Shades of Blues

Lisa Mills & Ian Jennings Review July 2008

courtesy of Alan candy - Luton Today newspaper  http://www.lutontoday.co.uk/

A Voice so powerful she could scorch a man at 20 paces.At least he'd die happy - - - -  -

A singing angel? Oh, no. A singed angel? Oh, yeah. That’s Lisa Mills – the lady with the flame-thrower voice that can burn a man and kill him at 20 paces in the sure knowledge that he at least died happy.

The place in question was The Maltings Arts Theatre, St Albans, the artist the inimitable, raunchy lady from Mississippi USA who knows how to give an audience a real party while having a good time herself on stage at the same time.

To know Lisa is to love her – there’s no half measures. She appears on stage in tight jeans and top, her face lit up with a huge smile that never falters all evening.

This is supposed to be blues – after all, the event has been put on by Bob Ayre’s Shades of Blues, fast making itself a top reputation in music circles across the region.

But Lisa’s just so darn cheerful that it’s hard to keep feeling sorry for yourself. And even when her voice cracks with emotion and she’s belting out a number at full decibels, you can only shake your head in wonder that this woman has such awesome firepower at her disposal rather than just feel gloomy.

Only one woman could ever step into the shoes of the late, great Janis Joplin, and that’s Lisa Mills. And that’s exactly what she did as a three-year project, appearing up front with Joplin’s Big Brother And The Holding Company band to knock out some timeless ‘60s hits.

But Lisa is no Joplin clone. Nor is does she have anything like Joplin’s stage persona. And thank God for that, because otherwise she’d end up dead pretty soon.

Joplin, who eventually died of a drugs overdose, notoriously imbibed Southern Comfort whiskey from the bottle on stage in copious quantities. When Lisa asked for a bottle at The Maltings, it was mineral water only, thanks folks.

And, to my knowledge, she didn’t go near a Joplin number all night, either. Her appearance on Saturday at St Albans as part of a current UK tour was a wonderfully uncomplicated, relaxed affair. Just Mills and her trusty 1980 Alvarez acoustic guitar backed by the incredibly talented upright acoustic bass player, Ian Jennings.

What a team. A country/soul/blues singer of the highest order and no mean flat-picking guitarist, alongside one of the most exciting, original and imaginative bass players around. An awesome combo.

The Maltings proved a perfect setting for this kind of laid-back gig – a café type setting with tables loosely arranged at the front of the stage, the rest of the audience seated more formally behind.

No great game plan - in fact Mills and Jennings lost or abandoned their running order before the halfway stage had even been reached. Before that time, we’d been treated to a set of Mills’ own numbers, with a highly eclectic range of songs encompassing country blues, soul, ballads, with even a little calypso flavour hear and there to spice things up.

Of these, typical was Better Than This (I Don’t Need You Anymore) sung in tribute to a surviving friend and divorcee, and the contagiously cheerful I Need A Little Sunshine, both from her latest album I’m Changing. Heart-rending songs of desertion and betrayal and strong women asserting their rights , seeking only truth from cheating men. Sound familiar?

But this was just a taster for things to come and after the break, the set got even better, though this was hard to believe after the first hour. Now we were treated to Mills’ full range of abilities, mostly with a blues slant but also some wonderfully uninhibited rock’n’roll , country rock and slow jazz. Picking highlights is a bit like asking kids which firework they like best when they’re all going off at the same time – almost impossible. As she memorably pointed out: “Everything with emotion and truth in it is the blues.”

But if pushed I’d have to go for the dark and dangerous gospel number Wish I Was In Heaven (Sittin’ Down), an incredibly moving version of Jimi Hendrix’s Little Wing which sent us home chilled, the traditional Baby Please Don’t Go and the irresistible Bad Moon Rising. She also did full justice to Billie Holiday’s Ain’t Nobody’s Business

And the best lyric of the night? “You can have my husband but please don’t mess with my man.”

Listening to Lisa Mills is a mesmerising experience. She pulls the audience in with her warmth, is a sparkling entertainer and a simply unbelievable singer. When she open her mouth wide and gives us the full benefit of her lungpower, it can make the hairs on the back of your neck stand up.

