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Smithsonian Folkways delivers another classic in Classic Harmonica Blues
Hard as it may be to imagine a worthy collection of blues harmonica that doesn't include the likes of James Cotton, Little Walter, Sonny Boy Williamson, Junior Wells, or Big Walter Horton, leave it to the good folks at Smithsonian Folkways to come up with one, in this case, Classic Harmonica Blues from Smithsonian Folkways, out today. To be clear, never does the label attempt to position or pass off this record as any kind of "best of" compilation - just one comprised of quality classic recordings: something they accomplish quite nicely. (If you're looking for more of the former, we might suggest you check out a recent double CD set called Mississippi Saxophone on the Blues Boulevard label, which includes tracks - and often more than one - from each of the artists noted above, in addition to Howlin' Wolf, Jimmy Reed, Billy Boy Arnold, Sonny Terry, Charlie Musselwhite, and Kim Wilson, among others.)Culled from the collections of Folkways Record founder Moses Asch as well as the Smithsonian's own Folklife Festival, Classic Harmonica Blues includes 20 tracks from a dozen different harmonica players. Combined with the absence of some of the more popular names in blues harmonica mentioned above, a few may be tempted to dismiss this set for its lack of variety in artists - along with four tracks featuring Sonny Terry and three from Doctor Ross, the CD includes two songs each from Eddie Burns, Phil Wiggins, and Charlie Sayles, accounting for a total of 13 of the collection's tunes - but that, my friends, would be a mistake. Despite the initial appearance of repetition among artists, the tracks here offer a remarkably impressive diversity, ranging in style from the Piedmont and Delta-to-Midwest traditions to jug and washboard bands and street corner performances, finding the contributions of these repeat acts interspersed with songs from the likes of the Memphis Jug Band, Jazz Gillum, John Sebastian, and the Chambers Brothers, making for a rather interesting variety of songs, including eight previously unreleased tunes from the Folklife Festival reels.
Opening on the shuffling country blues of Doctor Ross, the Harmonica Boss' "Theme Song" (harkening back to his radio show on Helena, Arkansas' KFFA) from a 1987 festival performance, the album moves to a studio-recorded vocal duet from Sonny Terry and Brownie McGhee in "Heart in Sorrow," with McGhee's smooth, expressive vocals on the repeating chorus of "I ain't got no lovin' baby now" perfectly complementing the plaintive wails of Terry's harmonica.
A 1957 field recording of "Take Your Fingers Off It" is the first of several jug or washboard band numbers you'll hear on the compilation, reuniting the surviving members of the famous Memphis Jug Band more than 20 years after the group first recorded the song. Later in the disc, Geoff Muldaur (mandolin and vocals), Paul Rishell (guitar), and Annie Raines (harmonica) join with John Sebastian (guitar) of Lovin' Spoonful fame and Fritz Richmond on jug for "Minglewood Blues," with the disc closing out on a double-entendred "Custard Pie" that may not exactly be clean but is certainly good fun, with Sonny Terry on harmonica and vocals, backed by a lively washboard band.
Among the more recognizable of the tunes you'll hear along the way are such classics as Sonny Boy Williamson II's (Aleck Rice Miller) "Nine Below Zero," performed here by Eddie Burns during the 1987 Folklife Festival; Sonny Boy (John Lee) Williamson's "Good Morning Little School Girl" done by Doctor Ross, the Harmonica Boss, also from a 1987 performance; and an "I Feel So Good" (Big Bill Broonzy) that finds guitarist and singer Warner Williams joined by Jay Summerour on harmonica. Northerner Charlie Sayles offers a slightly funky take on Sonny Boy II's "Bye Bye Bird," while Phil Wiggins gets a little help from some friends on a July 1991 performance of "Sweet Home Chicago," including Delta legends Johnny Shines and Robert Lockwood Jr. both on guitar and vocals and Henry Townsend on piano. Eddie Burns finds his way back to the festival stage with a stripped-down solo take on Sonny Boy II's "One Way Out" that helps to keep the focus squarely on Burns' harmonica skills; it's a far cry from the Allman Brothers cover of the same tune, but not in a bad way.
