28th IBC Results

MARK SCHOSSOW yupduluth@msn.com
Wed Feb 8 09:49:52 EST 2012


My goodness.an intellectual speaks.Thank you I been feelin lomely.Son.Im havin a bad start,today.pain is bad and from now on today's subject has been  beaten into da eart.
      You all are the cream of the crop cuz, once again,I say we is what we is,and dats all we is,and it is what it is,an dats all it is.Cant change shit,but you can change da diaper.I know  no idea why that last sentence is but it felt good writing it.
           Over and out of it.Thanks fer ya,Son Lewis,Mark.


Yup say...Ya dont need to own no shoes to dance da Blues.

-----Original Message-----

From: Sonlewis1@AOL.COM
Sent: 8 Feb 2012 11:20:36 GMT
To: BLUES-L@LISTSERV.NETHELPS.COM
Subject: Re: 28th IBC Results

About 20 years ago I read a book by John Gaspari called "I know it when I
see it".  The book was about folk's perception of  Quality and Gaspari's
point was that most folks couldn't define it by  it's presence but recognized
it by it's absence.  I think "the Blues" is  much the same.

Rather than to continually bemoan the lack of "definition" and to get us to
 stop pussy-footing around using the word "authentic" as a synonym for
"African  American" or Black, I would like to cut to the chase...

I believe what most folks really are concerned about is that the music,
under the guise of "evolution", is really losing context and connection with
the  fundamental structure of the music "formerly known as The Blues".
Musicians have morphed into playing other forms of music and we rationalize it
as "Blues" by deluding ourselves that it's "just the continual evolution of
the  music" when in reality it's a ploy to get and keep steady gigs in front
of new  and younger audiences.

I have heard all the palaver about Muddy and Elmore and how they helped in
the evolution of Robert Johnson's music... and Howling Wolf and Charlie
Patton  and on and on...BUT I hear more of a symbiotic connection in the
eternal  structure of the music between Elmore and Johnson than I do between some
of  today's Funk/Soul/Rock artists and Elmore...

Quite frankly, almost no one is playing any Blue SONGS anymore... and THAT
to me is where the disappointment lies!

Back in 1996, when I participated in the IBC in Memphis the winning band
was Smiling Vic and The Soul Monkeys.  A very talented large band featuring
matching suits, a big horn section and a singer with a voice like Bailey's
Irish  Cream... but they didn't play any Blues songs.

The last Pocono's Blues Festival I attended SHOULD have been renamed the
Pocono's R&B and Funk Festival.  The bands were absolutely wonderful...
talented, tight and smoking.... but there weren't that many Blues songs.

A while back my harp player asked me to give a listen to a new Keb Mo CD
because he wanted us to learn one of the songs so he could sing it... It was
a  GREAT CD, fully of energy, artful guitar finger picking and very
impassioned  singing... but the CD didn't have any Blues songs on it...

I am not advocating that we keep re-roasting the same old Blues
chestnuts... the world DOESN'T really need yet another version of Dust My  Broom...
but there is NO reason why new and modern artists can't attempt to  write
songs that actually sound (or are structured) like they are Blues  songs....

and with that I will go back to bed....


Son  Lewis
Blues Vocalist/Guitarist
_www.sonlewis.com_ (http://www.sonlewis.com/)
_http://www.youtube.com/silkcitycd_ (http://www.youtube.com/silkcitycd)


In a message dated 2/8/2012 12:36:12 A.M. Eastern Standard Time,
chuckone@SBCGLOBAL.NET writes:

So would  I.  This "definition of blues" argument / discussion is older
than dirt,  and always ends up the same way - a mess of people angry and no
concise  definition.

Every time I read or hear someone stating that  festival should go more out
of their way to hire "authentic" blues artists, I  am struck by two
immediate ideas:

1.  The person  maintaining this ideal is often somehow connected in some
way --  professionally, personally or both -- to someone they believe is an
"authentic" blues artist receiving the short end of the stick;  and

2.  How much harder it is each time to find "authentic" blues  artists.
2011 was particularly devastating to that "authenticity"  as we lost a large
number of the last of those "authentic" bluesmen who, if  they were not
directly first-generation bluesmen, were at least old enough to  have been
personally connected in some way to that first generation.   Their greatest asset
(aside from the obvious talent they possessed)? They were  fortunate enough
to outlive their peers.

And NO, Bonnie -- sons,  daughters, step-children, in-laws, and other
"relatives" of legendary deceased  bluesmen are not deserving of more recognition
or work just by virtue of  familial relationship, any more than I should be
placed in the same category  of photographer legend as Ernest Withers, Dick
Waterman, Ray Flerlage, Paul  Natkin or Jef Jaisun merely by virtue of the
fact that we have all had the  same KBA Award bestowed upon us.

Talent wise, I don't deserve to  lick the bottom of their collective shoes.


I got whatever I got  because I worked my ass off for it and not
necessarily because I was   consistently good at it.  But  NOBODY gets it merely by
birthright.

"Authenticity"....indeed.

Chuck  Winans
Chicago, Illinois

Sent from my iPhone

On Feb 7, 2012,  at 9:55 PM, Ricky Stevens <deltabluz@HOTMAIL.COM> wrote:

>>  The whole IBC setup--especially the lack of definition of "blues"  in
>> contest rules, distracts and detracts from the promotion of the  true
sons
>> and daughters of the blues.
>
>  Bonni,
>
> I would love to see a clear, concise, unambiguous and  easily applied
definition that could be used as a rule to define blues at the  IBC.  Perhaps
you can supply one?
>
> Ricky Stevens
>
> Arkabutla, Mississippi
>
>> Date: Tue, 7 Feb 2012  17:30:11 -0600
>> From: bonni@BARRELHOUSEBONNI.COM
>>  Subject: 28th IBC Results
>> To:  BLUES-L@LISTSERV.NETHELPS.COM
>>
>> The fact is, there ARE  authentic heritage blues artists singing and
>> playing real blues.  There are at least 100 of them in Chicago and many
>> more in  Mississippi,Alabama, Louisiana, Texas, California, and around
this
>>  country.
>>
>> The whole IBC setup--especially the lack of  definition of "blues" in
>> contest rules, distracts and detracts  from the promotion of the true
sons
>> and daughters of the blues.  Just like the white DJs who refused to play
>> the music of black  artists in the 1950s (causing people like Sam
Phillips
>> to look for  an Elvis Presley to make hits for Sun Records) we have
>> promoters  in the so-called "blues" industry who favor imitators over
>> today's  great Black artists of my (baby boom) generation.  Bruce
Iglauer
>> was criticized for this in a petition signed by many of  these artists
and
>> their friends last year. But he is certainly not  the only one.
>>
http://www.chicagoreader.com/chicago/alligator-records-40th-anniversary/Content?oid=3834565
>>
>> The sad thing is that these IBC competitions have become  showcases for
>> festival promoters who hire these bands, maybe as a  way to save money
>> instead of scouting out and hiring real blues  acts. Blues Foundation,
>> instead of putting so much energy into  these competitions and fostering
>> the creation of new bands, needs  to work on creating and educating new
>> blues FANS.
>>
>>
>> --
>> PRAY FOR PEACE
>> WORK FOR  JUSTICE
>> BOOGIE FOR SURVIVAL
>>
>> Bonni  McKeown
>> www.barrelhousebonni.com
>>  773-209-4712
>>
>> Blues Music Reconnects  Generations!
>> www.chicagoschoolofblues.org
>>
>>  Autobiography of blues singer and drummer Larry Hill Taylor
>>  www.stepsonoftheblues.com
>>
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