News from Colne August Music Festival Jessica Foxley Bands Announced
Unsigned Artist Competition – Winners Announced playing live on main stage at Great British Rhythm & Blues Festival, Colne on Saturday & Sunday.
The festival requested unsigned acts… and received them by the bucket-load! Following an overwhelming response, The Jessica Foxley Unsigned judging panel chose 8 finalists to open the festival main stages this summer.
The eight bands all bring to the stage all the excitement of live music. One of the eight will then be chosen toparticipate in the UK Blues Challenge on 10th September 2017 at the Iconic venue The Cavern Club in Liverpool.
Jessica Foxley Unsigned Band will be performing alongside the four bands, LaVendore Rogue; Elles Bailey; Zoe Schwarz & The Rainbreakers. The winning band will step into the shoes of Kaz Hawkins who in 2017 was semi-finalist at The International Blues Challenge in Memphis and Winner of the European Blues Challenge.
Seeking Festival VolunteersThe festival seek volunteers to help at the event.In return for skills, time and energy, volunteers receive free festival tickets, vouchers for food and refreshments, an exclusive crew t-shirt, plus of course, be part of what is shaping up to be one of the best blues-rock based event of the year.Colin Hill, the CEO of Colne Town Council comments “And… for any young person over 16, not yet experienced in the workplace and wanting to gain some hands-on experience of what running an event like this entails, this a great opportunity to be part of something exciting and challenging…”To register interest and for further information, here’s more…Festival ‘Headline’ Sponsors Announced
Barnfield Construction are based in Nelson and have been established for over 40 years. The family run contractors, developers and investors offer honest, thought-through and practical solutions to a diverse array of new and refurbishment building contracts ranging from industrial, commercial, retail, leisure, plus hospitality and residential schemes.
Roaming Roasters are a farm shop and deli on Barrowford Rd, Higham, and sell locally sourced, grass fed and free range meat, along with handmade pies and loads more tasty stuff.
Hippodrome Theatre, Friday Evening, 25th August
Ian Siegal & Band – celebrating 25 years of professional touring with his songs that are real, shows that resonate and vocals served raw +
The Lachy Doley Group – “The Jimi Hendrix of the Hammond Organ” +
Tom Attah & The Bad Man Clan – A modern, living bluesman…
The Muni, Friday Evening, 25th August
Joanne Shaw Taylor – UK’s number one star in the blues rock world + Stevie Nimmo Trio – one half of Scotland’s highly respected ‘Nimmo Brothers’ + The Revelator Band – unpredictable, fun festival-style blues.
Aynsley ListerWhen explosive natural ability collides with fiery, emotionally charged compositions, the result is Aynsley Lister… + Rob Tognoni Explosive guitar playing and unique songs + TJ & The Suitcase Vocal / Harmonica / Suitcase drum / Home made tambourine beater pedal… Its time to get packed!
The Muni, Saturday Evening, 26th August
Grammy nominee Janiva Magness + the blues, soul, gospel of Jo Harman + The Kaz Hawkins Band – Northern Ireland’s fun, heartfelt, soulful rock ‘n’ roll-blues…, Lisa Mills
Hippodrome Theatre, Sunday Evening, 26th August
Lucky Peterson –Searing lead guitarist, fantastic organist, and first-rate vocalist Clay Shelburn – Funk, rock, blues and country from this incredible selftaught multi-talented artist Michael Messer’s Mitra – A remarkable fusion of country blues with Hindustani music
The Muni, Sunday Evening, 26th August
King King – Soulful, dynamic, blues-rock from Glasgow John Fairhurst – The Wigan Jimi Hendrix Gwyn Ashton – Solo, hardcore, 21st Century, alternative blues
_____________________________________________________________ This is just a snap shot of the array of music available at the Festival:- The Great British Rhythm and Blues Festival:
12 Official venues
1 Great Festival
Ray Dorset aka Mungo Jerry Talking About Ealing, Festivals and Blues
In 1970, Mungo Jerry enjoyed world-wide fame with a song called “In The Summertime”. That song went to number three on the US chart and number one in England. Ray Dorset of Mungo Jerry talked with us about the history of the group. Now performing as Mungo Jerry and popular at Blues Festivals, performing this July at Ealing Blues Festival.
BD: I was delighted to have the opportunity to talk with you today, the writer of In The Summertime
BD: Lets start off with the here and Now. Mungo Jerry not in the 1970’s band format performing at Ealing Blues Festival July 2017. RD: Mungo Jerry is me Ray Dorset. I am Mungo Jerry the artist performer. I have owned the name since 1972. Before I was even fired from the band. Once I was fired they considering the vocalist from the Strawbs to replace me it wouldn’t work. BD: Why?RD: They very quickly realised without Mungo there was no band called Mungo Jerry. In retrospect having the Mungo Jerry was a good move for me. Gives me an identity linking back to the band and suits the widespread music I play, African and world music rooted in the blues.
