I had a copule of emails back and forth regarding Mick Hucknall, and there has not been an absolute no for future co-operation in the future, but the manager believe Simply Red will come out with the album in the autumn and the band will tour in 2020, so for now is the best bet 2021
That said I still think we shall give it a last try here in 2019, and make the budget as close as we can now
If you and Rod think the same, here is what I will like you to do.
Se who of the members that are available at this point and let me know what each do and when the played with Bobby and approx how many show each did.
I will help the project if the keyboard player can sing a couple of songs?
Also I will check with Curtis Salgado if he is interested
Im still hooked on the 2 drummers situation.
Trudy Lynn was born Lee Audrey Nelms in Houston’s Fifth Ward, where she began singing as a teenager. After high school, Lynn went to visit her aunt in Lufkin, where a club called the Cinderella needed a singer. She decided Lee Audrey Nelms wasn't going to cut it as a stage name. The club had a bunch of cartoon character names painted on the wall and she noticed “Trudy,” which she quickly paired with Lynn. "Lynn was something in those days," she says. “Gloria Lynne, Barbara Lynn. I thought, 'I'm going to be one of those Lynns, too, baby.'"
Prior to striking out on her own, Trudy was the vocalist for such Texas greats as I.J. Gosey and Clarence Green, where Trudy spent five years as the vocalist for his band. Green was a stern mentor, but Lynn credits him with helping her become a professional. “He moulded me well,” she says. “He's still in me because of what he taught me. It takes that.” After leaving Green’s band, Lynn began performing on her own.
Since joining forces with harmonica wizard Steve Krase and the Connor Ray Music label in 2014, Lynn has played curator for herself. She has written her own songs that blend nicely with the vintage songs, mostly about good times and bad men. "Each one of these songs means something to me," she says. "I truly understand something about each one of them." I’ll Sing the Blues for You is Trudy Lynn’s 12th solo album and the third release on the Connor Ray Music label following up on 2014’s Royal Oaks Blues Café, which hit #1 on the BillboardBlues Chart and 2015’s Everything Comes with A Price which spent 4 months on the Living Blues Radio Chart. Trudy is also a five-time Blues Music Award nominee and was inducted into the Houston Music Hall of Fame in 2015. I'll Sing The Blues For You peaked at #6 on the Billboard Blues charts.
Trudy Lynn released her 13th solo album on 2018. "Blues Keep Knockin’ ranks with her best work to these ears and hopefully the best is still yet to come," said Graham Clarke with the Phoenix Blues Society.
In 2019, Lynn was presented with two prestigious awards - the Living Legend Blues Award from the Houston Blues Society, and the Willie Mitchell Lifetime Artist Award from the Jus' Blues Music Foundation.
- Living Legend Blues Award from the Houston Blues Society
- Willie Mitchell Lifetime Artist Award from the Jus' Blues Music Foundation
- Blues Music Award nomination for Soul Blues Female Artist category
- I'll Sing The Blues For You received three Living Blues Awards nominations
- Blues Music Awards nomination for Koko Taylor Award (Traditional Blues Female)
- I'll Sing The Blues For You received three Independent Blues Award nominations
- Blues Blast Awards nomination for best female blues artist
- Inducted into Houston Music Hall of Fame
- Royal Oaks Blues Cafe reached #1 on Billboard blues charts
- Blues Music Awards nomination for Koko Taylor Award (Traditional Blues Female)
- I'm Still Here received Blues Music Awards nomination for Best Soul Blues Album
- Blues Music Awards nomination for Best Soul Blues Artist
Den amerikanske mundharpevirtuos og sanger R.J. Mischo stiller op sammen med den finske Tomi Leino Trio.
Robert Joseph Mischo er født i 1960 i Chilton i staten Wisconsin, men har siden 1996 resideret i Californien, hvor han har været en del af West Coast blues-scenen sammen med andre mundharpestjerner som Mark Hummel, Rod Piazza og Kim Wilson. Han brød igennem i 1995 med sit andet album, Gonna rock tonight, og han har udsendt i alt 12 plader, senest Everything I need fra 2014.
