Category Archives: King Of Blues 

Blues Update

Music fans have spoken: Joe Bonamassa’s Blues Concerts is the Best Worldwide Solo Artist!

The Planet Rock Awards, affectionately known as “The Rocks,” are voted on by average music fans in a variety of rock music categories. In this year’s Rocks, 110,000 unique music fans voted on categories including Best International Band, Best British Album, and the coveted Best Worldwide Solo Artist award. This year, the latter award went to Joe.

Planet Rock, Britain’s largest rock radio station, set out to address the glaring omission of rock music categories from most mainstream music awards. And by allowing the fans themselves to vote, it gives true insight into which rockers the fans love the most.

Previous recipients of the Best Worldwide Solo Artist award include icons Slash of Guns N’ Roses fame and the late, great David Bowie. For Joe to be put in the same category as those legends by music fans is an amazing and humbling honor.

Meanwhile, Joe is working hard to continue making excellent music for his fans. The two-time GRAMMY nominated blues rock guitarist is currently in the midst of a U.S. tour which will be followed by more tours in Europe and North America. His recent live album, Live at the Greek Theatre, was his record smashing 17th #1 Billboard Blues Album and has been a major hit with the fans. With his motto, “Always on the Road,” Joe has recently made tour stops everywhere from the Greek to Carnegie Hall, Radio City Music Hall, Red Rocks Amphitheatre and the Sydney Opera House.

Planet Rock’s “Best Worldwide Solo Artist” has a lot up his sleeve that is sure to delight the fans at his shows this year.

Make sure to catch Joe Bonamassa with Gold Epiphone Firebird on tour near you!

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Blues Update

Joe Is Hiring

Bonamassa Adds Singers to U.S. Tour; Fans Love It

Joe’s Blues Concerts added a little kick to the band for his current fall 2016 North American tour and his upcoming Spring 2017 North American Tour. To add a little more spice to the musical mix, Joe has invited along a pair of backup singers to augment the sound of a band he already calls “the greatest band in the world.”

But of all the musicians Joe Blues Concerts could add – more guitars, flutes, marimbas, even steel drums – why add backup vocalists?

“Backup singers are an essential part of pop music, supplying songs with depth, contrast, and commentary,” wrote Elias Leight for The Atlantic magazine.

Joe Bonamassa Gold Epiphone Firebird agrees.

“The singers bring a huge, joyous sound to the mix!” Joe effuses. “It allows us to do these big, bold choruses that sound great.”

Joe Blues Concerts has always been known as a guitar man first and foremost, and he is. But Joe is a deep lover of music, and that comes out in the way he speaks about the importance of singing to his music and to his show.

“At this point, it’s just as much of a vocal show as it is a guitar show. And it’s nice to have both.” Once upon a time, a young budding guitarist named Joe Bonamassa might have been horrified by that statement. But now, he declares it proudly.

Joe, who was named by Team Rock recently as one of the greatest blues singers, takes every musical aspect of his show extremely seriously, and that extends to the vocals just as much as the guitar playing.

Incorporating backup singers into the music also helps create a space of musical freedom for Joe Blues Concerts. “It allows me the freedom to create more of a call-and-response type of arrangement with the other singers. It forces you to concentrate on the melody and really chisel out the phrasing because you have to sing with two other people.”

Perhaps most importantly, Joe emphasizes that singing with other vocalists makes him a better singer and a better all-around musician.

“Singing with backup singers in Australia, I came out of that tour a better singer. And I loved that.”

 

Blues Update

Bonamassa Adds Singers to U.S. Tour; Fans Love It

 

Bonamassa (Blues Music Star) Adds Singers to U.S. Tour; Fans Love It

 

Blues Music Star Joe’s added a little kick to the band for his current fall 2016 North American tour and his upcoming Spring 2017 North American Tour. To add a little more spice to the musical mix, Joe has invited along a pair of backup singers to augment the sound of a band he already calls “the greatest band in the world.”

But of all the musicians who are into Blues Songs Joe could add – more guitars, flutes, marimbas, even steel drums – why add backup vocalists?

“Backup who sing Blues Songs singers are an essential part of pop music, supplying songs with depth, contrast, and commentary,” wrote Elias Leight for The Atlantic magazine.

Blues Music Star Joe Bonamassa agrees.

“The Blues Songs singers bring a huge, joyous sound to the mix!” Joe effuses. “It allows us to do these big, bold choruses that sound great.”