But she can stun us by switching to half-power mid-note, flicking up an octave effortlessly or whispering as soft and sensuous as the sexiest lover you’ve ever known.

As promoter Bob Ayres said at the end: “That was absolutely bloody magic.” Scores of new Lisa Mills fans applauded unreservedly.

 Well we gave it a go at The Horn, but financially it didn't stack up - Boo !

But wot a way to go out with The Ian Siegal Band, if you couldn't make it - it was phenomenal !!

However, from September 2008 'Shades of Blues' will be held monthly at The Maltings Arts Theatre - Hooray !!

So keep on checking the website for details of some truly

fantastic 'Shades of Blues'

coming to St Albans, and believe me we're really getting on the map and attracting some big names - so see you at a gig soon and if you'd like advance notice of stuff please use the contact page and we'll add you to the e-mail newsletter,

See y'all soon,

Bob

Review courtesy of Alan Candy http://www.lutontoday.co.uk/ "The Bluesmans Blog"

 Parker weathers the storm to prove he's

still raining champ of the Blues

Review by Shades of Blues member, Peter Johnston.

 One Man Band?

Just how many people does it take to make great entertainment? Judging

 by Saturday’s Shades of Blues concert at the Maltings, St Albans, the  

answer is one. Shades of Blues is aptly named, covering all types of blues and this was evident with two very different performers, the common denominator being that each was a one man show. Banish those ideas of buskers on the tube – both performers were stunningly accomplished.

David Bristow kicked off the show with what he called blues from the Stratford Delta.  Playing an Ibanez semi acoustic he quickly created the smoky atmosphere of a 1920s southern states speakeasy, with a mixture of well chosen covers and his own compositions. Some of these were tongue in cheek, such as “She’s an easy going mama, but she don’t go easy on me” and he managed to cover the depth of British emotions while still keeping the slow tapping rhythm of Delta Blues. David claims a strong link with St Albans, having spent a lot of his formative years with his grandmother in Everlasting lane. His selection of covers was eclectic, with a blues number called Pallet on the Floor dating all the way back to 1894, alongside numbers such as Down and Out, made famous by Bessie Smith and Need Your Love So Bad, popularised by Peter Green. He added his own feeling to each and his timing was absolutely solid throughout - spellbinding.

With a warm-up act like that you’d be forgiven for feeling things couldn’t improve for the second half, but from the first note of Kris Dollimore’s performance it was obvious that more treats were in store. Kris has a wealth of experience to draw on as a member of bands such as Del Amitri, The Damned, The Godfathers and an accomplished session guitarist for the likes of Adam Ant. Demonstrating his love for John Lee Hooker, he used all of his modern band skills and three different guitars to bring the blues alive, really showing how the blues underpins so many pop numbers as well as delivering a real foot tapping, sing along experience – indeed the girls were dancing in the foyer by the end. Kris explained that he wished he’d started doing this years ago as he could get away from mental drummers and moody singers and the money was his at the end of the night. Money well earned.

When our host, Shades of Blues founder Bob Ayre, came on at the end we thought it was to say thanks and good night but instead he called both men back on stage for an impromptu and totally unrehearsed duet, calling all of Kris Dollimore’s skills as a session man into play on a quite brilliant version of Sweet Home Chicago. All I can say is who needs a band?!

Bob Brozman at The Maltings Theatre, St Albans. Review by Alan Candy. Luton News.

“Just how many microphones does he have inside those guitars?” asked my pal at the Bob Brozman concert. “Six? Nine?”

“None,” I told him. “Just one mic to sing into, another pointed at the guitar. The volume he gets is just sheer blood and sweat, strings, moving air around and muscle-power.”

He clearly found it hard to fathom. But then anyone witnessing the New York bluesman’s latest, two-hour, one-man show at St Albans was entitled to shake their heads in disbelief.

One hundred and fifty souls had turned out on a bitterly cold night to pack into the intimate, club-like atmosphere of The Maltings Arts Theatre to witness yet another extraordinary show from an extraordinary man.

