Dm to purchase 🔥🛩 #mogotthebeats #worldstarhiphop #beats #trap #hoodrich #gang #memphismusic… instagram.com/p/BeQyQrRBonk/
Radio interview tonight on Rock 102.7 in Memphis. Tune in at 8! #memphismade #Memphismusic twitter.com/catrina_gutter…
Jesse Winchester (of Winchester Road fame) returned to Memphis with his family during the 1960s... bit.ly/2BrkJYj #memphismusic
""My Treasure," is indeed a treasure. A romantic ballad about the value of an enduring love over earthly possessions.." goo.gl/zjAQbP @sunstudio #MemphisMusic #JohnnyCash #ManInBlack #SunStudio #SamPhillips #FlashBackFriday
The Memphis Flyer: Memphis is a long way from home for you. Are you excited about traveling so far to compete in the IBC?
Daniel Eriksen: Yes, I love Memphis and have been here many times before. I even recorded at Sun Studio when Matt Ross-Spang worked there. I look forward to coming back. It’s a beautiful city with great food, fine people, atmosphere, and culture.
Tell us a little more about that Sun Studios record.
We had a day off while in Memphis in 2011, and found out that Sun Studio was not booked, so we booked the night. Since we only had about four or five hours, we planned on doing one or two songs that we could include on an upcoming album.
But when we listened back, the overall sound was so special that we knew it couldn’t be copied anywhere else, so we just went ahead and recorded all 10 songs live in studio. The magic in the walls kicked in. It turned out it was Bike Night on Beale Street, so on a few ballads you can hear Harleys roaring, so we had to cut it down to an EP!
How was working with Ross-Spang?
Matt was very nice, a great engineer and a good guy, he even drove us home after.
I remember the first time I played on Beale Street, and I have to admit it felt pretty cool.
Does playing in Memphis hold any special significance for you?
I have played a lot in Louisiana, Arkansas, and Mississippi, but never in Memphis. It’s time, and I’m ready.
So it sounds like you don’t mind a lot of traveling to perform. Do you have any good stories from the road?
I travel a lot and have performed in countries like Russia, the U.S.A., and all over Europe. You get used to traveling, and it’s a big part of the job. I once spent an hour talking to Peter Green in a small hotel in a fjord in Norway, not knowing it was he — I didn’t recognize him and I suspect that is why he talked to me for so long. I didn’t ask the usual questions, I guess … Another cool memory was when Steve "Little Steven" van Zandt tweeted about my concert and used the words “Fucking amazing!”
Blues is steeped in tradition. What sources do you find compelling when you play? What musicians have influenced you?
Being a slide guitarist, I usually listen to other “sliders.” I have, of course, listened to a lot of the old players such as Mississippi Fred McDowell, and Blind Willie Johnson. Among modern players, there are two artists that have had the biggest influence on my style, and I have been blessed with the opportunity to meet and work with both — either as an opening act or sitting in with them: John Mooney from Rochester/New Orleans and Roy Rogers from California.
Can you tell me a little bit more about yourself?
I grew up within the Arctic Circle way up north in Norway. That’s why I call my music “Arctic Slide.” I have performed as a professional artist for over 20 years now and have released five albums — one of which won the “Norwegian Grammy,” the Spelleman Award. And one was recorded in Memphis. On the personal side, I have two wonderful kids, a wife, and a cat, love Dutch licorice, and drive a black Chevrolet.
What kind of a set do you plan to play at IBC?
I will be bringing my drummer and we plan on doing a varied, well-balanced set of original songs, a few favorite covers, and some traditionals.
We are in Memphis to give it all, and get as far as we can in the competition. We also hope to show international promoters and booking people, that a fine swamp-delta-billy-blues duo could be a cool addition to their festivals and clubs. In addition we look forward to seeing a lot of friends, who are also in the competition this year.
Any other plans while you’re in the area?
