The esteemed, Mr. Musselwhite opened the show to thunderous applause, sat down and picked up his guitar… that’s right, not his legendary harmonica, but his guitar. He proceeded to explain although he was raised at the foot of Furry Lewis and Will Shade his six-string expectations were severely dampened upon his arrival in Chicago. After witnessing the skills of Earl Hooker, Robert Nighthawk and dozens of others, Charlie says he gladly returned to his love of the harmonica. The audience erupted in laughter.

Musselwhite’s solo set on guitar was amazingly stark, raw and beautiful. Charlie is one of the few remaining musicians that actually played and studied with the aforementioned guitarists along with Muddy and the Wolf and John Lee Hooker… his 500 new friends on this night seemed to be in full agreement. He would be called back later in the evening to play harp with the Blind Boys and again the house became electrified.

The Blind Boys of Alabama are truly legendary and have taken Gospel harmonies to unimaginable heights in the 84 years since their formation. Backed by a rock solid rhythm section, the current lineup includes Ricky McKinnie, Jimmy Carter, the Rev. Julius Love, Sterling Glass, Joey Williams, Paul Beasley, Peter Levin and Stephen Raynard Ladson.

The longest surviving member of the Blind Boys; Jimmy Carter now in his 90s, let me know “the
Blind Boys started at the Talledega Institute for the Deaf and Blind in Alabama. We all
went to school together and we had a glee club there. We picked out the five best voices and
formed the group.”

Do you remember your first performance? “Yes, we started off in schools and churches and little auditoriums and branched out.”

By branching out Mr. Carter means to say multiple Lifetime Achievement Awards, Five Grammies, induction into the Gospel Music Hall of Fame, appearances at the White House under three different administrations and a catalogue of music dating back more than seven decades.

Back when you started singing together, blues music and gospel music were different ends of the spectrum. But now the music gets everybody on their feet! “That’s because the blues crowd hadn’t really heard it. Gospel back in that time was really limited, the market for gospel wasn’t as good as it is now. People didn’t have a chance to hear it.”

After witnessing first hand, many of your shows over the years, I think we’re hearing you now! You play all types of venues, don’t you? “We do festivals, oh yeah, we do nightclubs, concerts.” (laughing) “It’s fantastic, and we were glad to do that. That’s what motivates us…the people!”

Do you remember when you first worked with Charlie Musselwhite? “Oh yeah, we cut a record with him. ‘Standing by the Bedside of a Neighbor’ we cut that with him. He requested that of us and we were glad to do it.”

Looking back, you’ve performed with so many different artists…”Well, the Soul Stirrers that was another popular quartet but now, people like Etta James and B.B. King.”

In the past few decades, that list of collaborators continues to diversify and grow; Jamey Johnson, Bela Fleck, Willie Nelson, Marc Cohn, David Lindley, Peter Gabriel, Ben Harper, Taj Mahal…it just doesn’t stop. . “That’s right, because when gospel first came out, like I said before, it was limited to mostly the black circuit. But now, the white people have discovered it and they love it. They love it and it’s a shame it took so long for them to hear it.”

I think you’re finally getting the recognition that you deserve. “Well, I think so. I’m proud of it. I don’t know whether we deserve it or not” (laughing) “but I’m glad we’re getting it anyway.” (laughing).

The show on this night was awe-inspiring, from ‘People Get Ready’ and their memorable
version of ‘Amazing Grace’ to the grand finale where Mr. Carter was shepherded off the stage
still singing, down into an overjoyed and enthusiastic crowd. Everyone in the concert hall was on
their feet, those nearest the elder statesman reaching out to brush his arm or pat his shoulder. It
was truly a collective embrace from everyone in attendance and an evening not soon forgotten.

The Blind Boys of Alabama are on tour right now so don’t miss the opportunity to get your spirits lifted. Check out their website Shows — Blind Boys of Alabama for performances in your area. And Charlie Musselwhite has a new solo project out as well. It’s called ‘Mississippi Son’ and it too, is other-worldly. Say Hallelujah!

The post Inspiring the World – The Blind Boys of Alabama With special guest – Charlie Musselwhite appeared first on Traveling Archive.

Luther Tucker loved the blues. Born in Memphis in 1936 his path in life seemed pre-destined when he moved to Chicago in the early 1940s. His mother played piano and she would eventually introduce young Luther to some of Chicago’s most legendary bluesmen. Luther remembers, “It was very exciting. My mother took me over to the club of Mr. Big Bill Broonzy, he had a club over on the Southside, and my first introduction to the blues was Mr. Muddy Waters.” That meet and greet would leave an indelible mark on Luther’s direction. When we sat down in the late 1980’s, Tucker was touring with the James Cotton band behind Cotton’s ‘Take Me Back’ album.

