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After a health-induced hiatus, Popa Chubby, the legendary blues-rock guitarist, roars back with "I Love Freddie King," a heartfelt tribute album to the late great Texas Cannonball himself. Produced by Popa Chubby and Gulf Coast Records' executive producer Mike Zito, this 11-track masterpiece was recorded at G.B.'s Juke Joint and features contributions from an all-star roster of modern guitar heroes: Joe Bonamassa, Mike Zito, Christone "Kingfish" Ingram, Eric Gales, Albert Castiglia, Arthur Neilson, and V.D. King. Reflecting on the album, Popa Chubby calls Freddie King his lifelong muse, whose music "changed my soul forever." The album brings King's legacy roaring back to life, spanning his early instrumental hits, Shelter Records era, and more. With a core band of Mike Merritt (bass), Andrei Koribanics III (drums), and Mike DiMeo (keyboards), this record captures the sweat, soul, and unrelenting energy of Freddie King.
Tracks like "I'm Going Down" (ft. Joe Bonamassa) and "Big Legged Woman" (ft. Christone 'Kingfish' Ingram) explode with fiery guitar work and passionate vocals. Other standouts include "She's A Burglar" (ft. Mike Zito) and "Hideaway" (ft. Arthur Neilson). Each collaboration brings something special to the table, making this album a must-listen for blues fans and guitar lovers alike.
Despite battling a rare spinal disorder during production, Popa Chubby pressed on to create what he calls "a journey of love and homage." His raw determination, combined with the extraordinary talent of his guest musicians, resulted in a fitting tribute to Freddie King--the bridge between blues and rock, who forever altered the genre's course.
The Texas Cannonball's legacy brought to life, grab your copy of "I Love Freddie King" today and let the blues thunder on!
Mátyás Pribojszki, otherwise known as Jumping Matt, is one of Hungary’s – and Europe’s – best-known harmonica players, singers and songwriters, having toured Europe both as a solo artist and with various groups and remaining one of the most active performers in the Hungarian concert scene as well. He first emerged in the ’90s as a member of the Blues Fools, then later attained prominence in the Hungarian blues scene with his own band, Jumping Matt & His Combo. After a six-year hiatus, he and his band will now present their new album, Forward, at the House of Music Hungary.
Melon Jelly предлагает потрясающую музыкальную смесь фанковых грувов, блюза и ретро-рока, поданную с пылу с жару из Юго-Восточного Техаса! Победители Houston Blues Challenge 2024, Melon Jelly включают Стивена Дродди на барабанах, Джейсона Макколлума на басу и Марка «Несси» Несмита на гитарах и вокале.
Джейсон Макколлум привносит на сцену двадцатилетний опыт игры на басу. Он выступал по всему Техасу с группами Ultrasuede, Jag, Lazarus Bowl и другими. Когда эти трое впервые собрались вместе, это была любовь с первого рывка.
Грег Коулсон — британский музыкальный гигант — экспрессивный автор-исполнитель и динамичный исполнитель, который сочетает соул и классический рок с ритмом блюза, фанка и джаза. Известный своим завораживающим сценическим присутствием и уникальным звучанием, Грег быстро зарекомендовал себя как один из самых интересных и разносторонних музыкантов Великобритании.
From sweet blues to gritty, stomping, blues-rocking beats, and now having seven nominations in the Independent Blues Awards, a Western Australian Music Award win and three back-to-back Number One Australian Blues albums, this is a breakout Australian blues artist you do not want to miss out on seeing.
The Matty T Wall band returns to the stage more motivated and addictively electric than ever with two killer rhythm legends of the scene, Ric Whittle on drums and Leigh Miller on bass guitar.
While the music that Matty plays has roots in the past, he is a very much an artist in the present. Through his reverence for historic musical forms, he is not emulating, but redefining these sounds, as he introduces classic genres to new listeners and invests them with his own trademark.