BD: Now playing in the Summertime in West London at Ealing’s Blues Festival what will you associated with 70’s pop bring to the Blues vibe? RD: Mungo Jerry is not pop as it is known today. I will be playing In The Summertime it is expected. You can be assured I will not be doing what Shaggy did at Glastonbury with In The Summertime get crowds to wave arms in the air never expect a worldwide performer to keep asking people put arms in the air just can’t do it. The hit the band Mungo Jerry had with In The Summertime was one of many. Even then the essence of blues was present. BD: How? RD: We had no drummer; the percussion was from Cabasa combined with my foot stomping on the floor picking up from John Lee Hooker’s style..
BD: Back to Ealing Festival RD: As I said I don’t do pop. I play some of my hits that is to be expected. Most importantly I play music I enjoy playing. I gauge the crowds reaction and what else is on the festival line-up. I am not there to educate or display a virtuoso performance. I am at a festival to entertain, hopefully the music will be a positive and therapeutic experience. I give something in my performance and get something back from the crowds it is karma. What will be fun at Ealing will be playing music the audience wants to hear. You have to remember the majority of the crowd what to be entertained on a summer’s day. They really do not care about the genre and if it is recorded music who produced it is of little importance. Music for them they either like or dislike. Hopefully they will like my music and I am really looking forward to playing Ealing this July and you never know there may even be schools mates from when I lived in West London.
BD: What were your introduction to music growing up in West London? RD: I grew up in Ashford Middlesex in 1955 the population was approximately 16,500 the whole family was very, very musical. My Father played the harmonica and Mum the Piano and sang. On any occasion, Christmas, birthdays, family get-togethers we all did our turn playing and singing. I had no brothers or sisters so was taken by my Gran to lots of movies, particularly Ginger Rogers and Fred Astaire and especially musicals. Such as Annie Get Your Gun, The King & I, and Singin’ In The Rain. There was something in the rhythm and groove that had a therapeutic effect. When I was eight or nine my Great Uncle would take me to the local football club socials; I would sit as close to the band as possible I could feel what it would like to be the drummer. I started playing the washboard, then made a tea-chest bass and then saw it up to make a guitar. I had for Christmas a terrible plastic guitar and then when I was ten I got a proper guitar for Christmas. By the time I was eleven I was in my first skiffle band with friends from school, rehearsing around each other’s houses, yet never thought about being a professional musician.
I had an interest in electronics and had a crystal set for Christmas one year, build that and then investigated how it worked. A friend discovered transistors used to buy ex-government components and old radios and take them apart. Then I got a job in Timex in Brentford working in research drawing up quality control equipment. Hand –in-hand whilst I was playing in a band in the evenings and weekends. By the time I was fifteen I was playing in the White Hart and Red Lion in Sutton, on alternate Saturday evenings. The Rolling Stones played there on a Thursday evening. We were running out of repertoire from across various genres so started to write songs.
BD: You obviously loved playing music and the effect music had on yourself when listening and others when playing. Who influenced you? RD: So many, from across the genres. From playing in the same venue as the Rolling Stones to when my band supported the Yardbirds, they were phenomenal, unique and real. Then bands like The Who created a fantastic groove the maximum R n’ B from three musicians; and rooted in the blues. From the British Blues Scene I explored the music that influenced them I have always been inquisitive and asked questions.
As I found music I explored the roots and the road led back to blues whether Bob Dylan or Woody Guthrie; who played a lot of Leadbelly. I listened to music from far and wide and continue to find new experiences like Daddy Long Legs based in America he does a great version of Bourgeoise Blues full of raw energy. Through discovering his music recorded in jail by Alan Lomax I found the other artist captured on Lomax’s tapes. Blues run deep from Robert Johnson through to Muddy Waters & BB King the list could go on they have been so influential.
BD: That leads us nicely to and linking back to Ealing Blues Festival. What does the Blues mean to you and can it be defined? RD: Blues has a fundamental drive it is honest music. I have always listened to music associated with the blues, the old timers, British Jazz and my Mother loved Frankie & Johnny with Elvis Presley and I was paying in a Skiffle and Blues Band. Rock N Roll came to the fore with Bill Halley then Elvis Presley they go back to rural blues. Country and blues and of course Rockabilly white ghetto blues.
Enough people have defined the blues intellectually and socially for me it is about a feeling. There are so many different aspects of blues. There is an element of soul to it the feel is kind of rooted in the blues. The feel and soul reaches back to slavery, servitude working in the fields creating rural blues. Rising out of intense misery singing about the discontent, hurt complaining to a beat can be persuasive. Blues is about writing about what is happening and can be triggered by an event such as a hurricane or newspaper headline or a phrase overheard. You could say the roots of I Don’t Like Monday title and theme is a link in the chain of blues impacting popular music.