Well, there’s the food, shopping for clothes and shoes at Winfield’s, the drum center … I guess we have to see how far we go in the competition, but if we have time, we might see some friends down in Clarksdale.
Do you have a desert island album? You know, if you were stuck alone on a deserted island, what would you bring to listen to?
John Mooney’s Dealing With the Devil has been a longtime favorite. It’s a live solo performance from Germany, and he just kills it!
I also have a radio broadcast of Roy Roger’s performance at the Notodden Blues Festival in 1996 that I would like to bring. Those recordings have been my encyclopedia of slide guitar licks for a long time.
Is there anything else you want Memphis to know?
I haven’t seen the schedules yet, but please come see us. We won’t hold back. We sure look forward to seeing y’all, and we’ll be giving away free copies of our Sun recordings, the Grey Goose EP.
The 34th National Blues Challenge takes place in multiple venues on Beale Street, January 16th through 20th. https://blues.org/international-blues-challenge/
Clough-Hanson Gallery is pleased to present "Supreme Being: The Symmetry of What You Saw and What You Say", a solo exhibition by Rashayla Marie Brown.
Artist's Lecture: 1/18, 6:00PM in Blount Auditorium
Opening Reception: 1/19, 5:00 - 7:00PM in Clough-Hanson Gallery
In an “undisciplinary” installation, Rashayla Marie Brown (RMB) explores a diverse array of media including writing, photography, voiceover acting, and an installation of a makeshift red “dark room,” school desks, red vinyl window coverings, and a red carpet. Melding the aesthetics of kitsch (bourgeois realism) and communist art (social realism) with those of high art (museum design) and film, RMB’s work explores the coercive foundation of systems of display found in the desire to communicate a clear, moral message across various cultural contexts. With text and subtitles in direct address to the viewer, the exhibition also reflects the distance between an object’s past meaning and personal meditation on its meaning in the present. The exhibition is accompanied by a red booklet inspired by the artist’s career as a maker of diversity training manuals and a sound installation where the artist describes images for people who cannot see.
Lauded as a 2017 Artadia Awardee, artist-scholar Rashayla Marie Brown (RMB) manages a living studio practice across an extensive list of cultural production modes, including photography, performance, writing, drawing, installation, and video art. Encompassing themes of autonomy and self-mastery at the intersections of art history, religion, and popular culture, RMB's work often investigates power dynamics through the emotion and personal vulnerability of lived experience. A lifelong nomad who has moved 24 times, her journey as a professional artist began as a radio DJ and poet performing research in London, England and as founder of the family-owned design company, Selah Vibe, Inc., in Atlanta, GA. From 2013-17, RMB served as the inaugural Director of Student Affairs for Diversity and Inclusion at the School of the Art Institute of Chicago (SAIC), fostering queer Afrofeminist narratives across institutions.
RMB holds degrees from Yale University and SAIC, advised by Paul Gilroy and Barbara DeGenevieve respectively. Her work has been commissioned by the Museum of Contemporary Art, Chicago; Museum of Contemporary Photography, Chicago; and Yale University, New Haven, CT. Her work has shown at the Gene Siskel Film Center, Chicago, IL; Monique Meloche Gallery, Chicago, IL; INVISIBLE-EXPORTS, New York, NY; University of Pennsylvania, Philadelphia, PA; Museum of the African Diaspora, San Francisco, CA; Centro Cultural Costaricense Norteamericano, San Jose, Costa Rica; and other venues. She has received numerous awards, including the City of Chicago's Artist Residency, the Hyde Park Art Center Flex Residency, the Roger Brown Residency, and the Yale Mellon Research Grant. Her work and words have been featured and published in Art Forum, Blouin Modern Painters, Chicago Magazine, Hyperallergic, Nka: Journal of Contemporary African Art, the Radical Presence catalog, and the cover of the Chicago Reader. RMB's essay "Open Letter to My Fellow Young Artists and Scholars on the Margins: A Tribute to Terry Adkins" was shared almost 10,000 times online as of 2018.
