The Fort Lauderdale Sound Advice Blues Festival celebrated it seventeenth year with a party. Granted it was a Halloween Party, but a party none-the-less and important, given the fact that as other long standing festivals such as the Kansas City Blues and Jazz Festival and Chesapeake Bay Blues Festival have met their unfortunate demise, the Fort Lauderdale festival was able to survive for another year. While the 2003 event was more bare bones than in the past, with fewer amenities and a smaller line up of performers, overall, this turned out to be one of the best festivals that I have attended in Fort Lauderdale since my first visit back in 1997.
As in past years, the Fort Lauderdale festival featured three stages of music, the Cool Blues Kids Zone, Blues Corner featuring workshops and discussion panels, along with a variety of food and merchandise vendors, including the South Florida Blues Society. Musical acts included a representation of a variety of blues styles and performers ranging from homegrown favorites to major national acts. For those who didn’t get enough music during the three days of the festival, several music clubs in the area offered after festival jam sessions where local musicians got an opportunity to jam with some of the national talent at the festival. Despite its new austerity, the festival still was able to offer something of interest to everyone in attendance.
Day One - Friday, October 31
As indicated earlier, the first day of the Fort Lauderdale Sound Advice Blues Festival revolved around the Hoodoo Voodoo Halloween Bash. The festival crowd on Friday was liberally sprinkled with costumed attendees, both young and young at heart.
The festival opened on Friday with local favorites Sonnie and The Road Kings with The New York Horns on the City Link Stage. This was a combined effort by Sonnie and The Road Kings who expanded their sound dramatically with the powerful sound of the Big Apple transplanted New York Horns, giving the 2003 edition of the festival a rousing start. Happily, the band was able to pack a mean punch into its 30 minute opening set.
Following the strong opening, blues musician and educator Fruteland Jackson made his appearance on the Sound Advice Main Stage with his entourage of kids from the local Blues in the Schools Program. As usual, Jackson combined some entertaining blues music involving a group of talented youngsters labeled as the Sunrise Middle School Rhythm Section, with some excellent stories and blues history. One of the more notable performances during Jackson’s set was given by 12 year old, Reggie Sears, who amazed the audience with some VERY mature guitar licks. Young Reggie made an instant impact on the crowd and would find that his time on stage during the festival would be extended to guest appearances with several other performers throughout the weekend.
Next up on the Main Stage was another exceptional local group, David Shelly & Bluestone. Although the band was billed as local, several members of the band of the band have more national ties. Guitarist and band leader David Shelly’s experience includes work in Cher’s road band and harp player Kelly Rucker hails from Los Angeles. The band burned through its hour long set with some great tunes including “Congo Square,” “Prisoner of Love,” “Big Shot” and “You Upset Me Baby.” The set was punctuated with great guitar by David Shelly and Billy Vasquez, broken up with some powerhouse blues harp by the talented Kelly Rucker. Despite her small stature, Ms. Rucker proved that she could produce a big harp sound.
Continuing with the local “flavor” of Friday, another longtime South Florida blues band, The Regulators, took up a position on the City Link Stage following David Shelly & Bluestone. The Regulators are a fine jump blues band from the Miami-Fort Lauderdale area who have made a reputation for themselves that extends throughout South and Central Florida. Led by Dr. Lee on harp and vocals, The Regulators keep the Halloween revelry alive throughout their sixty minute set.
For blues fans wanting a more acoustic flavor to their blues stew, the Backwoods Acoustic Stage and Blues Corner featured two excellent acoustic performers on Friday evening running parallel to the electric sounds on the Sound Advice and City Links stages. Local Delta slide guitarist Ernie Southern was excellent on Blues Corner Stage, followed by the young, exceptionally talented Slick Ballinger from North Carolina on the Backwoods Stage. Ballinger’s performance was particularly intriguing because of the fact that he has been labeled as one of the new breed of blues performers who despite their youth have embraced the stripped down sound of country blues. The 19 year old Ballinger demonstrated a strong command of the guitar and feel of the music, contradicting his youthful appearance. Ballinger popped up all over the festival over the three days, listening and participating in numerous discussions about the future of the blues.