Blues is personified by for example, Sleepy John Estes, Married Women Blues electric guitar into a basic amp both bought from a department store yet created music that was timeless. The same goes for the legendary twelve-string played by Leadbelly both influential musicians over the decades. Stripped down to its basics it is guitar and foot stomping, from likes of John Lee Hooker as you get more excited the stomping gets harder creating a fundamental tempo. The instruments, lyrics and player meld into one delivering the blues. Blues has always been commercial once they sold records Howlin’ Wolf wanted to sell his records and was commercial and there is so much more than 12-bar blues it is a much more complex genre. It has to have an element of being unique not just replicated what has already been done and definitely for me in the blues less is more; I have definitely made that mistake. I find that today so many blues artists play the same style all the time reflecting what seems to be taught and the influence of X-factor type programmes. Take Joe Bonamassa he can play the guitar BUT it has all been done before.
I have written blues in various styles always been an influence. Looking to write and record in the future something that has not already been done in the past. It will definitely be influenced by all the soulful blues energy and hopefully create something unique. Music that isn’t just for a black guy to sing. American population is made up of immigrants from Europe, Asia and Africa. The music became the melting pot with influences from Eastern Europe, Germany, Ireland as they got together in homesteads and East met West. The instruments were mixed together whatever was available, parlour piano, banjo, harmonica, accordion all got mixed together as remembered folk music formed and re-formed into music we recognise today.
BD: During your long career, a jam with Peter Green & Vincent Crane resulted in the Katmandu Album, Case For The Blues RD: I first met Peter Green when he was in Fleetwood Mac; he recommended a guitar shop to me. Then met him again when I was living in Grayshott Surrey where I lived for a while in a large house with a recording studio. Chris Hollands asked me if I fancied a jam with Peter Green I said yes, come round to my studio. Few days later another phone call Vincent Crane fancies a jam. So we got together with Peter Green, Vincent Crane(Keyboards), Len Surtees an old school friend on bass and cousin of motorbike racer John Surtees; Jeff Whittaker on percussion with sharp skills. We realised that we didn’t have a drummer so asked Jackie Lynton Band’s drummer Greg Terry to come round. So we had a big jam session, and thought possibly have a record from this so recorded on a cassette and 2” multi track.
BD: If you were putting together the perfect / fantasy band with members from across the years (dead or alive) who would you have playing RD: No not doing that the past is the past only now. BUT I would love to have a jam with Bob Dylan; Bruce Springsteen and Eric Clapton. If I could bring someone back to play it would be Vincent Crane he was a genius the way he played, whether classical progressive or rock. There would have been no ELP or Crazy World of Arthur Brown without his influence and keyboard skills. So sad he committed suicide a real loss.
Thank you for your time, been wonderful chatting with you as we wondered around the world of music, Mungo Jerry and In The Summertime
Ealing Blues Festival Leads with The Blockheads and Mungo Jerry
Leading the line-up this year are The Blockheads, one of the most underrated British bands of all time. Since 2000, Derek Hussey has been fronting the band, adding 21st century bite to the everyday observations of their late frontman Ian Dury. They will be celebrating the 40th anniversary of their album ‘New Boots & Panties’ by bringing their witty lyrics to their biggest London show of the summer.
Joining them as headliners across the weekend are Mungo Jerry, the blues, jugband & skiffle influenced band whose frontman and founder Ray Dorset played a number of Ealing venues in his formative years. The group are famous for their feel good summer anthems and responsible for one of the best-selling singles of all time, “In The Summertime”, which has sold over 30 million copies.
As always, Ealing Blues Festival will present the artists at the heart of the British blues scene, with performances from 2016 British Blues Awards finalists Tim Aves, Northsyde, Sam Kelly & Laura Holland, 2016 Sky Arts Guitar Star series finalist Steve Morrison and Amy Mayes, who recently performed with Jools Holland’s band for his Radio Two show. It is also proud to champion a number of emerging blues artists, and will feature showcases from Winnie & The Rockettes, Georgie Chapple, Du Bellows, Andy Twyman and Tom Walker.
Ealing Blues Festival began as an independently-sponsored ‘free’ event in 1987. Over the years, the festival has developed in partnership with Ealing Council & The Event Umbrella to become one of the biggest blues festivals in the UK, with almost 6,000 people attending last year alone. Acts will perform across three stages in Ealing’s beautiful Walpole Park.
Ealing Blues Festival is one of 2017’s Ealing Summer Festivals, a series of eight separate events taking place in the borough between July and September. Set in some of Ealing’s most beautiful parks, the festivals bring people together in a collective appreciation of exceptional local and international talent across a range of artistic disciplines.