Sonny Terry's other contributions consist of a solo performance of the Piedmont standard "Crow Jane Blues" and another pairing with Brownie McGhee on the swinging "Boogie Baby," with Doctor Ross, the Harmonica Boss also hitting on his own 1953 hit "Chicago Breakdown" during a 1987 festival performance. Of the other recurring artists, Phil Wiggins is paired with his good friend John Cephas on guitar and vocals for a dogged "Dog Days of August" and Charlie Sayles offers a gritty street corner original in "Train Piece" from the 1977 festival.
The set also includes two pretty nifty instrumentals: an upbeat "Gillum Blues" from Jazz Gillum that features blues great Memphis Slim on piano and a short but beautiful take from Roscoe Holcomb on the British ballad "Barbara Allen Blues," while Neal Pattman offers some deep southern harmonica and vocals with a field recording of "Low Down Blues" and the Chambers Brothers provide an early rock, Yardbirds-flavored "Hooka Tooka" to help round out the compilation.
As usual with Smithsonian Folkways recordings, the liner notes that accompany the collection are informative and extensive, making this a terrific little piece of blues history. And with the Memorial Day holiday fast approaching, we can't think of a more American way to enjoy the long weekend than listening to these genuinely classic selections. Indeed, when it comes to blues harmonica, this is a darn good set to have.
British Blues Awards 2013 nominees
The annual Blues Music Awards may have taken place in Memphis last week, but there are still plenty more blues honors to be doled out on the year.
Open for voting through the end of June, the British Blues Awards seek to recognize blues artists and offerings from across the kingdom, in categories ranging from male and female vocalist, band, and acoustic act, to song and album, to various instrumental specialties, broadcast show, and festival.
Among artists with the most nominations, Ian Siegal is up for five awards, including both the male vocalist and acoustic artist honors he captured last year, in addition to song ("I Am the Train"), album (Candy Store Kid), and band, where he's competing against 24 Pesos, the Jon Amor Blues Group, King King, the Ron Sayer Band, and The Motives.
Reigning band-of-the-year royalty King King is also represented in a number of individual categories, including nods to Alan Nimmo for male vocalist and guitar, Bennett Holland for keyboards, Lindsay Coulson for bass, and Wayne Proctor for drums.
Guitarist Walter Trout is again nominated in the overseas artist category, joined by fellow nominees Mud Morganfield, Matt Andersen, Hamilton Loomis, Buddy Whittington, and Henrik Freischlader, while up-and-comers Blues Boy Dan Owen and Lucy Zirins are also looking like good ones to watch, with both up for awards in the young artist, acoustic act, and their respective vocal categories.
Voting is open to fans worldwide, with winners to be announced in late-August at the Great Rhythm and Blues Festival in Colne.
Happy voting to you!
Tedeschi Trucks Band, Curtis Salgado top winners at this year's Blues Music Awards
The Blues Foundation last night held its annual Blues Music Awards in Memphis, where the Tedeschi Trucks Band (below, at 2012 Chesapeake Bay Blues Festival) and Curtis Salgado (pictured left, at 2011 Bluestock Festival) were this year's biggest winners, each taking home three awards (the Tedeschi Trucks Band for Band, Rock Blues Album, and Gibson Guitarist, and Salgado for Soul Male Artist, Soul Album, and B.B. King Entertainer of the Year).
Janiva Magness and the late Michael Burks each earned two awards. In addition to a nod for Contemporary Female Artist, Magness also won Song of the Year for her "I Won't Cry," while Burks was honored for both Contemporary Blues Album and overall Album of the Year for his Show of Strength. Two other recently departed artists also were among the winners, with Ann Rabson capturing the award for Acoustic Album (with Bob Margolin) for Not Alone and Magic Slim being recognized for Traditional Blues Male Artist.
Along with the presentation of the awards, the ceremony included performances from many current and past nominees, including Dorothy Moore (who started the program on EG Kight's "Let the Healing Begin"), John Nemeth, Joe Louis Walker, John Primer and Billy Boy Arnold, Curtis Salgado, Nick Moss, Diunna Greenleaf, and Rick Estrin, with particular highlights including Sugaray Rayford leading The Mannish Boys on a powerful "Death Letter Blues;" Mighty Sam McClain working through "Too Much Jesus (Not Enough Whiskey)" and "I Wish You Well;" Eric Bibb performing "Going Down Slow" before returning to join the Heritage Blues Orchestra on "Don't Ever Let Nobody Drag Your Spirit Down;" Mud Morganfield's set of "Blues in My Shoes" and "Hoochie Coochie Man" featuring Bob Corritore on harmonica, Barrelhouse Chuck on piano, Bob Margolin on guitar, and Bob Stroger on bass; an especially soulful performance of the Song of the Year "I Won't Cry" from Janiva Magness; and the Royal Southern Brotherhood closing out the night on "Sweet Jelly Donut."