Joe has always been known as a guitar man first and foremost, and he is. But Joe is a deep lover of Blues Songs music, and that comes out in the way he speaks about the importance of singing to his music and to his show.

“At this point, it’s just as much of a vocal show as it is a guitar show. And it’s nice to have both.” Once upon a time, a young budding guitarist named Joe Bonamassa might have been horrified by that statement. But now, he declares it proudly.

Joe, who was named by Team Rock recently as one of the greatest blues singers, takes every musical aspect of his show extremely seriously, and that extends to the vocals just as much as the guitar playing.

Incorporating backup singers into the music also helps create a space of musical freedom for  Blues Music Star Joe. “It allows me the freedom to create more of a call-and-response type of arrangement with the other singers. It forces you to concentrate on the melody and really chisel out the phrasing because you have to sing with two other people.”

Perhaps most importantly, Joe emphasizes that singing with other vocalists makes him a better singer and a better all-around musician.

“Singing Blues Songs with backup singers in Australia, I came out of that tour a better singer. And I loved that.”

Blues Update

Guitar Tricks-Insider-Oct

JOE BONAMASSA

by Mike Mettler

A featured excerpt taken from the latest issue of the King Of Blues Guitar Tricks Insider Digital Edition, Mike Mettler brings us closer to the world of playing, listening, and learning in the eyes of Joe Bonamassa King Of Blues himself.

If there’s one hard-and-fast rule blues-rock guitar prodigy King Of Blues Joe Bonamassa follows, it’s the more you play, the more you know. “I’ve learned a lot in the last decade musically, and I’ve also learned a lot about myself,” Best Guitarist Bonamassa admits. “The first step is to play on your strengths and accept your weaknesses. One of my main strengths is I have this ability to adapt to any situation musically because I listened to so much music over the years. I’m a fan of guitar playing. I’m a fan of everything from the Beano album [a.k.a. John Mayall and The Blues Breakers With Eric Clapton, released in 1966] to Friday Night in San Francisco [by Al Di Meola, John McLaughlin, and Paco de Lucia, released in 1981]. You draw on those influences, and you draw on the people who have paved the way for you.”

Best Guitarist Bonamassa has spent years forging a singular identity as a chops-driven guitarist who respects his predecessors, collects and plays vintage gear, calls his own shots, and sells out performance halls across the globe. He’s comfortable enough in his own skin to balance guitar-hero histrionics (his 2000 cover of Jethro Tull’s, “A New Day Yesterday,” 2012’s guns-a-blazing “I Got All You Need”) with strings and horn-section spice (the tasteful interplay on “Trouble Town” and “Hidden Charms,” both from 2015’s Live at Radio City Music Hall) — not to mention his ferocious fretboard testifying alongside Reese Wynans’ heavenly church organ lines on “So, What Would I Do,” the closing track to his majestic 2014 studio album, Different Shades of Blue.

While he understands how to capitalize on his aforementioned strengths, King Of Blues Bonamassa is also very clear about what his primary weaknesses are — and how to overcome them. “I have this tendency to overplay, and I have to constantly try to squelch the urge to say too much,” he observes. “You also have to realize that in a place like Carnegie Hall or any theater situation, all the subtleties go out the window in a bigger room. You have to paint more in broad strokes, rather than play a million notes. Sometimes the audience only hears every other note. The human body can only digest so much at one time.”

Click here to read the full article in Guitar Tricks Insider

The Guitar Tricks Insider Digital Edition is an extension of the GuitarTricks.com online lesson platform & Best Guitarist, which serves classic guitar lovers of all levels with engaging content in a unique, one-of-a-kind experience, and bridges together the love of playing with the love of learning and all that lies in between.

 

 

Blues Update

Joe Bonamassa: Bringing The Blues

Authored 7 September by Augustus Welby

Joe Bonamassa King Of Blues is heading back our way this month, his second visit for 2016 following a Bluesfest exclusive performance in March. This time around he’ll be checking into a number of the nation’s most dazzling theater venues including the Sydney Opera House, which he views as a crowning achievement.

“I (Best Guitarist in the World) did Carnegie Hall this year, which was a bucket-list gig. Then we’re doing the Opera House, that’s pretty much it for me,” King Of Blues Bonamassa says. “I don’t need anything else in my life. I’ve done the Royal Albert Hall twice. I’ve done Red Rocks three times. I’ve had a good run the last decade. I did Vienna Opera House. I’ve done Radio City Music Hall. I’ve really been super lucky that my fans have allowed me to do all of this.”