Tom Walker Band
Laura Holland Band
Bourbon Street Revival
Amy Mayes Band
Georgie Chapple Band
Tim Aves & Wolfpack
Steve Morrison & Blues Abuse
Sam Kelly’s Station House
Dan Sowerby & Hugh Budden
Winnie & The Rockettes
Geoff Garbow Band
Robert Hokum’s Blues Festival All Stars
King Buster Blues Band
Blues Joins The Jazz Party in Bristol Festival 2017
From the 16th – 19th March Colston Hall is buzzing with lovers of live music with a mix of Jazz and a sprinkling of shimmering Blues.
People flock to the Lantern, Main Hall and while they wait can sip a coffee, enjoy refreshment to the acts playing in the foyer. Opportunity for Bristolians to meet friends and gain a musical Spring to their ears. Did I mention dressing up in finery and Jiving it all happens over this joyous weekend.
If you think you know jazz and blues, you’re probably wrong! If you love music, you’ll love Bristol International Jazz & Blues Festival. We’ve dipped into every genre and traversed the globe to bring you a line-up dedicated to the incredible musical legacy of jazz and blues.
A Trio of Blues Acts will excite with the energy and musicianship.
Thursday 16th March – The Lantern: Colston Hall
Double Bill: Sari Schorr & The Engine Room and Northsyde
New Yorker Sari Schorr with the her Engine Room is taking the world by a storm. Her Album Force Of Nature. With a voice that jolted legendary blues producer Mike Vernon (think Mac, Clapton and Bowie) out of retirement, it’s not hard to see why. The Engine Room is a musical powerhouse featuring the legendary blues guitarist Innes Sibun.
Northsyde has a vocalist Lorna, a true singing phenomenon and a Storytellers Daughter fronting the band. Completing the Northsyde quartet guitarist, Jules Fothergill and longtime friend Left-handed Ian Mauricio’s unusual style (he strings the bass upside down) combined with Haydn Doyle’s forceful grooves give the band a sound unlike anyone else on the rock and blues circuit today. Left-handed Mauricio’s unusual style (he strings the bass upside down) combined with Doyle’s forceful grooves give the band a sound unlike anyone else on the rock and blues circuit today. Bluesdoodles loved Story Tellers Daughter.
Robben Ford five-time Grammy nominated stage and studio legend back to his earliest roots as a performer, playing blues on hs current album Into The Sun; showcasing his distinctive guitar style that ensures Robben stands out from the crowd this weekend in Bristol.
What a stunning combination the voice of Mud Morganfield the first-born son of Muddy Waters – undisputed King of Blues – was naturally drawn to music from an early age but it wasn’t until three years after his father’s death that he decided to pursue it as a career. He’s been wowing audiences worldwide with his charismatic brand of Chicago blues ever since. Mud is a tribute to his father’s memory and a fantastic songwriter in his own right. He’ll spend much of 2017 in the studio working on a new album, but not before doing us the honour of gracing our stage with his talent.
The guitar of Kirk Fletcher, creating licks, riffs and lead breaks infused with blues and darkened with soul. Raised on gospel and R&B, but equally influenced by the likes of Hendrix and Steely Dan, a rich mix of sounds informs the depth and quality of tone you can hear in both his guitar and his voice today.
Kirk spent three years as lead guitarist for legendary blues-rock band The Fabulous Thunderbirds before going solo and has now released one live and three studio albums with a fourth hotly anticipated and on its way. We’re extremely excited to welcome him.
“Kirk is hands-down one of the best blues guitarists in the world.”Joe Bonamassa
Rewind North, Capesthorne Hall, Macclesfield 4-6th August 2017
Rewind South, Temple Island Meadows, Henley-on-Thames18-20th August 2017
Rewind The 80s Music Festival, the world’s first and biggest 80s music festival, is back with three amazing UK festivals for summer 2017. Tickets for all festivals go on sale at 9am on Friday January 27th 2017 via the official festival website www.rewindfestival.com
Saturday July 22nd and Sunday July 23rd 2017
REWIND SCOTLAND returns to Scone Palace, Perth. Performances from pop pioneers The Human League and the legendary Billy Ocean, alongside debuts from Scotland’s Tom Robinson, The Undertones, The Trevor Horn Band (+special guest), Junior Marvin’s Wailers, Musical Youth and Steve Harley & Cockney Rebel. Jaki Graham, Joy Division’s Peter Hook, Owen Paul, Sex Pistol Glen Matlock and Claudia Brucken appear with Martin Ware’s super-group British Electric Foundation. Performances from Level 42, Belinda Carlisle, Heather Small, Nik Kershaw, Go West, Chesney Hawkes, T’Pau, The Real Thing, Soul II Soul, Kim Wilde, Nick Heyward, Jason Donovan, Dr & The Medics and Glenn Gregory complete the Scottish line-up.