Here's the full list of winners:
Acoustic Album
Not Alone - Ann Rabson w/ Bob Margolin
Acoustic Artist
Eric Bibb
Album
Show of Strength - Michael Burks
Curtis Salgado
Band
Tedeschi Trucks Band
Best New Artist Debut
They Call Me Big Llou - Big LLou Johnson
Contemporary Blues Album They Call Me Big Llou - Big LLou Johnson
Show of Strength - Michael Burks
Contemporary Blues Female Artist
Janiva Magness
Contemporary Blues Male Artist Janiva Magness
Tab Benoit
Eagle Rock Entertainment for Live at Checkerboard Lounge by Muddy Waters & The Rolling Stones
Derek Trucks
Historical Album
Bear Family Records for Plug It In! Turn It Up! Electric Blues by Various Artists
Instrumentalist-Drums
Cedric Burnside
Instrumentalist-Bass
Bob Stroger
Instrumentalist-Harmonica
Rick Estrin
Instrumentalist-Horn
Eddie Shaw
Koko Taylor Award (Traditional Blues Female)
Ruthie Foster
Rock Blues Album
Everybody's Talkin' - Tedeschi Trucks Band
Pinetop Perkins Piano Player
Victor Wainwright
Song
"I Won't Cry" - Janiva Magness & Dave Darling - Stronger for It - Janiva Magness
Soul Blues Album
Soul Shot - Curtis Salgado
Soul Blues Female Artist
Irma Thomas
Soul Blues Male Artist
Curtis Salgado
Traditional Blues Album
Double Dynamite - The Mannish Boys
Traditional Blues Male Artist
Magic Slim
Bear Family Records for Plug It In! Turn It Up! Electric Blues by Various Artists
Cedric Burnside
Bob Stroger
Rick Estrin
Eddie Shaw
Ruthie Foster
Everybody's Talkin' - Tedeschi Trucks Band
Victor Wainwright
"I Won't Cry" - Janiva Magness & Dave Darling - Stronger for It - Janiva Magness
Soul Shot - Curtis Salgado
Irma Thomas
Curtis Salgado
Double Dynamite - The Mannish Boys
Magic Slim
Blues Music Awards tonight!
We aren't able to make it to Memphis for tonight's annual Blues Music Awards, but you can bet we'll be tuned in to the live broadcast of the awards ceremony on SiriusXM's Bluesville beginning around 7:30 p.m. You can do the same if you're a SiriusXM subscriber or want to sign up for either a free 7-day or 30-day trial on their website.
Here's another look at who's nominated in the various categories of tonight's awards, which are coordinated by the Blues Foundation. We'll be tweeting some of the winners as they're announced and will of course be providing a recap of all of the night's winners as soon as we're able.
Where did you come from, Cotton Mouth Man?: Blues harp legend James Cotton strikes a personal chord with new Alligator CD
As far as we can tell, blues harmonica giant James Cotton has never published a memoir, nor has anyone yet written a book on the life of this extraordinary bluesman, who's been playing since age nine. And with the release today of Cotton's latest album Cotton Mouth Man (Alligator Records), such a literary work may never be necessary, as remarkable a job as the now 78-year-old Cotton and producer Tom Hambridge have done in documenting the man's life, not on printed page, but in the same manner Cotton has been expressing himself for nearly seven decades, through his music. Many of the songs on Cotton Mouth Man speak directly to Cotton's roots - the title track, "He Was There," "Mississippi Mud," and "Bonnie Blue" being perhaps the most obvious examples - with Cotton and Hambridge having collaborated on the writing of seven tracks (while Hambridge also helped to pen the other five original tracks).
As someone who's known and worked with many other blues greats throughout the years (having learned to play harmonica from Sonny Boy Williamson II, toured with Williamson and Howlin' Wolf, and spent 12 years in Muddy Waters' band before venturing out on his own), it's perhaps only fitting that Cotton has invited a few friends along on this particular ride, with guest appearances from Keb Mo, Gregg Allman, Warren Haynes, Joe Bonamassa, Ruthie Foster, and Delbert McClinton. As great as each of their individual contributions may be, never do these guests detract from the real star of the program in Cotton, who, even in his later years, remains the best blues harmonica player around.