A Bob Brozman performance isn’t just one man and a few guitars – it’s a one man versus the universe – the world’s greatest acoustic blues artist defying logic, living on the edge and entertaining in a way that no other performer can even come near.

Brozman - defiantly and unfashionably bearded and sporting a most un-St Albans-like kaftan – doesn’t just play National steel guitar. He caresses the instrument, beats it, spanks it, spins it around and even at one stage struts around the stage with the gleaming instrument balanced on one hand, all the while stomping out a rhythm for the audience to follow.

Click here to read my interview with Bob Brozman before the concert

Ah, yes, rhythm. Bob’s pretty obsessed with it. He likes to involve the crowd by setting them up with a beat, which he then shows them can still be in 1, 2, 3, 4 or five time, even though they’re apparently just doing one. Another exercise involves him getting a rhythm going in the audience, then bashing out subversive beats on his home-made box ‘drum’ to try to put them off. We beat him on that particular game this time.

And we didn’t just hear deep south Delta blues, either. Brozman, having played guitar in some 60 countries, has soaked up so many sounds from around the globe, that every tune comes imbibed with notes, chords, rhythm patterns or language from anywhere to Papua New Guinea to Hawaii and France.

If it was served up as a meal, you’d be facing the hottest flavoured, colourful, most pungent curry ever concocted. If it was a painting, it would undoubtedly be the weirdest Impressionist canvas you’ve ever seen.

Yet, somehow, he stirs it together, serves it up and gets you believing it was all planned that way. Which it almost certainly wasn’t, as Brozman thrives on the adrenalin rush of improvising on the spot, both musically and lyrically.

Much like John Lee Hooker, every Brozman song and performance will have different lyrics, rhythms and nuances every single time. For those who like to hum a simple melody, it’s something of a nightmare. But for others who enjoy a roller-coaster ride, magical mystery tour and firework display all at the same time, it’s a a musically enriching and mind-boggling experience.

Sometimes you kind of wish Bob was just calm down and play us a simple song we all knew, or could sing along to. But that would be a big an insult to his fertile brain as asking him to perform karaoke.

So we heard not only a selection of stunning National resonators but also a 12-string mandolin and a 22-string Indian custom-made guitar – “now it’s a 21-string” Bob called out to us as one broke on his first tune on it, cheerfully stripping it out and carrying on as if nothing had happened.

For those who can actually remember what Brozman played, there were a handful of numbers from his latest excellent studio album Post-Industrial Blues (Ruf Records), the highlight of which was undoubtedly a protest song about the New Orleans flood disaster.

We also heard a selection of French-flavoured ditties; a deeply soulful Death Comes Creepin’ from a previous CD ; an impromptu jam session duet with his road manager; my Baby Rocks Me With A Steady Roll accompanied by the audience clapping out a God Save the Queen rhythm on their knees (don’t ask); plus one tune which somehow incorporated the Rolling Stones’ Paint It Black and a Led Zeppelin number (I think).

Over two solid hours of compulsive entertainment, jaw-dropping technique and execution that defies description; a dazzling display culminating in a three-song encore and a standing povation – you don’t get much more than this for your money with live music nowadays.

Another incredible success for promoter Bob Ayre’s Shades Of Blues set-up, and further proof that the charismatic, slightly insane, wise-cracking, storytelling showman Bob Brozman doesn’t just entertain an audience – he seizes them by the throat, bullies them into coming on the ride of their life, then thanks them for the privilege of letting him do it all to them.

No wonder it was hard to get to sleep afterwards.

 Review by Alan Candy. Pictures courtesy of Ian Nancollas Images

Whatever Carvin Jones is on, I want some of it. But unlike some fellow rock stars, it's probably sheer energy for life that gets him through, rather than dope.

The dazzling bluesman from Phoenix, pictured right and below, rocked The Horn in spectacular style last Thursday with the most incredible showmanship that the famed St Albans rock pub has seen for many a year.

