Blues News - October 1991

8/7/2019 Blues News - October 1991

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Kol(omo BluesInthe summer of 1934, blues guitarist Joe McCoyfinally persuaded MayoWilliams, race record producer forDecca, to record his friend and fellowguitarist, James Arnold, who had not yetacquired the nickname "Kokomo." In fact,Arnold called himself"GitfiddleJim" whenhe played in some of the Chicago bluesjoints. Arnold, however, was a reluctant.....- --, participant in theY E S T E R D A Y ' S advancement ofhiscareer, and at the

first attempt byWilliams to put himon record, he gottired of sittingaround waiting fora recording studio,so he skipped outand went home.Arnold's uneasi-ness was not somuch from shyness

L-"'--_'-- ......or "mike fright,"but itwas the prospect oflosing customersfor big thriving moonshine whisky busi-ness that made him unwilling to waitaround for hours in a recording studio.However, McCoy and Williams didn't giveup, and a few days later, they were able toget Arnold to sit still long enough torecorda few ofhis compositions for Decca. Two ofthese sides, "Milk Cow Blues" and "OldOriginal Kokomo Blues," were immediatehits and catapulted this unassuming part-time musician into instant stardom in therace music market.

These two numbers inspired a lot ofimitations, and their lyrics and musichave been reworked and rearranged hun-dreds of times. "Milk Cow Blues" is notonly a standard for blues artists, bu t somereincarnation of the song is frequentlyfound in the repertoires of jazz, country,pop, and bluegrass artists as well. Even ayoung rock-a-billy from Memphis namedElvis had a minor hit of "Milk Cow" earlyin his career.

The legendary Robert Johnson wasparticularly influenced by KokomoArnold's music. Johnson's "Milk CowBlues" is, of course, directly descendedfrom Arnold's composition. Or, comparethese lyrics from Johnson's "Sweet HomeChicago":Crying baby, honey, don't you want togo,Back from the land of California to mysweet home Chicago,with these lines from Arnold's "KokomoBlues":Cryin' oooh, baby, don't you wanna go, toEleven Light City, to sweet old Kokomo.

Also, the line, "I believe I'll dust mybroom" from Arnold's recording of"Sagefield Woman Blues" no doubt in-2 OCTOBER 1991

spired Johnson to write his "Dust MyBroom."

James Arnold was born in 1901 inLovejoy, Georgia, at that time a smallfarming community a few miles south ofAtlanta. Like the rest of his family, hegrew up working in the cotton fields. Itismost likely that it was here on the farmthat be learned the basics of alcohol dis-tilling, a craft he would use often to aug-ment his income. Arnold picked up thefundamentals ofthe guitar from his cousin,John Wiggs, who never recorded, but issaid to have been an outstanding guitarplayer. At first, Arnold imitated Wigg'sway of sliding a pocket knife across thestrings, but later adopted the technique ofusing a bottleneck on his right hand andpicked the strings with his left, He wouldoften place the guitar flat across his kneesand playitdobro-fashion, sliding the bottle-neck and producing a frenzied flurry ofrhythmic elaborations. The guitar workon "Milk Cow" and "Kokomo Blues" areshining examples of his virtuosity.

Arnold left Georgia when he was eigh-teen to work in a steel mill in Buffalo, NewYork. This became the work that he fol-lowed for most of his life. In 1929, hemoved to Chicago where he continued as asteel worker and only occasionally playedgigs in local clubs when he could spare acouple of hours from moonlighting atmoonshining. Itwas at such a gig that hewas discovered by Joe McCoy, who recog-nized that Arnold had a fabulous talentthat should be shared with a larger audi-ence than a few drunks in a back streetbeer joint.

There is an amusing story of howArnold got the moniker "Kokomo," and italso explains the cryptic phrase "Back toEleven Light City" in "Kokomo Blues." In1959, Arnold related to blues researcherJacques Demetre that Eleven Light Citywas the name of a drug store near 35thand State Streets in Chicago, where heonce had a relationship with one of thefemale clerks. The store sold a brand ofcoffee called "Koko." From this, Arnoldcoined the phrase, "Sweet Kokomo." MayoWilliams, being a hip promoter, saw thecommercial advantage of coupling hisbrand new recording artist with a brandname, so"GitfiddleJim"became "KokomoArnold" on the first and all subsequentreleases from Decca Records. Arnold thenbegan touse the title for live performances.