Herhjemme har R.J. Mischo turneret med Ronni Boysen, og han har ved siden af solokarrieren spillet med blandt andre Pinetop Perkins, Jimmy Thackery og Junior Watson.
Tomi Leino Trio er et højt respekteret band i deres hjemlige Finland, og her i Danmark har vi også gode erfaringer med guitaristen Tomi Leino, bassisten Jaska Prepula og trommeslageren Mikko Peltola. De har turneret gentagne gange med Big Creek Slim, og Mikko Peltola har faktisk slået sig ned i Aalborg.
RJ Mischo is considered by critics and fans worldwide to be in the upper echelon of today’s great harp players and singers.
RJ started playing at the age of ten and by the time he was 19 he was working as a full-time professional musician. He began his career in the Twin Cities of Minneapolis & St. Paul,
Minnesota, an area that has spawned so many famous musicians. RJ cut his teeth with the legends of the Twin Cities’ Blues scene Percy Strother, Mojo Buford, Sonny Rogers & Lazy Bill Lucas.
It was in 1992 that RJ caught the attention of blues fans worldwide with the release of “Ready to Go”. This album is now of cult status amongst collectors. In 1996 RJ Mischo moved to California
where he continued to grow & develop his skills. He established himself a wider audience with a prolific performance schedule at major venues and festivals across the United States, Europe and
extensively up and down the West Coast.
RJ’s vast discography features 12 of his own releases on several record labels and he also appears on at least 25 CDs as a guest or on compilations with Jimmie Vaughan, James Cotton, Kim Wilson,
Candye Kane, G.Love, and John Mayall to name a few. RJ’s original songs “King of a Mighty Good Time” and “Two Hours From Tulsa” topped the playlist at No. 1 on SiriusXM Radio BB
Kings’ Bluesville. RJ Mischo’s CDs, Knowledge “You Can’t Get in College” and “Make It Good”, made the top 50 list of Living Blues Magazine’s albums of the year. The 2012 release “Make It
Good” featuring 13 Mischo originals on Delta Groove Records rose to #4 on the Living Blues radio charts.
In addition, RJ’s music can be heard on independent movie scores, TV commercials, and documentaries on the Discovery Channel. He has contributed to two Mel Bay harmonica instruction
books and is acknowledged in The Encyclopedia of Harmonica. RJ is featured on David Barrett’s Harmonica Masterclass website and is now on the staff at Jon Gindick’s Harmonica Jam Camps
held in Clarksdale, Mississippi and Ventura California.
RJ Mischo is endorsed by Hohner, the world’s largest manufacturer of harmonicas. His photo can be found on Hohner product packaging in music stores around the world.
RJ Mischo has performed at major festivals and night clubs throughout the USA, Canada, Mexico, Brazil, England, Germany, Switzerland, Austria, Italy, Spain, Belgium, France, Holland, Denmark,
Norway, Sweden, Slovenia, Finland, Lichtenstein & Luxembourg, Mischo’s music is drenched in the grease of the juke joint shuffles that have stayed in style since before they called it Rock & Roll. “Mischo’s magnificent tone, formidable chops, and affable, self-assured vocals…” make him a top entertainer; the kind of entertainer that only 25 years of touring experience will bring to the stage.
Johnny Sansone started out early playing music. His father, a saxophonist who’d been in Dave Brubeck’s band during World War II, introduced him to the saxophone at age 8. Johnny picked up the guitar and harmonica by the time he was 10 and had a life-changing experience at 12 when he saw a Howlin’ Wolf show in Florida. That was the moment the young Sansone knew he was destined to play the blues as his lifetime vocation. He sat in with Honeyboy Edwards at 13. During the 1970s Sansone studied with blues harmonica legends James Cotton and Jr. Wells. In the 1980s he toured with Ronnie Earl, John Lee Hooker, Jimmy Rodgers and Robert Lockwood Jr.
Sansone led the life of an itinerant bluesman, travelling around the country from temporary bases in Colorado, Austin, Florida and Chicago before settling down in New Orleans in 1990. As the leader of Jumpin’ Johnny & the Blues Party, Sansone played harmonica and guitar in the fierce Mississippi delta blues style heard on his 1987 debut Where Y’at? and his1991 release Mister Good Thing.
