Your Complete Guide to the Chicago Blues Scene
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Your Complete Guide to the Chicago Blues Scene |
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Chicago Blues Fest 2017
PART 1
June 9-11
Millennium Park, Chicago, IL
Be sure to check out Part 2 of
our Chicago Blues Fest 2017 coverage
By Linda Cain
Like it or not, change is often inevitable. With change comes a sense of
loss. When it was announced in January that Chicago Blues Fest was
moving from Grant Park to the much smaller Millennium Park, blues fans
reactions ranged from apprehension to sadness and many emotions in
between. The fest had been staged in Grant Park for 34 years.
After all, Millennium Park is only one-third the size of Grant Park.
Located near the famous tourist attraction Cloud Gate a.k.a “The Bean,”
the park’s modern, state-of-the-art Pritzker Pavilion (both lawn and
seating) capacity is 11,000.
Built in the 1930s, Grant Park’s Petrillo bandshell audience capacity is
over 30,000. It is also owned by the Chicago Park District and the city
must pay to rent Grant Park. They also must pay the parking meter
vendors when streets are closed off to host events. And so plans were
made to move Blues Fest into the 21st Century.
Would there be room for all the food and beer booths, charity booths,
t-shirt and CD vendors, or souvenir booths? Would the all of the
favorite afternoon side stages remain? Would there be enough shade and
picnic areas? Was there enough seating and lawn space by the Pritzker
stage? Would it be overcrowded and uncomfortable?
The answers to most of these questions remained up in the air until June
10, 11 and 12th arrived. The
weather was a factor; happily there was no rain. The weather on Friday
was perfect and it wasn’t overcrowded. Saturday and Sunday saw 90 plus
temps and large crowds that made moving around difficult and/or
impossible.
Nonetheless, there was much to like about the fest and the new location.
Bathrooms with indoor plumbing, less walking distance between stages,
not having to stand in line for food and drink tickets, plus superior
sound and sightlines for the main stage were cited by many fans as the
most popular improvements.
As always, the music
was outstanding throughout the three day and night event. Here are just
a FEW of the highlights that we caught on the afternoon stages.
MISSISSIPPI STAGE
Just as in past years, The Mississippi Stage was the hottest stage at
the fest, both literally and figuratively. The acts booked on this
small, low stage inside the biggest tent at the fest were outstanding.
It seemed there was a perpetual party going on at all times here.
Friday
On Friday afternoon, Herculean drummer/guitarist/singer/songwriter/film
actor Cedric Burnside,
accompanied by multi-talented
Trenton Ayers (son of Junior Kimbrough) on guitar, worked as a two
man wrecking crew and served up a smokin’ hot fusion of blues, funk, R&B
and soul. Their main driving musical force, however was North
Mississippi Hill Country blues, as handed down by Cedric’s grandpa the
late legend R.L. Burnside. The performance left no doubt as to why the
powerhouse drummer has won or been nominated for nearly every blues
award in existence!
The tireless Burnside
and Ayers later hosted an exciting blues jam that drew skilled players
from around the globe (including Chicago’s own
Ellen Miller on blues harp)
who joined in on blues standards to an enthusiastic crowd who cheered
them on and danced in front of the stage.
This was 32-year-old Jarekus
Singleton’s second appearance at Chicago Blues Fest; his commanding
performance at the fest a few years ago surely sealed his fate to get
signed to Alligator Records. A former college basketball star, a knee
injury derailed his athletic career, so Jarekus went back to playing
music and has never looked back. His set at the Mississippi stage drew a
younger crowd to the front, where his intense guitar playing and
impassioned singing, along with a pulsing beat, kept everyone on their
feet for the entire sweaty, one-hour set that seemed too short. Saturday
Child guitar prodigy Christone
“Kingfish” Ingram packed the Mississippi Stage with folks crammed
inside and outside the huge tent, craning their necks to get a glimpse
of the 18-year-old Clarksdale native, who was whipping up a hurricane
onstage with his fiery blend of Delta-influenced blues and blues-rock.