Mississippi-born, Memphis-raised, Grammy Award-winning music legend Charlie Musselwhite will release ‘Mississippi Son,’ his new Alligator Records CD and LP, on Friday, June 3. Musselwhite is renowned worldwide as a master harmonica player, a seasoned, truth-telling vocalist and an original songwriter rooted deep within the blues tradition. As many of his fans know, he’s also a country blues guitarist of great depth, warmth and subtlety. On each of Mississippi Son’s 14 songs, including eight powerfully stark originals, Musselwhite’s straight-from-the-soul vocals and deep blues harmonica playing are the perfect foil to his deceptively simple, hypnotic guitar work, which he features on every track. Mississippi Son’s first single, the autobiographical original Blues Gave Me A Ride, will be released on Friday, May 6.
Having recently moved back to Mississippi from northern California, Musselwhite recorded Mississippi Son in Clarksdale, right in the heart of the Delta. His honest, soulful vocals, like his every-note-matters harmonica playing and idiosyncratic guitar work, overflow with hard-earned authenticity and lasting emotional intensity. Musselwhite calls his blues, “secular spiritual music,” a sound he’s been perfecting since he, as a young teenager, played his first E7 chord on his Supertone acoustic guitar. Upon hearing and feeling the chord’s blue note, the future blues master thought, “I have to have more of that.”
Charlie Musselwhite doesn’t just sing and play the blues; he is, in every sense of the word, a bluesman. Growing up, he not only learned the music first-hand from many of the genre’s most influential artists, he also absorbed the lifestyle. “It’s an attitude,” Musselwhite says of playing the blues. “A way of living life.” Musselwhite’s life story reads like a classic blues song: born in Mississippi, raised in Memphis and schooled on the South Side of Chicago. A groundbreaking recording artist since the 1960s, Musselwhite has never stopped creating trailblazing music while remaining firmly rooted in the blues.
Over the years, Charlie has released nearly 40 albums on a variety of labels, his exploratory recordings including straight blues but often mixing in elements of jazz, gospel, Tex-Mex, Cuban and other world musics. Four of those albums—1990’s Ace Of Harps, 1991’s Signature, 1994’s In My Time, and 2010’s The Well—were released on Alligator Records and remain among his best-selling titles.
In 2020, Musselwhite joined up with his friend Elvin Bishop and released the Grammy-nominated, Blues Music Award-winning 100 Years Of Blues on Alligator. The album debuted at #1 on the Billboard Blues Chart. DownBeat named it the Best Blues Album Of The Year. It was named the #3 Best Blues Album of 2021 by UK tastemaker magazine MOJO, who declared, “These are exquisite harmonica-guitar duets like Muddy Waters and Little Walter, or Johnny Shines and Big Walter Horton…mature, masterly, endlessly rewarding.”
In addition to his own albums, Musselwhite has been featured on recordings by Tom Waits, Eddie Vedder, Ben Harper, John Lee Hooker, Bonnie Raitt, The Blind Boys of Alabama, INXS, Cyndi Lauper, and many others. He was inducted into the Blues Foundation’s Blues Hall Of Fame in 2010, has been nominated for twelve Grammy Awards (winning one) and has won numerous Living Blues Awards and Blues Music Awards. The Chicago Tribune says his music is “imaginative and stunning…utterly convincing.”
Now, with Mississippi Son, Musselwhite has come full circle, returning home to Mississippi after decades in Memphis, Chicago, San Francisco and points in between. Amalgamating all he’s learned and absorbed throughout his years of worldwide touring, Musselwhite imparts sage wisdom in every song he writes, sings and performs. “Blues tells the truth in a world that’s full of lies,” he intones in Blues Gave Me A Ride, at once telling his own story and plainly summing up the genre’s timelessness. Through his evocative vocals, masterful harmonica playing, and note-perfect Southern country blues guitar, Charlie Musselwhite, on Mississippi Son, leans forward and delivers the blues’ honest truth.
