Blues Flowed up the Taff with Walter Trout Tonight

Blues Flowed up the Taff with Walter Trout Tonight

Blues Flowed up the Taff with Walter Trout Tonight


The Muni is back open for gigs. The crowds outside just show how popular the venue still is and the two acts on tonight Sari Schorr and The Engine Room opening for the mighty Walter Trout.  Whenever Sari Schorr steps on a stage she brings a vibrant dramatic energy.  What a voice! What a band that surrounds her! As the Blues Flowed up the Taff with Walter Trout Tonight.

Blues Flowed up the Taff with Walter Trout TonightSari Schorr, the perfect act to warm up the crowded venue. Always a dramatic performer she delivered today with her unique interpretation of the blues.  The music and energy are modern the story behind the numbers is true to the traditions of the blues.  The set of eight tracks many from her critically acclaimed album Force of Nature combined with classy covers. Having the sensational Innes Sibun on guitar gives the band depth and feel. Tonight he was playing a Wudtone, a guitar made by a local company. He laid on every layer of tonal quality and texture from the innovative hand-built guitar.   As the crowds lapped up the virtuoso guitar playing The Engine Room ensure that Sari will always stand out from the crowd with her amazing vocal range and control. The inclusion of Led Zeppelin’s Rock and Roll gave Innes the chance to have lots of fun. This is blues jamming that will always animate an audience hungry for live music.

Blues Flowed up the Taff with Walter Trout TonightSari’s own numbers have deep lyrics reflecting her own experiences and hardships. She explores the love of her Pit Bulls. Numbers about the power of addiction, opening with Ain’t Got No Money about greed, addiction to money and later on Aunt Hazel and heroin addiction. Closing the set with the Leadbelly number she has made her signature song Black Betty. As the set closed the audience was left breathless, invigorated and the magic of live music bringing us all together.


Blues Flowed up the Taff with Walter Trout Tonight


Short break and the applause was rapturous before a note was played as Walter Trout stepped onto the stage. As ever Walter the great showman held the audience in the palm of his hand as his cream Fender Strat took us into the world of Walter’s Blues. Opening with the Johnny Winter classic I’m A Bluesman, the tone, mood and vibe were set. Walter can fit more notes into a crescendo with skill and timing to makes his guitar leap out and grab your ears.  Walter Trout is not about fast and furious for the sake of it. He plays with passion, control with changes in tempo and feel. He is from his heart and inner soul the consummate man of the blues. Demonstrated with a slow blues number in A minor. What a wonderful version of the mighty Albert Collin’s Cold Cold Feeling. Under Walter’s dexterous fingers he magic’s up a pure connection to the original whilst making this a pure gold classic Walter playing live moment.

Blues Flowed up the Taff with Walter Trout TonightBlues Flowed up the Taff with Walter Trout TonightWalter let the guitar do the talking as the band played, no set list this was going with the flow of the evening. With a short introduction about his latest album, We’re All In This Together with a phalanx of guest friends from the world of modern blues. Tonight the guest was Innes Sibun rather than stepping into Joe Bonamassa shoes. Now a five-piece with two lead guitarists fireworks were promised and delivered, with a waterfall of shimmering blues fire.  Trout & Sibun tonight gave a spirited battle of guitars which was absolutely captivating. Superb live music. The venue was now hot with blues. As Innes left the stage he was replaced by Sari. The obvious number was Walter Trout’s Work No More. The number was on Sari’s album with Walter guesting. The chemistry between the guitar and vocals was intense.  Once again Andrew Ent joined Walter on the stage the power of his vocals rocked the rafters of the Muni.

Blues Flowed up the Taff with Walter Trout TonightTwo of the numbers tonight were influenced by women in his life, His first wife with an old number as Walter explored the songs from his vast discography spanning twenty-eight albums.  The most moving number of the evening was Please Take me Home. The only number taken from Battle Scars. His heartfelt joy of being alive and how much he owes to the donor and the gritty determination of his wife Marie through the ordeal. The acoustic guitar from Andrew Elt made the number dramatic, poignant an emotional journey Walter and his family have been on.

Blues Flowed up the Taff with Walter Trout TonightHis band was not left out as drummer Micheal Leasure was given the spotlight demonstrating what a powerhouse he is behind the music. Stepping out front was keyboardist Sammy Avila and his son Danny on Bass. The bass was deep with the strings bending under his will the Muni was rocking.

Throughout the set on every number Walter Trout was on top form, he fed off the audience and the audience gave back. This is blues that stirs your heart as everyone connects through the sound of live music.

Blues Flowed up the Taff with Walter Trout TonightWalter loves playing in Wales, with a few Welsh words he had the crowd roaring as he said, Cymru am byth. ( Long Live Wales).  Once again as he did at the Tramshed last year he was fulsome in his praise for Wales’ forward thinking regarding Organ donation. In Wales, you have to opt out rather than opting into organ donation.

He left the stage the lights dimmed. The audience roared, taking up the chant Walter, Walter. In this heat, Walter returned to tumultuous applause for one more number. For me one of the many highlights of the evening was Prisoner of Dreams, capturing the life of a homeless woman and the words that have been washed away. No one wanted the night to end. Come back soon Walter, there will always be a warm welcome in the Valleys.

For many, the definition of Blues is playing with feeling. Tonight Walter, his band and guests all capture the feel. The River Taff flowed with the blues tonight in Pontypridd.

Blues Flowed up the Taff with Walter Trout Tonight


As Walter Trout says, We Are All In This Together

As Walter Trout says, We Are All In This Together

As Walter Trout says, We Are All In This Together



As Walter Trout says, We Are All In This Together.  The love of the Blues unites music lovers around the world. The Blues has an unchanging heart and Walter Trout is a giant in the world of electric guitar fuelled blues.  Walter’s latest album is brimming with blues guitars they shimmer and shine like a brilliant sapphire as his Telecaster is joined by a phalanx of blues guitar maestro.

Fourteen tracks give Walter plenty of scope to play with the blues and sing some powerful lyrics. As Walter Trout says, We Are All In This Together. The album is a celebration of blues, a journey through Walter’s life with friends. Coming together with friends and laying down the music is the essence that makes Blues hum with power and emotion. All of life’s experiences are laid out before you captured in a few moments with lyrics and the emotive six-strings, love, hate, betrayal, loyalty and addiction all are explored. The friends that join Walter bring their own styles and interpretation of the blues. Listen to explore the intricacies they bring to Trout’s sound. You will hear a different musician on every track.

The embodiment of the blues is the shuffle and it is the perfect combo to extol its movement and rolling power as Kenny Wayne Shepherd and Walter join forces on the opening number, Gonna Hurt Like Hell, written with Kenny’s guitar style in mind up-tempo and gets the party off to a flying start. The narrative is central pleasure and can be short-lived coming down is Gonna Hurt Like Hell! The guitars meld and play off each other blues energy is up and running.

As Walter Trout says, We Are All In This Together; as we step aboard the blues bus. Exploring the myriad of tonal shapes and styles. The songs matching the attributes of Sonny Landreth whose slide playing is legendary the master of zydeco,   as we hear Ain’t Going Back. Then the harp of Charlie Musselwhite pouring out emotional wizardry on The Other Side of The Pillow; co-written with Musslewhite combine with Robert T. Bear’s lyrics. As the album takes shape one of my favourite tracks She Listens To The Blackbird Sings, with Mike Zito. It has a rawness with a driving riff of electric over acoustic and lyrics that just connect.   What an opening quartet of tracks phew! There are still ten to go will the album have staying power? Yes, of course, it has with Walter Trout at the helm.

No blues corroboration would be complete without a jam. The Sky Is Crying, the only cover, is a revisiting of a number he played with Warren Haynes many years ago at New Orleans Jazz Festival. The two guitars bring a fluidity as the number builds and builds leaving you breathless with delight. This is Trout and Haynes playing music that moves them and audiences.  The mood changes heavier, harder hitting as Eric Gales joins the party with Somebody Goin’ Down the energy is burning up the track.

A celebration of family style and talent as the question is asked, Do You Still See Me At All. The tempo as Walter is joined by his son Jon in the studio. The dueling between them is immense and this number definitely benefits from having both guitarists in the studio at the same time. Written together, played together this is a track that oozes an understanding of the electric guitar.

The closing two tracks leave you on a musical high. John Mayall joins Walter on Blues for Jimmy T, with searing harmonica mirroring guitar and vocals in a duet as they recall the day Jimmy died. The two bluesmen from different sides of the Atlantic. Acoustic works, stripping away layers and exploring the kernel lamenting the loss of friend and bass player Jimmy Trapp.  Closing out with the second track where both guitarist were in the same studio as Joe Bonamassa adds his guitar and vocals to the title track We’re All In This Together.  What a way to finish the latest Trout studio album. Just under eight minutes played live with the band, no overdubbing as they take us on a memorable road trip around the electric guitar. They had three hours to get the track completed sitting three feet apart they nailed it. Yes, We’re All In this Together.