The headliner for Day One of the Fort Lauderdale Blues Festival was the very talented guitarist/songwriter, Michael Burks. Though born in Milwaukee, Wisconsin, Burks roots are deeply in the South. With strong family ties in Arkansas, the Burks family, including young Michael, returned to Arkansas in the 1970’s where Burks musical career took flight as part of the house band at his father’s juke joint. Burks opened his set with the title track from his Alligator Records debut recording, Make It Rain, followed by a series of guitar-drenched originals and covers during Burks 90 minute set. Burks’ musical influences, Albert King, Freddie King and Albert Collins, were apparent in his performance which included covers of Albert King songs like “Matchbox,” with Burks spending a portion of the song playing keyboards, and originals from all of Burks’ recordings. Burks was particularly entertaining on songs where he played extended guitar solos such as “Snake Eggs” and “Little Wing,” which included “cutting heads” with young Reggie Sears and a cry of “I quit!” by Burks after young Reggie did a fine job of matching Burks, lick for lick. Burks did an excellent job of playing to the crowd, displaying excellent stage presence and showmanship throughout the set. Clearly, when Burks finished off the evening’s festivities, the festival-goers left primed for Saturday!
Day Two – Saturday, November 1
After several late morning, early afternoon performances by notable local favorites Blue House, Heidi & The El Cats, Jason Ricci & New Blood, and Slip & the Spinouts, the first major act of the day proved to be one of the most entertaining. Leading in to an afternoon and evening of powerful performances was a great sit down set on the Backwoods Stage by “Steady Rollin’” Bob Margolin, Hubert Sumlin, Carey Bell and L.A. mandolin player, Rich Del Grosso. The three Muddy Water’s alum rotated as the “featured” performer, choosing their songs and telling stories about Muddy, the blues life and other great tales. Del Grosso was an excellent addition to the esteemed group, picking a few songs of his own to feature his deft mandolin picking. The hour long set offered great promise of things to come when Bob Margolin’s All-Star Blues Jam would move to the Sound Advice Main Stage later in the afternoon. Another pleasant surprise occurred during the set when Blues Leaf Records artist Janiva Magness was spotted walking through the audience. In an ongoing conversation with the talented singer, I discovered that she was at the Festival as a spectator, visiting with representatives of her record label to check out some of the unsigned talent at the event.
Immediately following the performance on the Backwoods Stage by Margolin and company, the talented Florida blues guitarist and Junior Wells sideman Albert Castiglia made his appearance on the Main Stage. Castiglia’s performance was excellent, as usual, featuring his edgy, stinging guitar and fine vocals. Featuring several songs from his independent release, Burn, Albert did a great job of getting people into the proper mood for the acts to appear as the day progressed. With record executives from Blues Leaf, Alligator and Blind Pig looking on, Castiglia put up a great argument for signing him to a major label contract.
There was a general disappointment among festival attendees on Saturday when it was announced that North Carolina blues woman Precious Bryant was forced to cancel her appearance at the Festival due to back problems. However, the disappointment was quickly replaced by newfound excitement when blues/soul great Bobby Rush walked on to the Backwoods Stage to appear in her place. Rush is extremely talented and versatile, not to mention being the consummate entertainer and a gentleman of the highest order. In addition to performing a number of songs as Bryant’s fill-in, Rush told some great stories and expressed his tremendous appreciate for all of his fans, old and new. For those who were more familiar with Rush’s entertaining (and sometimes bawdy) stage show, his performance on the Backwoods Stage offered a completely different look at the talented showman. Rush would later move to the Blues Corner area to share some insights about his lengthy career and the music business in an open discussion with noted blues writer Art Tipaldi, offering yet another view of the man and his music.
