Lucerne, 2004 - november 17, 2004
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Hello folks,
Well, friends I am now just back from a great week long stay in Lucerne, Switzerland where we performed at the Lucerne Blues Fest. It was great to get out of my Red State of Indiana for a little while and visit a very Blue state of mind; that is a blues fest where we were drinking in great blues 24-7.
it was great to get out of my Red State of Indiana for a little while and visit a very Blue state of mind
I was a part of the Severn Records Soul Revue which featured singer Darell Nulisch, guitarists Johnny Moeller, and Alex Schultz, Rob Stupka on drums, Steve Gomes on bass, Benji Porecki on keys, Steve Cyphers on percussion, Willie Henderson on baritone sax, Junior Brice on tenor sax and David Finell on trumpet. A truly super band! The great singer Lou Pride was scheduled to perform with us but he became ill just after he arrived in Lucerne and was unable to be with us. (Earlier today I heard from David Earl of Severn Records and he reports that Lou is doing much better. I am looking forward to doing a concert for the Baltimore Blues Society in February that will team me up with Lou Pride. Check for details on my gigs page soon.)
I would like to send out major thanks to Fritz Jakober and Guido Schmidt who are the creators, directors and the guiding spirits of one of the finest blues fests in Europe or anywhere for that matter. Fritz and Guido are great friends to me and great friends of the blues.
This years' edition of the Lucerne Blues Fest featured, among others, legends such as James Cotton, Hubert Sumlin, Jimmy Dawkins, The Holmes Brothers, Anson Funderburg, Sam Myers, Bob Margolin, Rod Piazza, Carey Bell, Billy Flynn, Willie "Big Eyes" Smith, W.C. Clarke, Bob Stroger, Honey Piazza and Bobby Radcliffe.
The event stretches out over a week's time and features performances by a variety of blues bands at schools, hospitals, nightclubs, and eateries throughout the city of Lucerne and the surrounding area. It culminates in the final big festival hits at the Casino in Lucerne which sits next to Lake Lucerne. This is one of the finest of the European blues festivals. Everything is done elegantly and professionally. The sound system in the main venue is massive and expertly engineered. When you are not in the room watching the bands perform you can still hear them and see them in the other areas of the casino on large television monitors and screens. There is an elaborate backstage area where the musicians can hang out, eat, drink and continue to watch the current set on stage on a huge video monitor. There is a designated area where attendees can buy the artists' CDs and memorabilia, souvenir programs, tee shirts and so forth.
This was the 10th Annual edition of Lucerne Blues Fest and so it was very festive and there was great excitement and pride in the event. Over the week you get a chance to hear all the different cats a couple of times if you make it out of your hotel room and attend the various venues. I had a chance to check out great shows from the Holmes Brothers, Anson and Sam with the Rockets, Bob Margolin Blues Band, Bobby Radcliffe, and the James Cotton Blues Band among many others.
the care and attention to detail that goes into a Rod Piazza band soundcheck
Particularly of interest to me, I got a chance to catch the soundchecks of Rod Piazza and the Mighty Flyers and then later the James Cotton Blues Band. It was really inspiring and educational for me to see and hear the care and attention to detail that goes into a Rod Piazza band soundcheck. They are true pros and they re-create the post war Chicago Blues Band classic sound with elegance and ease. I thought Rod's playing at the soundcheck was some of the best harmonica I had ever heard; so fluid, so relaxed, such superb tone. I was in heaven listening to Rod blow that harp. I actually missed his performance at the fest but the soundcheck was thrilling for me.
James Cotton remains one of the larger than life musicians on any scene in Amercan music
With regard to James Cotton, I was totally blown away by his soundcheck and by his show later that night. Cotton has always been one of my main inspirations. In fact his records, which I discovered in high school, were crucial in my deciding to make a living doing this. He played all his hits or the songs most closely associated with him: Creeper, Love Me or Leave Me, Rocket 88 (I heard it 6 0r 8 times at the soundcheck) and so forth. James was playing some totally hip harp, probably the most serious blues harmonica on the planet. He was incredible! James hasn't been singing for quite some time since he has lost his vocal chops due, perhaps, to some incredibly hard living (he speaks in a loud, gruff whisper) but his show is still great blues. His sidemen share the vocal chores with nice results. I miss his voice but his harmonica playing is still vital and unique and the essence of modern blues. James Cotton remains one of the larger than life musicians on any scene in Amercan music. Seeing and hearing him up close gave me chills. His joy was infectious and his moments on stage were the true highlights of the festival week for me.
Often times being a busy musician means never getting the chance to hear other musicians. Festivals like Lucerne make it possible to hang out with other players, share ideas and dig each others' music up close and personal. It was a pleasure meeting some of my true idols in the business and getting feedback from players who I respect so much. It was a great week of music and friendship.
Working along side of Darrell Nulisch was particularly inspiring. A Texan, Darrell is a consummate pro; a quiet and serious artist offstage and a powerhouse of soul and deep blues on stage. Darrell's re-arrangement of Little Milton's "Lonely Man" is a perfect opener, a song that is right at the crossroads of blues and soul. The horn section announces the coming of the hook with a huge fanfare reminiscent of Bobby Bland's "Lovelight" and Darrell is then off and running in a heartbreaker of a tune. With "Lonely Man" Darrell and his band set the table for some ferocious and powerful stuff. His reading of James Carr's "Love Attack" proves that Darrell can sing with superb control and reserve of power; this is a song that most singers are advised not to attempt. Darrell is at home with and in firm control of some of the most challenging songs in the soul songbook. His "Love Attack" is a masterpiece of soul theatre. His own compostion, "Times Like These" is a great show stopper as well. Darrell has created his own mellow soul bag and then he can switch gears and astonish you with some deep, down and elegant blues. I learned a whole bunch from this wise man of the blues world. I hope we can do some more work together if our schedules permit.
all for now,
TR