After the tremendous success of the1934 recording session, Kokomo Arnoldpursued music as a full-time professionfor a few years, usually performing alonebecause few of his contemporaries could

CONTINUED ON PAGE 8

OCTOBER 1991The Kansas City BLUES NEWS is pub-lished monthly by the Kansas City BluesSQCiety, Inc. Articles, reviews, band cal-endar dates, and items of interest must besubmitted by the 20th of each month, andbecome the property of the Society.Founding Editor Roger NaberEditor Shirley OwensContributing Writer/Photographer. tarry SmithTypesetting/Layout Matt QuinnAdvertising inserts must be received by the15th of each month. For more informationon advertising in the BLUES NEWS, call737-0713. FAX: (913) 384-9927.Advertising Rates:

1/8 page $201/4 page $301/2 page $60Full page $ 120

Board 01 Directors and Officers:President Roger NaberVICe-President Jon LoweVICe-President Kenny TaylorSecretary Suzanne ColbertTreasurer Bernie PopeDirector Patrick FlemingtonDirector tarry SmithDirector Provine HatchDirector Monica LarsonDirector John StuerkeDirector Peter Horak

KCBS Chairperson Shirley OwensMembership Chairperson Marcie Ryan

The Kansas City Blues So'ciety, aMissouri not-for-profit corporation wasformed for the sole purpose of promotingand preserving various styles of bluesmusic. Founded in December of 1980, theKansas City Blues Society presents:monthly jam sessions, various local andnational groups in concert, and our mainpresentation The Kansas City Blues andHeritage Festival.

Members receive the newsletter, dis-counts on Society events and discounts onpurchases at certain participating busi-nesses. Annual dues are $ 10 per person or$ 15 per family and $50 per CorporateMembership. Tojoin the Society send yourname, address, phone number and duesto: Kansas City BluesSOCiety, P.O. Box32131, Kansas City, Missouri 641 11.

For more information,call 531-7557 or 737-0713.


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The BluesNotions Bring Home TrophyBY CARoLYN' L. WICKER1:he Blues Notions traveled toMemphis, Tn., where they placed3rd in the 8th Annual National

Blues Contest September 1, 1991. Theband was the first to bring a trophy toKansas City from this event.

The Blues Foundation, located inMemphis, has sponsored the competitionsince 1984. There were two phases to thisevent. Saturday was devoted to an openformat, allowing any group to compete.Sunday was dedicated towinners ofspon-sored blues organizations.

The Blues Notions arrived in Mem-phis on Saturday around 5 p.m. Afterfinding themselves a meal (some at theRendezvous, Memphis' premier rib joint),the revelry began onBeale Street. Amongthe national acts performing were JoannaConnors and Little Jimmy King. Theybedded down around 1:00 am.

Sunday meant sleeping till 10:00 am,then checking into The Daisy Theater.Lots were drawn, and the contest began at2:00 PM. The Notions played 10th out of14 bands.

"The competition this year was moreintense," said Dave Creighton and WayneSmith, veterans of the 1988 event. The

The Blues Notions show off their trophy.first and second place winners were RoachThompson of Miami, FL, and Jeff Chez,Memphis, respectively.

They enjoyed a Sunday night steakdinner at the Western Steak House whileeyeing Elvis' favorite booth. The managerofBB King's Blues Club showed interestin the Notions, where they enjoyedSherman Robertson and Larry McCray.

Monday afternoon about 4:00 pm, TheBlues Notions arrived home only to dartoff to the riverboat America for yet an-other performance. The Kansas CityBluesSociety and this writer congratulates TheBlues Notions for such a wonderful job inMemphis of representing our belovedKansas City Blues.

Bullseye Blues. The First Year.Just imagine year will bring!

A ll o f t hese titles are av ailab le Sep tem ber a t y our lo cal reco rd sh op . O r y ou m ay o rd er d ire ct b y callin g JIMMY McCRACKLIN1 -8 00 -4 4- DIS CS , w ith y ou r V is a o r M aste rc ard , B e su re to a sk a bo ut B ullse ye B lu es T -s hir ts, sw ea t sh irts a nd b ase ba ll c ap s, ~ti~gi

CHARLES BROWNAll My LifeBB 9501CHAMPION JACKDUPREEBack Home In NewOrleansBB 9502BYTHER SMITHHousefireBB 9503EDDIE HINTONCry & MoanBB 9504JOHN MOONEYLate Last NightBB 9505LUTHER "GUITARJUNIOR" JOHNSONI Want To GrooveWith YouBB 9506SUGAR RAYFEATURING THEBLUETONESDon't Stand in My WayBB 9507

BLUES NEWS. 3


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but the composing of "Tomorrow" and"It's Got to be Love." McCracklin showsoff his piano style with good sax workfrom Dr. Wile Willie Moore and Earl"Good Rockin" Brown on "In the Alley"and "My Story."

