The boys of Bad Moon are seasoned professionals who know how to get their groove on. With front man Tom Whisenhunt on guitar, and lead vocals, Richard Sanders on bass, and Peter Burger on sax, they’ve recently added the inimitable Vic Mastrianni on drums. Then they kicked things up a notch by inviting Hammond B3 player, Larry van Loon, and Rougie Ray on harmonica and vocals. About halfway through the show John Cage was invited to the stage and delivered a powerful version of Otis Redding’s “Sittin’ on the Dock of the Bay.”
And let me tell ya the house was rockin’.  Check out this quote from visiting Chicagan, Chuck Praeger:

“Bad Moon’s show at Bourbon Street on Printer’s Alley was the perfect mix of guitar, sax, keyboard, drums, and vocals. Blues and jazz all rolled into one. Perfect mix and the talent to make it all come together. They put their own stamp on everything they played. I’ll be looking them up whenever I am on the music hunt – Nashville, New Orleans or wherever.”

Bourbon Street is renowned as one of the best blues clubs in the country, and the recipient of the prestigious Keep The Blues Alive Award from the International Blues Foundation.

Priding themselves on “playin’ the blues what don’t get played,” Bad Moon featured originals mixed with covers from some of America’s best blues men. Audiences can regularly hear Robben Ford’s  ”Moth to a Flame,” Taj Mahal’s ”She Caught the Katy,” Tony Joe White’s Undercover Agent for the Blues,” and Bonnie Raitt’s “Three Time Loser” among many other tunes that get your mojo motor runnin’.

Photos courtesy of Renee Rome © 2011

If you don’t know Ray Woods, you will. If you don’t know Kal David, you should. Getting to hear both of these guys together was a real treat. The gig took place at Pappy and Harriet’s Pioneertown Palace on Friday night, November 4, 2011.

Most drummers employ an enormous array of toms, snares, and double kick drums to roar and bang. Most drummers don’t sing lead. Solid Ray Woods is not your typical drummer.

It somehow seems wrong to say that Ray *plays* drums; it’s more like he *is* his kit. His whole body rocks, bounces and sways as the complex yet subtle rhythms rattle along. He and his instrument are one.

His kit does, indeed, include a kick drum and snare, but Ray is mostly surrounded by cymbals. Big ones, itty-bitty ones, and everything in between. But don’t start imagining lots of big crashes. Ray specializes in energizing synchopatated rhythms and spicy tonality.

And he’s singing at the same time. The most soulful tones emanate from his throat. He has a blues sensibility with an added pinch of Marvin Gaye. Ray draws on songs from the last seven decades, from New Orleans to Detroit, Chicago to Los Angles. Yet his music is always fresh and very melodic.

Damian Lester on bass and JP Houston on keys comprise the rest of Ray’s usual band. These guys rock, fitting every required groove and even adding some exquisite harmony from time to time.

The crowd was also treated to the inimitable blues guitar of guest artist Kal David. Kal is one of our great blues treasures. Etta James, Johnny Rivers, John Mayall and a ton of other giants have collaborated with him.

It’s a given that impeccable musicians such as Ray and Kal will produce top-knotch sounds, but Kal only got to shine toward the end of the evening. We needed to hear more of him really unleashing his enormous talent.

The gig took place at Pappy and Harriet’s Pioneertown Palace on Friday night, November 4, 2011. Pappy’s is the prime watering hole, grub purveyor and music spot in Pioneertown, California. Established as a stage set in the mid-40′s, Pioneertown was the location for countless Western movies and TV shows. Pappy’s fits the Old West ambience to a T, with adobe walls and rough-hewn wood floors. With seating for dinner, room to dance, a very long bar and two performance stages, it almost always draws a crowd.

I arrived almost an hour before Kal and Ray started playing, and was disappointed to find that all tables were reserved. So I grabbed a stool at the far end of the bar and had to stand up and crane my neck to get a view. In fact, I was essentially in another room. But none of that stopped me from dancing, laughing and getting teared up by the performances of these magnificent musicians.

