Calgary International Bluesfest 2010: what’s in store

By Lindsay Wilson

As printed in beatroute

Get ready for four days of the best in blues, as the Calgary blues community gears up for the Calgary International Bluesfest 2010, hosted at Shaw Millenium Park August 5-8.

Bluesfest producers Maurice Ginzer and Cindy McLeod feel very confident that the artist line-up for 2010 will go above and beyond the anticipations of blues fans, as this year boasts some of the biggest names as headliners. But Ginzer encourages this year’s attendees to pay close attention to some of the opening acts and local talent that will be performing this summer.

“I always stress this every year: people buy tickets for the ‘names’ and they come and buy the merchandise of all the musicians they’ve never heard of. That’s what festivals are all about: giving exposure to great musicians who wouldn’t otherwise get that opportunity,” says Ginzer, who has been a long-time promoter of Calgary blues and is currently revving up for a series of blues showcase nights, beginning July 19at Quincy’s on Seventh.

Some of the headliners at this year’s Bluesfest include:

Little Feat: From their 1969 beginnings as a powerful, syncopated rockabilly-blues-folk-rock fusion, led by the late Lowell George, to their modern day seven-piece musical collective, this band remains one of the greatest constructors of a sound that can only be described as their own. Little Feat will take the main stage on Friday, August 6.

David Clayton Thomas: This street-kid-turned-best-selling singer-songwriter has maintained the momentum that catapulted him to international success with his 1968 release of Blood, Sweat & Tears. This recipient of five Grammies rocks the main stage (with an eleven-piece band) on Thursday, August 5.

Coco Montoya: Thirty years of performance has brought this sensational blues-rock guitarist international acclaim. Montoya brings his “soul-sational” self to the main stage on Saturday, August 7.

Chicago Blues Reunion: “Iconic” is an appropriate term to describe this all-star blending of some of the greatest from the Chicago Blues era. Come witness the historical transition of acoustic blues-meets electrification on Sunday, August 8.

Other names (including local players) who can be seen this year include: The Holmes Brothers, Monkey Junk, Lester Quitzau, Gary Comeau and the Voodoo Allstars, Mississippi Heat, Mason Rack Band, Sean Carney Band, John Lee Sanders, Mike Reilly Band, Randy O Band with Annika Odegard, Marshall Lawrence Band, Morgan Davis with Tim Williams and the Electrofires, Arsen Shomakhov, David Vest Band with Bill Johnson, Kelly Kavanagh Band, Bob Deutscher and John Rutherford.

For a complete listing of performers, to check out the schedule or to purchase tickets, visit www.calgarybluesfest.com. Tickets can also be purchased at Megatunes or at Sloth Records.

Posted by Lindsay Wilson on Jul 06, 2010

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Ralf Bushmeyer: jazz cat on the prowl

By Lindsay Wilson

As printed in beatroute

Jazz fusion: “a musical fusion genre that developed in the late 1960s from a mixture of elements of jazz such as its focus on improvisation with the rhythms and grooves of funk and R&B and the beats of heavily amplified electric instruments and electronic effects of rick” (Wikipedia).

For classically trained guitarist Ralf Bushmeyer, who has journeyed through the genres of rock, blues, R&B and jazz, there was no need to record his latest release, Renewal (2009) under the guidelines of a specific genre. Why not fuse his favourite elements of jazz, rock, blues and funk, throw in some female vocals and put out a CD that stands apart from his previous recordings?

“I opened up to the idea of letting some influences like my rock and blues playing take over the songs where it was appropriate. I like to rock and I love playing blues; it’s where I started…I do love jazz and I continue to work at it as much as possible, but I also like getting called to play other forms of music. It keeps things interesting to me to continue to play various music forms with respect and legitimacy. I would never want to ‘fake’ any style of music,” explains Bushmeyer, who has built an impressive career as a freelance guitarist, composer, musical director and faculty member of Mount Royal’s Jazz Diploma Program.