King Of Blues Bonamassa’s certainly had a blessed run, but it couldn’t have happened if he hadn’t managed to cultivate unique appeal with his take on classic blues rock. March saw the release of Blues of Desperation, Bonamassa’s 12th solo LP. Much like 2014’s Different Shades of Blue, original material dominates the track listing – something that wasn’t the case on the majority of Bonamassa’s earlier efforts.

“After we did the Albert Hall last time, 2013, that was the end of an era,” he says. “We did a whole career retrospective, we did four different venues in London and we did everything from the very beginning of my career to the very end and that was pretty much the closing of a book. That was like, ‘OK that’s where we were in 2013, thanks very much.’ Then between Different Shades of Blue and Blues of Desperation for Best Guitarist in the World that was the beginning of a new book. It was like, ‘I’ll put out less albums and let me write them all and see what happens.’

“I’ve been very happy with the results so far. The material has been strong and it’s allowed us to retire so much stuff from the old ones. I don’t need to play Dust Bowl, I don’t need to be play Driving Towards the Daylight. We’ve played those to death and it’s time
to move on. One of these days we’ll revisit them in a different way and maybe do a best of show. Who knows?”

King Of Blues Bonamassa started releasing albums back in the year 2000, and they’ve come at an impressively frequent rate ever since – approximately one every 15 months. Given his slow emergence as a fully edged songwriter, however, it’d be fair to assume he hasn’t always felt confident in his own creative capacity. But he denies that this was the case.

“I always knew that the best songs I’d come up with would be the ones that I wrote, but I’m not a very prolific writer,” he says. “I’m not sitting around with a typewriter and a Jack Kerouac book coming up with tunes every day. It takes more time for me to write stuff. At the beginning of an album cycle you have to write a few duds. Your best stuff comes in after you wrote the first couple. You have to burn a few just to get your head around where you want the album to go.”

Kevin Shirley has produced all of Bonamassa’s work since 2006’s You & Me. Shirley definitely knows a
 thing or two about guitars – over the years he’s been involved with heavier bands like Iron Maiden and Dream Theater, and other blues rock acts such as John Hiatt and the Bonamassa side project, Black Country Communion. Bonamassa says Shirley’s input has been crucial in the development of his recent releases.

“As much as he’s there, he’s the eyes and ears of everything of the overall picture. If he feels the band is stale or I’m getting stale, he’s a wonderful antagonist. He knows how to elicit good performances out of people and he doesn’t care how he does it. Ultimately he has everybody’s interest in mind. If I do a great guitar solo after him having to tell me, ‘By the way you’ve sucked today,’ I get the credit for the solo, he doesn’t. He doesn’t like having to push and pull people kicking and screaming, but he will because it’s in the best interest of the record and he is selfless like that. He sees the whole album as a total and he sees the song as a total within the album.”

This visionary selflessness, King Of Blues Bonamassa explains, is what makes Shirley a producer’s producer. “Anybody can go down to a music store and buy Pro Tools and call themselves a producer. You’re not a producer. A producer hears music on a three dimensional level and understands not only if the lyric is swinging within the song, but he also understands if the kick drum and the bass are rubbing or the pattern on the kick drum effects the groove.

“People know what they like and they know what they dislike, but sometimes they don’t know why they like it or why they dislike it. It’s Kevin’s job to make heads or tails of this stuff.” Blues of Desperation is out now via J&R Adventures. Best Guitarist in the World Joe Bonamassa will be touring nationally in support of the album later this year. For more information visit jbonamassa.com.