You’ve been around the music a very long time, what are the blues to Luther Tucker? “The Blues will never die, everybody’s got the blues. I had some pretty good times and some pretty rough times and it’s all in life, every day brings a change.” And when pressed, the most memorable of those two, were of course, “the good times; I had the pleasure of recording with some very famous musicians; Mr. Little Walter, Mr. Muddy Waters, Mr. Sonny Boy Williamson and Mr. James Cotton also. It was a pleasure having the opportunity to express my feeling toward the blues. I loved every minute.”

You were part of Little Walter’s band in the 50s. “He was quite some character, a very lively fellow, outspoken sometimes. A very beautiful musician, he had a beautiful talent for the harmonica. He was one of the best at the time.”

You’re currently playing with James Cotton on the ‘Take Me Back’ tour. And you’ve backed on guitar some of the greatest bluesmen that ever lived. Muddy loved you, Little Walter, Sonny Boy Williamson and more recently Kim Wilson and Charlie Musselwhite? “Yes, I’ve played with Charlie. About ten years ago I was in his band, for maybe about a year and a half. He’s a very fine musician.”

Let’s talk a little about your road. “In my younger days, I enjoyed running up and down the road, you know? It was exciting to see different cities and the different atmosphere. It was great, but now that I’m getting older, I want to settle down and kick back!” (laughing) “I’ve been living in California for the last 22 years since I left the James Cotton blues band. I think Marin County is my spot. I’m trying to get away from that snow!” (laughing) “I lived in Chicago for 29 years.”

Bet you have some great Chicago club stories? “It was very exciting. When I was getting started my mother took me over to the club of Mr. Big Bill Broonzy, he had a club over on the Southside, 37th and Cottage Grove and my first introduction to the blues was Mr. Muddy Waters. He was playing at this club, Mr. Sunnyland Slim was playing piano, Mr. Robert Lockwood, Jr. was playing guitar and they had some little fella’ named Shorty, he used to be with the band, this was years ago, like 1951 or something like that. And my mom introduced me to these gentlemen playing in this nightclub, Mr. Muddy Waters, Mr. Sunnyland Slim and Mr. Robert Jr. and I loved the way they sound, you know? And I said, ‘Hey, I’d like to be a musician, I like that sound and I’d like to be a part of it.’ That helped me make my decision and my feeling toward the music and it really kept me outta’ trouble, too. I used to run up and down the street, you know? Young and nothing to do, but that gave me something to do, and I started practicing.”

Did you ever play out on the street? “I went to Belgium about five or six years ago and I did it for fun. In the piazza’s to see how exciting it was… and it was beautiful.”

You’re originally from Memphis? “That’s where I started from. I left Memphis when I was about eight years old.” Memphis is known as the ‘home of the blues.’ “I’ve always had thoughts to go back there and check it out just one more time, maybe someday I will.”

You worked with John Lee Hooker a few times? “Aw, he’s another beautiful musician. I worked on two or three of his albums, something like that. It was a pleasure playing with the gentleman. He was a very fine gentleman and very fine musician.”

Your road has taken so many directions; do you feel good about how things have turned out? “Well, I’m still learning. Right now, I’m learning how to learn.” (laughing) “And it feels great. I’m learning how to be a musician and it’s so beautiful to be playing music. I’m learning more each day, practice makes perfect.”

This tour with Cotton you are playing both clubs and theaters? “About half and half and each time it’s different. It’s a good feeling and it seems like every crowd enjoys it more, until the next crowd, and then the crowd after that, it’s just beautiful. We opened for John Lee Hooker last night.”

After this tour, you head back home? “Yeah, each one of us has our own band, mine is the Luther Tucker band and we’re in Marin County.”

The fact that you meet Muddy so early in your career, what do remember the most from that Chess era? “He was a very beautiful musician; he really made an impression on my music playing. It was always a pleasure playing and recording with him.”

How about Willie Dixon? “He was in the studio almost every time I was in there. Every time you look around, Mr. Willie Dixon was there. He was a great producer and wrote a lot of good blues. He wrote for Muddy, he wrote for Howlin’ Wolf, Sonny Boy Williamson and so many people.”

You also worked with Otis Rush. “Yes, I played with him about three years. He’s a very fine musician. I love his voice.” And you knew Sonny Boy Williamson II? “Yes, I had the pleasure of recording with him. Quite some harmonica player and had a feeling for it, too. Blues with a feeling? Nobody could do it like Little Walter!” He smiles. “Nobody could do it like Mr. Little Walter.”

How about Big Walter, Shakey Walter Horton? “He was one of the greatest, just like Little Walter. Unfortunately, some people have bigger appetites than the others.”