The early evening lineup featured two (technically three) varied performances on the City Link and Backwoods Stages. Acoustic fans were treated to a fine performance by the multi-talented musician and former Muddy Waters harp player, Paul Oscher, assisted on mandolin by Rich DelGrosso. Those blues fans wanting a harder edged sound got to listen to split set by Ruf Records artist Ana Popovic from Belgrade, Yugoslavia, backed by the band of one of NewYork’s finest blues players, Michael Hill. While Popovic’s portion of the set featured more of a rock tinged sound with her searing guitar and strong vocal presence, Michael Hill took over the stage with a more blues/funk oriented sound as the Blues Mob treated fans to the unique New York City blues sound.
Guitar lovers rejoiced later in the evening when renowned guitarist Walter Trout laid siege to the Sound Advice Stage with an incendiary solo blast, followed by a 90 minute set that included some of the finest guitar and music of the day. Trout has always been a crowd favorite where ever he plays and is globally recognized as one of the finest guitarists performing in any genre. The set featured several songs from his latest release, Relentless, along with classics from his songbook like “Life In The Jungle,” an original tune recorded with John Mayall and the one that Trout credits with getting him out on his own successful solo career.
One of many highlights on Saturday (following a brief, but drenching, rainstorm) on the Backwoods Acoustic Stage was the moving performance by country blues performer, songwriter and singer, Rory Block. Block is recognized as one of the finest country blues guitarists and interpreters in the world, male or female. Mentored by Son House, Block told great stories about the musical inspirations that became her original material and played a set that included a nice mix of original tunes and fine interpretations of some blues classics by Robert Johnson, Charlie Patton and others. Her set held an emotional fervor that literally drove some members of the audience to tears. Block’s set included songs from her extensive songbook and several from her latest release, Last Fair Deal.
At the other end of the festival grounds, after waiting out the thankfully short rain shower, Little Charlie and The Nightcats climbed on to the City Link Stage to treat a damp, but still enthusiastic audience to their finger-popping, jump blues, featuring Little Charlie Baty’s jazz tinged guitar, along with the pointed harp and smooth crooning of the slicked back Rick Estrin. The band played several songs from their 2002 release, That’s Big, putting on a hot show that brought the audience back into the blues groove.
Saturday evening ended on a high note with a down home, funked up and blused out performance by former Butterfield/Bloomfield alumni, Elvin Bishop. Bishop and his tight band threw everything but the kitchen sink into the performance including classics like “Fishin’” and “Fooled Around And Fell In Love” to several not yet released tunes like “Must Be New Orleans.” Bishop had spent time earlier in the evening at the Blues Corner talking about how his career developed in Chicago after he had moved to the Windy City to attend school at the University of Chicago. During his interview, Bishop played several songs, including another unrecorded gem entitled, “What The Hell Is Goin’ On?” During his performance on the Sound Advice Stage Bishop was true to his unique blues style and animated enthusiasm for the music that he loves, referring to the stage as his “safe haven, “ because no matter how crazy things were in his life, he could always find comfort on the stage with a guitar in his hands.
At the end of another day of great blues and good feelings, it was clear that many people were already looking forward to Sunday.
Day Three – Sunday, November 2
Sunday opened at Noon with the 2003 International Blues Challenge winners, Delta Moon, performing their unique dual slide blues and featuring Gina Leigh (the Gwen Stefani of the blues) on vocals. Delta Moon performed a unique mixture of blues selections including original material, hill country blues (R.L. Burnside’s “Goin” Down South”) and classics like “Baby Please Don’t Go” with some new twists to freshen up the sound. All of the songs were slide-laced by the twin terrors of slide guitar, Mark Johnson on a Danelectro slide guitar and Tom Gray playing an electric acoustic lap slide guitar. The band’s enthusiasm and great sound got the early arrivals to the festival in the mood for the remainder of the day.
The mood setting set by Delta Moon was brought to an even more intense level by another former John Mayall sideman turned solo artist, Coco Montoya. Montoya was one of several exceptionally talented guitars to perform during the weekend, holding his own with an array of songs from his 30 year career including several from 3 solo releases, including his latest, Can’t Look Back. Montoya’s more contemporary blues sound was well received as he burned through his 90 minute set.