The album is a shimmering exploration of the blues. The listener to Walter Trout’s latest studio album will discover some of the many tributaries that run from and into the great running river as wide and deep as the Mississippi that is twenty-first-century blues.  It is certain that this is an album about fun, enjoying the blues, celebrating the interaction of styles. The passion is played out in every night a perfect follow-up to the personal pain and intensity of Battle Scars.

Reviewers often say this is an album that will listen to often. In the case of We’re All In It Together that is a certainty. Celebrating the insight of Walter Trout a blues supremo bringing fourteen friends together with their own track shining a light on facets of the blues,

Walter Trout – We’re All In This Together – Mascot Label Group

TENpawprint half inchdoodle paws out of TEN ….


Track Listing

  1. Gonna Hurt Like Hell – Kenny Wayne Shepherd
  2. Ain’t Goin’ Back – Sonny Landreth
  3. The Other Side Of The Pillow – Charlie Musselwhite
  4. She Listens To The Blackbird Sing – Mike Zito
  5. Mr Davis – Robben Ford
  6. The Sky Is Crying – Warren Haynes
  7. Somebody Goin’ Down – Eric Gales
  8. She Steals My Heart Away – Edgar Winter
  9. Crash and Burn – Joe Louis Walker
  10. Too Much to Carry – John Nemeth
  11. Do You Still See Me At All – Jon Trout
  12. Got Nothin’ Left – Randy Bachman
  13. Blues For Jimmy T. – John Mayall
  14. We’re All In This Together – Joe Bonamassa



As Walter Trout says, We Are All In This Together

Walter Trout Announces New Album We’re All In This Together

Walter Trout Announces New Album We’re All In This Together

Walter Trout Announces New Album We’re All In This Together


Including John Mayall, Joe Bonamassa, Randy Bachman, Kenny Wayne Shepherd, Sonny Landreth, & Warren Haynes.

Out September 1st via Provogue/Mascot Label Group


Walter Trout Announces New Album We’re All In This TogetherWalter Trout will be releasing his brand new studio album ‘We’re All In This Together’ on September 1st via Provogue/Mascot Label GroupThe album features a stellar cast of guests; John Mayall, Joe Bonamassa, Randy Bachman, Kenny Wayne Shepherd, Warren Haynes, Sonny Landreth, Charlie Musselwite, Mike Zito, Robben Ford, Eric Gales, Edgar Winter, Joe Louis Walker , John Németh and his son Jon Trout

Walter Trout is the beating heart of the modern blues rock scene. Respected by the old guard. Revered by the young guns. Adored by the fans who shake his hand after the show each night. After five decades in the game, Trout is a talismanic figure and the glue that bonds the blues community together, at a time when the wider world has never been so divided. He’s also the only artist with the vision, talent and star-studded address book to pull off a project on the scale of We’re All In This Together“It was quite a piece of work to get this record together,” he admits. “But I guess I have a lot of friends, y’know…?”

Before you even hear a note, We’re All In This Together has your attention. Drafting fourteen A-list stars – including Joe Bonamassa, Kenny Wayne Shepherd, John Mayall and Randy Bachman – and writing an original song for each, Trout has made the most tantalising album of the year, and found solace after a run of solo albums that chronicled his near-fatal liver disease of 2014. “Now was the right time for this record,” he says. Battle Scars [2015] was such an intense piece of work, written with tears coming down my face. I needed a break from that, to do something fun and light-hearted. This album was joyous for me.”

Scan the credits of We’re All In This Together and you’ll find nods to every twist and turn of Trout’s electrifying backstory. There’s keys man and long-time friend Skip Edwards, who came up on the same early-’70s New Jersey circuit where Trout cut his teeth as the precocious lead guitarist for Wilmont Mews. There’s organ wizard Deacon Jones, the West Coast bandleader who brought a twenty-something Trout into the orbit of blues titans like John Lee Hooker and Big Mama Thornton. “Deacon sorta discovered me when I moved to LA in the ’70s,” reflects Trout“So I owe him.”

Since he struck out alone in 1989, Trout’s solo career has been every bit as celebrated. Touring tirelessly and spitting out classic albums that include 1990’s flag-planting Life In The Jungle, 1998’s breakthrough Walter Trout and 2012’s politically barbed Blues For The Modern Daze, he’s won international acclaim and enjoyed ever-growing sales in a notoriously fickle industry. Years on the road have also brought him tight friendships, as evidenced by 2006’s cameo-fuelled Full Circle album and this year’s unofficial sequel, We’re All In This Together. “The new album was originally gonna be called Full Circle Volume 2,”notes Trout“but I wanted to make the title a positive statement in this time of madness.” 

They say you can judge a man by the company he keeps. If that’s the case, then We’re All In This Together is further proof of Walter Trout’s position at the hub of the blues scene. This is the sound of an artist not just getting by with a little help from his friends, but positively thriving, on an album that is sure to light another rocket under his blooming late career. “I’m 66 years old,” considers Trout“but I feel like I’m in the best years of my life right now. I feel better than I have in years physically. I have more energy. I have a whole different appreciation of being alive, of the world, of my family, of my career. I want life to be exciting and celebratory. I want to dig in. I want to grab life by the balls and not let go, y’know…?”

October UK Tour

6 Oct – Worthing Pier Southern Pavillion, WORTHING
7 Oct – Chinnerys, SOUTHEND-ON-SEA
9 Oct – The Brook, SOUTHAMPTON
10 Oct – Under The Bridge, LONDON
11 Oct – Under The Bridge, LONDON       
13 Oct – Central Station, WREXHAM
14 Oct – Warehouse 23, WAKEFIELD           
15 Oct – Preston Guild Hall, PRESTON
17 Oct – Robin 2, BILSTON                  
18 Oct – Public Hall, HARPENDEN
20 Oct – Bierkeller Theatre, BRISTOL           
21 Oct – Sin City, SWANSEEA
22 Oct – Muni Arts Centre, PONTYPRIDD

Walter Trout Announces New Album We’re All In This Together

Track Listing We’re all in this together

1. Gonna Hurt Like Hell feat. Kenny Wayne Shepherd

2.  Ain’t Goin’ Back feat. Sonny Landreth

3. The Other Side of The Pillow feat. Charlie Musselwhite

4. She Listens To The Blackbird Sing feat. Mike Zito

5. Mr. Davis feat. Robben Ford 

6. The Sky Is Crying feat. Warren Haynes

7. Somebody Goin’ Down feat. Eric Gales

8. She Steals My Heart Away feat. Edgar Winter

9. Crash And Burn feat. Joe Louis Walker

10. Too Much to Carry feat. John Nemeth

11. Do You Still See Me At All feat. Jon Trout

12. Got Nothin’ Left feat. Randy Bachman

13. Blues For Jimmy T.feat. John Mayall 

14. We’re All In This Together feat. Joe Bonamassa



Walter Trout Announces New Album We’re All In This Together

Bluesdoodles In Conversation Across The Years

It is always fascinating, hence Bluesdoodles In Conversation Across The Years. Read about the thinking behind making albums, producing albums and who would be in their fantasy band.

Bluesdoodles Interviews – 2016

Eric Johnson
Fee Waybill – The Tubes
Paul Bowe – Federal Charm
Walter Trout
Debbie Bond
Sari Schorr
Coleen Rennison – No Sinner
Jared James Nichols
Joe Louis Walker
JJ Grey 
Wayne Proctor
Kaz Hawkins
Dan Patlansky 
Dan Reed 
JD Simo

Bluesdoodles Interviews – 2015

Laurence Jones – In Conversation February 2015
Dan Patlansky – In Conversation April 2015
Alan Nimmo – In Conversation May 2015
Julian Moores – In Conversation May 2015
Chantel McGregor – In Conversation October 2015
Erja Lyytinen – In Conversation October 2015
Rob Richings – In Conversation November 2015

Walter Trout stunning Guitar and a Parka Plays It Live

Walter Trout stunning Guitar and a Parka Plays It Live

Walter Trout stunning Guitar and a Parka Plays It Live


Walter Trout stunning Guitar and a Parka Plays It LiveThe Tramshed was filling fast as Jared James Nichols took to the stage. What a rip-roaring dynamic set, as the saying goes what a difference a year makes. We first heard Jared live opening for Glenn Hughes his guitar playing then was superb but at times the timing was a little manic and the sound raw. Tonight we are hearing what a torch bearer for blues-rock this young guitarist from Wisconsin is carrying it high and bright. He has such control his mastery of the guitar is a mix of wild and control. Jared is full of theatrical interest with a flick of his blonde mane he comes to the front of the stage showing finger dexterity that makes sense of the cascade of notes he is playing.  Denis Holm used the cowbell judiciously along with drum that growled, whilst the bass lines from Erik Sandin fitted the groove deepening the chords that allowing Jared to fly. The set was fast, entertaining warming the venue with a mix of numbers of his own including Crazy from Old Glory & Wild Revival and closing with a stupendous Mountain of a cover of Mississippi Queen which is rapidly becoming a signature number.  Jared and his band are ones to watch as they shine the sparkling blues torch high.



