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ANN ARBOR BLUES FESTIVAL
August 19, 2017
Ann Arbor, Michigan
By Bill Dahl
From 1969 to 1973, the Ann Arbor Blues Festival was the premier
annual blues event of its era. During its first two years of operations
under the auspices of the University of Michigan, the event spotlighted
an amazing array of blues greats—B.B. King, Muddy Waters, Howlin’ Wolf,
Freddie King, T-Bone Walker, Bobby Bland, Otis Rush, and too many more
to recount here. The organizers skipped 1971, but with an increased
budget and a new braintrust of Peter Andrews and MC5 manager John
Sinclair at the helm, the festival expanded to include jazz in ‘72 and
‘73, booking headliners that included Ray Charles, Miles Davis, and
Count Basie alongside local blues performers Bobo Jenkins, Little Sonny,
and One-String Sam.
It’s been a long time since the festival’s glory days (or even
since it existed), but James Partridge, the head of the Ann Arbor Blues
Society, decided to revive the event this year on short notice. On
August 19, he pulled it off impressively, bringing in a solid lineup of
performers that included vocalist/bassist
Benny Turner (Freddie King’s
younger brother), Chicago guitarist
Nick Moss, harpist
Hank Mowery, the
Norman Jackson Band, and
several more for an all-day outdoor concert at the Washtenaw Farm
Council Fairgrounds. Partridge researched the history of the festival
and immediately knew what had to be done.
“I found it just unbelievable that we weren’t doing that anymore,
so I wanted to get that back,” he says. “I guess the real impetus was
that the 50th anniversary of the first festival is coming up.
I wanted to celebrate those first festivals and get that started again,
so I kind of wanted to get a running start by doing a couple of smaller
ones and trying to bite those off and learn what I can so the one that
we try to do in 2019 can be that much better.”
An estimated one thousand attendees witnessed eleven hours of non-stop blues in a wide variety of styles. For blues-rock enthusiasts, Eliza Neals and the Narcotics with guitarist Howard Glazer fit the bill, and they brought along Billy “Guitar” Davis, former fretsman for Detroit’s Hank Ballard and the Midnighters, as their special guest.
Southpaw guitarist Norman Jackson and his band (featuring showboat saxist Rich Shortt) and guitarist Chris Canas and his crew kept things in a more soulful and funkier bag.
More
traditionally minded listeners should have appreciated guitarist
Alabama Slim as well as
Delta blues specialist Blair
Miller, who attended the 1970 Ann Arbor Blues Festival and was
mightily inspired by seeing John Lee Hooker and Lightnin’ Hopkins.
Wielding a dobro, Miller filled the time between each band set with
expertly crafted solo interpretations of pre-war classics by Robert
Johnson, Son House, and Charley Patton.
Miller wasn’t the only one whose life was forever changed by the
original festival. Harpist Hank
Mowery found inspiration in a recording done that day. “When I was
18, I was barely into music. I sort of played, but hadn’t really started
playing,” says Mowery. “I stopped in East Lansing at Black and Circular,
a great little record shop, and was looking for something to buy. And
Magic Sam’s
Live at The Ann Arbor Blues
Festival caught my eye, because of Ann Arbor. I didn’t even know
Magic Sam I had no idea who he was. I bought that, and really it
changed—before that, I didn’t know anything like Magic Sam. I only knew
maybe a little Muddy Waters. Maybe. It really opened my eyes to more
things out there.”
Mowery and his Hawktones contributed a fine set to this year’s
festival under bright blue mid-afternoon skies. The Grand Rapids-based
harpist stuck mostly with finely honed originals during his
mid-afternoon set, his Hawktones, anchored by guitarist
Troy Amaro and bassist
Patrick Recob, joined by
Chicago guitarist Kate Moss.
“I’m very excited that they’re restarting the famous Ann Arbor Blues
Festival after having seen so much about it over the years,” says Moss.
“I’m proud to be part of the first reboot.”