Saturday August 5th and Sunday August 6th 2017
REWIND NORTH at Capesthorne Hall, Cheshire, promising fantastic performances from New York’s finest party starters, Village People & Sister Sledge and rockers Status Quo, whilst there are Rewind North festival debuts for Tom Robinson, Altered Images, The Trevor Horn Band (+Special Guest), Blockheads, Hugh Cornwell, The Orchestra, Junior Marvin’s Wailers, Captain Sensible, Johnny Hates Jazz and appearing with British Electric Foundation, Heaven 17’s Glenn Gregory, Sex Pistol Glen Matlock, Jaki Graham, Owen Paul, Claudia Brucken and The Farm’s Peter Hooton. Level 42, Kim Wilde, Peter Hook & The Light, Roland Gift, Dr & The Medics, Belinda Carlisle, Toyah, Nick Heyward and T’Pau, complete the Rewind North weekend line-up.
Saturday August 19th and Sunday August 20th 2017
REWIND SOUTH is back at Temple Island Meadows, Henley-on-Thames, welcoming party starters Gloria Gaynor with the Village People and Rock Gods Status Quo on the main stage, along with Rewind South debutants, Big Country, Tom Robinson Sugarhill Gang ft Grandmaster Mele Me & Scorpio’s Furious 5 and Junior Marvin’s Wailers. Kim Appleby, Sex Pistol Glen Matlock, Jilted John, Owen Paul, Musical Youth and Rozalla perform with British Electric Foundation. There’s also a festival first from the amazing West-End show Thriller Live. Level 42, Nik Kershaw, Nick Heyward, Dr & The Medics, Imagination Ft Lee John, Midge Ure, Kim Wilde, Belinda Carlisle, The South, Go West, The Christians, Heaven 17’s Glenn Gregory and Ex-Katrinaand The Waves complete an amazing weekend of 80’s acts.
Rewind Festival is the biggest party of the summer with camping, glamping, posh nosh, theme bars, DJ’s, street entertainment, funfairs, silent disco, big top bars, kidzone, fireworks, trade stands, fancy dress and much more!!
Staffs Festival The Family Festival Music Fun
For May Bank Holiday Weekend
Staffs Festival The Family Festival Music Fun For May Bank Holiday Weekend. Re-branding from Stafford Blues Festival and change of direction now in 2017 the festival a celebration of music from Rock, Reggae, Soul and the Blues.
This is a family friendly festival with superb sound within an amazing setting Lower Drayton Farm between Stafford and Penkridge with a campsite. Find out all the information you need HERE
Who is Playing? Across The Weekend
The Shine – Chelsea Coleman – The Bad Rats – Used Blues – Ged Wilson – Vivian Sugarlove Jones – The Rock Dogs – Bobby KP Woods – Judy Emeline – Gabbidon Band – Iconic Eye- Voodoo Stone – Barrelhouse Jukes – Black Rose Cadillac – Slyder – Zoe Green – Bloke – Stuart Woolfenden and more to be announced
Check here for information about the bands playing for you over the weekend – HERE
What To Expect?
From Friday through to Sunday night a melting pot of live music. Free Camping and children under 16 are free making the music affordable for the whole family. Great food available at a reasonable cost that can be enjoyed with fair priced drinks from the beer tent.
Staffs Festival The Family Festival Music Fun For May Bank Holiday Weekend
August Bank Holiday Weekend Go To Colne For The Great British Rhythm & Blues Festival – New Logo, new ideas putting the great back into the festival. 2017 should see Colne in every music lovers diary from the 25th to 27th August three days of music experiences that will excite and delight.
The stewardship of the Great British Rhythm & Blues Festival, recognised as one of the biggest and most celebrated Festivals of its kind in the world, has now passed to Colne Town Council, following 27 years of sterling service from Pendle Borough Council and Pendle Leisure Trust. The new executive is headed up by Jason Elliott and Paddy Maguire, the people who set up Hebden Bridge Blues Festival – winners of the British Blues Awards ‘Festival of the Year’ three times running – together with Colne Town Council CEO Colin Hill. The team have a proud track record of innovation, working very closely with the artists and the community to develop new ideas and best practice; something which they intend to bring to Colne.
The 28th edition of the Festival will run from Friday 25th to Sunday 27th August 2017 at a number of venues including the Hippodrome, The Municipal Theatre and various ‘roadhouse’ venues around the town.
The line-up looks different full of intrigue and with new approach of out with the heritage acts Colne has a new ticketing system for evening performances no more arriving and not being able to see and hear the music of your choice as the venue is full.
Full line up for the weekend in the ticketed area
The £13.50 day tickets do not guarantee access, immediate or otherwise, to any particular venue as each building can only contain the maximum numbers at any given time according to the terms of its individual license.
The £13.50 day tickets do not guarantee access, immediate or otherwise, to any particular venue as each building can only contain the maximum numbers at any given time according to the terms of its individual license.
As Jason Elliott himself explains “While this is technically a Blues festival, we will offer variety and range to the programme in general. At times, the programme will encompass the wider definition of blues, soul and other related genres, albeit firmly centered in the ‘roots’ music tradition. The reality is that Blues music is the historical foundation for almost all western popular music and nearly all genres are ‘children’ or ‘grandchildren’ of the blues, a fact which needs to be kept front and centre of the story. After all, part of our remit is to keep the genre alive by bringing in new blood; both as audiences and as performers’.