It was a packed house for what was one of the best live performances this reviewer has seen to date in Nashville. Petty was on top of his game singing about a half dozen self-penned songs many put into the country rock category.

In a previous review, Petty was dubbed the Mick Jagger of country music. Traditional country music  has stepped aside for younger artists heavily influenced by decades of rock icons. For the new generation of country artists,  live performance must include a certain attitude, and a sultry swagger to click with the audience. Petty engages with his audience with confident charisma and very few emerging stars have the kind of energy he sparks from the stage.

Petty has a large and loyal following from his home in Greensboro, North Carolina. You’d be surprised to see how many traveled over seven hours to Nashville on a week night to see this show. They wouldn’t have missed it, because that’s how his fans roll. It’s truly heartening to see so many people behind an artist they clearly have so much love and support for.

Among his memorable tunes, “Shotgun,” “This Old Truck,” “Country Song and a Bible Verse,” and “I’ve Done My Time.” The latter tunes are perhaps the best of Petty’s repertoire to date, and he performed them to perfection.

Now it’s just  a matter of time to see what will happen next. Word on the street is  more than a few record labels sent their suits to hear Petty. Without confirmation, we can’t be certain, but we are certain whomever Jody Lee Petty signs a contract with will find a star ready to hit his stride.

Photo courtesy of Lee Haywood

B.B. King Brings The Aloha to Hawaii

During a tropical April evening, B.B. King along with his queen “Lucille,” came to Honolulu and reigned over the audience of 18,000 at the Neal S. Blaisdell Arena.

The orchestra opened with two instrumental blues-jazz numbers, before B.B. King made his way onto the stage. As expected, the audience roared upon his presence, and never really settled to their seats from then on.

On this evening, I had the honor of photographing Mr. King’s mystical performance during his layover concert en route to Australia.

If one is ever fortunate enough to see B.B. King play up-close, undoubtedly his hands will captivate you, as they slide from fret-to-fret, bending Lucille’s guitar strings to generate mesmerizing riffs.  I don’t know if I would necessarily call it a trademark, but B.B. King’s style of play is not only evident in his guitar-playing, but also in the manner he expresses his feel for the music – his contorting facial expressions, the pursing of his lips and the gentle leaning of his head seem to be his way of projecting his passion for the blues onto his audience.

That evening, the audience was right there with him – pulsing and just feeling the music. I noticed one audience member with her eyes closed, not once looking up at the stage but slowly swaying to “One More Kiss.” Nearby, a couple was dancing with each other, as if Mr. King was playing their song – Yes, B.B. King’s music has that kind of effect on people.

Like a grandfather figure, Mr. King took time between songs to “talk story” and connect with his audience – sharing stories of his childhood, and explaining the motivations of his music. He is known to pass out guitar picks to his audiences, and that evening was no disappointment. As I was snapping frame-after-frame with my camera, he leaned over towards me with an assuring smile, and handed me two guitar picks. The evening couldn’t be any better – being feet away from a living legend; shooting his photographs on assignment; and then being handed guitar picks by the Man himself!

Those picks are now saved for two young daughters who have been guitar students for the past five and three years respectively, and were in the audience with my wife.

Asking my youngest daughter, age 8, what she thought of B.B. King’s concert – she described it, “As if he was making his guitar sing … he was sooo awesome!” My oldest, age 11, shared that she wants to learn more about blues guitar (a topic to be brought up with her guitar teacher).  I couldn’t be more proud (sniffle) to know that my girls actually appreciated the music of a guitarist I consider one of the best on the planet.

Mr. King went through the repertoire of his own songs, and some borrowed songs like, “When The Saints Come Marching In.” It did not matter the song was not a B.B. King composition, the audience digged it anyway and their jubilant bop proved it!