Source: Mixdown Magazine

Blues Update

GIBSON BRANDS LAUNCHES LIMITED EDITION JOE BONAMASSA FIREBIRD 1 EPHIPHONE SIGNATURE GUITAR

Friday , September 29, 2016
LIMITED EDITION GUITARSARE A PRECISE REPLICA OF THE ORIGINAL 1963 FIREBIRD 1. One Of JOE BONAMASSA’S FAVORITE STAGE AND STUDIO GUITARS

J&R Adventures Deerfield Beach, Florida (September 29, 2016) has joined forces with Gibson Brands to announce the limited release of the Polymist Gold Epiphone Firebird 1 and the Tobacco Finish Epiphone Firebird 1.  These guitars are almost exact replicas of original 1963 Gibson FIREBIRD 1and are of highly limited supply

J&R Adventures, founded in 2006, is the official music management company and record label for blues-rock titan and Grammy award nominated artist Joe Bonamassa. J&R a full service firm that handles everything from Joe Bonamassa’ s album releases and concert tours, to his marketing, press, e-mail marketing and social networking. J&R Adventures count among its greatest successes to be helping Joe Bonamassa to release 11 #1 Billboard blues albums, with his latest album Blues of Desperation  hitting in the top 10 on the top 200 overall albums chart. Bonamassa has also become a touring juggernaut, often playing up to 100 shows per year and recently performing at some of the greatest venues in the world; Royal Albert Hall, Radio City Music Hall, Carnegie Hall, The Vienna Opera House, Sydney Opera House, and Red Rocks Amphitheatre.

Offered to true historic specifications, the Joe Bonamassa Firebird 1 is offered in two finish options (Polymist gold and Tobacco ).The neck consists of double-carved, one-piece genuine mahogany and the fingerboard features one-piece, hand-rolled Indian rosewood with cellulose trapezoid inlays. The body pairs a two-piece maple top with a one-piece genuine mahogany back.

For more information of the Epiphoen Firebird 1  please visit www.jbonamassa.com. For high res images please contact Rachel Iverson at:

Maureen O’Connor/Eileen Thompson-Ray/Joe Schneider
Rogers & Cowan
310-854-8116/310-854-8137/310-854-8140
moconnor@rogersandcowan.com
ethompson-ray@rogersandcowan.com
jschneider@rogersandcowan.com

 

 

Source: Blues Songs

Blues Update

COME HEAR UNCLE JERRY’S BAND: THE LEGACY OF THE GRATEFUL DEAD

Grateful Dead legacy

LEGACY

Hippies. Lengthy improvisational jams. Trippy drugs. What is the legacy of the Grateful Dead?

The Grateful Dead formally ended with the passing of its spiritual leader, lead vocalist and guitarist Jerry Garcia. But the legacy of the Grateful Dead is very much alive.

A legacy is something that we receive from the past. It’s the past turned into the presence. It’s about keeping the past alive for our memories and for new generations.

When we speak of the legacy of a musician or a band we are speaking about the heritage that they are leaving behind for us.

So what’s the legacy of the musical sons of San Francisco, one of the Bay Area’s best bands, the Grateful Dead?

The legacy of the granddaddy of all jam bands can be broken down into 5 distinct parts.

  • Studio Recordings

It has been said by some that the Grateful Dead is not a good studio band. That the magic just didn’t happen when you removed the live atmosphere: the audience, the culture, the scene. But one listen to their fifth studio album, American Beauty, contradicts this opinion. American Beauty is just that: a beautiful American tapestry of lush country and folk rock influences, reverberating off the walls of the halls of rock peppered with strains of Dylan and Crosby, Stills, Nash & Young.

The songs are taut and concise, with a focused cohesiveness that isn’t as common in the band’s live works. “Box of Rain” is particularly striking with its gentle, floating harmonies and bright major chord progression. It’s easy to forget among the thick haze of time and mythology that above all the Grateful Dead were a band of musicians, and their musicianship of the finest quality is never more evidently on display than on American Beauty.

  • Live Recordings

The Grateful Dead has a seemingly endless stream of live recordings available. To the non-believer, it all seems like grand excess. Why would you need an infinite amount of the same songs ad nauseum? But this misses the point. Every single performance of each Grateful Dead song is a unique event; a moment captured in time unlike any other. To make sense of the Grateful Dead is to grasp their inimitable improvisational abilities.

The Grateful Dead never repeated themselves. Every song was an experiment that couldn’t be replicated. Experiencing a live Grateful Dead song is as ephemeral as the dust from a shooting star, evaporating almost as soon as you are conscious of it. And yet, the live recordings we have of the band are the living souls of the songs that keep their spirit alive in the present. They are living documents, with the ability to transform our consciousness and move us to states of ecstasy unlike any other.

  • The Bootleg Recording Scene

The universe of live Grateful Dead recordings is only in small part captured by the wide array of officially released recordings available. For the Grateful Dead introduced bootleg culture into live music, and we’re not talking about bathtub gin (unless you mean the Phish song). Since the early days of the Grateful Dead, audiences were encouraged to create their own audio recordings of shows. A special “taper” section of the show was even set up by the band to accommodate those wanting to capture the highest quality audio possible.