On the CD's liner notes written byJeff Hannusch, McCracklin sums up histechnique: "I write all my own songs. Ifyou're looking for a secret, that's it. Tome, the most important part of a song isnot the beat. Words are what sell a record,especially to the women. My songs comefrom my Life and what I hear People talkabout."

That is what it's all about and MyStory is no exception on the new blueslabel, Bullseye.Johnnie Johnson, JohnnieB. Bad, ElektraINonesuch

St. Louis-based, JohnnieJohnson has beenrecording the bluessince 1952 when heplayed piano onAlbert King's Don'tThrowYour Love OnMe So Strong Bob-bin label. From '55to '73, Johnnie Johnson rocked the blueswith Chuck Berry. Self taught, JohnnieJohnson is a master of the piano. Hisvoice is smooth too. Longtime admirers,Keith Richards and Eric Clapton joinJohnson on two songs each. Johnnie B.Bad covers the blues from jumpin' andshoutin' to rockin' and slow. There's evenhumor on "Stepped in Whatl" Johnnie B.Bad is good blues with one of the bestpiano players alive, Johnnie Johnson.Reissue Blues CDS,MCAlChess

MCA/Chess is leading the way oncontinually reissuing many classic recordsand some never before issued.

John Lee Hooker on More Real FolkBlues/The Missing Album was never is-sued in Octoberof1966. Twenty-five yearslater, you can hear classic John Lee Hookerjoined by Eddie Burns, guitar, Fred Be-low, drums and Lafayette Leake, piano.Many ofthe songs, 8 ofwhich are writtenby John Lee, were previously recorded onthe VeeJay label. Back in the 60's, Viet-nam was on our minds yet Hooker's songcalled "This Land isNobody's Land" couldhave been written for today's interna-tional scene. Take a step back in timewith John Lee's Missing Album.

Koko Taylor, Queen of the Blues,recorded for 8years with Chess under theguidance ofher mentor and friend WillieDixon from 1964 to 1972. Prior to her

s o nF u n d e r b u r g h"F un de rb urgh is a guy wh oc a n n o t o n ly r ip a n d ro a r ,b ut wh o a ls o h as th at qu ie tfire a nd s ou l a li t rue b lue sg uit a ris t s n e e d ."---H o us to n P o sta n d t h e R o c k e t sf e a t u r i n gS a m M y e r s"S a m 's th e re al d ea l---a liv in g,b re ath in g s lic e o f th e b lue ss cen e in C h ic ago in th e '5 0 's ."- - -Anson

W a tc h fo r An so n, S am a nd th e Ro cke ts ' m a jo rm o tio n p ic ture d eb ut in C HIN A M O O N, a nO r io n P ic tur es re le as e, p ro duc ed b y K e vinC o stn er , c om in g in e ar ly 1992.

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"Paoing 1M Way to YO&Ir Soul"

Chess years, Koko and her husband/man-ager Pops Taylor would often make therounds at Chicago blues clubs where shewould sit in with Muddy Waters, HowlinWolf, Elmore James, J.B. Lenoir, JimmyReed and others. After a recorded jamsession in Willie Dixon's basement, Kokowas signed by Chess.

Koko's WhatItTakes/TheChess Yearshas 18 songs arranged and almost entirelywritten byWillie Dixon. The Chicago Chessstudio was a haven ofblues greats. Koko isbacked up by the best, including Walter

Horton (Harp), Lafayette Leake (piano)Buddy Guy, Robert Nighthawk (guitar),Jack Myers, Willie Dixon (bass) and CliftonJames (drums). Koko is joined by WillieDixon on vocals singing "Wang DangDoodle." Also, from the 1972 MontreauxFest, Koko Taylor and Muddy Waters gettogether on "I Got What ItTakes."What It Takes/The Chess Years isKoko's early recordings, classic and amustfor your blues CD collection.Listen to Shirley Owens' blues shows on KKFIFM 9 0.-1 from 4 - 5 p.m ..Mon .. Wed. & Thurs.