A short break with the excitement mounting as everyone shared memories of previous Walter Trout gigs. There was a collective delight that Walter Trout was back playing live music and in Wales tonight. The applause and cheers as Walter stepped on stage was warm, heartfelt we were welcoming a guitarist we love to hear playing, a friend and well-loved member of the blues fraternity. The set was full of blues with lengthy numbers and at the heart of the set were several tracks from Battle Scars. The songs were long, guitar breaks intense what you know he delivers blues that is full of interest strong lyrics and the journey he takes us on with his magic treatment of the Fenders six-strings.


Walter Trout stunning Guitar and a Parka Plays It LiveWalter is at home on the stage the band that surrounds the guitar gives the sound depth and tonal interest, with Sammy Avila on Keys and the rhythm section consisting of bassist Johnny Griparic and drummer Micheal Leasure this is a band that loves playing the music that sets them on fire. The title may have been Out Of Control, but Walter was in total control, delighted to be on a stage in Wales, the atmosphere in the Tramshed was full of love there is no doubt the Welsh crowd and those that traveled far and wide were relishing every note he played. We were treated to a masterclass of controlled intricate blues/rock guitar with a wonderful tribute to B B King with Say Good Bye To The Blues. You almost forgot about the great supporting musicians that make up his band he is the centre of everyone’s attention he is the Trout Lord of the stage yet it is their skills that ensure Walter can strut his stuff with ease and confidence.

The audience wanted to hear Walter play tracks from Battle Scars, we wanted to share theWalter Trout stunning Guitar and a Parka Plays It Live painful journey of the Liver Transplant as told through his music and celebrate the power and determination of Walter. We were rewarded with stories of his journey the resulting Battle Scars album. The songs are dark, graphic, dirty blues on an album where the tracks when played live take them to another level. The album is stunning and emotional live it is a supernova of emotional playing, that at its heart is a truth full of pain and love the essence of the blues.

There was a lot of emotion on the stage as he played Almost Gone the opening track of the album. This is blues that address the pain of reaching the lowest ebb. This is explored in Please Take Me Home, a pleading reprise he asked his wife Marie. Her strength gave him the energy to stay and wait for a replacement liver. Thank you Marie, for your strength and allowing us to share moments with Walter once again on stage playing Blues full of the agony, ecstasy and the enduring power of love.  Loneliness and isolation of lying in a hospital bed in the dark hours of the night as the lyrics of Haunted By The Night unfolds.

Walter Trout stunning Guitar and a Parka Plays It LiveTonight was not about tears, it was a celebration and Walter was joined on stage by Andrew Elt, a fantastic guitarist and vocalist and the acoustic worked so well as the shadow to Walter’s electric guitar. Andrews singing on Down Down Down was rocking good and Walter’s re-wording to Freezing My Arse was a reference to the fact he was feeling cold on stage in fact, Andrew fetched him a Parka a first  for Walter playing guitar in a Parka. With warm words about the young opening guitarist, Jared was invited to join Walter on stage for a barnstorming rendition of Working Overtime quite a magical moment., he left the stage Walter made a heartfelt statement about organ transplants. Thanking the unknown donor that gave him the gift of life. Praising Wales as a country who along with Spain the only two countries in the World for having the right approach having to opt out rather than opting into organ donation.  The cheers were loud and another round of applause what a night of live, emotional charged Blues-rock. Ending with Walter showing respect to  his many fans and came out to chat with everyone, giving time and signing  many T-shirts and albums with a gracious smile. Thank you, Walter hope you are back in Wales playing the blues we want to hear very soon.




A Force Of Nature Sari Drives the Blues

A Force Of Nature Sari Drives the Blues

A Force Of Nature Sari Drives the Blues

Mahaton Records



A Force Of Nature, Sari Drives the Blues, Sari Schorr brings a wealth of experience from life, influencing her song writing and vocal delivery.  Sari has attracted a huge blast of attention, promising that she can sing and perform. Bluesdoodles confirms this is a reality not hyperbole and the over use of adjectives. Sari Schorr and The Engine Room really know how to deliver the sound they want to create building on the lyrics and surround the vocal power and intensity of Sari. The album title states what Sari and her band deliver – A Force of Nature.

If you want your blues traditional with the feet of the musicians firmly stuck in a swamp then look elsewhere. Sari and her band and guests combined with the superb production skills of Mike Vernon have explored the blues with this is a sparkling sapphire of a performance.

The album is a journey where you are taken on a ride that explores life, highs, lows through a mixture of self-penned and artfully chosen covers.  Step aboard The Force of Nature with – Ain’t Got No Money greed, money addiction, Sari and outsider living in New York looks on and makes her own choices with the pursuit of music rather than wealth. Her dreams are motivation not the lure of the greenback.  No subject is taboo for Sari, the lyrics are full of description, littered with metaphors chosen to whip up the listeners imagination. The lyrics are short stories that encapsulate a novel. The power of the sonnet over the epic poem.

Addiction stays at the heart of Aunt Hazel and it’s destructive. Heroin is the villain who laughs and the havoc it causes as life unravels. Modern themes for a singer with the power to entrance and create blues that has a hard edge reflecting modern life. The lyrics have a relevancy. From addiction, we explore abuse whether domestic or in the work-place. Abuse that is painful and effects so many is captured in Damn the Reason opening with a mournful guitar lick that pulls your emotional heartstrings. With its driving relentless rhythm you are trapped in the music reflecting the feeling of being trapped in an abusive relationship and the inability to escape. Sari’s vocals wrapped in the music and love is the hook that keeps us caged.


The first cover is Leadbelly’s Black Betty given a make-over and the single helping to catapult Sari, the album and her music into the centre of everyone’s attention. Following on, with Walter Trout guesting, is Work No More. Walter’s guitar brings a sting to the number so personal to him and reflects the song written with passion and love. Sari adding her lyrical interpretation a women’s empathy into the words with the piano from David Keys adding more layers of emotive textures.


The power of her vocals seer through the music the lyrical artistry remains from the highest note through to the sustained notes. Oklahoma and Kiss Me features Oli Brown adding his guitar tone. It is every time the authority of Sari’s voice that creates the mood. She finds lyrics in the mundane as her new found love for Oklahoma as she changed her plans and re-joined the Joe Louis Walker tour, enjoying, embracing the unexpected means this is getting the best out of life whatever its twists and turns.


Unexpectedly, Stop! In the Name of Love is included, captured in one-take a perfect cover despite her reservations brings this forceful, poetic album almost to a close but not before Ordinary Life.  Jesus Lavillas piano intro is intimate and leads into a thoughtful, soulful Sari. Leaving us with  a track slower quieter than the others we are left with another side of a talent that is pushing the boundaries  through music that captures our attention.  There is nothing ordinary about the talent of Sari Schorr, as she shapes and bends music to create a Force of Nature.


What sets this album above so many you listen to, its heart and emotional flow is determined by the Blues, yet there is more it is the experience of Sari and the musicians she has surrounded herself. They add soul, jazz and music that demands to be listened to. The tracks all have a story to tell, the music shapes that story and the textured layers insuring your musical journey is full of interest. Sari is herself, she is proud and addresses issues that shapes society.   From Greed to Prostitution, Love of Pitt Bulls through to musicians experiences travelling on the road.


Forceful blues, A Force Of Nature this is most definitely an album in the running for Album of 2016!

Sari Schorr – A Force Of Nature – Manhaton Records

Bluesdoodles gives this CD TEN pawprint half inchdoodle paws out of TEN ….