As expected, Mr. King saved the best for last, playing his trademark song, “The Thrill Is Gone.” The audience let out their loudest roar of appreciation, and once again on their feet swaying to the groove. The orchestra’s beat was profound, and then came in B.B. King, belting out the song’s intro riff with dearest Lucille – the audience roared louder, then settled in with the rhythm of this heartbreak song.

Despite his age, the King of the Blues doesn’t hint at retirement. Some critics have said he has slowed down considerably, and maybe so … but what can you expect from a man who at 86, has traveled the world over, sharing his gift with many fortunate souls! Taking a bit of liberty with Mr. King’s famous song, I’d say “The Thrill Was Never Gone!” and any critic in their right mind who can’t appreciate what this man has done for music lovers, can’t be taken seriously.

The critics can say what they will, but B.B. King will always be welcomed on this rock in the middle of the Pacific pond to share his Aloha-generating blues.

For photos of B.B. King’s concert, visit www.infinitypacificphoto.com

Music City Smokehouse is quickly becoming a popular venue for everyone who wants to get their blues on in Nashville. Bad Moon, the four-piece electric blues band, appeared at The Smokehouse, Saturday, Aug. 13 to an appreciative crowd of loyal followers while an incredible full moon lit the Nashville skyline.

Bad Moon played three sets over four hours consisting of covers by some of the best blues has to offer including Robben Ford, Tony Joe White, and Freddie King.  Bad Moon played a few original tunes by bassist, Richard Sanders, and guitarist,Tom Whisenhunt.

“She Caught the Katy” and “Moth To a Flame” were new tunes added to the eclectic set lists that included “Every Time I Roll The Dice,” Three Time Loser,” “I’m A Real Man,” and “Steamy Windows.”

Bad Moon will be live at  The Smokehouse again on Saturday, September 24.

Photos from top to bottom: Tom Whisenhunt, guitar; Peter Burger, sax; Richard Sanders, bass; and Brian Goldberg, drums. Follow Bad Moon at http://badmoonblues.com

All photos are the property of Ron Macaluso. Please follow Ron at http://facebook.com/ronmacaluso or call 615-568-4369.

For quite some time, I’ve been hearing about this phenom of a country rock singer, Jody Lee Petty. Due to the kindness of his management, Ikon Music Management, I was able see him in Winston-Salem, North Carolina on June 4. I have no idea how many people were there that night, but it was a lot. The locals thought it was a light crowd due to a racing event scheduled that night, but you coulda fooled me.

There are so many elements that go into a Jody Lee Petty performance, it’s a little hard to know where to start. Most of the music in his shows are originals penned by Jody Lee himself. He writes about what he knows which is the foundation of an exceptional writer. He told me he writes from personal experiences and some of the mistakes he’s made in his life. We laughed about the fact that if you’re going to  make mistakes, make sure they pay off….and in Jody Lee’s case they most certainly do. Most of his tunes are up tempo, country rock songs with solid hooks his loyal fans know so well, they sing along with every song.

In an industry consumed with comparisons to the last big thing, when you try to decide who Jody Lee sounds like, the answer is clear. He sounds like Jody Lee Petty.

Without a doubt, one of Jody Lee’s greatest attributes is his stage presence. In his signature top hat, his job is to entertain and engage with his audience. His charisma and natural southern charm combined with amazing energy and undeniable sex appeal draw only one conclusion. Jody Lee Petty is the Mick Jagger of country music.

He struts, he schmoozes, he dedicates songs to members of the audience and he has tons of adoring fans. Women line the front of the stage with dozens and dozens more filling the dance floor behind them. And dance they do. Jody Lee fans are there to have a great time with a rising star they’ve lifted up far enough to reach the next level in his career.

Fans and music industry insiders should keep a close eye on what happens next for Jody Lee. We’ll be sure to bring you as many updates as possible from his live shows. We’re betting the farm this is going to be an exciting ride.