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3 8 3 3 M A I N ~ 3 1 - I ~ 0 4

6 OCTOBER1991

Performance DiaryLive Blues.North of the RiverIt was a short month for me as 1was

recovering from some routine surgery.And even when I did get out, I didn't gofarfrom the lair.September 2 NightmovesLittle Jimmy KingI was anxious to see King as thecomments I heard from his lasts trip... ... ... ... ... through town were~'A~;~I~' '::~ " ' : : ' x highly.favor.able. IhadWI4:vu"7 seen him bnefly at theHE 1990 Blues Festival

when he played withhis granddad Albert.(Remember Albertsaying he was "veryproud" to introduce

MUSIC REVIEw "my grandson JimmyBy LM. SM ITH King"?) I was im-....................................pressed then and wasmore so this night.

Being Albert's grandson comparisonsare bound to arise. Jimmy doesn't exactlyduck such comparisonselfher, ashe playeda couple of Albert's tunes, including "I'll, Play the Blues for You." At times he usesthat same piercing sound as Albert's andthat same sharp attack. On "Play theBlues" he took his time getting into theguitar work, but then cut loose. His sologot good crowd response, even ended up9icking with his teeth while still main-taining a good line.

His

ing a short soloouting. KeyboardistArchieTurner turned in some nice work along theway.

Jimmy has a new album out, self-titled, and did a couple ofnumbers from it.Good, medium tempo tunes featuring goodguitar work. Introduced as "the Godson ofthe Blues", it's going to be interesting tosee how the newest member of the Blue'sroyal family develops.September 14 NightmovesDuke Elephant

More royalty, this time locally. DukeElephant and his Orchestra (at least that'swhat the banner said) consists ofMo Paulon harp and vocals. Tom DeMasters onguitar and vocals, Rick Huyett harp andSam Johnson Jr. on drums. They're allgood players who have been around forawhile, although the band is only aboutfive months old. 'They specialize inmedium touptempoR&B influenced tunes and straight blues.Paul has a light and quick harp techniquethat was well displayed in "Walkin'Blues."His voice is thick with a sure sense ofphrasing. DeMaster's voice is a bit thin-ner, as shown on a loose, swinging versionof "Expressway to Your Heart." Somegood harmony vocals, too. DeMaster'sguitar work shows a lot of technique,including some furious tap work on "Ex-pressway" (take that Van Halon),

The band avoids doing tunes "like therecord." This was particularly well shownon an uptempo version of "Red Rooster."The Rooster met the Killing Floor in thisone.The band closed out with "WorkSong."Paul's light harp, played with a lot ofdelay, fit the song well.DeMaster threw insome Wes Montgomery licks with John-son and Huyett getting some solo space.

This is an excellent new band. You'llbe doing yourself a favor to get out andcatch them. They can play and they're fun.September 20 NightmovesCatdaddysAnother new band, this time fromTopeka, trying to break into the regionalscene. This is a six piece aggregation withtwo sax players, a trumpeter/harp/vocal-ist, bass, drums and guitar. The band hasbeen together about six months and fea-tures some very fine players from diversebackgrounds.

voice isn'tnearly asthick asAlbert'sand is a bithigherpitched. Aten 0 rrather thana baritone.Heisagoodexpressivevocalist.Still andall, what hereally is aguitarplayer. A U _ - t t l _ e _ J _ i _ m _ m _ y _ K _ i " _ 9 _ 'darn good one too.

The Memphis Soul Survivors, hisband, are solid players, especially therhythm section. Bassist Melvin Leehad abig smile almost continually and is' anexcellent player in a quietly showy way.Cowboy, the drummer, is a rock solid timekeeper who showed some nice chops dur-


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Kevin Hoover is the primary vocalistetc. As a trumpeter he is something of ascreamer. As a singer, his rough and rawvoice is suited to the shouter. In fact,sometimes he doesn't so much sing a songas vocally overpower it. James McMurry,guitar, is a 52-year oldjazz-oriented playerwith good light technique and a sure senseof line. Greg Tugman, saxes and flutes, isfrom "Planet Colorado," a mature playerwho turned in consistently fine work. SamTreinin, tenor sax, isa21yearold wonder.The kid can really play but will benefitfrom some maturity. He still has a ten-dency to overplay, especially on the slowertunes. Floyd Gardner is superior bassplayer, solid beat with some occasionalfunk. Woody Davis, drums, is a big dudeout of Chicago. Primarily ajazz player, hebelieves a percussionist should be able todo it all, and does.The band does a wide rage of tunes. Icaught a teaser of them at the contest, sowas anxious to hear more. "I Just LoveHer So" showed off the Ray Charles influ-ence to Kevin's singing. "Summertime"featured some nice mute work from Hooverand someWes Montgomery guitar sounds. In-teresting horn arrangement. Tugman'sflute work showed good technique andlight, airy tone.A medium tempo version of "NightTrain" allowed both sax players to showoff. An extended counterpoint solo was