Track Listing

  1. Ain’t Got No Money
  2. Aunt Hazel
  3. Damn The Reason
  4. Cat And Mouse
  5. Black Betty
  6. Work No More
  7. Demolition Man
  8. Oklahoma
  9. Letting Go
  10. Kiss Me
  11. Stop! In The Name Of Love
  12. Ordinary Lives


Sept 9 Darlington RnB Club, The Forum Music Centre, Darlington, UK
Sept 5 Half Moon Putney, London, UK (Album Launch)
Sept 10 Blues Club, Devizes, Wiltshire, UK
Sept 11 Winchester Discovery Centre, Winchester, UK
Sept 14 The Tunnels, Bristol, UK
Sept 15 Southern Pavilion, Worthing Pier, West Sussex, UK
Sept 16 New Crawdaddy, Billericay Town FC Billericay, UK
Sept 17 Old Town Hall, High Street, Hemel Hempstead, UK
Sept 23 Selby Town Hall Yorkshire, UK
Sept 24 The Iron Road, Evesham, Worcestershire, UK
Sept 25 Hope Tavern, Caistor Rd, Holton-le-Moor, Market Rasen, Lincs, UK
Sept 28 Vonnies Blues Club, Cheltenham
Sept 29 Cranleigh Arts Centre, High Street, Cranleigh, Surrey
Sept 30 B.A.R Festival, France

October 1 Hereford Blues Club, Booth Hall, Hereford, UK
October 6 Bar Brunel Bridgewater, UK
October 7 Deux Rivieres Blues Festival, Brittany, France

Bluesdoodles Interview with Sari Schorr – HERE

Force Of Nature Sari Schorr Talks to Bluesdoodles

Force Of Nature Sari Schorr Talks to Bluesdoodles
Photo Credit Rob Blackman

Force Of Nature Sari Schorr Talks to Bluesdoodles

BD:  Big thank you for taking time out of your tour schedule to chat with Bluesdoodles. Thank you so much for letting Bluesdoodles have a copy of your debut album A Force Of Nature, your forthcoming album before its release. More of that later I am sure.

We built a rapport talking about my hair colour, album covers, dogs and more this is what Sari said about the album cover and more.

Sari: For example, I had a beautiful picture of a tree I tried to convince everyone would be a perfect album cover, but I lost that argument. Yea I am learning to pick and choose my arguments, try and argue those that I am going to win. The good thing about the album cover is that it was a last-minute photo shoot. I had no idea I was going to do it so I didn’t have to think about it. I didn’t plan for it I just thought it was a few extra publicity shots so there was no pressure as we already had the album cover it is now the picture inside of me dancing taken by a friend of mine Amy Kirwin we thought that was going to  be the cover. So that is why that shoot was one of the most pleasant photo shoots I had ever been on with Rob Blackman.

I am a hobbyist photographer I am working on a book about my three Pitbulls. I turn my tiny Brooklyn Apartment into a studio and when my husband came home it was like something out of Lucille Ball  “Whatever have you done” Sari laughs. The ridiculous costumes the dogs were in, lights everywhere, blue screen it was ridiculous. We chatted about walking dogs great to find another common point including walking the dog first thing in the morning. Sari has five flights of stairs and three walks, lots of exercise, they love Brooklyn Park, Prospect Park and into Manhattan they love Central Park where there are a couple of lakes they can swim in.

Let me thank you for scheduling it a bit earlier,  I suppose everyone wants to speak to you now  I am so busy yea  overnight success after a life time of work. But it makes you a lot more grateful.  Yes, we all have hiccups in life and sometimes is too easy at the beginning they can be a real shock to the system.  I think without these hiccups, I like the way you put that these opportunities for growth have given me lots of opportunities for some great song writing material.  We will be talking about your amazing songs later but let’s start at the beginning.

BD: What were your early musical influences were they classical through your Opera singing training?

Sari: My earliest was jazz Ella Fitzgerald, Sarah Vaughan Nat King Cole and then from there I started digging backwards. Who were their influences that I discovered the great classic female blues singers, Bessie Smith, Mamie Smith, Big Mama Thornton etc. then it was this realization these women just completely connected with me. Their voices resonated in a way I could identify with because as a Jazz singer I was always overpowering the band. I was always told “Could you try and tone it down a little?” “You have a five-octave range but do you have to use it”. Laughing, you have a loud voice do you have to use it. I was always trying to be less, be demure and finally when I discovered these women who lead me into the blues just this felt like the key that really opened me up to realise who I was.  Yes, you do have a big voice.  Yea, nothing petite.   You have a big voice tuneful but keeps its shaping of the tone  Yes, absolutely right about that I think  Studying with an Opera teacher really early was a good thing made me conscious of tone and pitch the quality and placement of voice its technique has so much to do with it. Then you have to find a way to get past the technique forget it and become the storyteller the singer. Just the singer you can’t do both thinking about technique and trying to deliver a message. Yes, that is like all art forms it is about being instinctive. It has to become instinctive, that is the artistry when technique becomes invisible to you and it’s rooted in your subconscious. Everything else in your conscious mind becomes the artistry and that is when you really connect with the audience and goes straight to the heart. Easy to connect to negativity human brain right away goes to negativity in order to be an artist and inspired you have to be open and positive be an individual and understand who you are.   That was also part of my journey finding my real voice, early on you are influenced by artists you admire. You want to emulate and emulation is the first step to achieving artistry. But you have to move beyond that to find out who you are and that is a very, very hard journey and is what separates out the great artist from everybody else. It’s that extra thing that uniqueness, that some great artists are able to achieve as they have great awareness of themselves and that means the good and the bad. You have to embrace all those things about yourself take it all on use all that stuff, it all has something to say. All those life experiences, personality’s flaws and those opportunities for growth all lead you towards being able to communicate in a much more honest way. They all add up to artistic integrity, you have to have all those resources. You can’t be self-conscious, you can’t be yourself the singer singing the song you have to be the song itself. It sounds I know a little bit odd, but you have to dissolve into just being the vehicle for the song and you are communicating with the audience.  It is not about you, that is the other thing that is so hard, because there is so much attention in the artist, the truth is I am the least important part of it; it’s the emotion the message I am sharing I am just a vehicle for all of those things for the benefit of an audience who wants to hear it.

BD: Your set at Blues On the Farm was excellent

Sari: Thank you so much, we were hoping for sunshine, but it turned out that the rain added a great feeling to the whole thig. I still have mud on my boots, I love it. It was a wet weekend

BD: Currently on tour with your new band The Engine Room. It was really obvious when I saw you live that you have a real connection on stage with Innes Sibun on guitar

Sari: Innes is an unbelievably good guitarist, I never in  a million years thought  I would have the good fortune to be in a band with him and feel he is my brother. He is my brother from another mother, we joke about it all the time but we are so connected with each other spiritually, musically, and artistically. We often say it’s amazing he hears me sing and if his guitar could sing it he says would sound like my voice. The same is true if my voice could play guitar it is what his guitar does would represent my voice. We anticipate each other’s moves, no show is ever the same we are completely in the moment. That takes a lot of courage as this can go terribly wrong in a moment but laughing we like to live dangerously. We are on the edge all the time.

BD: How did you and the band hook up.

Sari: For the album the band hadn’t hooked up.  On the record, Nani Conde played bass he is one of the greatest bass players in Spain, the band hadn’t been formed yet. Because Mike Vernon lives in Spain his beautiful villa outside Malaga we had recorded a couple of demo’s in Spain pre-album and  I fell in love with the studio. I fell in love with the people who worked there, it is a more intimate studio it felt very personal not like the big corporate studios I am accustomed to recording in. I said to Mike I would really love to record the album here where everyone can go for lunch around the corner a two-hour break that costs $5 for a four-course meal I can live with this I thought. So when Mike asked me who would you like featured on your album, create a short A list. Innes was on top of the list because I knew Mike had done couple of albums with him, I knew we had this mutual connection and I was living in Paris at the time working on an Amnesty International project. I was asked to sing on a project sort of   We Are The World with lots of international artists. I also had to go back to New York to produce Carly Simon’s session, it really didn’t need any producing I hit the record button

“Carly go!” and she did it in one take and that was the extent of it. While I happened to be back in  New York  there was a  Rory Gallagher Tribute at the Iridium and I was asked to perform I agreed to it and Innes Sibun was a guest so we met for the first time at that Rory Gallagher tribute. We met backstage we probably said two words to each other, I was intimidated and everyone wanted to talk to him and I didn’t want to get in the way. Two years later when Mike asked who did I want? on the record I said Innes. He called, Innes was on tour in Germany and he said he would love to I couldn’t believe it he said he’d be back the next week which was perfect. After the recording Mike and I were so depressed it was so perfect.  Now how are we going to produce this live, Innes it’s a one-off what are we going to do. How are we going to put a band together that sounds as good as the record. Innes came in our words were still hanging in the air. He said “I love this project so much, I believe that this project is going to be so great and important I would love to be the guitar player” Mike and I looked at each other, our mouths just dropped and then we said Yes. Soon as we had Innes on board everything else would fall in place. And it did. We got Kevin Jeffries on bass, Kevin O’Rourke on drums, and Anders Olinder on keyboards. We have The Engine Room. <em>Will they be touring in America and beyond? </em>Yes, they will be with a bigger tour of America in 2017 planned. This is the band I will tour all over the world with.