The album opens on a shuffling title track that features six-string hotshot Joe Bonamassa on guitar and longtime Cotton band singer Darrell Nulisch on vocals, with Hambridge's drums providing a driving beat. After relinquishing singing duties to the likes of Nulisch several years ago following a bout with throat cancer, it's good to hear a bit more of Cotton's voice this time around, from his introduction of the next song with a croaky "Midnight Train to Mississippi," to his response of "That was me" after a lyric about his having played both Fillmores and Carnegie Hall on "He Was There," to personally handling the vocals on the closing "Bonnie Blue."
But it's Gregg Allman who supplies the soulful vocals on the fast-moving "Midnight Train", starting with some train-like harp from Cotton, before Keb Mo takes over on mic for the slow Delta blues of "Mississippi Mud". The pace picks up again with a Bo Diddley-like "He Was There" that again features Nulisch on vocals and some particularly nice playing from Chuck Leavell on piano, one of several supporting players who help make an already impressive project all the more solid.
Perhaps the most rocking of the numbers is a gritty "Something for Me" that finds Warren Haynes on both vocals and guitar, while the talented Ruthie Foster contributes some passionate vocals (and Cotton perhaps the bluest harmonica you've heard) on a smoldering "Wrapped Around My Heart" and Delbert McClinton brings some soul on a "Hard Sometimes" that he also co-wrote with Hambridge. "Saint on Sunday" and "Young Bold Women" offer a few more romping tracks with Nulisch on mic, leading up to a splendid cover of Muddy Waters' "Bird Nest on the Ground" (written by Maurice Dolliver and Monk Higgins) before Keb Mo returns, this time with his guitar, for a "Wasn't My Time to Go" that features Leavell on Wurlitzer and such reflective lyrics as "so many good friends of mine have come and gone, I'm still blowin' and goin', and carryin' on."
That's followed by yet another barnburner of a tune in "Blues is Good for You" before Cotton's hoarse vocals close out the album with the "hometown blues" of "Bonnie Blue," a fond look back over a life that began on the Mississippi cotton plantation of the same name, with Cotton joined only by Colin Linden on Resonator guitar.
That's followed by yet another barnburner of a tune in "Blues is Good for You" before Cotton's hoarse vocals close out the album with the "hometown blues" of "Bonnie Blue," a fond look back over a life that began on the Mississippi cotton plantation of the same name, with Cotton joined only by Colin Linden on Resonator guitar.
A superb follow-up to Cotton's 2009, Grammy-nominated Giant, Cotton Mouth Man is sure to follow suit, as Cotton blasts and blows his way from song to song with appropriate force and finesse, depending on the mood. As we've noted before and probably will many times again, when it comes to blues harmonica, there's simply no one better than Mr. Superharp himself. Should Cotton one day authorize or decide to dictate his own biography, we look forward to reading the many stories we're sure the blues master has to relate, but until then, we have to say we're pretty darn content hearing from him in song.
Guitarist John Primer, harmonica ace Bob Corritore team for Knockin' Around These Blues
While it may have been the guitar that dominated much of the past month here on our blog - between our coverage of Eric Clapton's Pittsburgh show, the Crossroads Guitar Festival, and new albums from both Ronnie Earl and Ana Popovic - the next few weeks are looking to be particularly good ones for blues harmonica fans, with an upcoming release from harp master James Cotton and a pretty neat harmonica-themed collection of classics from Smithsonian Folkways.
But we can't think of a better segue between these two sub-genres of the blues than the album we're talking about today, from former Muddy Waters and Magic Slim band guitarist John Primer and ubiquitous harmonica man Bob Corritore, who together make a delightful pairing on the new Knockin' Around These Blues (Delta Groove Music).