excellent as both saxmen exchanged ideasand worked extremely well together. "NewYork State of Mind" and "Mercy, Mercy,Mercy" showed some of the range of ninesthe band does.Interesting they should do a version of"Fat Guy Wiggle," because the band theyare most likely to be compared to is DanDoran, though there really only surfacesimilarities. Hoover said they found thetune on a work tape, so had inadvertentlystolen it. "But we liked it, so we kept it."They do it a bit slower than the DoranBand, and without the drum solo. Overall,. it's a pretty solid version."Going to Chicago" showed thatMcMurray is as much as jazz singer as heis a guitarist. It also featured one of thebest solos of the night from Treinin. It wasa pleasure throughout the evening to justlisten to McMurray's chord work. The guyknows his way around his axe."Who will the Next Fool Be" pointedup the difference between Tugman andTreinin. Tugman uses fewer notes butdevelops better lines.This is another good band, one worthtaking the time to hear. It's important forbands to develop a regional base. it's alsoimportant for fans that the number ofclubs playing the blues expand, so therewill bemore music to choose from. Tugmansaid he had never seen so many bluesbands until he moved to Kansas. We needto keep it that may.

Membership ReportTime to renew In the past the Kansas CityBlues Society has notified our membersby mail when their membership is upfor renewal. Durin,the past six monthsit has not been ~sible to provide thisservice (too few people doing too muchwork for the festival, etc.). In addition totime constraints, the cost of continuing

this service to our members is pro-hibitive (printing increases, postalhikes) . Members will now need to checktheir cards for renewal dates. In lieu ofmailing notices to members, we will listthe members who are up for renewal inthe KCBS Blues News. Beginning thismonth we will list those members whosemembership is currently up for renewal.In looking over the roster, there aremany members who were due as farback as April. There are toomany to listhere, so members due further back thanSeptember will need to check their cardsfor renewal dates. All members up forrenewal will have 30 days to renew theirmembership before being struck fromthe roster.KCBSmembers due for renewalin September and October 1990 are:Brian Augspurg, Philip Baker, DeniseBarber & Wes Scaggs, Frank Bellucci,Joe Bonino, Tommy W. Brown, PaulaCapehart, Kathy Chase, Fred Chatlos,Doug Clapp, Robert Clifton, Vicki Combs& Anita Malott, William A. Coombs,Rodnel & Hazel Cunningham, SusanEmbretson, Howard Erenberg, JosephEvans, Charles A Frazier, Sherry Funk,Bob Gahagan, Paula &Eric Gray, Joy L.Gregg, Dale Groom, Deanne Hampton,Henry Hart, Robert & Ann Hernandez,Lisa S. Hines, Anke Hireskorn, JoeJenkins, David Jones, Hazel Jordon,Bob Krouse, Austin &Roberta Landreth,Monica Larson, David Lewis, DavidMagee, Valorie Marchbanks, DanMarcus, Hans &Maria Mierswa, JulieMillard & Barry Evans, Ernest Nelson,Jackie Nemitz, Jo&Jim Phillips, MontePhillips, Janelle Pointer, Todd Price,Tulsa Read, Harry L. Rinacke, GeoffRollert, Joy Roundtree, Jim & KellyScott, Greg Seymour, Tim Shacklett,Robert E. Sharp, Daniel J. Sheridan,Carla Thomas, Elaine Ulrich, JudyWalter, Todd Wilkinson, Charles &Becky Williams,Jeanna Williams, PatsyWilliams, Gail Young, Doug Zacherle,and Ken & Dee Zweygardt.I hope this doesn't cause toomuch inconvenience for our members.Thanks for your cooperation!- Marcie Ryan

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Disc ReviewSaffira-Hot FlashBY L .M . SM ITHT : his trio of ladies are not thegreatest blues players in the worldtoday. But there are few acts that

are more fun, and this album fits thatdescription nicely.