BD: I have always been interested in the lyrics of songs. Where do you get your inspiration for your songwriting it is not just personal, lots of politics and other themes, there is a real narrative to it.

Sari: Thank you for recognising that, I struggle with the lyrics, it hurts. When I have to sit down and start working on a lyric it feels like diving into an ice-cold bucket of water. It stings my whole body, I procrastinate because it scares me to death writing lyrics. I really work on lyric melodies, music comes easily to me it is the lyrics that provides the challenge. It is important to me to find relevant subjects something that I can bring to the subject through my own perspective and life experience and to be able to sing with weighty lyrics makes me feel I am contributing something of value that is it I want to contribute something of value and I can only do that if I am singing about relevant subjects that have meaning to people that are inspiring and also painful, that is life. I really believe we are all spiritual beings having a human experience.  When I sit down to write, the first thing I do is clear my mind okay we are spiritual beings what is the connection between all of us what is resonating and I just tap into something that’s definitely bigger than me. Even with Letting Go one of the songs I wrote with Mike Vernon.  That is one example of a lyric I wrote very quickly, well honestly I didn’t write it – it came to me. Mike Vernon lost his wife about a year ago, we were sitting in his dining room and there was a picture of his beautiful wife Natalie on the shelf and I kept looking at this picture. I was thinking how hard it must be for Mike being without her now. I came up with a melody, I was thinking about Natalie and those lyrics were completely formed I honestly feel she sent those lyrics to me as a gift and every time I sing that song I always thank her for that song. Some of the great lyrics I write, that sounds arrogant, but I saying that because I don’t think I wrote them, chuckling, I look as those lyrics and think Oh My God! I am not smart enough to write this that didn’t come from me laughing. I think we are all capable of doing things well beyond our means when we tap into the some kind of creative energy that surrounds all of us. As Artists we just spend more of our lives trying to harness that creative energy, we catch onto it a little bit more often because we dedicate ourselves to doing that, we dedicate ourselves to the pain and suffering to be creative. Art is a living breathing thing, we are always developing, always changing. I never sing a song the same way, never.  I was talking about this to my bass player and he said he never plays a bass line the same way there are subtle differences we are not the person we were a moment ago. We are not the better version of ourselves that’s  coming two minutes ahead so we have a lot to look forward to laughing that is why we are allowed to make mistakes now because it is us and the past in two seconds it will be that was when I was very immature then. <strong>Laughing I am still immature at sixty too late for me to reach maturity. </strong>Good trick is never grow-up! Every day is the first day of the rest of your life I honestly believe that. I have reinvented myself many, many times. Finally, figured out who I am and I can make a contribution.


BD: The title A Force Of Nature reflects your personality and musical signature, rather than taking a track as a title.  Tell us a bit about making the album and the importance of Mike Vernon as Producer in shaping the finished product.

Sari: He is so talented. It is no wonder that he is a living legend an iconic producer because I have never worked with someone with his deep sense of awareness of music.  He hears everything. And then he has a vision like he can see what it is supposed to sound like before it happens, he sees the picture painted while the canvas is still blank because he knows so clearly what the end result should be he can guide the musicians and artists to get there without putting his own imprint on it. He doesn’t force his own sound, he brings out the best of the people he has in the studio which is incredible. Somehow he knows what we are capable of, what we don’t even know. He pushes you in such an inspiring way, I have worked with producers that brings you to tears, frustrate the hell out of you it is all negative. I have seen musicians storm out of sessions but with Mike everyone is hanging on to his every word, they want more feedback from him because he does it in such a loving and inspiring way. The truth is you have to be like a psychotherapist to work with a bunch of musicians in a recording studio, basically telling them that’s good but not good enough, musicians are very sensitive. He does it in a way that brings out the best in everybody, as soon as you tell someone they’re not good or you criticize, the brain shuts down and creativity can’t happen under a negative influence, it is just not possible, the human brain really does not function under negativity.  That is the thing that so many producers just don’t understand, they do not understand human nature but Mike is a genius, he has got an incredible intuition, he has confidence to trust his intuition he is opinionated when he knows he is right and for the benefit of the project and believe me when you are in the studio with him, everybody trusts him. You put your life in his hands gladly and it was his idea to call the album Force Of Nature, it was a line from a review he had remembered that particular sentence from the review and it was his idea.  Alan at record label (Manhaton Records) agreed, and I was still thinking we can have a nice picture of a tree on the cover. It would have been ridiculous laughing, it is a beautiful tree, I took the picture in Germany it’s a magical tree I was wrong about that. Sometimes I have to step out of the way and let them make marketing decisions, they always run everything by me, but I am not one of those artists that would ever say I make all the decisions that the album is all about me. It is not! It is about all the people I am so fortunate to work with. I give them all the room they need to succeed. I am working with Mike because I trust him completely, even with Stop In The Name of Love, when he suggested doing that I thought there is no way I can do justice to that song, I can’t do this. Mike said listen to me, if you do not feel comfortable with this song we won’t do it but I said I am working with you because I trust that you can see things I can’t I am relying on you to see where my blind spots are, everyone has  a blind spot. If you think it’s a good idea I will try it and we did and we basically got the song in the first take. Just because I didn’t think I was going to be able to do it, so I had nothing to lose I just went in and went for it thinking they would say you are right this isn’t working. Ended up being basically the final take.


BD:  That leads on to the next question. The album is predominately your self-penned numbers, you told us how Stop In The Name Of Love got included.  So how did the other two covers get included Leadbelly’s classic Black Betty performed in a completely different way and the Walter Trout Number, Work No More?  

Sari: I was so honoured when I was asked to sing at Carnegie Hall, on the Leadbelly Fest, they chose the Black Betty for me.  When I was studying Ram Jam version, I thought if I am going to do this I’ve got to find a way to make it my own sort of meditated on what the song meant to me. It became very clear where I wanted to go with the Song. Then I met Walter Trout, when I was on tour Joe Louis Walker, we re-connected at the Leadbelly Fest in Carnegie Hall heard I was making an album and he said I would love to part of it. So I said we would love you to be part of it.  I wanted to honour him by doing one of his songs, we talked about a bunch of different ideas. He said there is one song that is important to me it is about a woman who practically raised me and I really loved her name was Irene and it was Johnny Winter’s favourite song so I said let’s do that one so that is how we ended up going with Work No More.


BD: That is lovely, so often covers included in an album feel like fillers, but these have deep stories attached to them why they are in the mix and they fit so well. Sari: We had to leave of some originals, we had too many songs for the first album and that was the hardest thing choosing which songs would have to be put on the side. There will be another album, Innes and I are already starting to work on material for the second album even though we have material already the songs that had to wait from the first one.  You know, you have your whole life to make the first one but only very short amount of time to make your second one so already working on it so we don’t disappoint anyone.

BD: The album includes some special guests including guitarists Oli Brown, Walter Trout and keyboardist John Baggot.  What extra dimensions did they add to the tracks they appear on?

Sari: Mike worked with Oli Brown when playing the blues, he is an incredible guitarist, what a nice guy I enjoyed working with him in the studio. Soon as he stepped in we had a connection right away it was fun we ended up doing a couple of extra songs with him. Initially only coming into to do one song but we were having too much fun. I think everybody comes from their perspective. All the artists we have on the record bring their own special qualities. We have a couple of incredible pianists on the record from Spain, incredibly accomplished players.  Jesus Lavillas who is playing on Ordinary Life comes from a beautiful jazz background and having a little bit of jazz infused on the record. John Baggott, playing I don’t even know how to describe him, he is a multi-instrumentalist he can do everything, Jazz, rock, Blues, Soul and he just puts so much sparkle yes he adds  beautiful sparkle to the tracks. Walter – the beautiful solo that he did. He did the solo in one take, he was so inspired it was so emotional he did it and the engineer said we’re done, he listened back and said yep, we’re done.

BD: If you were putting together the perfect band with members from across the years (dead or alive) who would you have playing?

Sari: What a great question. I have to say I really do live in the moment so would have the exact band I have at the moment they are a tremendous gift that I recognise because I am  so honoured to be working with these musicians, that is why I gave them a name. I wanted them to have the attention they deserve, the recognition and not just be my name. The Engine Room represents the band of my dreams.

BD: Excellent, You have the band but if you could time travel back into the past and listen to in the moment?