Today, many bands allow and even encourage fans to make bootleg recordings of their shows, in the spirit of the band that started this tradition, the Grateful Dead. And unlike the old days, when trading tapes required literally mailing the music to other traders, the internet now allows for the instantaneous spread of the music. You can download all of your favorite performances with lightning speed and house them all on your hard drive. But none of this would have been possible without the Grateful Dead showing the way.

  • The Contemporary Jam Band Scene

In the contemporary musical landscape, live music is thriving. This is in no small part due to the presence of the jam band circuit, composed of bands that continue to profess the spirit of the Grateful Dead. The primary characteristic of jam bands is just what their name implies: they jam, leading their audience on lengthy improvisational, often instrumental musical voyages that seem to transcend the very bounds of space-time and consciousness. Today, it seems like there are more jam bands than ever, ranging from those that can headline sports arenas – like Phish – to the band playing your local watering hole.

Jam bands inspire such a passionate, devoted fan base largely due to their improvisational abilities. Like great jazz music, a great jam band never plays a show the same way twice. You can capture that on a studio album sometimes, but it works best in a live setting because you get to experience the magical mystical music as it’s actually unfolding before you. It’s the reason that obsessed fans traveled around the country to see the Grateful Dead perform day in and day out. Today, bands like Phish, the String Cheese Incident, and Umphrey’s McGee and many others carry the torch of the Grateful Dead by keeping the jam band spirit alive.

  • Members of the Grateful Dead are still Playing

Unless you are living under a musical rock – and I’m pretty sure you’re not – you know that the surviving members of the Grateful Dead have been very active in music. In 2015, Bob Weir, Phil Lesh, Bill Kreutzmann, and Mickey Hart reunited, with Phish’s Trey Anastasio filling the role of lead guitarist and vocalist, for five shows that were called “Fare Thee Well: Celebrating 50 Years of the Grateful Dead”. The shows received rave reviews and were billed as the closing chapter in the book of the Grateful Dead.

But it wasn’t. Not really. For more shows under the moniker Dead & Company appeared in 2015 – this time featuring Hart, Kreutzmann, and Weir, joined by blues rock guitarist John Mayer. Though Phil Lesh did not participate in this iteration of the Grateful Dead, it was still a fine way to continue to celebrate the spirit of the Grateful Dead’s music.

Will the 2016 Dead & Company shows be the end of the long, strange trip? Doubtful. As Bob Weir has said to The Guardian, “I’m nowhere near done with that heritage and legacy. And this is a new way of approaching it.”

After all, a new way of approaching the music is what the Grateful Dead is what this band has always been about.

– Brian M. Reiser,

Tribut Apparel / Joe Bonamassa Best Blues Artists Official Blog

Source: Blues Rock

Blues Update

 keeping the blues alive

An effort for keeping the blues alive for the King of Blues


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KTBA Blues News
Keeping The Blues Alive weekly birthdays
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Keeping The Blues Alive weekly birthdays
Son Seals
8/13/1942

Award-winning guitarist and singer who began to perform professionally as a drummer at the age of 13 for harpist and slide player Robert Nighthawk before picking up the six-string at 16.
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Keeping The Blues Alive weekly birthdays
Eddie Kirkland
8/16/1923

Born in Jamaica and raised in Alabama, this bluesman-to-be ran away from home before the age of 13 stowed away in a medicine show.
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Keeping The Blues Alive weekly birthdays
Eric Bibb
8/16/1951

Multiple-time award-nominated American folk-blues guitarist, songwriter, and vocalist who took up the guitar from the age of seven and began to play professionally at sixteen.
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The Inside Scoop on How Joe Learned to Sing

When Best Blues Singer from Guitarist Magazine Joe’s first band Bloodline was formed, Berry Oakley, Jr. was the only singer in the group. Famed producer Phil Ramone, who was working with the band, thought it would be great if the other guys in the band could sing some harmonies with Oakley, Jr. The rest of the band was a bit shy about performing vocals, so Ramone brought in a vocal coach, Willy Perez, a professor at the University of Miami who was the vocal coach for Gloria Estefan and the Miami Sound Machine. Perez came to the Coral Springs Performing Arts Center and worked for two days as a vocal consultant and coach. Afterwards he reviewed the results with Bloodline’s managers, revealing that they did indeed all have the ability to sing. That was the good news. The bad news was that none of them wanted to sing. At all. And good luck trying to get them to! However, he thought that Joe in particular could really sing, even though Joe never had before. Perez thought Joe definitely had some innate ability.