The album starts with "Two inthe Bush," a kind of clicheturned-upside-down song. The lyrics,and most of the music, is eli- . ; ; 1ches, but reversed when it ~comes to commitment. "Two inthe bushlIs better than one in thehand." It kind ofmakes fun of itselfand sets the tone for the rest of thesongs. "Sloppy Drunk" expresses thesentiment of a lot of people. "I'd rather besloppy drunk/Than any way I know." Itfeatures some goodboogie piano from AnnRabson. "One Good Man" has some nicevocal interplay between Earlene Lewisand Gaye Adegbalola. "Dirty Sheets" is agood slow blues from a working woman'spoint of view. Nice harmonica,too.Adegbalola is probably the best vocalist ofthe bunch, and shows it here.

"Tom Cat Blues" is more boogie,Rabson's forte. "Learn to Settle for Less"has one of Rabson's most adventuroussolos. On "You'll Never Get Me out ofYouMind," she's back to her percussivestylings.

"(Mr. Insurance Man) Take Outthat Thing" is old-fashioned,vaudvillish blues. This is closest

to the east coast, 30s style thatthe biggest influence on the

group. Filled with doubleentendres and a bump & grind

suggestiveness. "You'll give meofyour dividends/And it won't

take 20 years." The kazoo solo is aperfect touch.

"Hopin' It'll BeAlright" is a slow latenight blues. Rabson's piano work is 'a bitclumsy in a couple of spots, but the tunehas a good vocal part.

"Elevator Man" has some nice guitarwork by Rabson and vocal by Adegbalola."Why Don't You Do Right" is done as atorch song. It features Lewis' breathy vo-cal and a decent piano solo.

The album closes the way it opened- with humor. "Pissin' on a Skunk" hasAdegbalola on the vocals singing abouseeing an old boy friend. She would like toget even, but doesn't want to sink to hilevel. "There ain't no need for me to bepissin' on a skunk." Like I'said, the albumis fun. There is also a ceratin charm to thewomen's songwriting. It expresses a poinof view too seldom heard. Put this albumon your shelf, and I'll bet you listen to imore than once. -YESTERDAY'S BLUES FROM PX3E 2match his frenetic style, but be did tourwith piano player Peetie Wheatstraw foawhile. Arnold never really wanted to b ea full-time musician, so in 1941, he wentback to the steel mills and virtually quitmusic, never to record again.

Kokomo Arnold died ofa heart attackin Chicago on November 8, 1968. Primary Sources:1. Paul Oliver, Blues off the Record.Turnbridge Wells, Kent, England: TheBaton Press, 1984.

2. Paul Oliver, The Story of the Blues.Philadelphia: Chilton, 1974.

3. Robert Palmer, Deep Blues. New YorkPenguin Books.

P.O. Bo"S an F r an ci sc o, CA 94126(415) 526-0373 FAX (415) 526-9095

8 OCTOBER 1991

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Well, dear blues lovers, we have left town early for theDelta to get the latest blues gossip, tidbits and beehives atthe 6th Annual King Biscuit Blues Fest and 12th Annualw.e. Hany Awards ....As always ...fighting for the Blues.Love & Kisses,Mattie &Mae

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10/12

N BLUES NOTESNFROM P..-GE 1 a Rhythm and Blues Film Fest call 923-6226 for more details

News. Blues Calendars are only $8.00 for KCBSmembers and Food Benefit$1.0.00 for the public. Please add $2.00 for shipping. Write A benefit for The Harvesters will be held on Oct. 1.2 on thto KCBS Merchandise Dept., 7948 Wornall. Rd,Sulte west side of Uberty Memorial. Ten bands will be playing fo1.205,KC,Mo.641.1.4 ten bucks Includlngflve blues bands, The Nighthawks, Uttle

KC Blues Society will be honoring Provine "Little" Hatch Hatch B e the Houserockers, The 39th St. Blues Band, and thon his 70th Birthday on Friday, Oct. 25, during Hatch's Sin City Disciples. Three country bands and three rock bandHouse Party at the Grand Emporium from 6-8pm. Come will also participate. Tickets are now on sale at Musicelebrate and make this a special occasion for UttJe Hatchl Exchange, Drlt Cheap and Alley Cat.Blues Culture Spirit Fest Blues Tent Thanks