The evening's first selection, Shostakovich's 10th Symphony in E minor, is famous for tackling such matters. First performed after the death of Stalin in 1953, it evokes the many tangled emotions springing from life under an authoritarian regime, and the palpable relief when it comes to an end. Shostakovich had a particularly anxious life under the reign of Stalin, having been singled out for personal persecution by the regime due to his talents and notoriety as a composer. The MSO deftly brought all its conflicting emotions to life, from the first movement, alternatively tragic and threatening as it cinematically pans across the landscape of destruction left in Stalin's wake, to the subsequent movements that range from spritely euphoria to panic.
In the context of the last year endured by Americans, action-packed with attacks on the rights and liberties of minorities, immigrants, women, and workers, teetering on the edge of nuclear conflagration, this was indeed a cathartic performance. The analogy with dictators past was given a finer point when a Republican Senator recently compared our current president with Stalin himself. But one need not literally equate the two to realize that the both extreme Stalinism and the current atmosphere of class war foster constant anxiety, and that major compositions of this caliber address such anxiety admirably.
Naturally, I'm reluctant to project my own interpretation on the programmatic choices made by the MSO or music director Robert Moody. But the end result — a world class performance of one of the last century's most important works — was cathartic on what I can only call the internal/sociological level. How we live as citizens runs deep, and it was on this level that every strident snare hit, cymbal crash, and brass fusillade hit me.
Thus, already musing on life under real or would-be authoritarians, it was especially gratifying to hear the night's second selection, James DeMars' Sabar Concerto for African Drum Ensemble and Orchestra. The audience returned from intermission to see four chairs set before the orchestra, each with an African drum in front of it. DeMars, a Minnesotan who came into his own as a composer in the 1980s and 90s, has said this piece was composed to “integrate the musicians of two cultures to celebrate the new millennium.”
The concerto that unfolded was thus an intriguing blend of Senegalese rhythmic tropes with heroic and celebratory orchestral flourishes. With three of the four featured drummers (Abdou M'Baye, Dethie Sarr Diouf, and Medoune Yacine Gueye) being Senegalese, the rhythms were presumably true to their local cultures; certainly they and non-Senegalese Sonja Branch seemed psychically connected in the extended unison passages. But the percussive elements weren't limited to the drummers, as the harp evoked the cascading arpeggios of the West African kora, at times woven with complementary rhythms from the piano, xylophone, and vibraphone. At times, the stage was also graced with the dancing of the Watoto Memphis Performing Arts Academy Dance Ensemble.
Coming quick on the heels of derogatory comments about Africa from the head of our executive branch, this piece too had a resonance completely apart from any of the composer's intentions. But such resonance was welcome nonetheless.
Further societal resonances, intended or not, will be explored by the MSO tonight, as they perform Bach's Brandenburg Concerto No. 3, Barber's “Knoxville: Summer of 1915,” Corelli's “Christmas Concerto,” Thofanidis' “Muse, and Purcell's “Dido's Lament” and “Sound the Trumpet.” The program is dedicated to the memory of George Riley, a renown native Memphian who went on to create a legacy of progressive legal work in San Francisco.
The Memphis Symphony Orchestra presents BACH BRANDENBURG - a special concert in memory of George Riley, January 18th, 7:30 PM to 9:30 PM, Cannon Center. Other performances of this program will include Saturday, January 20th at the University of Memphis, Harris Concert Hall, at 7:30 pm, and Sunday, January 21st at the Germantown Performing Arts Center, at 2:30 pm.
The calm before the #blues. Setup for Mr. Mathis Haug. #recording #mixing #soundengineer #memphismusic #frenchmusic #france #memphis #studio #bluesy #drums #guitar #bass #piano #organ #vocal #fun #dreamjob https://t.co/XN5vLF3rtX
The Original Gales Brothers Band with the great @mempt @mononeon rawdawgmusic #memphismusic instagram.com/p/BeNOvEull-7/
Odd Wilson Tomorrow night on Radio-Memphis.com! 7PM #MemphisMusic #NewMusic #901 #VirtuosityMemphis
The exhibition will be a destination for new and established collectors, art patrons and cultural tastemakers!!