Whether storming through the swinging “Let It Go” and “Jumpin’ With
Symphony Sid” or rocking on the surging “Excuses Plenty” (the title
track from his most recent CD) and a tough “Turn Your Damper Down,”
Mowery and his band jelled splendidly, Amaro and Moss splitting lead
guitar duties right down the middle and Mowery blowing with gusto. “To
be here for the first year back is just great, so we’re very proud to
have been involved in it,” says Mowery of the rebooted festival. “It’s
great to see it come back. Hopefully we can keep it going and have that
anniversary come up in a couple of years and keep it going from there.”
Back supplying the lion’s share of the vocal content within his
uncommonly tight band, Chicago guitarist
Nick Moss provided quite a
bit of the evening’s fieriest musical pyrotechnics. After veering into a
blues-rock mode in recent years, Moss has reverted to his traditional
leanings with a vengeance—and he’s never sounded better. Eminently
capable of peeling off a dozen-chorus jaw-dropping guitar solo without
ever repeating a lick, Moss is as tough a blues guitarslinger as exists
today—as he proved time and again in Ann Arbor. Opening with a
piledriving instrumental, Moss segued into Muddy Waters’ Willie
Dixon-penned classic “The Same Thing,” sounding thoroughly assured
behind the mic.
Moss has assembled an exceptional young combo anchored by drummer
Patrick Seals, keyboardist
Taylor Streiff, and bassist
Nick Fane that does exactly
what he needs them to do at all times—never overplaying or careening out
of control, always staying in the pocket and complementing the man
behind the mic. In addition to Moss, that included harpist
Dennis Gruenling, who’s
currently touring with the Moss band. Given to soaring flights of fancy
on his trusty mouth organ, Gruenling was especially ferocious on torrid
jump blues numbers on Saturday evening in Ann Arbor.
“I’m very excited that they brought it back,” says Moss of the
festival. “I think they should bring back more cool festivals, instead
of letting them die.”
When teenaged guitar prodigy Brandon “Taz” Niederaurer had to
cancel out at the last minute, Nick was recruited to stick around and
fill in on lead guitar with headliner
Benny Turner, the only
performer on the bill to have appeared on the original Ann Arbor Blues
Festival (he was big brother Freddie King’s bassist on the 1972
edition).
“I remember it well, and they recorded it,” says Turner.”I’m happy to
see them doing this. I hope they keep it up and try to bring it back to
what it was then. It was one hell of a festival then.”
Benny concentrated on performing some of the same songs that he’d done
with Freddie 45 years earlier. Over the course of all the years since
then, the Texas native (he now resides in New Orleans) has developed
into a highly dynamic front man who thrusts his bass guitar around like
a rock guitarist and frequently indulges in lead lines (he plays his axe
with a pick). Opening with a Freddie-inspired rendition of Earl King’s
“Let The Good Times Roll” (aka “Come On”), Benny also revisited
Freddie’s “I’m Tore Down” and a thundering “Going Down,” rallying a
majority of festgoers to congregate in front of the expansive stage and
engage in some serious getting down. Moss channeled Freddie’s licks like
he’d been doing it all his life, and Benny’s wonderful New Orleans
band—keyboardist Keiko Komaki
and drummer Jeffery “Jellybean”
Alexander—laid down some serious grooves with Turner right in the
middle of it all.
Partridge is very encouraged by the way the rebooted Ann Arbor Blues
Festival transpired. “I think that it really beat everybody’s
expectations. That to me is great. It didn’t beat my expectations, but I
had a lot of faith that this was a good idea, and this was something
that people were going to come to, and that we could do it,” he says.
“We certainly got some lucky breaks, especially in terms of the weather.
And that was good.
“I’m really looking forward to next year.”
About the Author:
Bill Dahl
has been writing about blues, postwar R&B, and soul music for 40 years.
He specializes in producing, compiling, and annotating CD reissue
collections and has written for numerous newspapers and magazines. He
has two new books out,
The Art of
the Blues and
Survivor: The Benny Turner Story,
the latter the autobiography of Turner. His website, www.billdahl.com,
contains features and reviews covering a wide range of vintage music
genres. |
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