Sari: Jimi Hendrix, I never got to see him play love to hear Jimi Hendrix play his guitar and also to be able to sit in a small New York jazz club in Harlem and hear Billie Holiday that would be my dream


BD: Thank you so much for you time the laughter and sharing making the album like you said the conversation could have gone on a lot longer. With a goodbye, Sari went off for her next demand on her time a radio interview.

Black Betty (Radio Edit: 3:23) Single released Monday 8th August 2016

Taken From the Debut Album

Force Of Nature Sari Schorr Talks to Bluesdoodles

A Force of Nature

Produced by Mike Vernon
Released Friday 2nd September 2016 on Manhaton Records





August 4-5 Notodden Blues Festival Norway
August 26 Norden Farm Centre for the Arts, Altwood Rd, Maidenhead, UK
August 27 Varenwinkel Festival, Herselt, Belgium
August 28 Seacroft Double Festival, Norfolk, UK
August 29 Great British RnB Festival, Colne, Lancashire, UK
August 28 Seacroft Double Festival, Norfolk


Sept 9 Darlington RnB Club, The Forum Music Centre, Darlington, UK
Sept 5 Half Moon Putney, London, UK (Album Launch)
Sept 10 Blues Club, Devizes, Wiltshire, UK
Sept 11 Winchester Discovery Centre, Winchester, UK
Sept 14 The Tunnels, Bristol, UK
Sept 15 Southern Pavilion, Worthing Pier, West Sussex, UK
Sept 16 New Crawdaddy, Billericay Town FC Billericay, UK
Sept 17 Old Town Hall, High Street, Hemel Hempstead, UK
Sept 23 Selby Town Hall Yorkshire, UK
Sept 24 The Iron Road, Evesham, Worcestershire, UK
Sept 25 Hope Tavern, Caistor Rd, Holton-le-Moor, Market Rasen, Lincs, UK
Sept 28 Vonnies Blues Club, Cheltenham
Sept 29 Cranleigh Arts Centre, High Street, Cranleigh, Surrey
Sept 30 B.A.R Festival, France


October 1 Hereford Blues Club, Booth Hall, Hereford, UK
October 6 Bar Brunel Bridgewater, UK
October 7 Deux Rivieres Blues Festival, Brittany, France

In Conversation with Walter Trout: Life Blues Stratocasters

<strong>WT: </strong>
Photo credit Greg Watermann

In Conversation with Walter Trout: Life Blues Stratocasters

Bluesdoodles was delighted when Walter Trout agreed to talk to us. As most of you will be only too aware in 2013 Walter was diagnosed with life-threatening liver failure and hepatitis C, followed by months in hospital, resulting in a successful liver transplant in 2014. Now he is back playing, and the first studio album since his recovery was the critically acclaimed Battle Scars and recently released Alive in Amsterdam.  There was plenty to talk about.


BD: Good evening Walter thanks for taking the time out from your busy schedule to speak to Bluesdoodles this evening

WT: Delighted that Skype worked we can hear and see each other, even Othello joined in the fun with a wag of his tail and treats.

BD: Battle Scars an amazing album and unsurprisingly really emotionally charged, do you feel it as a concept album for the Blues?

I don’t know if it was the first concept album for the Blues but I think in some ways it was probably the first concept album for me. Go The Distance, when I did Go The Distance I had just turned 50 years old I wanted to do an album sort of what I felt on turning fifty. Which, now in hindsight seems to me I was a very young man at the time but I felt ancient you know.  I tried to sort of do it but didn’t really work out to be as much a concept album as I had hoped it would be. I think this one [Battle Scars] certainly was especially because I told this story before, but will tell you here. I wanted to do a new album after coming through hell. I really wanted to write about, and had this new view of life, and had these new understandings about things, new feeling for being alive a new perspective on things. Everything had changed in my mind I saw the world differently I wanted to write about that but everything was coming out clichéd like for example, everything was ‘I see the sunshine’, ‘don’t the flowers smell wonderful’ it has all been done right. I went to my wife and I said I am really frustrated I have all this music. But every time try to put words in there it just comes out as clichéd bullshit, it would have worked great for who I don’t know  err Olivia Newton John or something. She sat down and she said to me look here is what you have to do it might be painful for you sit down and put yourself back in that bed. I laid on my back for seven months that is a long-haul. She said put yourself back there think about it and when you get back how it felt, what you thought ,what you experienced write about that. Once she gave me that idea, she went out for the day and I wrote six songs I wrote more than half that record in on afternoon. By two days later I had it finished, it literally took me three days even two days so it was of course a concept album because I was really focusing on one thing. I would think about different aspects of it.  Each song would be about a different part of that experience. So yea, it definitely came out as a concept album it kinda blew my mind really when two days later I had all these songs I was like wow this is like (Walter chuckles) almost like sitting on a couch and talking to a shrink talking to a therapist. Instead I did it with music. I really had something to say on this sometimes doesn’t always happen that way it can take a week to write a song this one was different I knew what I wanted to say.

BD: I am sure everyone is fascinated that you had to re-learn the guitar. Do you feel your approach/style has changed?

WT: I think I am a better player now. Let me tell you a story you know Bob Harris, his book Whispering Years, he told me that I am best guitarist in the world.  I had lunch with him and he gave me the book back then, I said there are so many guys who can blaze, shred thank you for this. He said,  “Do you know why I wrote this about you?” I said “No.”  He said to me “it is how much you put into it” that was the quote. I think since I have come back from the brink and started out I can put even more into it. It means even more to me than it ever did. I think can put more feeling into every note. I can still play a lot of notes. Sometimes I can go way over the top and people say he is going over the top. But believe me I mean every single note. It was still in my head but I had no muscles. I had lost more than half of my body when I got sick I weighed 230lbs at the height of my illness I weighed little over 100 pounds so it was all my muscle had gone. When I first picked up the guitar I did not have the strength to push the string down to the fret I couldn’t do it. So I had to develop the muscle back, I also had to re-train my muscles to listen to what my brain, what signal my brain was sending.  I knew how to play the chords just not capable of doing it. I basically spent a year with weights working with weights with little weights to develop my fore-arms. Spent 4-5 hours per day acoustic guitar they are a little more difficult they require, a little more strength. I came home in September, first time tried to play guitar in public was New Year’s Eve. I played two songs with my sons, every New Year’s Eve we set up a band in my front yard and on the stroke of midnight we play to my neighbour’s. We have done this for 13 years, I played two songs with my boys “laughing” Born To Be Wild and Fortunate Son by Creedance.  After that I couldn’t play anymore, but I could actually play and it was joyous, then I did not really play a show in public until 15th June at Royal Albert Hall.
BD: So it was a long six-months between sitting on front step and getting up onto a stage.
WT: That was a lot of work still not up to  full speed on New Years Eve.
BD: Was it scary getting back on stage again?
WT: It was a little scary but it was also,  can’t say I was nervous I was apprehensive. I had come to terms with the thought of this maybe will go out there and have dizzy spell fall over. Maybe my hands will cramp up like they had been doing. Maybe I will open my mouth and nothing will come out. If that happens, it happens all I can do is go out there and give it my best attempt I have to say there was an incredible band of English musicians backing me up they were all just awesome. When I counted to four the band came in I thought to myself I’m home I’ve done this 10,000 times, this feels really good. Just a wonderful, wonderful time playing that show. BD: And you are back entertaining us once again WT: Yea yes we are.


BD:  Which we see in your latest album Alive in Amsterdam your current album. It is full of emotion and the joy and power of being back on stage. Do you feel re-charged and motivated after the liver transplant?

WT: Being able to do that, it was taken from me all that time I laid in that bed sometimes late at night I would go on my cell-phone and watch a video of myself and I would go who is that guy? I couldn’t do that now if I tried. I can’t relate to that person. Then after I got it back, it means more than it ever did it is joyous to do that. Playing guitar and listening to what is coming out and I’m saying goddam this is fun.  Like when I was fifteen I would play guitar with my friends it was not about going to be a star or getting record deal just playing in garage just experiencing the most joy in your life that you can experience being able to make sound most beautiful thing now to get up there.   I don’t take one of those million notes I play for granted.

BD: Tell us about your guitars, and have you a favoured one?