Renewal comes off as a successful weave of sexy jazz harmonics, groovy blues lines and a splash of funk; the overall effect is a pleasing one for fusion fans, and anyone who has an appreciation for good blues and jazz.

Bushmeyer’s latest recording has earned him praise from numerous blues reviews, as well as several nominations at the 2010 Hamilton Music Awards.

Bushmeyer will be joining MRU faculty members Greg Rumpel and John Thiele, as well as guitar greats Tim Williams and Amos Garrett, to put on a highly anticipated blues and jazz workshop, which runs August 23-27. Spaces are filling up quickly, and it is recommended to book a spot now by phoning 403-440-6821.

Posted by Lindsay Wilson on Jul 06, 2010

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John Gray: towing the line

By Lindsay Wilson

As printed in beatroute

Explaining to Calgary-rooted bass player John Gray that he’s considered one of the finest blues and jazz bassists within the city limits would likely make him shake his head and laugh, but that seems to be the case, judging by what members of the Calgary music community say and by the extensive list of greats Gray has accompanied on stage.

But the fact remains that notables such as Dexter Gordon, Chet Baker, Lenny Breau, Ray Charles, Stevie Ray Vaughan, Little Milton, Wild Chet Butler, Louisiana Red and even K.D. Lang don’t blindly pick names out of a hat when it comes to finding the right groove master to hold down the beat and keep the music on track.

For any child who has a calling for music, choosing a suitable instrument is often a challenging process. After taking a run at the piano, Gray found himself drawn to the strings, winding up in a love triangle with guitar and bass. “I was kind of torn between the two instruments for a while, and I still have a love of guitar to this day,” explains Gray in his typical calming and reflective nature.

Bass stuck with Gray by the time he was in his junior year of high school, where he was playing in two symphony orchestras; this classical training resulted in him working with the Edmonton Symphony Orchestra, as well as the University of Alberta’s Big Band and Symphony Orchestra. This led Gray into writing charts for vocalists, as well as teaching both bass and guitar – which he continues to work at to this day.

Gray’s transition into blues and jazz came about in 1970, which was the year he was picked up by renowned blues and jazz vocalist, the late Clarence “Big” Miller. Miller – who began in Iowa but eventually made Edmonton his home – was a childhood friend of monster jazz musicians such as Count Basie and Duke Ellington and spent a lifetime building a reputation as the real deal. Gray spent much of the following twenty-two years playing with Miller.

“Big was a serious influence on me. He was really hard on me in a lot of ways, and so I learned a lot from playing with him,” says Gray, who fondly remembers his friend with a deep respect that can only be fully understood by anyone who has spent a comparable amount of time on stage with another musician.

Over the years, Gray has toured many parts of the world both on and offshore, as much time has been spent playing on cruise ships. Through the years, the bands (including his own jazz trio), the tours, recordings and too many live shows to count, Gray has built himself a reputation as one of the most sought-after hired guns in the Calgary area, specializing in electric bass and stand-up.

Gray applauds the city’s efforts to build and further the community of musicians that have come to call Calgary home.

“The economy’s strong in Calgary and I can see it getting better and better for musicians as the economy builds and the population increases,” notes Gray.

Future plans for the jazz-blues man include recording a CD in the next six months, featuring his own blues-based compositions. Until then, it shouldn’t be hard to spot Gray towing the line around town.

Posted by Lindsay Wilson on Jul 06, 2010

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John Rutherford: Beatroute’s A Player of the Month

By Lindsay Wilson

as printed in beatroute

Twenty-five years of hard work as a radio host, blues writer, “King Eddy brat,” founding member of the eventual house band at the King Eddy (the Hoodoo Sons), founder and director of the blues series for 17 years at the EPCOR Centre, concert promoter and playing sideman and frontman in numerous bands have finally come full circle for the innovative Calgary bluesman, John Rutherford, with the release of his debut solo album, Echo Broadcast.