Further, the exhibition will offer a focused schedule of special events, performances and talks to complement the experience.
Not a fan of the cold weather? Not to worry! A pop-up bar featuring cappuccino and espresso drinks by a private barista with light bites will be provided on opening night Friday, 1/26 for gallery goers and wine provided by your favorite wine and beverage service!
Programming for the event will be published via facebook and eventbrite. Subscribe to AVG for notifications you don't want to miss!
The Zoo Bar in Lincoln, Nebraska, is a hidden gem tucked away in a corner of the national blues circuit. (Full disclosure: I am a Nebraskan). I recall the smallish club hosting incendiary shows by Lil' Ed and the Blues Imperials and many other greats. While I did occasionally jam to Booker T. and the MGs tunes with friends, little did I realize how much homegrown blues, soul, and funk were gestating in the modest college town — or in nearby Omaha — due to clubs like the Zoo Bar.
But the secret's out, due to the rising popularity of one Josh Hoyer, a Lincoln native who long ago got hooked on the songs he heard emanating from the Zoo.
"I'd just go listen to music coming outta the back, and I was like, 'Man, this is the coolest thing!'" he says. "When I turned 21, I was a regular there, checking out all of the bands that came through from all over. They needed a spot to stop in that middle-of-nowhere zone. Being able to see these international and national touring blues and R&B bands in such an intimate environment, it really taught me a lot about the energy and magic of the live show — being able to see people like Lil' Ed and Big John Dickerson. And Magic Slim, of course."
That last name holds special meaning for Hoyer — and most of the Lincoln music community. Morris Holt, aka Magic Slim, left his native Torrance, Mississippi, for the Chicago blues scene while in his twenties, releasing his first record, the incredible "Scufflin'," in 1966. By 1994, with an esteemed career in the blues under his belt, he resettled in Lincoln with his family, a decision that would galvanize the local music community. As Hoyer notes, Slim "really influenced a lot of young guys that were interested in playing. I'd definitely call him a mentor. And his brother, Nick Holt, was also a great blues and soul singer. People may not think of Lincoln as a blues town or a roots music town, but there were some gems there that really taught a lot of us young guys what it was about."
Developing his talents at open mic nights, then with jam bands, Hoyer expanded his horizons. "I love the blues, but it's never been something I feel like I quite nail. I lean more toward the rhythms of New Orleans." After a stint in the Big Easy, which he credits for much of his growth as a singer and keyboardist, Hoyer toured as a saxophonist for singer E.C. Scott. "I learned a lot from her. And that was when I realized that I'm not good at being a side man. I had ideas of my own, and I wanted to write my own music. From that point forward, I've been a band leader."
Following his own muse meant wedding his love of classic soul to a groove-based improvisational approach akin to Medeski, Martin, and Wood, whom he cites as an inspiration. The end result resembles the more ambitious sounds of 1970s soul, as Hoyer leads a five-piece band, Soul Colossal, through his own particular stew of influences.
Hoyer and Soul Colossal are coming off a stellar 2017. A month-long tour of Europe culminated in the live album, Live! at Ancienne Belgique, and last spring found Hoyer singing for an audience of millions on NBC's The Voice. As Rolling Stone reported, "Hoyer took on The Chi-Lites' 1972 R&B Number One hit 'Oh Girl.' His smooth interpretation, along with his sonorous vocals, convinced both Shelton and fellow coach Gwen Stefani to turn their chairs as he confidently soared through the chorus."
Hoyer, reflecting on last year's good fortune, says, "I never really intended to be on the road again, but people really liked what we were doing, and it worked out for me and my family. I wasn't gunning for the top when we put the band together, we just wanted to write some good music and play it for people, and they responded — so we keep going."
