittrell, Daniel Cooper, Delicious Blues Stew, Ear Gaines, Ellersoul Records, Excello Records, Gene Allison, Jefferson Street, Jimi Hendrix, John Richards Group, Johnny Jones, Larry Garner, Little Richard, Little Willie John, Lola Brown, Maceo's, Marion James, Michael P Maness, Miranda Louise, Nashville, Nick Nixon, Peter Burger, Regi Wooten, Samuel L Dismuke Jr, Stacy Mitchhart, Steve Cropper, Tennessee Reublic Records, The 30th Anniversary Jeffersob Street Musicians Reunion & Benefit, The Baron Nashville, The Isley Brothers, The King Kasuals, The New Era Nashville, Uncategorized, WLAC