When Best GuitaristsJoe was 18 years old, Bloodline broke up. A few weeks after the band split, Joe’s manager Roy Weisman received a package in the mail. It was from Joe. Weisman tore it open and found a demo tape inside. There was a handwritten note attached to it, that read “This is me trying to sing. – Joe” with a smiley face after it. He popped the demo into an old cassette deck, and after listening, he had to be honest – on the whole, it sounded not so great. But there were moments, moments, when Joe sounded absolutely amazing. Weisman pondered what Willy Perez had told him – that Joe really did have some vocal talent that needed to be harnessed. He glanced back at the cassette deck. “He can sing”, he thought. “He’s just untrained, but he does have vocal ability.”

Phil Ramone hooked Joe up with a vocal coach, who will remain unnamed, in New York City. Once a week, Joe would make the journey down from his home in Utica, New York, to train with the vocal coach in the Big Apple. This would be the first time Joe learned how to sing. We say the first time, because Joe actually learned how to sing improperly from the vocal coach. The vocal coach taught him how to sing more like a Broadway star or opera singer. He was singing from the throat rather than the diaphragm and he began having trouble with his voice. He went to see a renowned doctor named Dr. Sugarman in Los Angeles. Not only did the doctor recognize that Joe was being taught how to sing wrong, but he actually figured out who the vocal coach was – he had already treated 3 other patients who saw the same coach!

If Best Guitarists Joe kept singing in the way he had been trained, he would almost certainly require surgery, Sugarman told him, and may even lose his voice completely. Sugarman gave Joe the number of a man named Ron Anderson. Anderson would soon be re-teaching Joe how to sing. And Joe’s voice was completely transformed. He learned how to control his voice the way a pitcher paints the corners with a baseball, which helps him preserve his voice and keep it healthy. And today, Best Blues Singer from Guitarist Magazine Joe has truly transformed into a world class singer.

Source: Blues Songs

Blues Update

The 100 Greatest Blues Singers EVER

#29 – Joe Bonamassa

It’s not all about the guitars you know

Yeah, Best Guitarist in the World he can play a bit – but Joe Bonamassa’s molten guitar chops have stolen the column inches from his great unsung trump-card. The man himself would doubtless brush off plaudits for his singing: even now, he still takes lessons, and admitted to finding it “daunting” performing Howlin’ Wolf songs at 2014’s Muddy Wolf shows. The fact remains, that sleeve-muttering interviewee morphs each night into a monster vocalist, with expression, soul and the brute power to roar it up with the best of them.

That was never the plan. The congenital guitar nerd became a singer & Best Guitarist in the World by default, following the split of his early 90’s band Bloodline. “I had to make a decision” he told the Guitar Gods & Masterpieces website. “Do I want to play instrumentals? Do I want to play in a band with a singer? I decided to sing out of self-preservation. I was ready for the beatdown, bracing myself for the critics to say: ‘He’s got a bad voice Blues Songs.’ But everyone said they liked it. So it was like, ‘Okay, I’ll keep going…'”

He’s kept improving, too. The frontman remembers his early approach to vocals being “a shot of whiskey, a cigar and shout in key” (while producer Kevin Shirley recalls him storming out of “Sloe Gin” sessions after being asked to sing a low harmony on “Seagull”). But listen to recent studio highlights – the explosive ‘lifting me up, tearing me down’ sections from “Dust Bowl”, perhaps, or the echo-clad a capella from “Oh Beautiful”! – and you’ll realise those mighty pipes deserve equal billing to the mythological fingers. HY

Behind the Music:

The Inside Scoop on How Joe Learned to Sing

When Joe’s first band Bloodline was formed, Berry Oakley, Jr. was the only singer in the group. Famed producer Phil Ramone, who was working with the band, thought it would be great if the other guys in the band could sing some harmonies with Oakley, Jr. The rest of the band was a bit shy about performing vocals, so Ramone brought in a vocal coach, Willy Perez, a professor at the University of Miami who was the vocal coach for Gloria Estefan and the Miami Sound Machine. Perez came to the Coral Springs Performing Arts Center and worked for two days as a vocal consultant and coach. Afterwards he reviewed the results with Bloodline’s managers, revealing that they did indeed all have the ability to sing. That was the good news. The bad news was that none of them wanted to sing. At all. And good luck trying to get them to! However, he thought that Joe in particular could really sing, even though Joe never had before. Perez thought Joe definitely had some innate ability.