From the opening "The Clock" (Jimmy Reed), you can tell this one is going to be special - not that you'd expect anything less from these respected and familiar veterans of the blues, but this is even better than one could imagine, as the pair breezes through such early numbers as the slow "Blue and Lonesome" (Little Walter), the Primer original "When I Get Lonely," and Lil' Son Jackson's "Cairo Blues" before things really start to get good with the passionate vocals and gritty harmonica of "Leanin' Tree." That's followed by an instrumental "Harmonica Joyride" that is precisely what its name promises, before they dive into a superb version of Robert Lockwood Jr.'s "Little Boy Blue" that features forceful vocals from Primer as well as a nice piano solo from Barrelhouse Chuck, one of the many stellar backing musicians you'll hear on this project, along with Billy Flynn and Chris James on guitar, Bob Stroger and Patrick Rynn on bass, and Kenny "Beedy Eyes" Smith and Brian Fahey on drums. The shuffling, Willie Dixon-penned "Just Like I Treat You" and a solid "Man or Mouse" help to bring the album to its conclusion, with the slow blues of Lightnin' Hopkins' "Going Back Home" closing the album in a most appropriate fashion.
Primer's guitar and vocals are both in fine form throughout, and Corritore's harmonica licks plentiful, so even though there are only ten songs to enjoy here, there's never a doubt that you're getting your full money's worth, including plenty of solos from not only Primer and Corritore, but many of the other talented band members as well.
Knockin' around indeed, but this splendid collaboration between two true legends of the blues is also guaranteed to knock your socks off.
Ana Popovic turns up the heat, Memphis funk on Can You Stand the Heat
Perhaps sensing that many would be wondering how in the world she'd ever be able to top 2011's hit release Unconditional, blues guitarist and singer Ana Popovic relocated to Memphis to work on her follow-up record, teaming with drummer Tony Coleman (B.B. King, Otis Clay) and bassist/songwriter Tommy Sims (who co-wrote Eric Clapton's Grammy Award-winning "Change the World") to produce a feisty project brimming with Memphis soul and funk. Released last week, the aptly titled Can You Stand the Heat (ArtisteXclusive Records) was recorded at Ardent Studios and features Coleman on drums, the Bo-Keys on horns, and other players from Al Green and B.B. King's bands, as well as another smoking album cover, literally, showing a puff of smoke coming off the neck of Ana's guitar.The album starts with the saucy, slightly funky title track, giving us an early and quite satisfying first taste of horns, as well as some terrific backing vocals and a killer guitar solo. There's plenty more fire where that came from, with Ana coming across - between the guitar licks and forceful vocals - like a female Buddy Guy on the sizzling "Can't You See What You're Doing to Me" (Albert King). Indeed, you'll hear a much fuller sound from Ana here than on many of her previous albums, particularly effective on songs such as these - which still happen to be our favorite kind from her.
That said, Popovic does almost equally as well on the slower, more laidback numbers such as the quietly soulful "Mo' Better Love" and Robert Palmer's "Every Kind of People," as well as on the groovy, mid-tempo "Object of Obsession" and "Leave Well Enough Alone aka High Maintenance You."
"Boys' Night Out" is a downright funky, breakneck-paced tune with a message ("you've gotta' let your man have a boys' night out") that we can certainly drink to, and is followed by a superb duet with Lucky Peterson (on both vocals and guitar) in the steamy "Hot Southern Night."
There's a good chance it was the smoking instrumental "Ana's Shuffle" that Popovic was playing when the album's cover photo was taken, judging by the heat she and the band put off during the track, with the gravelly vocals and gritty guitar displayed on the slow but intense "Blues for Mrs. Pauline" representing the type of wrath only a mother can bring, with tough lyrics that start with a growling "you better leave my little boy alone" before getting even more worked up with "have you lost your goddamn mind, woman" and "somebody should be teaching you a lesson, oh, and the privilege is about to be all mine."
"Tribe" is another impassioned instrumental, featuring a refrain of "we can change, we can change the world" as well as horns in alternating channels, before things again get a bit steamy with a groovy cover of the Rolling Stones' "Rain Fall Down" that includes some soulful background vocals.
The album closes out on the sensitive side with two bonus tracks, both buoyed by a chorus of children: a mid-tempo "Growing Up Too Soon" that's perhaps our favorite of the softer numbers, and an even gentler, more R&B flavored take on the earlier "Mo' Better Love," this time presented as a duet with Tommy Sims, accompanied by snapping and more focused on vocals than the original version.
With her Serbian accent generally more pronounced on this project than we can recall previously, you get the sense that, in many ways, Can You Stand the Heat captures Popovic more closely than anything we've heard from her so far, something that a place like Memphis perhaps has a tendency to help with. Like a good hot sauce, it seems Popovic has found the perfect recipe for an album that packs just enough heat to make things interesting but doesn't overpower the natural flavors, leaving you completely satisfied yet all the more eager to see what the chef dishes out next.