WT: I am really Fender Strat guy. The first really good guitar that I owned, I had a bunch of kinda like cheap electric guitars when a teenager. I literally quit school and got a job so that I could go and buy a Les Paul.  I started with a Les Paul and then from that I went to Gibson 335 because I dropped the Les Paul the neck broke in half it was horrible, I was 17, that happened to me and I was destroyed. Then I got a 335 I really loved Gibsons. Then one day I was at a party, which was a jam session with a bunch of musicians in Philadelphia a guy said try my Stratocaster he handed me a Stratocaster and I  felt like I had  found my  lifelong partner.  Ever since then it has been a Stratocaster and you know have that old one that has is on the cover of all my records the one that when  I bought was white now turned yellow and not much finish left on it I toured with that thing for 34 years. That guitar is an entity and has my spirit in it. I have retired it from road for two reasons. One, I was too worried about it getting stolen or something happening to it. Number two, it is very, very heavy some years ago I had problems with my shoulders and lost use of left arm and had to go and get all this physical therapy. I couldn’t play and had to start all over again back then also. Literally had to start all over again twice. It is just too heavy for me, I can play when in the studio when sitting down it is a Stock Strat. Now the guitar I am using on this record and tour with and unlike certain young guitar players well known guitar players who part of their hype use fifteen guitars on one song. I am one guitar one woman man here. I have this guitar that, back when shoulder went out a guitar builder out in California, Scott Lentz he built me an incredibly light Stratocaster, that weights almost nothing, he said this will save your shoulder. I didn’t really care for the neck so went to one of my other Strats that I have, I have a bunch of them, I only use one but I have other ones just to have them around. Took neck of one of those and put on the body he built for me. Then, Seymour Duncan, world’s foremost maker of guitar pick-ups. Seymour is a friend of mine we both come up playing in club circuit in New Jersey and Philadelphia he did the same thing, we’re the same age we came up through the years in the same place.  He said to me, “I hear you’re retiring your old guitar”. I said yea, I can’t use it anymore, it killed my shoulder and also if someone stole it I’d have to like jump of a bridge or something” Seymour said, I’ll build you pick-ups and will sound just like it. He built me a couple of sets of pick-ups that is what is in there. If I set up my stage rig in the garage and if I go from the old to the new guitar it is very hard to tell the difference, he did an incredible job. That is my road guitar no, it is really a mutt! A dog of five different species.  Neck off and old one, a body build for me and Seymour’s made the pickups. It definitely plays wonderfully and sounds great It’s become my main road guitar. That is the one on the live album.


BD: Going to take you back now, what were your musical influences growing up in New Jersey

WT: My parents were music aficionados was great to have, they didn’t play they just loved music. For instance my Dad was into Jazz and big bands. There used be a radio show in Ocean City, New Jersey where I  grew up that played Big Band music and every week they would have a contest of trivia about big band musicians. He won it so many times that they disqualified him from calling in.  He knew everything and all he did was listen to Duke Ellington, Ben Goodman, Glenn Miller he just loved it. He was also very open to all music. I remember him telling me to check out this guy from Ashbury Park, Bruce Springsteen and I said I knew him from when he was in competing club bands.  Well he just made a record and it’s really good. My Mum was an incredible aficionado of music my big memories of her was in the other room I heard one of Ray Charles old blues albums before he had hits when he was doing R n’B on Atlantic. He was playing some Slow Blues song and my Mom was crying to the song. When they realized I really dug music they started taking me out my Dad would take me to black jazz cubs. They took me to see Ella Fitzgerald, Mum took me to see James Brown, Righteous Brothers, Lou Rawls Dad took me to see Clive McPhatter, Chuck Berry it was just really awesome

BD: If you were putting together the band of your dreams/perfect with members from across the years (dead or alive) who would you have playing?

WT: I would have the Guys I play with right now in m y band that’s the best band I’ve ever had. Part of having a band is the chemistry between the players the communication between the players as evidenced by The Beatles for me the greatest band of all time. If you take them separately they are what they are. Put those four together it’s an unbelievable divine intervention type of thing it’s about the chemistry. Right now I think I have the best blues rock band in the universe as evidenced by the new live album.


Alive In Amsterdam – Mascot Record Group

Guitar & Vocals – Walter Trout
Keys – Sammy Avila
Bass – Johnny Griparic
Drums – Michael Leasure

Walter Trout is touring throughout 2016 including Europe & U.K. check out dates andvenues HERE

Bluesdoodles reviews


Battle Scars – Here



Walter Trout Alive In Amsterdam playing Hot Blues

Alive In Amsterdam – Here

September Sari Schorr A Force Of Nature Releases Debut

September Sari Schorr A Force Of Nature Releases Debut


September Sari Schorr A Force Of Nature Releases DebutManhaton Records is pleased to announce the debut album “A Force of Nature” from one of the most exciting Blues rock singers, Sari Schorr. Released in the UK and Europe on Friday 2nd September 2016, the album is produced by the legendary Mike Vernon whose credits include Fleetwood Mac, John Mayall & the Blues Breakers, David Bowie, Savoy Brown, Chicken Shack, Eric Clapton, Peter Green, Christine McVie and Ten Years After.

In January 2015, Mike received a Keeping the Blues Alive award at the prestigious International Blues Challenge in Memphis, Tennessee. The award was not the only highlight of the weekend for Mike. The second highlight occurred when Mike witnessed the performance of one of the most amazing female blues singers he’d seen in years – SARI SCHORR.

The album delivers hard-driving Blues-Rock, influenced by the late ’60s British Blues movement.  Sari (who trained as an opera singer) mixes Blues, Rock, and Soul with concrete melodies and poetic lyrics to striking effect.

Mike was so knocked out, he came out of semi-retirement to produce her new album. Already a consummate songwriter in her own right, with tracks on major labels, Sari has written or co-written almost all the songs on the debut album. Released by Manhaton Records (home of Robin Trower and King King) the new album features guitarists Walter Trout (John Mayall, Canned Heat), Innes Sibun (Robert Plant), Oli Brown (RavenEye) and keyboardist John Baggott (Massive Attack, Portishead).

September Sari Schorr A Force Of Nature Releases DebutNew York-based Sari Schorr initially gained prominence throughout the blues world after several years of touring the US and Europe with Blues legend, Joe Louis Walker and renowned guitarist, Popa Chubby. Schorr was recently inducted into the New York Blues Hall of Fame.

“My songs are rooted in the blues and honouring that long tradition is important to me,” reflects Sari. “My song-writing draws heavily on contrasting melodic hooks with aching harmonies. I spend a lot of time working over and rewriting my lyrics. I rely heavily on imagery and enjoy using double-entendres that are entertaining to those who catch them. My influences are many and various and include Son House, Howlin’ Wolf, Muddy Waters, Lead Belly, Bessie Smith, Etta James, Ella Fitzgerald, Freddie King, Robert Johnson, B.B. King, Peter Green, Robert Plant, Martha Velez and Bob Dylan.”

Stop In The Name Of Love – Sari Schorr

Track from Sari’s new album “A Force Of Nature”
out on August 17th on Manhaton Records

Sari’s new band, The Engine Room, features stunning British guitarist Innes Sibun (former Robert Planet guitarist). “The Engine Room truly is a remarkable band,” says Sari. “Something magical happens when we’re on stage together. We’re fuelled further by the audiences’ reaction and everything’s possible. I love touring and enjoy the privilege of meeting so many like-minded people who share our love of the Blues.”

Sari & The Engine Room certainly delighted the crowds at blues on The Farm 2016 – Read about her performance HERE




September Sari Schorr A Force Of Nature Releases Debut





Conversation with Jared James Nichols expect Cowbells

Conversation with Jared James Nichols expect Cowbells

Conversation with Jared James Nichols expect Cowbells

Jared James Nichols is a guitarist who plays his rocked immersed in the belly of the blues. recently completed a European tour with Zakk Wyld (Black Label Society) is currently touring UK as Headline act and plans to be back real soon.


BD: Morning Jared thanks for taking the time out of your busy schedule.

JJN: No Problem, I’m little busy I guess but could always be worse or always be better laughing

BD: Tell us bit about touring with Zakk, back in UK headlining and back in the autumn supporting Walter Trout.
JJN:Hanging out with Zakk Wilde it was amazing! Every day was a dream come true. Honestly, back when I was a kid he was one of my guitar heroes and he still is. To be able to go on tour with him all round Europe and soak up all that inspiration was a dream come true. Did 3 weeks in Europe the tour not over yet and in a few weeks we are back touring with him in America and Canada. Now doing a few solo club shows of our own, as headliners. It has been amazing, I will be back before you know it. Back in the Autumn supporting Walter Trout is also going to be one of my bucket list check-offs if you know what I mean. So happy about it. Enjoyed Europe? I love Europe this is my fourth time here in less than two years the first time was definitely for a kid from Wisconsin a culture shock. Getting around a bit now I understand a little more of the lay of the land. Audiences are great people who still love the art of blues and love rock and roll for someone like me beyond inspiring doing festivals and theatres with Zakk and now the smaller venues.
Best part for us is that we have lots of plans to come back again for people who don’t get to see me play live this time around.