Living in New Orleans brought a swamp rock tinge to his gruff vocals and emotional playing style, and after attending a wake for Zydeco pioneer Clifton Chenier Sansone started playing the accordion as well. By the time of 1996’s Crescent City Moon Sansone had developed into a full-fledged Louisiana artist, combining blues, boogie and the front porch Cajun and Zydeco sounds of the Louisiana bayou country.
Crescent City Moon won multiple Best of the Beat awards that year and Sansone was signed to Rounder Records’ Bullseye Blues subsidiary, which also released his 1999 followup Watermelon Patch. During the early ‘00s, Sansone played in a variety of settings, including a trio with pianist Joe Krown and guitarist John Fohl which released a recording in 2004.
At the beginning of 2005, Sansone joined the Voice of the Wetlands Allstars, a group of Louisiana bandleaders who wanted to draw attention to the disappearing wetlands and the destruction of the Louisiana coastline. By the time the record was released later that year New Orleans was underwater – the city flooded when its levee system broke down under the onslaught of the flood surge accompanying hurricane Katrina. “The record was designed to be a warning about what might happen,” said Sansone.
“Then it became a matter of I-told-you-so.”
Sansone was forced from his home when New Orleans was depopulated in the months after the flood and went on tour with the Voice of the Wetlands Allstars. He developed a lasting friendship with fellow VOW member Anders Osborne and began writing great songs about the Louisiana experience tempered by the emotions of watching the city being destroyed and slowly returning to life. Osborne produced Sansone’s next album, the 2007 release Poor Man’s Paradise. Sansone reached a new level of songwriting skills on this record, and the title track became a staple of the Voice of the Wetlands live performances.
In 2009 Sansone formed an acoustic trio with Osborne and guitarist John Fohl. The idea was they would play a regular Tuesday night show at Chickie Wah Wah to work on new songs. It was an explosive period of creativity for Osborne, who developed the songs on his masterful American Patchwork album during these sessions. But it was also a time of creative breakthroughs for Sansone, who wrote the breathtaking blues “The Lord Is Waiting and the Devil is Too” during these sessions. That song became the title track of his next album, another Osborne-produced venture. To this day it’s hard for Sansone to get through a gig without a fan calling out for “that Devil song!” “The Lord Is Waiting and the Devil is too” was named Song of the Year at the Blues Music Awards.
Sansone continued to pen his unique brand of Louisiana story songs on his next album, Once It Gets Started, which featured a memorable account of the fire that destroyed the Hubig’s Pie factory, “The Night the Pie Factory Burned Down.” His latest release, Lady On the Levee, another Osborne production, this time featuring Fohl as well as Jefferey Bridges on bass, Rob Lee on drums, Joe Cabral on baritone saxophone and Ivan Neville on keyboards.
The album rocks with the powerful boogie of “OZ Radio,” a tribute to New Orleans roots music radio station WWOZ. Sansone’s howling, rip-through-the-plaster voice and deeply grooved harmonica riffs are the main attractions, but hardcore fans will appreciate the wit and wisdom of his character songs, Louisiana stories like the title track, “Gertrude’s Property Line” and “One Of Us,” (“he ain’t no tourist attraction/he’s one of us”). This is Sansone’s most personal album as well. You can hear him struggling with some deep emotions on songs like “I’m Still Here” “Lightning Bug Rhodes” and “Tomato Wine.”
Johnny’s newest recording, HOPELAND, was produced by Anders Osborne and features the North Mississippi Allstars. Offbeat Magazine’s review of HOPELAND praises Johnny for his instrumental prowess, particularly on harmonica and accordion, as well as his songwriting and bandleader talent. “… The energy level peaks so hard it could easily fly off the rails, but the perfectly balanced production from Osborne, and the finishing touches from Trina Shoemaker’s superb mixing, keep the buzz and distortion from turning into a train wreck. That’s how you catch lightning in a bottle.