"Jlvln', Jammln' and Showln' Off: A Rhythm and Thanks to the following volunteers at the KC BlueBlues Showcase" will be presented by the Bruce Watkins Society's Spirit Fest Blues Tent Beverage Booth. It wasCultural Heritage Center through the month of October. On tremendous success due to the following volunteers:their calendar Is an Outdoor Jam Session featuring a re -creation of a 1.94Os "Juke Joint" with performances bySonny KeMer, Donald Parsons, Sandra Brown, and UttleHatch and the Houserockers on Oct. 5 and 1.9 from 2:30pm- 5pm. Other perfonnances Include Lemuel Sheppard on Oct.6, 2-4pm and Curly "Barefoot" Miller will perform on Oct

Kenny Taylor, Marcie Ryan, Pat flemington, CowboyJackie Nemitz, Uz Brown, Craig Dlehls, Karen Sparks, StevVastblnder, Susan B e Richard Farmer, Jay Garcia, MarciaLangley, Bob Waldo, Mlck Ysqulerdo, Karen Sherwood, CarlThomas, Amy Crippen, Katie Getty, DanWard, Jennifer LoneyKevin Flattherty, Susan Dickey, Carrie Malone, Brian Frye

1.2, 3-4pm. Also to be seen at Bruce Watkins, 3700 Blue Shari Krestzchmer, Fenton Miller, Jeanna Williams, RockParkway, on exhibit from Oct 5 - 24 Is "The Photography of Scarello, JanWoodford, Lou Bradshaw, Ken B e Dee Zweygarot,Benny Joseph: The Early Years of Rhythm and Blues" which Larry B e Luanne Reichard, Brenda Salinas, Keith Roloson, J.efocuses on early Texas Blues. Legends such as Aaron. "T- Cartwright, Bernie Pope, Floyd Anthony, Renee O'RearBone" Walker, Willie Mae "Big Mama" Thornton, and Peter Trozzollo, Tom laramie, Jeff Haas, Forest Haas, BiRobert Junior Parker. Another exhibit will be "Kansas City jeffries, Katie Pugh, Rochelle Smith, Sandy Vice, BoyceRhythm and Blues" which features some of KC's blues Thomas, Alice Grotz, Cecilia and John Nunn, UttJe John anartists and where they performed. Lectures will be given plus everyone else who participated.

Blues Happens at ~H 1tl Bl t : : : : : : : : g : : ; : ; ome 0 te ues N ) ,: W f t k iE N..... " " = % .~ E ~ : I ~ S : ~ ~ ; : d .i 4 l t 1M~452-4393

Monday is Import Night Texas Tuesday -24oz.BeersWednesday is Open Jam Night featuring The 39thSt. Blues BandAll Bands Play 9:30pm - 1:30am"Coldest Beer North of tile Riner" - Lilltisay Shannon. Thursday is Ladies Night- Live Music- Free Pool. Every Wednesday ...The 39th St. Blues Band-

10 OCTOBER 1991

OCTOBER LINE-UPOct. 4 Dan Doran BandOctober 5 Lonnie Ray &

the All Stars featuring John PaulOct. 11&12. The Smokin' Joe KubekBand featuring Bnois King (Dallas)Oct. 18&19 The Soulard Blues BandOctober 25&26 Little Mike &

the Tornadoes (New York)November 1 NightcrawlersNov. 2. Eddie Shaw & the Wolf Gang

(Chicago)Saturday Afternoon Blues - 3-7 pmOct. 5&19 Little HatchOct. 12&26 Dan Doran Band


11/12

I(C BLUES JAMSSUNDAY JAMS JAMS - Bring your instruments Epicurean lounge & Restaurant. 7502 Troost. 333-8383 H &M Barbecue, 1715 N. 13th, KansasCity, !


12/12

Featuring ABB LOCKEOctober 10 . 9 PM

Grand Emporiumat 8 PM)

Blues Cruise...Photo Revie""Photos: Shirley Owens LEFT: Lil'Ed Williams shows offhis finger work onthe Blues Cruise.

BOTrOM: Tom "Trashmouth" Baker and WayneSmith on the Missouri River Queen during BluesCruise II, September 25, 1991.

Kansas City Blues SocietyP.O. Box 32131, Kansas City, MO 64111

Bulk RateU.S. Postage PaidPermit #3407Kansas City, MO

Do Not Forward Address Correction Requested Return Postage Guaranteed

Documents

Blues News - October 1991