“Free,” the title track from singer-songwriter Lauren Glick‘s 2021 EP, is a boisterous, celebratory take on becoming an empty nester and having a world of new paths open up at your feet. Over a driving, blues-rock beat punctuated by her driving bass work and an equally free-spirited guitar solo, Glick’s vocals soar with authority, propelling the song ever-forward.
“It’s about moving past raising children and becoming free in that aspect of her life,” she comments on the woman the song revolves around. “She’s finally having the chance to go on the road, down the path and play the music she loves.”
Shot entirely in her hometown of Ocean City, MD, she’s clearly more than at ease in the video and having a downright blast. “As much fun as I’m having in the video, and as much fun as the song conveys, there is a more serious subtext. It’s about women’s freedom in general, especially in the context of trying to make it in music.”
Examining the visceral emotional territory of a pandemic and the world’s reeling in its rolling aftermath, multi Platinum-selling and award-winning artist Sass Jordan readies herself to rock the blues once again with the announcement of her new album, Bitches Blues — available June 3rd, 2022 via Stony Plain Records.
Following rave reviews of her 2020 all-blues offering, Rebel Moon Blues, the Billboard Best Female Rock Vocalist winner mines even more of her expansive talent in the genre to deliver eight new tracks — including originals “Change Is Coming,” “Still The World Goes Round,” and
more.
A pioneer of powerful, gritty female-fronted rock, Sass Jordan has worked alongside fellow greats like Aerosmith, the Rolling Stones, AC/DC, and Van Halen, among many more. Born in Britain and raised in Montreal, she launched her solo career with the single “Tell Somebody” from her 1988 debut of the same name, garnering national acclaim and a JUNO Award for Most Promising Female Vocalist. Throughout her career, she’s earned three more nominations for Best Female Vocalist thanks to albums like Racine (1992), Rats (1994), Present (1997), Hot Gossip (2000), Get What You Give (2006), From Dusk Til Dawn (2009) and her side project S.U.N.’;s album, Something Unto Nothing (2011) — along with singles like “Make You A Believer,” “You Don’t Have to Remind Me,” “Sun’s Gonna Rise” and 1992’s “Trust in Me”, a duet with Joe Cocker from the record-selling Bodyguard soundtrack.
Jordan starred in the off-Broadway Janis Joplin show, Love Janis, performed The Vagina Monologues in Winnipeg and Toronto, toured the world with A Bowie Celebration, guest-starred on NBC’s Sisters, weighed in as the only female judge on Canadian Idol for all six seasons
beginning in 2003, and branded her own lines of wine and spirits, Rebel Moon Whisky and Kick Ass Sass Wine.
In 2017, she released Racine Revisited, recreating her sophomore album with an all-star cast for its 25th anniversary, and celebrated the same milestone for Rats in 2020 with a coloured- vinyl reissue. With Bitches Blues, Sass returns to a genre that’s long been ingrained in her grasp since the start. “There’s been an undercurrent of blues throughout my whole career”, she shares. “The music that I have mostly been drawn to has always had that gritty, rootsy vein running through it, and that’s why I’m enjoying making these records so much”.
As such, anticipate piercingly fierce guitar licks and defiantly driving tempos alongside Sass’ soulful signature rasp and the full backing of a glorious assortment of rambling road dogs, the Champagne Hookers — guitarists Chris Caddell and Jimmy Reid, drummer Cass Pereira, keyboardist Jesse O’Brien, and Steve Marriner on bass and harmonica.
For all his considerable musical talents, Taj Mahal has always been shrewd. And smart. In the early 1990s he knew he’d assembled something special in his backing band. He dubbed his secret weapon the Phantom Blues Band.
After helping Taj win two Grammys and gain three other nominations, the band members realized they could stand on their own. The Phantom Blues Band began assembling what would become ‘Out Of The Shadows’ in 2006, an album that stretched the band and won raves at every turn.