Jones, like all true showman, delayed his entrance until the crowd had almost reached screaming point. He'd been expected on stage at around 9.30pm but didn't actually appear until around 10.20pm, allowing his band to perform a few warm-up numbers on their own after massively impressive support band The Ben Poole Band had wowed the 100 or so blues fans crammed into the sweaty, dark and atmospheric back bar.

But boy, was he worth waiting for. Jones arrived on stage looking every inch the star – glitzy sequined top, tight Levi's, his trademark hat and bling jewellery to dazzle.

And from the first number, the man who is built more like a prop forward than a pop star made it clear that the crowd was going to get its money's worth and experience a night like no other, whether they liked it or not.

Jones had established even before the gig that he didn't want a blacked-out crowd he couldn't see – his act is all about total involvement and he likes to see who's out there and what's going on, so the lights stayed on.

He makes challenging but friendly eye-contact to as many people as possible as he plays, leaps up on the front speakers as a towering presence and frequently just struts off stage and straight into the crowd, parting them in front of him like Moses and the Red Sea as he reels off lick after lick of the most dazzling fingerwork it's possible to imagine.

Jones smiles constantly, nods to all and sundry, offers high-fives and knuckle-to-knuckle greetings to all concerned, pats shoulders and shows off quite a lot.

In the best traditions started by showmen like Charlie Patton and Jimi Hendrix, Jones demands attention with an outrageous sequence of guitar stunts – playing the black and white Strat with his teeth, behind his neck, on his shoulder and often inducing complete disbelief by knocking out entire stanzas with just one hand, holding out the instrument for all to see as if to prove this is no conjuring act.

When it comes to whipping up a crowd and demanding their participation and devotion, Jones has few equals.

And when he's not parading through the audience, Jones prowls the stage incessantly, occasionally leaping up and down energetically as he plays.

When I pointed out to him at the break that this was one helluva punishing schedule – he was half way through a 31 consecutive days UK tour with no breaks – he rolled up his T-shirt sleeve and pointed to a bulging bicep: “ I can take it,” he said. “I can keep going all night.”

And when asked what he thought of the refurbished Horn he added: “This is beautiful. F***ing beautiful.”

During his two-part set, which finished long after midnight, he treated us to a bunch of tracks from his excellent new album I'm What You Need, as well as some superlative cover versions of classics such as John Lee Hooker's Boom Boom, Chuck Berry's Johnny B Goode and numbers like Purple Haze, Let Me Stand Next To Your Fire and Red House – a fitting finale, as some people are already comparing him to Hendrix.

Over three hours of music, two great bands and a rock atmosphere you could cut with a knife? For £12 you don't get much more out of life.

Bringing some much needed fresh talent to the world of rock-blues at The Horn was The Ben Poole Band.

The outfit formerly called The Fifth Quarter, and well known on the Bedford circuit, picked up a whole new army of supporters as a red-hot warm-up act to Carvin Jones at the recently-refurbished venue.

Poole, who lives in Barton, has everything going for him – he's a stunningly original and talented guitarist, he's slim, good looking, writes his own songs and is only 20.

And his tight three-piece band has a real Bedfordshire flavour to it, with imposing bass player Johnny Chase from Clophill and energetic drummer Marc Golding, of Silsoe.

Poole, pictured right, who is studying music at Brighton, is a phenomenal talent. He isn't afraid to mix up his repertoire and ease off the pedal when necessary. A full-tilt rock number may be followed by a slow, bluesy song to offer a little light and shade and he's not afraid to steer away from the standard pentatonic blues scales to improvise and experiment live with the variety of Gibsons and Fenders he brings on stage.

And his slidework on the last couple of numbers at the Horn was really on the money, with some high-tempo bottleneck work.

With influences such as Robert Johnson, Albert Collins, Jeff Beck and Stevie Ray Vaughan, Poole has a steadying rock of heritage under his feet.

But he's very much his own man and his versions of their work are interesting arrangements and interpretations, rather than straight covers.

According to long-standing Poole fans, he's getting better and better with every performance.

He's already a well know and popular act in St Albans and around Bedford and if there's even more to come, I'd like to be around to see it.