Jason also explained ‘Apart from the world-renowned acts we are bringing in this year, ‘The Jessica Foxley Unsigned Project‘ – focusing as it does on nurturing young and emerging Blues-based talent – in many ways symbolises much of our new direction. Our mission of bringing new life, new acts and audiences into this key genre, must span all levels of experience, technical ability and all age groups to be truly successful. This is where Colne can create its legacy’.
The 28th edition of the Festival will run from Friday 25th to Sunday 27th August 2017 at a number of venues including the Hippodrome, The Municipal Theatre and various ‘roadhouse’ venues around the town.
August Bank Holiday Weekend is always a musical high. It looks like the bar has been raised higher as the baton has been passed from Pendle Leisure Trust to Colne Town Council. As Jason says, “we whetted your appetite via Facebook Live now we have to deliver”
Before the baton is handed over the applause and thanks are heartily given to Pendle Borough Council and Pendle Leisure Trust who have over the last 27 years made this award winning festival the biggest and longest running of its kind In Britain. For many Blues fans across the U.K. August Bank Holiday weekend and a trip to Colne are a permanent fixture in their diaries. Now the challenge is for Colne Town Council to keep the burning blue flame shining and at the same time giving the festival a breath of fresh air.
How will this be achieved? Utilising the opportunities and minimising the challenges. Colne Town Council, with two paid employees and volunteer councillors, are determined that the event will connect with both the residents of Colne and the visitors. The management of The Great British Rhythm and Blues Festival 2017 is under the auspices of two local men and well-known music fans and successful festival organisers Jason Elliott and Paddy Maguire. With a team of supporters, the festival is in safe hands and with a track record of bringing innovation to events they organise.
Firstly, the acts currently being booked are all releasing albums and touring, they are part of the live music scene within the U.K. and beyond. Colne, The Great Rhythm & Blues Festival 2017 is a showcase for blues-infused music. Nothing heritage or boring this is music that sparkles with a sapphire-like iridescence., and for the organisers “proper blues” is an anathema.
Fact ONE: Good music entertains.
Fact TWO: Music that entertains connects with the audience
Fact THREE: Blues music is the historical foundation.
Fact FOUR: Western popular music – nearly all genres are rooted in the Blues
Fact FIVE: Nearly all modern music genres are Blues children or grandchildren
Fact SIX: Putting GREAT Back into Colne August 2017 is the strategy of Jason, Paddy and his team.
Fact SEVEN: Colne keeping the genre alive by bringing in new blood, in the audience and as performers.
Jason told Bluesdoodles “the festival must span all levels of experience, attracting new audiences, be fresh, alive, full of an energy that everyone wants to be part off”
Putting GREAT Back into Colne August 2017, this is a transition year for The Great British Rhythm & Blues Festival. The event is part of the Pendle legacy. Goal one is to get the support of the town. The way the Roadhouse venues are organised is key to getting local residents the love the festival as their own. Once 2017 has been delivered then the focus will be to build and build from 2018 onwards.
The ticketed event will be full of exciting acts you will want to hear. Including names unknown but will excite. The Jessica Foxely Unsigned Project is part of this exciting new cutting edge helping in putting GREAT Back into Colne August 2017. The project focusses on nurturing young and emerging Blues-based talent, and in many ways symbolises the new direction of the festival starting in 2017! The ticket events will be in The Colne Hippodrome capacity 600 & Colne Muni capacity 800. “Dancers do not despair, there will be plenty of space for you to dance. We want everyone to have fun and enjoy the music that is being played for the audiences, not the organisers” says Jason.
The mission of Putting GREAT Back into Colne August 2017 is “bringing new life and blood, new acts, new audiences into this key genre”
All the acts for the ticketed events have been selected – these will be announced when tickets go on sale – 28th January 2017. Time to purchase to wipe away those January Blues!
The Roadhouse acts will be announced at a later date. Acts interested in performing should contact Paddy Maguire oremailPaddy if you want a Roadhouse gig in Colne August Bank Holiday weekend.
HRH 10th Anniversary Molly Hatchet plus Day Tickets released
Hard Rock Hell X takes place at Camp HRH, Pwllheli, North Wales, Gwynedd,
on 10th – 13th November 2016 and has been sold out since last November at HRH 9.
We have however purposely held back 25 pairs of day passes for each day,
released Today 4th august 2016
These can be secured on a first-come-first-served basis HRH or by ringing Fleur on 0203 287 6684.
Southern Rock Legends Molly Hatchet join Warrior Soul, Leader of Down, and Aussie Rockers Cherry Grind to Lock their Places at this Year’s Hard Rock Hell X, alongside Ugly Kid Joe, RATT, Glenn Hughes, Last in Line, & Living Colour.