The Phantom Blues Band – drummer Tony Braunagel, bassist/singer Larry Fulcher, guitarist/singer Johnny Lee Schell, saxophonists Joe Sublett, trumpeter Darrell Leonard, and keyboardist/singer Mike Finnigan – has been a resilient unit.
At various times, its members have backed just about every marquis band you can name, but they continued to support Taj when he needed them.
On its own, Phantom has recorded ‘Out Of The Shadows’ and Footprints in 2007 for Delta Groove and Inside Out in 2012 and Still Cookin’ in 2020, both for VizzTone. Album after album features the same musicians, although at one point Les Lovitt replaced Leonard on trumpet.
It’s a rather remarkable testimonial that these guys who are first-call sidemen for people such as Bonnie Raitt, Etta James, Joe Cocker, Robert Cray, Eric Burdon, and Bob Marley among others, always seem to come back to their nest with the Phantom Blues Band. Unusual allegiance and true camaraderie come to mind as character traits.
So it was especially painful during the pandemic shadow in 2020 when Mike Finnigan was diagnosed with cancer. Finnigan held his own place in the music industry. Through the years, he played on hundreds of records and thousands of shows with artists as varied as Janis Joplin, Jimi Hendrix and Crosby, Stills & Nash. He made it through the Still Cookin’ album, but succumbed to his illness in August 2021.
The Phantom Blues Band wasn’t going to let that knock them out. They recruited veteran Jim Pugh on keyboards (Etta James, Robert Cray, Chris Isaak) and immediately set about to produce an album in tribute to the fallen Finnigan.
Schell and Fulcher handle most of the vocals on the new album, which is scheduled for an early summer release on Pugh’s Little Village record label.
The band invited two of its long-time musical companions – Bonnie Raitt and Curtis Salgado – to pitch in on the effort.
As a tribute to the Finnigan, proceeds from the new CD will be donated to the Mike Finnigan School of Music at the Stiefel Theater in Salina, Kansas. It is surely an honor Finnigan, a native of Kansas, would smile at.
The members of the Phantom Blues Band can take plenty of pride from their aggregated musical experiences, but they know this project is something special.
Of course, Taj Mahal could have probably told you that they could do this long ago. He believed in them first.
12 Blues/Rock songs ranging from heartfelt emotional blues to a Latin-beat rock. 7 original songs written by Ron and played by his band the Tomcats along with special guest musicians. Physical CD available for pre-order as well, just go to the merchandise page.
Some Light is the latest Mungo Jerry album, and it is packed with a dozen life-affirming songs. It is a tour-de-force, triumphant celebration of life.
Overall, it is so good that it seems to contain much, much more than the dozen brilliantly crafted songs therein. You could even call it a concept album, if that’s not too cheesy a thing to say. It is arguably the best MJ album ever released.
Ray Dorset and Mungo Jerry are two sides of the same gold sovereign.
Music moves elementally through Ray Dorset, and it is hard to say who is in control on this album. The musician Ray Dorset? Or the Mungo Jerry Muse that has driven this irrepressible force of nature to produce his music for more than six decades.
This hypnotising album is a musical gem. Ray’s band grooves in harmonious sync, amid a framework of the highest production values.
Some Light was conceived, composed and recorded during the darkest days of the 2020/21 Pandemic and light itself is the energy that shines through this astonishing output.
Ray squared up to the modern plague by producing this truly classic Mungo Jerry collection. Some Light is his plea to humanity to stop destroying the planet and going against Nature, a cause he has been crusading since the late 1960s.
But have we left it too late? Some Light poses that question in a beautifully crafted way. The title tips a wink at the inclusion of uniquely ‘light’ Mungo Jerry songs. They defiantly and cheerfully proclaim the endurance of the human spirit in these strange times. ~Mick O’Hanlon
Sur la scène jazz, il est tout simplement impossible d’ignorer Alex Grenier. Le guitariste angévin s’est fait un nom à travers une discographie solide, des collaborations mémorables et des prestations scéniques légendaires dans les quatre coins du monde, à un tel point qu’il est devenu une référence en la matière. Son cinquième album nommé Spicy Galaxy est là pour rappeler son héritage et son talent hors normes.