Emmylou Harris at Royal Festival Hall in London

A handful of dates in the UK behind this year’s release of HARD BARGAIN
culminated in a sold-out show in London by Emmlylou Harris and her five-piece
band, The Red Dirt Boys. The ‘Boys’ Rickie Simpkins (fiddle, mandolin, vocals)
Phil Madeira (accordion, keyboards, guitar) Will Kimbrough (guitar, vocals)
Bryan Owings (drums) and Chris Donohue (bass guitar, upright bass) walked onto
the stage and took their places amongst the array of instruments, immediately
before Harris, with a spring in her step, joined them. They opened with ‘Six
White Cadillacs’, ‘Orphan Girl’ and ‘Red Dirt Girl’ before Harris paused to say
that they would be going back to a few old songs tonight but would be balancing
those out with new ones too. That opening trio of songs nicely reflected the mix
of the set list – there were some old, some new, some borrowed and some blue…

Harris, up until the release of RED DIRT GIRL in 2000 was known primarily as an
interpreter of other people’s songs however in the last decade she has written
more material, mostly very well received although the latest album has attracted
some mixed reviews. Good at acknowledging her influences and those whose
material she has ‘stolen’ she paid tribute to a slew of ‘heavyweights’
throughout the evening by covering ‘Beneath Still Waters’ (George Jones) ‘If I
Needed You’ and ‘Pancho and Lefty’ (Townes Van Zandt) ‘Hello Stranger’ (The
Carter Family with Hazel Dickens’ arrangement) and of course ‘the reason why I
am up on stage – because I ran into a fella called Gram Parsons.’ Over the years
I have seen Harris in a number of live shows and she has never failed to
acknowledge the debt she owes Parsons. His premature death at age 27 in 1973
affected her very deeply. Her (co-written with Bill Danoff) song ‘Boulder to
Birmingham’ from 1975’s PIECES OF SKY was a
response to that loss and tonight’s rendition was once again, a moving tribute.
Additionally, in sequence, but with a change of mood, she and the band covered
‘Wheels’ and ‘Luxury Liner’. The latter really engaged the audience; it was
played with such energy that you might have mistaken it as the closing song of
the night. It wasn’t but it did signal the band leaving the stage to allow
Harris to perform one song solo.

A slight, shall we say, technical hitch, occurred when standing alone on stage,
Harris found that she was in possession of the wrong guitar! As her guitar
technician remedied this, she explained that she wanted to use her ‘second
guitar’ one she’d purchased back in 1966. Although it had ‘been in hospital, it
was now well’ as she then ably proceeded to demonstrate. The song ‘Prayer in
Open D’ was sung in the clearest vocals of the night. Her vocals were at times
difficult to decipher and occasionally sounded a little ‘thin’ but at age 64
with such a long career behind her, that is perhaps not entirely unexpected.

As this performance was not just a trip down memory lane but a showcase too for
the newer songs, they played six of the thirteen offerings from the latest
album. I was disappointed that the title track, the Ron Sexsmith penned ‘Hard
Bargain’ did not feature but I guess you can’t have it all? Through the choice
of material (25 songs) Harris gave us a sense of her longevity as a performer
delving far enough back into her catalogue to joke that she first recorded some
of the material when she was still a brunette!

Particular highlights included Kimbrough duetting on ‘If I Needed You’, the Kate
McGarrigle song ‘Talk to Me of Mendocino’ and ‘The Road’ written about Gram
Parsons. The ‘Boys’ were a well-oiled machine; Harris has a knack of surrounding
herself with top-rated musicians and they were no exception. Their playing was
tight yet sympathetic to Harris’ understated and graceful style.

Sparkling in both performance and dress (she wore a silver headband and had
glitter in her, now trademark, long white hair) Harris and the Red Dirt Boys
were called back for a two-song encore – ‘One Of These Days’ and ‘Pancho and
Lefty’ before leaving to a standing ovation.