His final number was a blues-rock rendition of “The Star Spangled
Banner” that rivaled Jimi Hendrix’s famed version. He left the crowd
screaming for more!
Late afternoon, we dropped by in time to catch the end of “The Velvet
Voice of Soul” Vick Allen’s
sizzling set that had turned the entire tent into a Southern (and
Northern) Soul Blues dance party. A very pumped up Allen worked the
front of the stage and his slick band relentlessly pounded out funked up
versions of classics by Johnny Taylor and Tyrone Davis that had an
all-ages crowd on its feet dancing away!
Sunday
JJ Thames
paced herself in the intense heat that burned down on the final day of
Chicago Blues Fest. A powerful, passionate singer/songwriter with a
versatile musical career that took her from her native Mississippi to
Detroit and NYC and then back home again to partner with Eddie Cotton,
Thames knew how to build drama and work the crowd with her sultry, sassy
vocals. Her finale was Etta James’ “I’d Rather Go Blind,” a song that
only the gutsiest of singers dare tackle, especially in Etta’s former
hometown. But Thames pulled it off whilst emoting, pumping her fist,
swirling and stomping about the stage. She sang her heart out! The
audience wasted no time to give her a well-deserved standing ovation.
At age 78, one would
think that Denise LaSalle
might have mellowed a bit. Not a chance! Although it took her a while to
get on stage, as she grabbed onto the emcee’s arm, and she performed
sitting down, Ms. LaSalle was feisty and filthy from the get-go! Her
forceful voice growled out “Still the Queen” with conviction, as the
packed crowd surged forward, filling the aisles and stage front to take
photos and videos of this legendary performer. She belted out sassy
renditions of soul blues standards including: “I Forgot To Remember To
Forget About You,” “Down Home Blues,” “Steppin’ Out Steppin’ In” and
“I’m Always Thinking About My Baby.”
At this point, she let loose with the XXX-rated blue humor,
talking trash about her rival male soul singers such as Bobby Rush, Dr.
Feelgood Potts, Theodis Ealey and Marvin Sease. We will leave it to your
imagination as to what she was singing about in “Snap, Crackle & Pop.”
Overview
Located on the North Promenade of the park, The Mississippi Stage was
housed in a huge, long narrow festival tent, set up with tourism and
soft beverage booths, plus a very large seating area of plastic chairs
strapped together. The stage is set very low, making it difficult to see
the acts when seated in back, or when people are standing in front of
you. When the temps hit over 90, the Mississippi tent became sauna-like,
as there were no fans to cool off the patrons inside. At least it
sheltered the crowds from the sun.
Outside the tent, on either side,
were long, narrow lawn spaces. About five food trucks sat in a row on
the walkway parallel to the Mississippi tent stage. When lines formed,
it completely blocked foot traffic and maintenance carts. The lines also
ran into picnic areas on the lawn. Large plumes of obnoxious, nasty
smoke blew onto picnickers from one truck vendor in particular.
FRONT PORCH STAGE
Up the hill from the Mississippi Stage sat the Front Porch stage, which
was housed under a comparatively smaller tent, located on an upper level
green space above the Harris Theater, which is built underground. To
reach it, fans had to climb stairs or take an elevator (which wasn’t
easy to find). There was a wide, shaded area with trees off to the east
side which sheltered fans from the merciless sun.
The Front Porch stage featured favorite traditional Chicago Blues acts
including Jimmy Johnson, Jimmy
Burns, Henry Gray & Bob Corritore, an all-star tribute to the late
Barrelhouse Chuck, Mud
Morganfield, a Chi-town Harp Showcase and more. The ambience here
was more laid back than other stages, and it was a welcome respite from
the more crowded and noisy scenes elsewhere in the park. The audience
here seemed to be the most loyal and knowledgeable of blues fans, as
opposed to the casual observer.