Ici, Alex Grenier compte explorer les recoins 70’s tout au long de ces neuf titres bien groovy. Spicy Galaxy compte nous remuer comme il se doit avec cette fusion entre jazz et blues qui fait effet sur « Bouce » qui ouvre le disque mais encore sur les entraînants « Mojo » et « Harlem » où il nous gratifie de solos de guitare réjouissants.
Les talents de compositeur d’Alex Grenier ne sont plus à discuter par les temps qui courent et ce Spicy Galaxy ne fait ps exception. Que ce soit sur « Sund’ » ou bien encore sur « Double Six » et « Bee Cool », le guitariste angévin reste sur ses gardes en faisant la distinction entre improvisations bien senties et mélodies groovy spontanées qui continuent de faire mouche avec « Bel Horizon » et « French Touch ». Toujours aussi séduisant et instinctif, la musique d’Alex Grenier ne fait jamais défaut.
Over the years, Wax & Boogie have been gaining recognition and have become one of the best bands of the blues, rhythm and blues and boogie-woogie scene.
Ster Wax and David Giorcelli have been able to capture the true spirit of African-American traditional music in an exceptional way and turned it into their own means of expression. They master the language of black music in a rich and varied way. Ster and David surf easily and confidently on the different waves of the genre.
Besides what has been mentioned, Kansas City, Texas blues and 50s R&B are present in all the work of the couple, with the constant influence of Pete Johnson, Albert Ammons, Otis Spann, Esther Phillips, Big Maybelle, Big Joe Turner, Johnny Otis, Amos Milburn and Wynona Carr, among many other great names of the forties and fifties.
Het laatste album van Blues Company dat in Bluesmagazine is besproken was het live-album Take The Stage in november 2020. Nu verschijnt Songs With No Words als dubbelelpee en cd als de vierendertigste release van deze band. De titel zegt het al: Songs With No Words, is dus een instrumentaal album geworden. Het leek bandleider Todor ‘Toscho’ Todorovic een mooi idee een instrumentaal verzamelalbum te maken met nummers die de laatste decennia zijn opgenomen en blijven liggen en die de ontwikkeling van de band evenals de muzikaliteit en de opnametechniek laten zien.
Op het album staan vijftien songs waarvan drie covers namelijk Comin’Home Baby (Ben Tucker, Bob Douroug, Hide Away/Peter Gunn Theme (Freddie King, Hank Mancini) en het overbekende Albatross (Peter Alan Green). De rest is geschreven door Todor Todorovic en Mara’s Dream samen met Zdzislaw Marcinkiewicz. De speeltijd is ruim 74 minuten.
De cd opent met het de heerlijke swingende jazz-blues shuffle Damn! Let’s Jam met tenor en bariton saxofoon en ingetogen swingend gitaar. Lekkere diepe contrabas en ritmische drums. Prachtig begin. Comin’ Home Baby met verrassend fluitspel en weer een zalige swing en met orgel en prachtige gitaarsolo. Live-opgenomen en wat een geweldige geluidskwaliteit, de hele cd trouwens. De band staat hier ook om bekend. Taxi met diepe bariton saxsound volgt, lekker uptempo nummer. De slowblues Luka’s Lullaby is weer live opgenomen en is meer Peter Green stijl. Ook live de fijne shuffle J.J.’s Jump, weer jazzy met de blazers. Rustig laidback met prachtig helder ingetogen gitaarspel wordt het in Waiting For Springtime. Vrolijk swingend is Mr.TNT de ritmesectie legt een prima basis neer, vooral door de vloeiende lopende bas, lekkere saxsolo ook. Met helder, iets galmend gitaar opent Mara’s Dream, orgel valt in en het hele nummer door met alleen gitaar en orgel . Verrassend. Hele diepe bas, zware drums en helder gitaar openen het rustige Dinner At Woolfie’s. Hoofdrol voor de basis van drums en bas. Live gaat het verder met het bekende uptempo Hide Away/Peter Gunn Theme. Blues For Mick is zoals de titel aangeeft een rustige mooi gespeelde blues. Met de live gespeelde boogie T’s Boogie boogiet het verder, met swing en bassolo met passende drums. Stilzitten is er niet bij. Dromerige avondsfeer in Balsha’s Dream, ondergaande zon, wijntje, lief naast je…De beat van de drums in No Idea verstoort de rust….ritmisch nummer met ruimte voor een korte bassolo. Het overbekende Albatross is de afsluiter van dit prachtige album.