“This is my first time standing out alone. It’s sticking my neck out a lot more – so it’s become a bigger project than I originally thought,” explains Rutherford.

Rutherford approached the production of “Echo Broadcast” from a thoughtful and open-minded standpoint – meaning that he wanted the album to sound different from his previous projects, such as his days with the Hoodoo Sons, the recording and touring with the No Guff acoustic duo project with guitarist Dan Tapanila, the collective force of the highly regarded Highwater Jug Band (which boasted blues heavies Tim Williams, Suitcase James, Mark Sadlier-Brown and Cedric Blary) and his extensive recording and touring history with upright bassist and singer/songwriter Ronnie Hayward.

This time, standing out alone, Rutherford wanted to produce a great singer/songwriter, roots-based compilation of original music, while paying homage to the romanticism of the King Eddy and his blues soul.

Echo Broadcast, which was produced by fellow Calgary musician and record producer Lorrie Matheson, features a tight rhythm section with Chris Dadge on drums and Scott Munro on bass, as well as the appearance of Matheson on piano and organ and Cedric Blary on clarinet.

Since its early 2010 release, Echo Broadcast has quickly climbed music charts on CKUA and is receiving international recognition to boot.

Although Rutherford has been, without question, a devotee to the blues community in Calgary, as well as to the genre himself as a player, he decided against pigeon-holing himself with Echo Broadcast by offering up a wide range of tones, guitar styles, percussive effects, instrumentation and song arrangements.

The overall sound of Rutherford’s CD lends itself more to Americana, or roots music, with singer/songwriter and blues elements.

“I think it’s a record about the blues – it goes beyond 12-bar, 3-chord structure,” says Rutherford, who was particular about using several guitars on this record for a variable tonal range.

The album sports bold electrified sounds to intricate finger-picking to gritty Delta blues. Most notable, however, is Rutherford’s highly advanced level of storytelling-style songwriting, an aspect of his musicianship to which the guitarist has devoted much of the last decade.

“I tried to break down any kind of pattern or consistent guitar sound. I’m a blues guy, but in the last ten years I’ve become much more appreciative of singer/songwriters,” says Rutherford.

Due to Rutherford’s strong connection with the legendary days of the King Eddy, his experiences of sharing the stage with the touring Chicago greats – artists like Paul Butterfield, Junior Wells, Clarence “Gatemouth” Brown and Eddie Shaw – and his experiences interviewing the best of the best on his various blues radio shows (from CJSW to CBC to KickFM to CKUA), there is an underlying level of homage paid in the ten out of eleven songs Rutherford wrote for Echo Broadcast.

Despite being a native of Toronto, Rutherford has proudly made Calgary his home for the last 25 years. There are references in Rutherford’s songs to the King Eddy and other identifiable Calgary landmarks, as well as the general spirit of the blues.

As for the now six-year parting of the King Eddy and the fight to bring it back to life under the wing of the Cantos Music Foundation? Well, Rutherford chooses to accept the passing of an era and the lessons learned through the blues giants that walked through those doors and will support any efforts to resurrect the historical landmark.

“What comes to mind are the great legends who walked those halls, some of whom became lifelong friends – that and the characters who lived there were stories unto themselves… It can’t ever be the same, but that’s okay. It has to be acknowledged that it’s okay for it to be that way. It’s a generation that’s a bygone era,” states Rutherford, who always presents his ideas and notions with clarity and ease, true to the nature of any experienced radio host who has interviewed the Buddy Guys and beyond of the blues world.

Maybe Rutherford’s rising success as a solo artist can be attributed to his deep roots in the blues scene, or his experiences of sharing the stage with the best in the business, perhaps his dual perspective as a music media master and as a musician, or maybe simply his natural talent and true-blue dedication to the music. Whatever the reason may be, the doors have opened up and are allowing Rutherford to focus on his music full time.