Tonight's #Memphismade in-studio guest @with_Bravado Julian & Kayla Stanz - Tune in & turn up @ROCK1027MEMPHIS 8p ct! #Memphismusic
Meet me at The Cove on Broad Ave tonight 9pm. I’ll be the girl wearing the guitar w/ the good lookin guys. #TGIF #FER #memphismusic #fridaynight #livemusic
The #IBC2018 is happening now! Over 250 bands are heating up Beale Street this week. Want to know more? --> goo.gl/yvTEpQ - @BluesFoundation #Memphis #InternationalBluesChallenge #Blues #MemphisMusic #BealeStreet
On view through February 11
Mourning the loss of our friend and King of Beale Street Preston Shannon. Synonymous with #memphismusic. Very sad.
RT “Tell She Ah #Thot Cause Thats How #ThottieWalk “ 👩🏽👧🏼🧑🏾 Prod by @1taykeith #MemphisMusic #UnsignedArtist #Vamanos #RT
The Martha and Robert Fogelman Galleries of Contemporary Art presents a solo exhibition by internationally recognized artist and University of Memphis alumna Virginia Overton (MFA, 2005; BFA, 2002). Known for her installations and sculpture that span the natural and manmade worlds, Overton is interested in the past, present, and future lives of her repurposed materials and how they exist in space and time. Often minimalist in form, her work sometimes extends beyond its structural limits into the realms of sound and smell. The importance of place is also central to her work, as she intuitively responds to a site—whether the architecture of a gallery space or the environs of a vast field.
Virginia Overton was born in Tennessee and currently lives and works in New York. She earned a BFA in 2002 and an MFA in 2005, both from the University of Memphis. Solo exhibitions have been presented at the Museum Of Contemporary Art, Tucson, The Whitney Museum of American Art (New York), The Aldrich Contemporary Art Museum (Ridgefield), White Cube (London), All Rise (Seattle), Museum of Contemporary Art North Miami, Storm King Art Center (Mountainville), Westfälischer Kunstverein (Münster), Kunsthalle Bern, Mitchell-Innes & Nash (New York), The Kitchen (New York), The Power Station (Dallas), Freymond-Guth Fine Arts Ltd. (Zürich), and Dispatch (New York). Her work is collected by The Whitney Museum of American Art, The Museum of Modern Art, New York, Museum of Contemporary Art Tucson, Kunstmuseum Bern, and Kunsthaus Zürich.
Overton will also give a talk with artist, writer, and curator Jocko Weyland in conjunction with the "35th Annual Juried Student Exhibition":https://www.facebook.com/events/2039009486386181/
Image: Virginia Overton,"Untitled (HILUX)," 2016. Installation View, Parcours, Art Basel, Switzerland, 2016. Photographer: Robert Glowacki.
Can you guess which #MemphisMusic diva wore this fur coat?
Local artists, locally-produced artists, and artists with local backup bands include Robert Cray, Don Bryant, Bobby Rush, John Németh, the North Mississippi All Stars, R.L. Boyce (one-time member of Otha Turner's Rising Star Fife and Drum Band), Memphis native (and daughter of Rufus) Vaneese Thomas, William Bell, new Stax artist Southern Avenue, and Scott Bomar (for co-writing the title song of Don Bryant's newest album). Add a comment if I've missed any!
The complete list of 39th Blues Music Award nominees can be found below and on the Blues Foundation’s website, www.blues.org. Membership to The Blues Foundation will remain open through the entire voting period from January 23rd to March 1st and ballots will be sent to new members as they join the organization.
Founded in 1980, the Memphis-based Blues Foundation has approximately 4,000 individual members and 200 affiliated local blues societies representing another 50,000 fans and professionals around the world. Funding for the Blues Music Awards is provided by ArtsMemphis and the Tennessee Arts Commission, and this year's ceremony is also sponsored by AutoZone, BMI, Ditty TV, First Tennessee Foundation, the Gibson Foundation, and the Memphis Convention and Visitors Bureau.