Blues Lyrics of the Week: Gin House Blues
This slow but soulful blues tune recorded by such artists as Nina Simone, The Animals, and British band Amen Corner is one of our new favorite old songs after hearing it again from Andy Fairweather Low and Eric Clapton at this month's Crossroads Guitar Festival.
"Stay away from me, yea,
'cuz I'm in my sin.
Stay away everybody
'cuz I'm in my sin.
If this joint is raided,
somebody give me some gin.
Lord, I don't want no clothes,
I don't even want no bed,
for to lay my head.
I don't want no clothes,
I don't even want no bed,
to lay my head.
Just fill me with good liquor
and I'll be good to you instead.
When I'm feelin' high,
I ain't got nothin' else to do
but lay my head.
When I'm feelin' high,
I ain't got nothin' else to do
but lay my head.
Fill me with good liquor
yea, and I'll be good to you instead."
- Gin House Blues, Fletcher Henderson & Henry Troy
Here they are doing the song at Crossroads:
With fourth guitar festival, Clapton and friends deliver plenty of blues at the Crossroads
Having attended two of the three previous Crossroads Guitar Festivals (the first in Dallas, as well as the most recent in Chicago), we weren't all that sure what to think about last fall's announcement of the 2013 installment of the renowned festival. Sure, the line-up was solid enough, as is always the case, but in addition to the moves to both a new city and an indoor arena (in NY's famed Madison Square Garden), the 2013 event would also for the first time be spread out over two nights rather than taking place during a single full day. This of course led to a whole range of new questions and decisions for interested fans, among them, which artists would be performing which night? which, if any, might play both nights? and would the second night of performances be worth an additional night's hotel in one of the world's most expensive cities, on top of the premium ticket prices?
For Crossroads faithful such as ourselves, there was really only one way to get the answers to these questions, and we're pleased to report that the past weekend's affair was, collectively, the best Crossroads yet, featuring superb performances from host Eric Clapton, other established acts like the Allman Brothers Band, Buddy Guy, Jeff Beck, Taj Mahal, Booker T. and Steve Cropper, Robert Cray, and Vince Gill, and such rising stars as Gary Clark Jr., Doyle Bramhall II, Quinn Sullivan, and Philip Sayce, along with a whole lot in between, from John Mayer, Earl Klugh, and Sonny Landreth to Keb Mo, Robert Randolph, and Jimmie Vaughan.
To see more photos from the festival, please visit our BluesPowR Gallery
An acoustic set from none other than Clapton himself ensured that the weekend started on a bluesy note, with Clapton accompanied only by a few band members for the opening "Drifting Blues." Longtime Clapton collaborators Andy Fairweather Low and Doyle Bramhall II joined in for the next song - Low's "Spider Jiving" - with its chorus of "won't someone take away these blues." From there, they moved to "Tears in Heaven," followed by a "Lay Down Sally" on which Clapton also welcomed Vince Gill, before closing the twenty minute set with "Wonderful Tonight."
Booker T., Steve Cropper, and Keb Mo grooved through a few instrumentals, along the way adding Blake Mills, Matt "Guitar" Murphy, and Albert Lee to their ranks, with the highlights of the set coming in a Keb Mo-sung "Born Under a Bad Sign" that we hope (for your sake as well as ours) is included on the coming highlights DVD, followed by the MGs hit "Green Onions."Robert Cray and his band were the next to take the stage, kicking off on "Great Big Old House" from their latest album Nothin but Love, before welcoming the King of the Blues, B.B. King, for "Let the Good Times Roll" and a "Sweet Sixteen" that saw Cray and King trading vocals. Things only got better from there, with Cray inviting both Jimmie Vaughan and Clapton to join them for a terrific "Everyday I Have the Blues."