Bruce Katz, pianist/keyboardist is a 30 year veteran of the music business, Katz has released 10 albums as leader of his own band. He has appeared on over 70 albums by other artists and toured with many others. His resume includes work with the likes of Ronnie Earl, John Hammond, Delbert McClinton, Gregg Allman, Duke Robillard, Little Milton, Maria Muldaur, Jimmy Witherspoon, Paul Rishell, Mighty Sam McClain, Debbie Davies and David “Fathead” Newman.
Bruce is a nine-time In 2019, Katz was awarded the Blues Music Award for Best Acoustic Album for Journeys To The Heart Of The Blues with Joe Louis Walker and Giles Robson.
Giles Robson is impressive on the harmonica, playing classic ultra-bluesy phrases, and also sequences of his own with dexterity, a feeling that is staggering. He is also a good singer, with a slightly distorted sound that is very effective.“Robson is possessed of an exciting delivery that places him smack dab in the thick of Little Walter’s legacy. Supported by a band led by pianist-organist Katz for his second solo outing, Robson streams electro-magnetic riffs and licks like a precision machine. “Way Past Midnight”, an instrumental tour de force, has Robson and Katz (on organ) sharing emotional power and insight”
In Chicago, a city overflowing with unrivalled blues talent, world-renowned Lil’ Ed & The Blues Imperials have been standing tall for over 30 years. The band’s big sound, fueled by Lil’ Ed’s gloriously rollicking slide work and deep blues string bending, along with his rough-edged, soulful vocals, is as real and hard-hitting as Chicago blues gets. The Chicago Sun-Times says, “Lil’ Ed & The Blues Imperials are the hottest purveyors of bottleneck boogie
Lil’ Ed Williams comes to the blues naturally. His uncle, Chicago slide guitar king and master songwriter J.B. Hutto, taught him how to feel, not just play the blues. Nine albums and thousands of performances later, Lil’ Ed is now universally hailed as a giant of the genre. Lil’ Ed and The Blues Imperials —bassist (and Ed’s half-brother) James “Pookie” Young, guitarist Mike Garrett and drummer Kelly Littleton— have remained together for over 30 years —an extraordinary feat for any group—, the band fueling Ed’s songs with their rock-solid, road-tested, telepathic musicianship.
The Big Sound Of Lil’ Ed & The Blues Imperials is the musically electrifying, emotionally intense and downright fun new album from the band Guitar Player calls “a snarling boogie-blues machine… they blow down the walls.” The CD features Lil’ Ed’s incendiary
Produced by Williams and Alligator president Bruce Iglauer, it is a tour-de-force of authentic, deeply rooted Chicago blues. Williams wrote or co-wrote all but two of album’s 14 songs, the other gems written by Uncle J.B. The Chicago Reader says the band’s music “is a soundtrack for dancing and celebration infused with a sense of hard-won survival. Williams attacks his lyrics like he attacks his guitar: with bare-bones intensity that makes each word sound like a matter of life or death.”
Born in Chicago on April 8, 1955, in the heart of Chicago’s tough West Side, Ed grew up surrounded by music. He was playing the guitar, then drums and bass, by the time he was 12. Ed and Pookie received lessons and support from their famous uncle. “J.B. taught me everything I know,” says Ed. “I wouldn’t be where I am today without him.” Ed and Pookie spent their teen years making music together, and in 1975 formed the first incarnation of The Blues Imperials.
They played their first gig at a West Side club called Big Duke’s Blue Flame, splitting the $6 take four ways. Over the next few years, the group played every club in the neighborhood. Even so, they still needed day jobs to pay the bills. Ed worked ten hours a day as a buffer at the Red Carpet Car Wash. Pookie drove a school bus. Night after night they played their roaring brand of blues in tiny clubs, and eventually, the word reached Alligator president Bruce Iglauer.
At the time, Iglauer was looking for local talent for The New Bluebloods, an anthology of some of Chicago’s younger blues musicians. “Ed and his band had a good reputation,” recalls Iglauer. “I had only seen them live once or twice. I knew Ed was a hot slide player, but I had no idea what he and the band were really capable of. I just knew that their music reminded me of Hound Dog Taylor and J.B. Hutto, two of my favourite musicians.
– The New York Times It seemed like having a band this rough and ready would be a nice change of pace for the anthology, so I asked them to come down to the studio and cut a couple of songs. I never expected what happened.”