And there’s no better feeling for a bluesman than to get up night after night and bare his soul to his audience.

Posted by Lindsay Wilson on Jun 16, 2010

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Leah Marie King: breaking off into her own groove

By Lindsay Wilson

as printed in beatroute

It was no small step for edgy blues-rock guitarist and singer/songwriter Leah Marie King to part ways from the touring cover band circuit to venture down the sometimes uncertain and altogether overwhelming path of an original artist carving out a name for herself amidst the masses of contemporary singer/songwriters.

But she’s really getting out there and giving it everything she’s got, and has made leaps and bounds on her solo journey since the release of her debut album, Raven Child (2008) and the immediate following of her second album, Back to the Bridge (2009).

While King remains a hired gun when she’s not busy with her own band, she has made the conscious decision to put her own music first, and is feeling the personal satisfaction of laying down her original hard-hitting rockin’ blues sound for audiences across North America.

“She’s got an incredible rhythmic sense – one of the best rhythm players I’ve heard. I also really like her lead playing, which is very blues-influenced,” says John Gray, who has played with some of the best in the business, including Stevie Ray Vaughn and Ray Charles, and is enjoying being the bass player in King’s band these days.

To hear King’s guitar playing, it’s evident that many hours were spent on the edge of the bed practicing the licks of Stevie Ray Vaughn and Buddy Guy; her vocals and songwriting are reminiscent of the likes of Neil Young and Ian Tyson, and it’s no surprise that King has a soft spot for bands like Fleetwood Mac and the Guess Who.

One of the most common remarks about King’s musicianship is her solid songwriting. Her compositions are heavy in weight and her playing is fierce: a key combination for onstage performance.

Some may attribute King’s rising success in the blues circuit to her hard work and natural abilities, but King knew back in 2002 – when she officially launched her music career through joining the guitar duo Blue Shift – that she had to throw herself into the music full-fledged if she wanted to make it her mainstay career.

“At 22, I stated playing electric guitar. I just thought without question this is what I was meant to do,” reflects King, who remembers eyeing up a Stratocaster leaning against the wall in the laboratory she was working in while finishing her degree in psychology and philosophy at the University of Lethbridge.

It was shortly after this revelation that King took up with Blue Shift, with whom she toured across the country, returning to Lethbridge in 2003 to join the highly regarded blues-rock band, Texas Flood, with whom she toured across Western Canada for six years.

Breaking her chops on guitar and vocals fast-tracked King through the festival and club circuits and her abilities onstage won audiences over – enough to convince King that a solo break would be a smart move for her.

Since the release of her two albums, King has spent a great deal of time touring the U.S., learning up close and personal from her heroes such as Buddy Guy and Jimmie Vaughan from time spent in music centres like Chicago, Nashville and Austin. For Leah, life on the road was a natural fit – and an opportunity not to be passed up.

“As far as I’m concerned, I could live on a tour bus,” laughs King.

Despite her love for the States, King felt uncertain about remaining south of the border after the recession hit and decided to move back to Alberta – back to her roots – to base herself as a musician in the heart of the Rockies.

And back to her roots she went. With a heavy background in the horse business as a trainer of cutting horses, King combines her Western groove with her extensive experiences of life on the road as a touring musician to produce music that contains strong lyrics and bold arrangements.

“It’s folk-rock with a blues guitar flavour,” explains King of her music, who admits her full obsession with the guitar, as well as the intimidation of breaking onto the scene with original music after building her reputation with such a well-known band like Texas Flood over the last several years.

Even though the music industry is clearly in a time of transition, King is hopeful that live music will always be a part of North American (and global) cultures and has full intentions of trucking onwards as a full-time artist.

“Music is such a pure art form, and I don’t think that’s going to change,” nutshells King. “There’s not a time in my life when I feel better than being in the moment up on stage. I want my music to be about the music and that’s it.”

Posted by Lindsay Wilson on Jun 16, 2010

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