With just 3 months to go until this year’s sold-out 10th anniversary Hard Rock Hell, we are delighted to be joined by Florida’s finest: multi-platinum-selling rockers Molly Hatchet, who have a specially selected set for this year’s landmark event.
Formed in 1971, Molly Hatchet is an American Southern rock/hard rock band formed in Jacksonville, Florida. The band is best-known for their iconic hit “Flirtin’ with Disaster” Molly Hatchet have been major players in the Southern Rock & Hard Rock genres and are known for their energy on stage and their reputation of working hard, playing tough and living fast through intense touring with such bands as Aerosmith, Bob Seger, The Rolling Stones and many more.
Molly Hatchet: Flirtin’ With Disaster (Live)
Joining them are Kory Clarke’s NYC hard rockers Warrior Soul, making a rare UK appearance. Clarke started the band after a bet from a promoter following a solo performance art show called “Kory Clarke/Warrior Soul”. Clarke aimed to have the best band in NYC within six months: Nine months later they signed to Geffen Records.
Sample some Warrior Soul with their hit The Losers:
Leader of Down was created by the legendary late Motörhead guitarist Würzel, and rightly has its place at HRH, as does another Aussie Outfit, Cherry Grind, who make up a fistful of bands coming over from Australia this November.
Catching Up with Debbie Bond at Blues On The Farm BD: Thank you so much for taking time out after your wonderful set to chat with us at the start of your 2016 UK Tour. Lets start, of talking about recording your latest album at Muscle Shoals? Debbie: It was really fabulous. We were in the hands of an engineer that had worked at FAME; Muscle Shoals Sound, Nashville, what people don’t realise Muscle Shoals is actually a town like a mecca of studios. One of the things I have been trying to do is explain for example the first one was called FAME; Florence Alabama Music Enterprises. The shoals area is made up of four towns, Tuscumbia, Florence, Muscle Shoals, and Sheffield. Basically that is the Muscle Shoals area. Everybody broke off from FAME in Florence, there was Rick Hall a main studio producer, and a rhythm section the Swampers a whole group of studio musicians that formed Muscle Road Sounds, also one location called Jackson Highway and that place still exists. All those things became other studios, becoming a community of musicians, song writers, producers and engineers. Just amazing go there, and there is a community of people who have had lots of gold records and just lived it. When I was recording people would walk in and the engineer would say this is so and so, these guys played with array of people. They are all session musicians that no-one has every heard off. Will McFarland who guests on my record plays with Bonnie Raitt plays the slide on my record and the amp that he played through was the amp that Mustang Sally was recorded on in FAME studio. Everything has a story while you are there you hear so many stories that half the time you don’t know the significance the subtleties. “The very energy of the musical legacy must exude out of the walls” They say that there is something in the water of the Tennessee River their native American word for the river means Singing River. There is a lot of mythology it’s got a tradition of singing and music, it was because there were waterfalls there, but they dammed them up and there’s now a hydro-electric plant there. It is so beautiful very rural Alabama, woodsy place. Beautiful rural predominately white town, yet out of this place came the same tradition as Stax pretty much simultaneously with Stax Soul tradition Wild Horses recorded there. Once the thing was established people started to go there for the sound. Like The Stones.
BD: Now a bit about your Album, Enjoy The Ride, which Bluesdoodles really enjoy it was fun to review Debbie:Seven of the 11 songs were self-penned. How do you choose the mix very organic playing all the time, your repertoire constantly evolves and changes. When you are ready to go into the recording studio you know. Like I really want to do a tribute to Willie King, Eddie Kirkland song just singing from the heart, let’s do that song and that song. Three Alabama tribute songs and then I really like soul music and we were in Muscle Shoals so I chose a soul song everything else was originals
Do you write on your own? What tends to happen I am the word person and the melody and pretty much the writer, Rick helps with arranging the music. But sometimes like on Steady Rolling Man he was messing on piano and I just started singing and the song came out. Sometimes he will do a really cool groove then the song will come to his groove. BD: Is most of it personal?Debbie: Definitely and even other people’s songs I wouldn’t sing them unless I had been there. It’s something I resonate with because I have been there. It is what it is all about you are telling a story the Blues tells a story.
BD: Back in the UK on an extensive tour Debbie: Yes, this is my first show (Blues on The Farm) Check out tour dates HERE
BD: We would love to hear about your style, your singing voice which is distinctive Debbie:I get compared to Janis Joplin, (15 mins) Debbie showed blue glasses wore them and got more hits and people commenting that you should dress more often like that Debbie why? Because I looked like Janis. I love Janis improvisational thing, I have been brought up in the Southern tradition coming from the church of getting the spirit making words up on the spot and kinda going away. My stuff and the band is very improvised, that is why Ray is so good with us as we are so very improvised. Just recently playe/d on my previous CD ended up playing by accident he didn’t know my music; he was just incredible Sax player he started to do some shows and bringing charts and can’t tell you how it made me feel bad no we want spontaneous. Did show with him playing charts it was horrible he was over there reading I felt tied down felt weird so next show took music stand away took it off the stage look you did great just play from your heart. Finally he knows – don’t bring charts. Debbie says play spontaneous.