After a song from Sonny Landreth on the side stage, it was current Clapton sideman Bramhall's turn to shine, backed by horns and background singers as he worked through songs like "Green Light Girl" before bringing on, first, Citizen Cope for "Bullet and a Target," and then adding Gary Clark Jr. for a knock-out "Son's Gonna Rise," with Bramhall finishing on the mesmerizing "She's Alright."Ernie Ball Crossroads guitar contest winner Philip Sayce contributed a wild, energetic "Steamroller" before Earl Klugh helped to settle things back down with some instrumental jazz, providing a rather nice segue to the set that followed 
from the Kurt Rosenwinkel Band, including Clapton on vocals for the sensitive "If I Should Lose You" and Tommy Johnson's rollicking "Big Road." Gary Clark Jr. played a rare solo set (on both guitar and drums) that included "Don't Owe You a Thing," followed by a half-hour performance from John Mayer that started on "Who Says" (which happens to include one of my favorite lyrics in "I don’t remember you looking any better, but then again, I don’t remember you"), and then moved to "Slow Dancing in a Burning Room" and "Queen of California" before Mayer invited first-time Crossroads artist Keith Urban to join him in a cover of The Beatles' "Don't Let Me Down" that helped both shift the evening to a whole new level of awesome and warm up the stage for bluesman Buddy Guy and his band, accompanied by 14-year-old Quinn Sullivan and pedal steel guitarist Robert Randolph. Of course, there's no better way for Buddy to kick off his set than with "Damn Right I Got the Blues," which he followed with a clever "Let the Doorknob Hit Ya" that included nice solos from both Sullivan and Randolph, before finishing up on "Someone Else is Steppin' In."
from the Kurt Rosenwinkel Band, including Clapton on vocals for the sensitive "If I Should Lose You" and Tommy Johnson's rollicking "Big Road." Gary Clark Jr. played a rare solo set (on both guitar and drums) that included "Don't Owe You a Thing," followed by a half-hour performance from John Mayer that started on "Who Says" (which happens to include one of my favorite lyrics in "I don’t remember you looking any better, but then again, I don’t remember you"), and then moved to "Slow Dancing in a Burning Room" and "Queen of California" before Mayer invited first-time Crossroads artist Keith Urban to join him in a cover of The Beatles' "Don't Let Me Down" that helped both shift the evening to a whole new level of awesome and warm up the stage for bluesman Buddy Guy and his band, accompanied by 14-year-old Quinn Sullivan and pedal steel guitarist Robert Randolph. Of course, there's no better way for Buddy to kick off his set than with "Damn Right I Got the Blues," which he followed with a clever "Let the Doorknob Hit Ya" that included nice solos from both Sullivan and Randolph, before finishing up on "Someone Else is Steppin' In."
Master of ceremonies Dan Aykroyd donned his shades to sing and play some harmonica, joined by Keb Mo on guitar for "Got My Mojo Working" in honor of Muddy Waters' 100th birthday this month, with headliners the Allman Brothers Band taking the stage at the four-hour mark. After kicking off with "Ain't My Cross to Bear," the band welcomed Taj Mahal and Los Lobos guitarists David Hidalgo and Cesar Rojas for an exciting "Statesboro Blues" that featured Taj both on harmonica and sharing vocals with Gregg Allman. From there, they moved to "Black Hearted Woman," then brought Clapton back onstage for the final time that evening with another show-stopping number in "Why Does Love Got to Be So Sad." There was only one way out for the band from here, closing out their 45-minute set and the first night of the festival on a splendid "Whipping Post."After a full day's break, we were pleased to see that many of the same artists - and perhaps fans - returned to Madison Square Garden for a sold-out Saturday night, which began on the largely instrumental slide stylings of Sonny Landreth. A few songs in, Landreth introduced "one of the greatest musicians I have ever known," Derek Trucks, who joined on "Cherry
Ball Blues" and "Congo Square."
Ball Blues" and "Congo Square." Doyle Bramhall II followed with a short acoustic set, bringing on John Mayer for "Change It," a song written by Bramhall's father for friend Stevie Ray Vaughan. Coincidentally, Vaughan's brother Jimmie happened to be the next act to take the stage, starting on the always-chilling "Six Strings Down" about the death of his brother and many other blues guitar players, made somewhat less haunting this particular night by the sweet voice of Susan Tedeschi singing along just next to us in the aisle.
Newcomer Blake Mills did a few songs next, first solo, then partnering with Derek Trucks on "Save the Last Dance for Me," followed by an intriguing set from Los Lobos. Starting on a rocking "Burn It Down" that allowed us to again hear from Susan Tedeschi (this time on the stage where others could also appreciate it), the set also included guest appearances from Robert Cray - providing some terrific vocals on "Just Got to Know" as members of his own band cheered him on from the audience - and Clapton.