The band —never having been in a recording studio before— treated the studio like a club, playing live to Iglauer, the engineer, and all the people on the other side of the control room glass. After Ed recorded his two rehearsed songs quickly, there was still plenty of studio time left, so they just kept playing. After 10 songs were in the can, Iglauer offered the band a full album contract. The end result of the session was 30 songs cut in three hours with no overdubs and only one-second take. Twelve of those songs became the band’s debut album, Roughhousin’, released in September of 1986.
The national press reacted with amazement to the blues world’s new discovery. Feature stories ran in Spin, Musician, The New York Times, The Los Angeles Times, The Washington Post, The Boston Globe, The Chicago Tribune and dozens of other publications. The Village Voice declared, “Roughhousin’ just may be the blues album of the year.” The New York Times raved, “Raw-boned, old-fashioned Chicago blues has a new young master —Lil’ Ed Williams.”
But it wasn’t until 1987 when guitarist Mike Garrett joined the band, and a year later, when Garrett recruited his Detroit hometown friend Kelly Littleton to play the drums, that things really began to take off. Garrett’s risk-taking rhythm guitar work and Littleton’s unpredictable, old school drumming were the perfect complements to Lil’ Ed’s and Pookie’s rambunctious playing.
With their 1989 album Chicken, Gravy & Biscuits, doors opened and audiences poured in. Through relentless touring, the group crystallized, becoming tighter with each performance, more adept in their abilities to read each other’s musical moves. Their spontaneous and unpredictable live show became legendary among blues fans worldwide.
They have played the Chicago Blues Festival multiple times, and have appeared at The New Orleans Jazz & Heritage Festival, Portland’s Waterfront Blues Festival, The Tampa Bay Blues Festival, The San Diego Blues Festival, The Pennsylvania Blues Festival and dozens of other festivals around the country. Satisfying worldwide demand, they have performed at festivals in Canada, Great Britain, France, Spain, Sweden, Denmark, Poland, Japan, Australia, India, Turkey and Panama.
Lil’ Ed & The Blues Imperials released eight Alligator albums between 1986 and 2012. With each one, the band’s national and international stature grew as their fan base —known internationally as “Ed Heads”— continued to expand. With 2006’s Rattleshake, Ed and company reached a whole new audience. Die-hard “Ed Head” Conan O’Brien brought the band before millions of television viewers on two separate occasions. Success and accolades never stop pouring in. Living Blues called 2012’s Jump Start “scorching
– Living Blues and soulful” with “crafty, clever lyrics… joyous and stomping.”
The group took home the Living Blues Award for Best Live Performer in 2011, 2012 and 2013. They won the prestigious Blues Music Award for Band Of The Year in both 2007 and 2009. The Associated Press says, “Williams fills Chicago’s biggest shoes with more life and heat than anyone on stage today.”
With The Big Sound Of Lil’ Ed & The Blues Imperials, the band continues to bring their blistering Chicago blues to “Ed Heads” new and old. Their infectious energy, joyful showmanship and masterful playing have been honed to a razor’s edge by their many years together. Lil’ Ed, Pookie, Mike and Kelly have seen sports stars and presidents, musical fads and fashion trends come and go.
Meanwhile, their fiery music has more than stood the test of time. “We’re not band members,” says Williams, “we’re family, and families stay together.” Night after night, gig after riotous gig, the musical family called Lil’ Ed & The Blues Imperials bring their big, dynamic Chicago blues sound to fans across the country and around the world.
Multi award-winning artist Mud Morganfield is an established star in the world of Blues music. The eldest son of the legendary Muddy Waters, Mud was brought up surrounded by many of the finest musicians in the Blues. Mud’s singing is firmly in best of traditions of Chicago Blues, but he is also a writer of great new songs and he is backed by some of the best musicians playing today. He is acclaimed by both critics and artists such as Buddy Guy and Jools Holland for his own musical ability,
Mud’s latest album, They Call Me Mud, was released on March 9, 2018, and is getting extensive airplay and great reviews.