Friday
Henry Gray & Bob Corritore and Friends
At age 92 blues/boogie pianist Henry Gray, who backed Howlin’ Wolf and many others, is a wonder and a treasure. So is bassist Bob Stroger, who at 86 still lays down a steady bottom and sings with conviction. Add to that Chicago’s top traditional blues players: guitar great Billy Flynn and drummer Kenny “Beedy Eyes” Smith, not to mention former Chicagoan Bob Corritore on harp and there is nothing better when it comes to real deal Chicago blues. The ensemble treated us to an hour long set of standards that included some tasty solos and jamming.
As if that wasn’t
enough, singer Oscar Wilson
from the Cash Box Kings joined in for three robust blues tunes that
really got the fans movin’ and groovin’. In fact, when time was called
and the band unplugged, Henry Gray just kept playing his boogie woogie,
he was so pumped up!
Tribute to Barrelhouse Chuck with Billy Flynn, Ariyo, Johnny Iguana, Roosevelt Purifoy and Willie Oshawny
Chicago blues pianist Barrelhouse
Chuck Goering passed away last December after a long battle with
cancer at age 58. He was the only Chicago blues pianist to have studied
with all of these blues keyboard legends: Sunnyland Slim, Pinetop
Perkins, Blind John Davis, Detroit Junior, Little Brother Montgomery and
Erwin Helfer. Not only was he mentored by these great men, but Chuck
dutifully looked after them in their golden years. He was a passionate
advocate for preserving blues music and history and Chuck’s home was
virtually a museum filled with his vast collection of memorabilia. So it
was only fitting that his fellow artists pay tribute to their fallen
comrade, who were all influenced by Chuck in their lives.
Roosevelt Purifoy, Ariyo, Johnny Iguana and Piano Willie Oshawny are all colorful characters, each with their own distinctive piano style, not to mention their own fashion sense.
Each pianist played their own set and recalled their memories of Chuck and his music. The variety of historic blues, boogie and gospel piano styles that unfolded on the Front Porch stage was mind boggling. Ariyo, Roosevelt, Johnny and Willie were ably backed by the same crew who played with Henry Gray and Bob Corritore: Billy Flynn, Bob Stroger and Kenny Smith.
Sunday
Mud Morganfield (vocals) w/
Ariyo (piano), Rick Kreher
(guitar), Studebaker John
(harmonica), E.G. McDaniel
(bass), Melvin “Pookie Styx”
Carlisle (drums).
The son of Muddy Waters, Mud Morganfield was dressed to the nines and
commanded the stage from his stool, as he always does. His powerful,
deep baritone and emphatic phrasing recalled the voice of his “Pops” as
did his mannerisms. Charming and engaging, Mud has performed both his
own tunes and Muddy’s songs all over the world to enthusiastic fans.
This hot afternoon was no exception, and in fact was made extra special
by the outstanding Chicago blues players who backed him. Guitarist Rick
Kreher even played with Muddy Waters during the latter part of his
legacy. The band played ensemble style, with each member allowed to play
dazzling solos, which drew huge cheers from the crowd. For the final
number Mud led his mates in a rousing version of “Got My Mojo Workin’”
which was rewarded with a standing ovation!
Chi-town Harp Showcase w/ Omar Coleman, Russ Green and Lamont Harris
When it comes to blues harp players, Chicago can boast about having the
world’s greatest throughout its history. From Little Walter, Big Walter
Horton to Sonny Boy Williamsons 1 & 2 on up to Junior Wells, Billy
Branch and Sugar Blue, innovative artists like these have been
influencing harmonica players worldwide for decades.
Omar Coleman,
Russ Green and
Lamont Harris are but three representatives of the current crop of
harp blowers, of which there are many. Each player displayed their
individual and impressive vocal and harmonica styles, not to mention
showmanship, charisma and ability to connect with the fans who were both
inside and outside the tent. They were backed by some of Chicago’s
finest, most versatile musicians:
Marty Binder on drums, guitarist
Tom Holland,
David Forte on bass, and Luca
Chiellini on keys.