Line-up:
Omdat het een verzameling nummers uit meerdere decennia is doen er twintig muzikanten op mee. In de mooie, stevige klaphoes staan ze vermeld bij elk nummer.
Conclusie:
Songs With No Words is een heerlijk instrumentaal album geworden met diversiteit in de nummers. Prima luister-cd in top geluidskwaliteit en fantastisch gespeeld. Het beluisteren absoluut waard.
The Blues – understanding the bottom line of being alive in this world. Soul Music – rising above the reality of this world. Lilly Martin sings both, the blues and soul, honestly and with intensity, because she knows what she is singing about.
On the new album ‘Lookout’, which will be released on May 27, 2022, the winner of the “Swiss Blues Award” 2020 is showing all facets of her creativity. A new phase is starting. “Lookout”, that means as much as looking from the inside out, or in other words: change the perspective. With new maturity and serenity. This is where Lilly Martin’s accumulated experience enters the picture.
It is a new highlight in her career. Together with her partner, the multi-instrumentalist Michael Dolmetsch, she creates soul-blues in her own unique style, with influences from gospel, R&B and Motown. Eight original compositions are included on the new album of this singer, who has also written songs with many other artists. “I was encouraged by the positive reactions to my older songs and also by winning the “Swiss Blues Award” to present even more original pieces this time.” Songs like the soulful “Good Love”, which is about the search for the great love, about never giving up on this search. Or “Waiting for the Fog to Lift,” a slow blues in which Lilly Martin describes how she survives melancholy moments. Feelings and situations that everyone knows and that she is describing here in a haunting way.
Besides her own songs, Lilly Martin is also delivering well-chosen cover versions. No wonder she calls herself a “genre outlaw” because the stylistic range is wide. “Desperado” by the Eagles, “Leavin'” by singer/songwriter Shelby Lynne, “Driving Wheel”, an old Blues by Roosevelt Sykes, and, as a real surprise, “Soul Searching” by the Californian Beach Boys. On one hand, this selection adds to the album’s complexity, and on the other, Lilly Martin demonstrates one of her great qualities: she effortlessly makes these songs from other people’s her own.
Bobby Previte is a composer and performer whose work explores the nexus between notated and improvised music. One of the seminal figures of the 1980s New York ‘Downtown’ scene, Previte is the recipient of the 2015 Greenfield Prize for music and was a Guggenheim Foundation Fellow in 2012. He has received multiple awards for composition from the NEA, NYFA, NYSCA, New Music USA, The Jerome Foundation, The New York State Music Fund, Lower Manhattan Cultural Council, and the American Music Center. Mr. Previte has been an artist-in-residence at the Rockefeller Foundation in Bellagio, Italy, Civitella Ranieri, The Montalvo Arts Center, The Hermitage Artist Retreat, and nine times at the MacDowell Colony.