Mud’s award-winning album, Son of the Seventh Son, was launched on Severn Records in 2012 and earned great reviews. The album was nominated in the Best Album and the Traditional Blues Male Artist Album categories of the 2013 Blues Foundation Blues Music Awards here. In 2014, Mud’s collaboration with Kim Wilson, the album For Pops, attracted more critical acclaim and awards.
Mud capped a great 2012 with appearances on the iconic British music show Later… with Jools Holland on 20th and 23rd November 2012 – see the video page, plus being featured in Clash Music here (with an exclusive video).
‘Son of the Seventh Son’ makes the Top 50 albums of 2012 for Classic Rock – the Blues magazine and About.com‘s best Blues albums of 2012 in addition to its two Blues Blast awards.
Johnny Rawls is a soul-blues legend. In fact, the term “soul blues” was invented to describe his music. With a career spanning more than 50 years, he’s done it all. He’s an internationally recognized recording artist, music producer, and songwriter who tours extensively throughout North America and overseas.
The Blues Music Awards, Blues Blast Awards, Living Blues Awards, and the W. C. Handy Awards have all acknowledged Johnny with multiple awards and nominations, including Soul Blues Album of the Year and Soul Blues Artist of the Year. Living Blues Magazine described him as a “soul-blues renaissance man” when he was featured on the cover in 2002. Johnny is honoured to be mentioned on two markers along the Mississippi Blues Trail – one in Hattiesburg, MS marking the Hi-Hat Club, and another in Rocklin ME marking the migration of blues from Mississippi to Maine.
Born in Columbia, Mississippi in 1951, Johnny grew up in Purvis (near Hattiesburg) and Gulfport. Johnny’s interest in music began in early childhood. He started out playing clarinet in the school band when he was in 5th grade. Over the next couple of years, he graduated to the saxophone, trumpet and other instruments. Johnny became interested in guitar when he heard his grandfather playing one Christmas morning and by age 13 was playing the guitar seriously. Johnny’s high school band teacher had a professional band that backed touring soul artists and asked Johnny to join his band as a saxophone player. This began Johnny’s professional career, and at age 15, he was backing artists including ZZ Hill, Little Johnny Taylor, Joe Tex, and The Sweet Inspirations on their tours in the Southeast. In the mid-1970s, Johnny became the band director for soul singer O.V. Wright and toured with O.V. until his death in 1980. Wright’s band, under Johnny’s leadership, continued to perform as the Ace of Spade's band for several years. Then, Johnny became the band director for Little Johnny Taylor.
In 1985, Johnny began touring as a solo artist and made his first solo recording. A prolific songwriter, hundreds of Johnny’s songs have been recorded. He has released more than 15 albums since his debut solo album, Here We Go, in 1996 on JSP Records. In the late 1990s, Johnny worked as an arranger and record producer for JSP. Johnny has released albums under various labels, including JSP, Catfood Records, Third Street Cigar Records, and his own label Deep South Soul, which he created in 2002.
The Blues Music Awards (and its predecessor, the W.C. Handy Awards) frequently recognize Johnny’s work. To date, ten of Johnny’s albums have been nominated for Soul Blues Album of the Year, with “I’m Still Around” winning in 2019 and “Ace of Spades” winning in 2010. Johnny has been nominated for Soul Blues Male Artist eleven times and received one nomination for Song of the Year. Roots Music Report declared Johnny’s 2017 release, “Waiting for the Train,” one of the top 50 blues albums of the year. Johnny also has multiple nominations/awards from Blues Blast Magazine and Living Blues Magazine.
With his 2018 release, “I’m Still Around,” Johnny returned to his roots in Mississippi Soul Blues. All the songs on this album were written and arranged by Johnny, and reflect his favourite subjects – falling in and out of love, making love, and enjoying and being thankful for life. Johnny is extremely proud to have won the Soul Blues Album of the year at the 2019 BMAs for this release.
A true “road warrior,” Johnny tours extensively throughout the US, and internationally, playing approximately 200 dates every year. He’s performed at major blues festivals, including the Chicago Blues Festival and the Waterfront Blues Festival multiple times. Whether he’s playing in a small intimate club or at a large blues festival, Johnny always delivers a high-energy show to the delight of audiences everywhere.