Warren Haynes and Derek Trucks delivered another solid performance on the side stage, beginning with "Old Friend," before being joined by Gregg Allman for both Neil Young's "The Needle and the Damage Done" and the Allman Brothers Band's own "Midnight Rider." For being a bunch of country guys, Vince Gill, Albert Lee, and Keith Urban put on a rather rocking show, including Lee on vocals for Ray Charles' "Leave My Woman Alone," Urban tackling the Stones' "Tumbling Dice," and Gill and Lee trading vocals on "Setting Me Up."
Despite our best efforts, we didn't get to see Taj Mahal and Keb Mo when they toured together a few years back, so it was nice to have the chance to see them team up for even a short set, digging in on "Walking Blues," followed by Taj on vocals for "Diving Duck Blues," and then Keb doing "That's Alright," making for one of our personal favorite sets of the festival. Gary Clark Jr. returned to the stage, this time with his own band, for a thumping set that we're pretty sure blew the roof off the Garden on the very first song, "When My Train Pulls In," quieting it down just a bit with "Please Come Home," then capping off the performance on "Bright Lights." After a few instrumentals, Jeff Beck invited Beth Hart to join him on vocals, bringing a whole different energy to his set with "I Ain't Superstitious" and a superb "Going Down."
76-year-old Buddy Guy did a short acoustic set of "74 Years Young" and John Lee Hooker's "In the Mood" before it was time for the evening's closing act in Clapton himself. When the lights came up, though, Clapton wasn't alone, with surprise guest Keith Richards providing a nice introduction for Clapton as the two launched into "Key to the Highway" with Richards on vocals as well as taking the first solo. From there, Richards announced it was time to "rock it up" a little, then proceeding to deliver "Sweet Little Rock n' Roller," after which Keith was replaced by a guitarist from another well-known band in Robbie Robertson, who started on "He Don't Live Here No More" followed by "I Shall Be Released" "for some old friends."
With Robertson's exit, Andy Fairweather Low stepped into the coveted guest spot, taking the lead on a delightful "Gin House Blues" that included a burning solo from Clapton before turning it over to the festival host, who, with his band, tore through many of the best songs from their current tour in a "Got to Get Better in a Little While" that simply gets better every time we hear it, "Crossroads," "Little Queen of Spades," and "Sunshine of Your Love," with Clapton also slipping in a "see you in three years" to provide hope that this wouldn't be the last chance we'd all have to witness the type of mastery and unique pairings we did these past two nights.
As good as it was to see Clapton perform these songs the weekend before during his tour stop in Pittsburgh, he and his band were even more spectacular this time around, with a full weekend of guitar talent apparently helping even Him achieve new heights. Indeed, about the only thing that could have made his set any better would have been the inclusion of "Badge," but we're certainly not complaining, as Clapton clearly accomplished not one, but two, pretty remarkable feats on the weekend, putting in both his own best Crossroads set in addition to the best Crossroads festival overall.
And that's not even mentioning the finale, which saw nearly all of the evening's guitarists (save perhaps for Richards and Beck) return to the stage to jam and take a solo on Joe Cocker's "High Time We Went."
Anyone who might be starting to think that Clapton's Crossroads festivals are the same from one to the next will want to be sure to check out the upcoming DVD of this latest installment. Not only has the festival continued to feature some of the most masterful pairings we've ever seen, but the two-night structure this time around also allowed for a much greater diversity of performances from many of the artists - particularly those who played both nights - than previously possible, including, for example, both acoustic and electric acts from the likes of Clapton, Buddy Guy, Gary Clark Jr., John Mayer, and the Allman Brothers.
Seeing either night of the festival would have been enough to ensure that you'd leave happy, but experiencing both nights was nothing short of priceless. See you in three years, indeed.
Crossroads Guitar Festival Saturday night photos
Photos from the second night of the Crossroads Guitar Festival are now available for viewing in our BluesPowR Gallery, capturing performances from Eric Clapton, Keith Richards, Robbie Robertson, Jeff Beck, Gary Clark Jr., Buddy Guy, Jimmie Vaughan, Los Lobos, Keb Mo, Taj Mahal, Vince Gill, the Allman Brothers, Sonny Landreth, Robert Cray, and more.