One more, Otis Spann. “Oh, he was quite some piano player. I worked with him with Mr. Muddy Waters, Mr. Sonny Boy Williamson and Mr. Little Walter. He recorded with quite a few musicians. He and my mom used to sit down at the piano and play together and that was some playing… I’ll never forget that. It really got me interested in playing. My mother she played piano, one of those unknown musicians, you know? That’s the way it goes sometimes.

We lost Luther Tucker from cardiac arrest in June of 1993, he was just 57 years old.

The post Luther Tucker – Everybody’s Got the Blues appeared first on Traveling Archive.

It’s been almost 30 years now since I ran into Carey Bell. He was touring through Europe and was gracious enough to sit down and talk for awhile about his friends, his life in music and the road he travelled. Immediately after our conversation, in his typical workingman’s approach, he stepped on stage and proceeded to blow everyone in that Italian theater against the back wall. He was a remarkable talent and genuinely funny human being.

Born in the winter of 1936 and raised on a farm in Macon, Mississippi, Carey Bell Harrington grew up working hard. He laughs, “Damn sure did!” I heard you taught yourself harmonica? “Yeah! I got one for Christmas and started blowin’ on it.” Your mother sang in church, do you think that was your first musical influence? “Yeah, I guess so. That’s what they all say.” He laughs. “I haven’t the slightest idea, you know? 

What was life like for you in a small community like that? “There wasn’t too much to it, I just didn’t want to work on the farm, so I ran away. I learned how to play the harmonica and when I thought I was good enough, I went to Chicago.”

Talk a little about working in Bobby Shore’s Tavern in Meridian? “Oh yeah, that was great! It was a restaurant and a tavern and I was selling bootleg, moonshine whiskey.” (laughing) “But I drank too much! (laughing) Were you playing blues there? “No, Western and Country music and that was great, too! Yeah, that was the first thing I learned but after blues came along, I got into that.”

You grew up around Lovie Lee. “Yeah, he’s still hangin’. But working with him I felt it was too slow because I wanted to get up real fast, you know? Who were some of the people you listened to on the harmonica? “You mean the people I liked?” I nod. “Oh I listened to Sonny Boy, Big Walter, Little Walter, Sonny Terry, Jerry McCain, Junior Wells, James Cotton. They were playing way before I was…Cotton is old as Moses!” (laughing) “Junior, too!”

Like most bluesmen of the era, Bell would busk on street corners; sometimes alone, sometimes with others. “Yeah, I played with a band, Robert Nighthawk, Honeyboy Edwards… shoot, a lot of peoples.”

You played in a place once called the Cadillac Baby Bar with Little Walter, what was that like? “That was okay.” What did you do? “Nuthin’!” (laughing) C’mon, running with Little Walter had to be a high point in your career? “No, it wasn’t.” (laughing) “You see when I went to Chicago I was too young to get into the clubs, I had to go in the back door. I had to sneak around and people would sneak me in.”

I had always heard that Little Walter Jacobs was a scrappy little guy and would fight anyone at the drop of a hat, but Carey set me straight. “Naw, everybody tells that same lie.” Then he says. “Well, I guess he would if somebody would jump on him, but everybody have to defend themselves, you know? There was no doubt that he was an unbelievable harp player. “Yeah he was, he’s gone but he’s still has stuff out, it’s still great stuff.”

I was looking at some of the people you’ve played with and it’s unreal. You’ve played with Big Walter, Earl Hooker, John Lee Hooker and Muddy Waters… and the list of venues, what was the rowdiest club or bar you’ve ever played? “The only place I remember was a house party in Mississippi. They got to fightin’ and I went up under the house.” (laughing) “Yeah, under the house, the guitar player got in his car and left. Yeah, people got beat. That was about the rowdiest.”

Charlie Musselwhite and Otis Rush both told me about a place called the ‘I Spy Lounge’ in Chicago? “I didn’t hang out in the ‘I Spy’ that much. I always heard about all the fights and stuff going on in there, that’s one of the reasons I didn’t go in there!” (laughing) You and Charlie Musselwhite are pretty good friends. “Yeah, we used to hang out together, every day almost, every Sunday playing on the street. He’s crazy, though.” He’s settled down now a little bit, haven’t you? “No!” (laughing) “I just ain’t as fast as I used to be!” (laughing)

You toured a great deal with Willie Dixon’s All Stars. “Yeah, he’s a good friend of mine. I was his main man. We used to cook in the hotel, and we’d get busted for it.” (laughing) “Hot dogs, pork chops, potatoes.” You mean like a hot plate in the room? “I had one of those big, old Hoover electric frying pans and we had a good time. They told us to quit but then the hotel manager would sit down and have a bite with us. Willie was good at starting a conversation. After we finished the guy would leave and tell us, ‘Well, you guys don’t do it every day or just put something at the bottom of the door so the smell doesn’t go all over.’ You know those white potatoes and onions you could smell them a country mile…” (laughing) “And the band wouldn’t help round up food with us; we’d sneak off to the grocery store and they’d be sleeping and when they’d wake up they’d smell the food and Willie would lock the door and wouldn’t let them in.” (laughing) “Oh, we had great fun!”