His original compositions have been recorded and released on Sony, Elektra, Rykodisc, Palmetto, New World, Ropeadope, Tzadik, Thirsty Ear, Cantaloupe and Rarenoise. Leading a plethora of diverse ensembles from his instrument, the drums, he has collaborated with many of the leading lights in and beyond the world of music, including master composer John Adams, iconic singer Tom Waits, pantheon filmmaker Robert Altman, and most recently, rock legend Iggy Pop. His music has been labeled as ‘utterly original,’ by the New York Times, while The New Yorker has said his ensembles ‘speak in visionary tongues.’ Mr. Previte has given master classes at schools and universities around the world including The Eastman School of Music, The New School, Bard College, and Princeton University. His recent work includes: TERMINALS, Five Concertos for Percussion Ensemble and Soloist, with SO Percussion, released October 28th, 2014 by Cantaloupe Music, GONE, with Bobby Previte & the Visitors, released summer 2016 on the forTune label, TERMINALS QUARTETS, the percussion only version of Terminals, summer 2016, by Cantaloupe Music, and MASS, a music in nine parts for choir, pipe organ, and metal trio, released April 2017 by Rarenoise Records. His newest work, RHAPSODY, a song cycle on the subject of migration, was commissioned by the Greenfield Prize at the Hermitage Artist Retreat, and premiered April 21, 2017 at New College in Sarasota, Florida. Scored for acoustic guitar, harp, piano, voice, drums and saxophone, and featuring a powerhouse band of Zeena Parkins, John Medeski, Nels Cline, Fabian Rucker, and Jen Shyu, RHAPSODY was released in January, 2018 by Rarenoise.
Acclaimed virtuoso musician, songwriter, composer, author and humanitarian Mike Stevens' main instrument is the harmonica, and in his hands it becomes a genre bending, no rules allowed, musical paintbrush as confirmed by Legendary Grand Ole Opry star Roy Acuff who said: "I've never heard anyone play the harmonica like you play the harmonica."
For more than 35 years Mike has been doing solo live looping harmonica and exploring his own unique vocal harmonica technique. His talent is as unorthodox as his career trajectory. As a ground-breaking performer, composer, educator, keynote speaker and author, Mike continues to expand the paradigms of harmonica, balancing tradition with cutting-edge innovation.
On 'Breathe In The World, Breathe Out Music'. Mike plays his harp, takes lead vocal on four tracks and shares the spotlight with several notable guests including vocalists Polly Harris, Cory James Mitchell, guitarists Kevin Breit, Jeff Getty & Jesse Wells, drummer Art Hratchian and bassist Jeff Bird. From Bluegrass to West African music, Country to Blues, fiddle tunes to soundscapes and experimental music, for Mike it's simply a matter of Breathing In the World and Breathing Out Music.
When the average fan thinks of hotbeds of the blues, he or she thinks of cities like Chicago, Austin, and Memphis, and even such far-flung outposts as London and Paris. That’s all set to change, however, as this red-hot Brazilian, guitarist Big Gilson a TopCat Records USA artist, is poised to put Rio de Janeiro on the blues map.
Gilson, have released fourteen CDs, and honed his chops the last thirty years gigging on his own (in South & North America, and also in Europe) and as the opening act for Steve Winwood on his Brazilian tour, Johnny Rivers (70.000 people audience), and twice to the master B.B. King. While touring America, and gigging at such clubs as Florida’s Bamboo Room, New York’s Blue Note, and all over Chi-town, the band knocked out such blues gods as Canned Heat, Mick Taylor, Tab Benoit, Corey Harries, Duke Robillard, Lonnie Brooks, Magic Slim, Saffire, Walter “Wolfman” Washington, Johnny Winter and Buddy Guy, who extended the Boy from Brazil an open invitation to play his Legends Club anytime.
As well as performing in blues festivals all over the world, he also had played gigs in such great venues as the Blue Note, NY (five times), the Bamboo Room, FL (three times) voted four years in the row the best blues club in America, the Tobacco Road (one of the oldest clubs in America, for the fifth time, the best Dallas club, the Deep Ellum Blues among others.
Among other companies from the music industry, this guy has the support from Marshall Amps.
Now, he’s touring all over, releasing his new album LOUD’N PROUD.