Visit photographer Ian Nancallos's website by clicking here

PS Full marks to The Horn at St Albans for a fantastic refurbishment and hosting a great night, as notable for its easygoing fun as the excellence of its music. I don't often write about toilets but the gents' urinals, in the shape of Mick Jagger's giant red lips, have to be seen to be believed!

Saturday night fever

20 September 2007

EDITORIAL - herts.advertiser@archant.co.uk

I'VE seen better bands play the Shades of Blues gigs at The Maltings Arts Theatre but Memo Gonzalez and The Bluescasters got more people on their feet on Saturday night than any of the others.

The big man himself - all 300lbs of him - did repeatedly urge the audience to come and dance and even arranged for a space to be cleared.

Memo comes from Texas while his backing band appears to be mainly German. They have been playing their rip-roaring mix of blues, swing and rock-and-roll together since 1995.

I don't know how Memo maintains his weight the way he rocks and sweats his way round the stage. But the big man has a gargantuan appetite for fun and wants everyone to share it with him.

Memo's brand of Southern charm seemed to unglue people from their seats to get them up and dancing.

I loved his massive quiff which seemed to take on a life of its own as he bopped his way round the groaning stage.

Drummer Henk Punter gets so transported by the music that his facial contortions are a joy to behold.

Lead guitarist Kai Strauss can clearly hold his own with all the best blues guitarists in the business but he could do with inhabiting the stage in a more convincing way. Still, what he lacks in showmanship he more than makes up for in sheer ability.

He was ably aided and abetted by Henk and Erkan Ozdemir on bass who appeared to be observing the proceedings in a good-humoured fashion rather as though the audience were the performers.

The title of one of the band's CDs, Let's All Get Drunk and get Tattooed, perhaps gives you a flavour of their down-to-earth brand of humour.

But the people on Saturday night were there to have a good time pure and simple and will have gone home happy having danced their socks off.

Mary Brosnan

HUMOUR provided the keynote for the Daniel Smith Blues Band on Saturday at The Maltings Arts Theatre in St Albans.

Had Daniel Smith not been the king of the keyboards, he would still have won a few hearts with his sardonic, dry sense of humour - and his hunky dark good looks didn't go unnoticed either by my female companions.

It made a refreshing change to have a keyboard player at the centre of the action instead of the inevitable guitarist. Not that democratic Dan hogged the limelight. I've never seen such a generous frontman making sure his players got their fair share of the limelight.

Even drummer Pete Miles scored a 10-minute drum solo. It's a long time since I've seen that but then it's rare to find a drummer of this calibre who can capture people's attention with a flick of a stick.

After leaving the stage to the drums, Daniel came back on holding a fire extinguisher which caused a chuckle but, just as we wondered if this was a hint to wind it up, he held it up horizontally for Pete to play.

This band look at each other, "talk" to each other in a non-verbal way and appreciate each other in the way that true professionals acknowledge each others' skills.

What struck me was that we had no flim-flam. No-one was glammed up or striking poses. The window-dressing was superfluous because these guys can play.

Lead guitarist Jon 'T-Bone' Taylor, hunched over his instrument in such a contorted, loving way you could almost see him suffering for his art, made me think of a chef slaving over a hot stove but he certainly cooked up a storm.

Bass player George Pearson - in true deadpan bass-player style - kept in the background but blossomed when he sang a couple of numbers. I almost think he is a better blues singer than Daniel.

But when you play boogie-woogie like Dan the man you don't need a strong vocal ability. I felt he was at his happiest on the instrumental numbers. Don't get me wrong. The man can sing but it's carried by his powerful playing.

Just running one hand lightly across a few keys he could create a whole range of sound so fluent, so rich that you could only marvel at his control.

As the evening drew to a close he treated us to a rendering of bottleneck piano playing - something I had never seen before.

Another first on the night included a well-deserved standing ovation at the end. Move over Jools Holland - a new king of the keyboards reigns.

Once again Bob Ayre, who puts on these storming blues sessions under his Shades of Blues umbrella, has brought something spellbindingly wonderful to St Albans. We owe him a debt of thanks.

MARY BROSNAN