BD: Tell us a bit about the band
JJN:The band is just a three-piece. My guys that I met are actually Swedish. They are originally from Sweden and moved to Los Angeles from Sweden about five years ago, the same time I moved there. Erik Sandin Bass, amazing Bass player from Gothenburg, who I actually met on my third day in Los Angeles. I heard him playing and this guy is really good. So I go up to him and say Hey, if I have any shows would you like to play. He said yes sure. I got his number. Called him few days later and said I have this show to play all we need now is a drummer. He said I have a friend also from Gothenburg who has just moved to LA. That is who we have on drums Dennis Holm. They actually knew each other from childhood. Not saying they were great friends but both musicians from the area and when they moved to LA it was pretty amazing we all just got hooked up really early on and started playing, that was almost five years ago. It’s been quite a road to get just here. It’s kinda funny, always make fun of the guys we haven’t toured America much. Our tour with Zakk is the first proper one in America. I laugh at them saying you guys came to America to play music and I have had you in Europe for the past three years. It has been fun, they are obviously accomplished musicians play a ton of different stuff making a dynamic three piece.
Always a work in progress making it more dynamic, more energetic. I always say the music is as alive as we are and got to breathe with us and keep getting better.

BD: The official music video, bikers, guitars, and girl how did you come up with the idea?
JJN:Yes just released little new music video, new single Don’t You Try. Yes, it’s fun Sturgis and motorcycle rallies. Playing with Zakk who has big motorcycle enthusiasts following. I have a love for the whole culture, it’s really cool always been a fan of late ‘60’s early 70’s motorcycle culture. Movies like Cocaine Cowboys and Easy Rider and stuff like that. When it came to making a video I didn’t want to do anything serious, didn’t want to portray myself coming off too serious or way too overdone. Instead let’s have some fun with it. Made a little video of me and my girl. Next thing you know we are chased by some bikers, and got thrown off a cliff. You know the best part often video is the fact that my Les Paul survives along with…. Who knows what happens to the girl?.. as long as I got by guitar it is alright.

BD: Are you a biker yourself? Or just like the culture?
JJN:You know what, well I grew up around bikes basically my whole life where I actually grew up was near Milwaukee where the Harley Davidson factory is so most of my family ride. As kids we always had dirt bikes. For me personally never truly rode a motorbike as my main transportation that being said, when I make some money I am going to get myself a nice bike. Always been around bikes. Back when I was a kid always played these charity fund raising events that were basically put around motorcycle enthusiast crowds. It’s always been in my life I would never tell anyone I was a biker whatsoever, but I do love motorcycles, love cars I just love all that.

BD: Your excellent EP Highwayman is being released on Orange 10” vinyl which is great for the collectors do you have plans for getting back into the Studio?
JJN:Yes! A little something special for this run with Zakk. We wanted to do something a little bit different we had a really, really good run with coloured Old Glory. So decided to do Highwayman this time. It is really popular in Europe, and it is good to see so many people loving vinyl. I love vinyl myself it’s my main listening source when I am at home so it is great to see people getting as excited about vinyl as I do. Funny when people come up to me at shows and say is that the Highwayman in Orange vinyl, I say yea and they are delighted.

BD: So with Old Glory and Wild Revival  and Highwayman out on coloured vinyl do you have plans for getting back into the Studio?
JJN:Yes, I have to, and basically have a whole new record written and demoed out. It is finding the time to get into the studio, which I am hoping to do in between the Zakk Tour and Walter Trout Tour. It’s just with everything that has been going on it has been going pretty fast and things keep cropping up like festivals. For me, it is not finding the time to write the music it is finding the time to sit down and process it and getting into a studio. I’m sure if I can’t find the time I just need to make it happen.

BD: Takes a long time to do an album pre-production putting it down.
JJN:Yes, I try to get it down organically, get the sound right and not overthink things. But still you are right it just takes time. Takes time to get the sound together and to get pre-production and getting into the right headspace to do a record is completely different from going out and doing live shows for 150 days straight.

BD: With a show easier to just move on you play whereas a record is going to be around for a long time Organic but right.

JJN: Exactly, you are right the thing about a live show just a moment you go for to a record, yes you are right a record you have to think about it and say alright, this is what we are laying down is it right is this what we are doing . Need right team around you engineers – of course always about having right team Do you have a favoured studio or just find one with space? At a Studio in La Swing House Studio in Los Angeles since I moved there. It is my favourite studio in the whole world. It is homely and has such a good vibe around it I can just go in there relax and myself. Done some recording at like Abbey Road and Sunset Sound in Los Angeles they are amazing studios, but when I go into a studio I want to be comfortable. Not OH! My God! I’m here. When you are in there and excited it can be a double-edged sword we wanted to record a tune to be a slower tempo the next thing we know we are speeding it up because we are so excited to be there you know it is a real dynamic so many factors go into it, it is quite fun. BD:Well we are all excited to hear the possibility of a new JJN album sometime soon.

BD: Do you have a track on the album Either Highwayman or Old Glory and Wild Revival that is personal to you?
JJN:You know, that is hard, awful hard. All of them are different, kinda different shade of me. I know that sounds kind of cheesy but there is bits and pieces of me on the records, on all the tunes every single thing that I have recorded on those two records. It was like a house being built with nails. You have to hammer one in individually, every single one. So it was a lot of blood, sweat I don’t know about tears but tears too I guess. Every track seems pretty personal to me they are different moods just what feeling at a time so can’t pick one particular track out. It is all makes up the body of who I am.

BD: I have always been interested in the lyrics of a song. Where do you get your inspiration always personal?
JJN:Honestly, it’s pretty personal when I write something like alot of people that are lyricists and they write certain situations, things you think about a lot, memories and for me most of the lyrics do come from that place. Something I am always thinking about, or something on my mind a lot, family experiences and obviously relationships. But, it kind of boils down to me if they are strong or not if it leaves an impression on not only the listener but me; Not only is fun but also little emotional I leave a little bit of myself on all of the songs. I don’t try to write lyrics to be too crassy or be witty just what I am feeling, just comes out. For me the honesty of that means the world that is what it is all about.

BD: Going to take you back now, what were your musical influences growing up in Wisconsin, near Milwaukee?
JJN:Oh my goodness! The Blues it is all about the Blues! I got into the blues around when I started playing. My Mom took me to an open blues jam and got me on stage. With a lot guys from Chicago. I just submerged myself in that. My biggest influences obviously were guitarists playing Stevie Ray Vaughan got me into it and he lead me back to players like Otis Rush, Jimmy Reed, and Lightnin’ Hopkins. Literally I would get anything about the blues I would read about it , listen to it figure out the licks and try to figure out where Jimmy Reed figured out how to play a shuffle, where all those chess recordings came from. I would all my teen years and into my twenties just learning and absorbing the blues. Then when figuring out do my own thing, my own influences that is when the rock spilled in playing with other guys. Everything for me and early influences was the blues. Where I am coming from it is blues, yes rock but the blues. My music comes out as rock but the base is totally the blues.

BD: There is always this big debate no what is and what is not the blues?
JJN:Funny had conversation with Zakk I ways say I am a blues guitarist like, Albert King. He says you are playing rock man but you have the blues underline in all of it. Music is moving, I’m moving. There are a lot of purists obviously they take one listen, this guy ain’t nowhere near the blues. Off course I am not near Chicago blues, not playing West Coast style or whatever, but that is just the way I hear it and want to make it. Obviously, it is a big debate. The thing is in this day and age 2016 I think more than ever it is more important that people love the blues and rock n’ roll and everything in between. Instead of putting up walls and putting up barriers to the music we should all be united. I love Muddy Waters as much as you, that is what is important these days we shouldn’t be fighting what is real blues and what is not; it is more about are we all going to love and cherish the music and its rich culture I get to do that through playing my music.

BD: If you were putting together the band of your dreams/perfect with members from across the years (dead or alive) who would you have playing?
JJN:Oh my goodness you really ask some hard questions now you are really get to it. I am just like going out on a whim and first references.
Drums – Buddy Miles (Going to be a funky-arsed band)
Bass – Jack Bruce
Keys and some vocals – Greg Allman
Singers – Donny Hathaway & Paul Rogers
Guitars – Jimi Hendrix (I can air play laughing)

Think this would be an okay band. I would be on Cow Bell, Jared James Nichols We could talk about this for an hour or more but that is my band for the moment.

Jared James Nichols On Tour 2016 – HERE

READ what Bluesdoodles has said about Jared James Nichols

Review @ Robin2, opening for Glen Hughes 2015 – HERE
Review CD Old Glory and Wild Revival – HERE
Review Highwayman – HERE