Montoya’s set was followed by two very unique performances at opposite ends of the festival grounds. On the City Link Stage, Colorado bluesman Otis Taylor performed his first of two sets for the day, this one focusing on the more electric side of his work. Taylor’s unique sound was well supported by his talented band and featured a range of songs including originals from his four mystical blues CD’s and unique renditions of some classic blues songs. Taylor’s sound is one of the most unique on the blues scene today, defying classification into any particular genre. He would later shift to his acoustic side on the Backwoods Acoustic Stage to an equally enthusiastic crowd, including a few who took their enthusiasm to an extreme which was handled well by Taylor’s calm demeanor.
At the same time as Taylor was performing his electric set, Mississippi Hill Country bluesman and Fat Possum recording artist Robert Belfour was putting on his own unique performance on the Backwoods Stage. Performing on his purposely distorted electric guitar, Belfour hammered out his set of unique original material, slowly bringing the audience around until they managed to get into his groove and his sound.
As the short Sunday lineup moved into the latter part of the afternoon, one of the best shows of the entire festival was performed by the amazingly talented Bobby Rush. Rush is the consummate showman, drawing in the crowd with his charismatic personality, his ribald humor and a show filled with great music, dancing and humor. Despite his raw references to sex on stage, Rush is a perfect gentleman and one of the nicest people that you could ever find in the blues. Throughout his 90 minute set, Rush expressed his appreciation for his fans, thanking them for making his career so rewarding. It was a fantastic show and one not often matched by any musician.
While Otis Taylor performed his acoustic set on the Backwoods Stage, Canada’s legendary Downchild Blues Band performed a great set on the City Link Stage. Downchild is Canada’s answer to their U. S. legendary counterparts, Roomful of Blues. The Downchild Blues Band has performed in Canada and throughout the world for over 30 years. The band has laid claim to the title of Canada’s finest blues combo and have made their reputation based on their great music, high energy and longetivity. In listening to Downchild’s performance, it was clear why that famous duo The Blues Brothers fashioned their style after this great group.
As the Downchild Blues Band completed their set, the sky’s opened up bring the long awaited and much feared rainstorm that many thought might threaten the event all weekend. In this case, many feared that the initially heavy and later steady rain would wash out the grand finale of the festival, the immortal Solomon Burke. Being one of the very few acts at the festival that I had NEVER seen before, I was particularly worried that I would end the festival with a big disappointment. However, as a credit to festival organizers and crew, Solomon Burke finally did take the stage for his set, only about 40 minutes later than scheduled.
With his Soul’s Alive Orchestra providing tight backing, Solomon Burke came onto the stage wearing his signature royal cape and crown, taking his place on his royal throne. The band included one of his sons on guitar and his daughter on backing vocals. At one point during his set, the proud father turned the stage over to his son and then his daughter, featuring their talents on a couple of songs. The set also included the final appearance of young Reggie Sears on guitar as he guested with Burke on a song. Burke’s set included a variety of blues, soul and gospel sounds, entertaining the smaller, but very brave crowd who braved the rain to hear the living legend put on a regal performance. As a final tribute to Solomon Burke and the commitment he has to his fans, Burke sat in his car for more than an hour following his performance to sign autographs for the fans who has stuck with him through the rain, maintaining his style and grace as he took time to socialize with people as he signed their items.
As I walked to my car fully satisfied with the wonderful performances that I had experienced over the weekend, I could only wonder what nest year might bring to this long time South Florida event. Given some disturbing rumors that I have heard since then regarding the City of Fort Lauderdale’s sponsorship of the event, it is my fervent hope that the Sound Advice Fort Lauderdale Blues Festival has not reached the end of the road as traveled by the Kansas City Blues and Jazz Festival and the Chesapeake Bay Blues Festival. I love attending this festival and I am sure my enjoyment is shared by many others who live in or visit South Florida who would also hate to see it end.
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