Lamont “Harmonica” Harris,
a retired firefighter, started taking harmonica lessons later in life
courtesy of the Old Town School of Folk Music. He quickly absorbed the
Chess catalogue and his set was a tasty example of Chicago’s classic
blues style, reminiscent of Muddy Waters, Howlin’ Wolf, Little Walter
and Willie Dixon’s era.
Russ Green,
age 49, was influenced and mentored by virtuoso harmonicist Sugar Blue;
and like Blue, Green hit the stage hard, blowing furious notes while
backed by a driving beat. Green never let up the entire time and managed
to get the hot sweaty crowd boogying.
Omar Coleman,
age 43, also picked up the harmonica later in life. He grew up listening
to soul-blues artists like Tyrone Davis and Bobby Rush in his mom’s West
Side club, Louise’s Lounge. His vocal style is very soulful and his harp
playing is fast and funky, like his idol Junior Wells. And just like the
legends he admires, Coleman is an ace showman and songwriter, who has
two CDs on Delmark and one independent album under his belt. Coleman’s
multi-talents were on full display as he got our mojos workin’.
For the big finale, Coleman called back Harris and Green to join him on
the Junior Wells classic “Two Headed Woman” which brought the house
down.
CROSSROADS STAGE
The Crossroads stage was completely outdoors at the South Promenade end
of the park, towards the Art Institute. To get there, one had to make it
through the gauntlet of beer and food trucks. When lines formed, it was
near impassable, as the queues from both sides created a human wall.
Alongside the south walkway, on both sides, were small park areas that
were jam packed, as well, especially on Saturday and Sunday, when shade
was imperative. Depending on the time of day, there was no shade for the
seating area in front of the Crossroads stage. Between the heat and the
crowds, many of us were forced to avoid this stage. Most of the acts on
the Budweiser Crossroads stage were top-notch hometown talent,
including: Nick Moss Band, Guy
King, Mike Wheeler, Demetria Taylor, Mary Lane, Chicago Wind, Lynne
Jordan, Joe Pratt, Tail Dragger, Vance Kelly and more.
We prevailed by stepping over picnic blankets to make it to the
Crossroads stage to see two incredible non-hometown acts on Saturday:
Big Bill Morganfield and Coco Montoya.
Big Bill Morganfield
The son of Muddy Waters, who was raised in Florida and now resides in
Georgia, made the decision to become a blues artist in earnest after his
father’s passing in 1983. He spent years woodshedding, learned to play
slide guitar and write songs. His 1999 debut CD,
Rising Son, was released on
Blind Pig Records, on which he was accompanied by Muddy’s former
bandmates: Bob Margolin, Willie “Big Eyes” Smith, Pinetop Perkins and
Paul Oscher; it earned him a W.C. Handy Award for Best New Blues Artist.
A second Blind Pig CD followed, and in 2013, Bill formed his own label
and released two chart-topping, critically acclaimed albums.
On the Crossroads Stage Big Bill Morganfield was accompanied by
Rick Kreher, who famously played guitar for Muddy Waters. Also
helping out were other Chicago blues notables:
Twist Turner on drums, bass player
John Sefner, Ariyo on
keys and Doc Malone on harp.
Big Bill began his set while seated, and played some stinging slide
guitar for a slightly naughty song titled “Tight.” Ariyo turned in a
tasty keyboard solo on a rousing “I Got My Eyes On You,” that turned
into a nice ensemble jam. Bill’s next song was a deep blues done Muddy
style, a very sad song about losing his mother; he played a heartfelt
passionate solo and then the rest of the band contributed another
ensemble jam that featured some sweet slide playing by Rick Kreher.