Here's the full list of all 39th Blues Music Award Nominees:
Acoustic Album of the Year
Catfish Keith - Mississippi River Blues
Doug MacLeod - Break the Chain
Guy Davis & Fabrizio Poggi - Sonny & Brownie's Last Train
Harrison Kennedy - Who U Tellin’?
Mitch Woods - Friends Along The Way
Rory Block - Keepin' Outta Trouble
Album of the Year
Don Bryant - Don't Give Up on Love
Monster Mike Welch and Mike Ledbetter - Right Place, Right Time
Rick Estrin & The Nightcats - Groovin' In Greaseland
TajMo - TajMo
Wee Willie Walker & The Anthony Paule Soul Orchestra - After a While
Band of the Year
The Cash Box Kings
Monster Mike Welch and Mike Ledbetter
Nick Moss Band
North Mississippi All-Stars
Rick Estrin & the Nightcats
B.B. King Entertainer of the Year
Best Emerging Artist Album
Altered Five Blues Band - Charmed & Dangerous
Larkin Poe - Peach
Miss Freddye - Lady of the Blues
R.L. Boyce - Roll and Tumble
Southern Avenue - Southern Avenue
Tas Cru - Simmered & Stewed
Contemporary Blues Album of the Year
Beth Hart - Fire on the Floor
Corey Dennison Band - Night After Night
Ronnie Baker Brooks - Times Have Changed
Selwyn Birchwood - Pick Your Poison
TajMo – TajMo
Contemporary Blues Female Artist
Contemporary Blues Male Artist
Ronnie Baker Brooks
Historical Album of the Year
Jimmy Reed, Mr. Luck: The Complete Vee-Jay Singles – Craft Recordings
John Lee Hooker, King of the Boogie – Craft Recordings
Luther Allison, A Legend Never Dies – Ruf Records
The Paul deLay Band, Live at Notodden ’97 – Little Village Foundation
Various, American Epic: The Collection – Sony Legacy
Michael "Mudcat" Ward
Christoffer "Kid" Andersen
Monster Mike Welch
Instrumentalist- Pinetop Perkins Piano Player
Instrumentalist - Vocals
Wee Willie Walker
Koko Taylor Award (Traditional Blues Female)
Rock Blues Album of the Year
Kenny Wayne Shepherd Band - Lay It On Down
Mike Zito - Make Blues Not War
North Mississippi Allstars - Prayer for Peace
Savoy Brown - Witchy Feelin'
Walter Trout - We're All In This Together
Rock Blues Artist
Kenny Wayne Shepherd
Song of the Year
“The Blues Ain’t Going Nowhere” – written by Rick Estrin
“Don’t Give Up On Love” – written by Scott Bomar and Don Bryant
“Don’t Leave Me Here” – written by Kevin R. Moore, Taj Mahal, and Gary Nicholson
“Hate Take a Holiday” – written by Willie Walker, Anthony Paule, and Ernie Williams
“Prayer for Peace” – written by Luther Dickinson, Cody Dickinson, and Oteil Burbridge
Soul Blues Album of the Year
Don Bryant - Don't Give Up on Love
Johnny Rawls - Waiting for the Train
Robert Cray & Hi Rhythm - Robert Cray & Hi Rhythm
Sugaray Rayford - The World That We Live In
Wee Willie Walker & The Anthony Paule Soul Orchestra - After a While
Soul Blues Female Artist
Soul Blues Male Artist
Wee Willie Walker
Traditional Blues Album of the Year
The Cash Box Kings - Royal Mint
Elvin Bishop's Big Fun Trio - Elvin Bishop's Big Fun Trio
Kim Wilson - Blues and Boogie Vol. 1
Monster Mike Welch and Mike Ledbetter - Right Place, Right Time
Rick Estrin & The Nightcats - Groovin' In Greaseland
Various Artists - Howlin' At Greaseland
Traditional Blues Female Artist
Traditional Blues Male Artist