You’ve been on the road a long time, you ever tire of it? “Un-uh!?” Carey shakes his head. “It’s my life…I love it! You know why?” He smiles. “I don’t want to work!” (laughing) Isn’t it tough sometimes? “It ain’t like work!! Man, work would KILL me! If I had to go back to work punching a clock and here come somebody telling me, ‘How come you’re late? I’m docking your money. Well, you’re fired!’”

What kind of work did you do, outside of music? “Oh man, shoot. I worked in junk yards, nursing homes; washing cars…you know that work? I put on a rubber suit at 7 o’clock and wouldn’t get through till 5 in the evening, keeping that yellow suit on. It was yellow. They had those little pads you stick your hands in. Man, I used to say if I ever get out of this here… man that was something else.”

Describe Carey Bell’s blues? “I just DID!” (laughing) “I just did!” (laughing) “The first wife I had, we moved from Mississippi to Chicago with Lovie Lee and a whole band. I didn’t know the city and I had to go look for a job and at that time that had old junk carts that they pulled through the alley picking up scrap and stuff. Her mother’s old man built me a wagon to pull. Now, I had been plowin’ with a mule in Mississippi and man, when I get to Chicago they go and make a mule outta’ me! Owww!” (laughing) “Un-Uh! They put me out! Yeah, that’s when I met Honeyboy (Edwards). Honeyboy took me in. If it hadn’t been for Honeyboy I’d probably woulda’ been dead or something, or in jail!”

You’ve played with everybody, do you have a favorite session or recording that you truly enjoyed? “My favorite was with Muddy, the London sessions. Oh, we had great fun. With Sammy Lawhorn and I can’t remember the other guys. Only three of us left Chicago and went to London and they had musicians there in London. They were big guys but I can’t recall their names.” That album was loaded with talent including Rory Gallagher, Rick Grech, Stevie Winwood, Mitch Mitchell and many more… I totally understand why it was your favorite. Other than the talent, what made it so special for you? “Muddy was funny. They didn’t want to give me no whiskey. Muddy said, ‘you don’t give that boy no whiskey, he ain’t gonna’ play!” (laughing) “You better go out and get him some. It was real funny. And we’d lay up in the hotel all day and do the session at night. It took us a week. In the hotel, we’d order anything we wanted, Champagne… anything we wanted and we didn’t have to pay for it.”

The results speak for themselves.

We lost Carey Bell in Chicago on May 6, 2007 from heart failure. He left us with an incredible library of music. (Check him out — Carey Bell; I know you’ll like it.)

The post Carey Bell Blues appeared first on Traveling Archive.

1. Virtual New Zealand

EXPERIENCE A VIRTUAL NEW ZEALAND TOUR

READ JOHN CLAYTON’S NEW ZEALAND – A STILL UNDISCOVERED TREASURE

2. Virtual Lukomir of the Dinaric Alps

SEE A VIRTUAL LUKOMIR OVEREVIEW

READ JIM BOITANO’S LUKOMIR: THE LONELY HIDDEN VILLAGE OF THE DINARIC ALPS

3. Virtual Charlie Musselwhite

EXPERIENCE A VIRTUAL CHARLIE MUSSELWHITE PERFORMANCE

READ T.E. MATTOX’S CHARLIE MUSSELWHITE: LIFE ON THE ROAD

4. Virtual Segovia

IMMERSE YOURSELF IN A VIRTUAL SEGOVIA TOUR

READ RICHARD FRISBIE’S SEGOVIA AND SALAMANCA – A TOO SHORT VISIT

5. Virtual Liberia

READ ED LANDRY’S ARTICLE ON LIBERIA’S CIVIL WAR

6. Virtual Barcelona’s Gothic Old Quarter

TAKE A VIRTUAL WALK IN BARCELONA’S GOTHIC OLD QUARTER

READ RICHARD CARROLL’S A GOTHIC HAPPENING IN BARCELONA’S OLD QUARTER

7. Virtual Mallorca, Spain

BASK IN A VIRTUAL MALLORCA TOUR

READ SUSAN BRESLOW’S MALLORCA BEYOND THE BEACH

8. Virtual Costa Rica

EXPERIENCE VIRTUAL COSTA RICA AT NIGHT

READ ED BOITANO’S PURA VIDA IN COSTA RICA

9. Virtual Palouse, Washington State

EXPERIENCE A VIRTUAL PALOUSE TOUR

READ DEB ROSKAMP’S FOUR DAYS IN EASTERN WASHINGTON STATE

The post More BEST Virtual Vacations from T-Boy appeared first on Traveling Archive.