Big Bill lightened the mood with an upbeat shuffle about his “X-rated
lover” that got people dancing, at least the lucky ones who found some
shade off to the sides of the stage. The 90 plus degree sun was beating
down on the unlucky ones who were sitting in the seats in front of the
stage.
A Muddy Waters cover, “Baby, I Want To Be Loved,” with its loping beat
got us swaying as Big Bill delivered the lyrics in his commanding
baritone. It was time for some more Muddy music as Bill brought out his
brother Joe Morganfield to
sing “Mannish Boy” which got the crowd screaming upon hearing the first
notes of this macho classic. Bill joined in and he and Joe hammed it up,
clearly having a blast.
Coco Montoya
It seemed a bit strange that a blues veteran of Coco Montoya’s stature
would perform on a side stage in the afternoon at Chicago Blues Fest,
rather than the main stage at night. After all, this guitar slinger was
closely mentored by Albert Collins for five years and played in John
Mayall’s Bluesbreakers for a decade, before going solo in 1990.
But anytime is a good time to see this triple threat
singer/songwriter/guitarist, even in 90 plus degree heat. Montoya played
songs from his critically acclaimed new CD,
Hard Truth, on Chicago’s
Alligator label, including: “’Bout To Make Me Leave Home,” (a sexy Syl
Johnson tune famously covered by Bonnie Raitt), and “Truth Be Told.”
Montoya had the crowd mesmerized with his passionate, soulful vocals and
emotion-packed, driving guitar solos from the get-go. “Senorita,” with
its irresistible Latin rhythms was perfect for a hot afternoon.
The band played an upbeat shuffle on a Ronnie Earl song, “She’s
So Good For Me,” that had us clapping along to the joyous tune.
Keyboardist Jerry Brant Leeper contributed gospel infused stylings, that
uplifted the tune.
The sorrowful “Let Me Cry,” was enhanced by Leeper’s moving organ
accompaniment that perfectly matched Montoya’s heart-breaking guitar
notes.
“Lovin’ You Wasn’t Easy,” a song he introduced as “Joan Baez meets
Megadeath,” kept building with chunky riffs and jamming that recalled
Govt. Mule. Coco delivered
his final searing solo that had us on our feet cheering.
Coco dedicated the next number to Albert Collins, Lonnie Brooks and
Gregg Allman. He said kind words of praise about all of them. He told us
that “I’ve Got Nothing But Love” was inspired by Collins’ last words
before he passed on. This, of course, gave the poignant, melodic tune --
featuring harmonies by his bandmates and a swirling organ -- a special
gravitas.
Montoya’s final song was a catchy little ditty he first heard as a child
on the radio: “Buzz Buzz Buzz” by the Hollywood Flames from the 1950s
that got us boppin’ along.
Windy City Blues Society and Fernando Jones’ Blues Kids Stages
When Chicago Blues Fest was in Grant Park, the first stages you passed
upon entering from the north, were the Fernando Jones’ Blues Kids Tent
Stage and The Windy City Blues Society Stage. Both locations were always
hoppin’ with crowds surrounding the small stages to see great talent,
not to mention the major blues artists stopping by to jam.
The new Millennium Park location left no room for two separate stages.
Both enterprises were forced to share the same stage and cut their
programming time down to only five 30-minute sets per day (only 15
minutes for Fernando’s kids), with required quiet time breaks in
between. There were no signs and no schedules provided to help blues
fans find these once popular stages, or to know who was playing on them.
This was a huge oversight. Fernando’s Blues Kids are always a joy to
watch and performing at the fest is a priceless experience for them.
Nonetheless, the WCBS stage hosted outstanding acts such as:
The Cash Box Kings, Michael
Ledbetter, Derrick Procell, Rob Stone, Alastair Green, J.B. Ritchie,
Shoji Naito, The Black Oil Brothers and more.
Be sure to check out Part 2 of our Chicago Blues Fest 2017 coverage.
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