BD: Now for that passion that flows through your music, conversation Alabama Blues we want to hear more about the blues fromAlabamaa Debbie:Well there are a number of artists some you may have heard off. Lisa Mills from near Mobile, a true road warrior like me Alabama Shakes, St Paul and the Broken Bones, then those making big, some are very soul-based. There is a blues scene one of the old, probably the last Alabama Juke Joints out in Bessemer is run by an old bluesman called Mr Gibb in his nineties. So anyone in Alabama needs to go there, it is only on a Saturday night, at his house. Then there is blues happening all over the State every night it is just not organised. There is no tourism around it, Alabama Tourisim is aware they are sitting on it now, but no organization like in Mississippi with the historic marker. In Alabama there are festivals all the time, just before I left there was a soul blues one out in the woods near where I live; it was predominately a black festival; with people like Denise La Salle, a loads of soul blues people from Selma. There is a guy who I like a lot he is called Earl Guitar Williams, he is a barber during the day and bluesman at night. He is just fantastic, he should be over here touring. SharBaby she has been touring over here a lot been to Birmingham. Lil Jimmy Reed been over here touring a lot he is from Enterprise Alabama. There is just loads. Lots white blues players as well all playing to such a high standard.
BD: Is there a specific Alabama Blues sound that differentiates from Mississippi Blues? Debbie:Definitely regional sounds within Mississippi for example Howlin’ Wolf was from near the Alabama/Mississippi line at West Point, Big Joe Williams from Macon close by Willie King was right on the line born in Mississippi but live all his life in Alabama. People like Eddie Kirkland, there is a story that I think is really cool for people to know about Ike Zimmerman, was from Grady, Alabama, who taught Robert Johnson to play. So the whole story of the blues has been so skewed.
Women have been lost from History of The Blues and romantacised! Alabama blues woman, Big Mama Thornton was from Ariton, Alabama Dinah Washington, from Tuscaloosa, Odetta is from Birmingham Alabama, and many others including Bessie Jackson, pseudonym for Lucille Bogan, active in the blues scene in Birmingham was lewd and dirty, check out the lyrics of Shave ‘em Dry Bessie Smith discovered in Selma and all her family where in Alabama, Ma Rainie was probably born in Alabama. Where people are born is all bullshit, it is regional the amount they all travelled was phenomenal. There was local blues and travelling Blues, Alabama was right smack in the middle with travelling shows and TOBA shows, (Theatre Owners Booking Alliance). It was the first professionalization of the music industry, it was theatres where blues people toured through the south and they did tent shows as well. Bessie Smith and Ma Rainie all owned their own tent shows, they were successful Ma Rainie owned her own theatres they were trail blazers. The nickname musicians gave to the booking agency was ‘Tough On Black Arses’. It was a grueling touring schedule. They toured with practically orchestras hard to image now with their big hour sections back in the twenties and even up to the forties. Ma Rainie had an orchestra, how did they feed and pay everybody? We can hardly do it now, there was much more of an audience, big crowds came out to the tent shows. They had sponsorships from the fake medicines that were really alcohol. A cure-all, called them medicine shows, as it was prohibition, and they would sell alcohol as a medicine! If I could go back to any time and have an experience of that it would be in those travelling tent shows. The shows had comedians it was more a variety show, very Vaudeville. Alabama sound has different traditions. I think it is quite soully. If I was to compare Eddie Kirkland and Willie King, they are Juke Joint very dancey, electric, very improvised soul grooves. To be fair it was a mixture as everybody had influences from 78 records, because people got them so were hearing lots of musicians
One of my dreams that before I die, I can help to create a Blues Museum in Alabama because it deserves it and would be a tourist destination.
BD: Who would you have in your Dream Band? Debbie:Feel really lucky as both here and in Alabama I am tuned into the very best. Even though my guys from Alabama would love to come over here I am not making enough money to do that.
Drums Sam Kelly played with Sam off and on for the last fifteen years
Saxophone – Ray Carlos played with him since last year on last tour
Keyboard, keyboard Bass & Harmonica and sings – Rick Asherson
What I found most amazing was carried on playing with his left hand and harp so the kept bass line playing. Joined by Rick – BD: Not seen harp and piano played at same time before. Rick – Not that different from playing left and right hand, Debbie interjects he is “ambidextrous”. Pianists split the mind and bass has own logic and right-hand has own logic. So my right-hand brain becomes the harmonica. The left-hand brain actually remains the constant. On a good day when we do a duo have foot percussive we are doing duo and as well as band. Good to be flexible.