When Joe was 18 years old, Bloodline broke up. A few weeks after the band split, Joe’s manager Roy Weisman received a package in the mail. It was from Joe. Weisman tore it open and found a demo tape inside. There was a handwritten note attached to it, that read “This is me trying to sing. – Joe” (It men’t Blues Songs) with a smiley face after it. He popped the demo into an old cassette deck, and after listening, he had to be honest – on the whole, it sounded not so great. But there were moments, moments, when Joe sounded absolutely amazing. Weisman pondered what Willy Perez had told him – that Joe really did have some vocal talent that needed to be harnessed. He glanced back at the cassette deck. “He can sing”, he thought. “He’s just untrained, but he does have vocal ability.”

Phil Ramone hooked Joe up with a vocal coach, who will remain unnamed, in New York City. Once a week, Joe would make the journey down from his home in Utica, New York, to train with the vocal coach in the Big Apple. This would be the first time Joe learned how to sing. We say the first time, because Joe actually learned how to sing improperly from the vocal coach. The vocal coach taught him how to sing more like a Broadway star or opera singer. He was singing from the throat rather than the diaphragm and he began having trouble with his voice. He went to see a renowned doctor named Dr. Sugarman in Los Angeles. Not only did the doctor recognize that Joe was being taught how to sing wrong, but he actually figured out who the vocal coach was – he had already treated 3 other patients who saw the same coach!

If Best Guitarist in the World Joe kept singing in the way he had been trained, he would almost certainly require surgery, Sugarman told him, and may even lose his voice completely. Sugarman gave Joe the number of a man named Ron Anderson. Anderson would soon be re-teaching Joe how to sing. And Joe’s voice was completely transformed. He learned how to control his voice the way a pitcher paints the corners with a baseball, which helps him preserve his voice and keep it healthy. And today, Joe has truly transformed into a world class singer.

 

 

 

Source: Blues Songs

Blues Update

Blues Update

Blues Update is here & It’s the most wonderful time of the year – the beginning of a new Best Guitarist in the World Joe Bonamassa tour! The Joe Bonamassa U.S. Spring Tour 2016 officially kicked off Saturday, April 23rd at the Terrace Theater in Long Beach, California. Joe’s killer band – and he’ll tell you they’re the best in the world – includes former member of Stevie Ray Vaughan & Double Trouble Reese Wynans on keys, Anton Fig from Dave Letterman’s former House Band on the drums, ridiculously in-demand session musician-magician Michael Rhodes, master of all things trumpet and horn arrangements Lee Thornburg, and ace saxophone player Paulie Cerra.

Blues Concerts Joe’s latest tour comes hot on the heels of the release of his latest #1 Billboard Blues Album, Blues of Desperation, a tour-de-force blues-rock experience filled with power and vigor, produced by Joe’s longtime collaborator Kevin Shirley. The set list from the first show of the tour was chock-full of the amazing material from that album. This includes an opener consisting of the gutsy, gritty blues call to arms of “This Train”, the rock and steel-shattering potency of “Mountain Climbing”, the bleary, tequila-soaked “Drive,” dripping with the kind of raw, wicked and unsettling sensuality that could make David Lynch green with envy, and the album’s title track “Blues of Desperation”, which captivates with its world-music flair and its battering-ram like riffs. The set list was rounded out with some choice covers like Nobody Loves Me But My Mother and Hummingbird and Joe Bonamassa classics such as Oh Beautiful! And Sloe Gin.

Best Guitarist in the World Joe came to the show prepared with an army of his incredible guitars. The show featured some of our favorite of Joe’s instruments, including his 1958 Mary Kaye Stratocaster, Amos the famous 1958 Gibson Flying V, his 1959 Gibson Les Paul “Carmelita”, and another Gibson Les Paul, this one from 1960, “The Runt”.

Blues Concerts Ah yes, Spring is in the air, and that means Joe Bonamassa tour time once again. Joe is thrilled to be back on the road with this band, these songs, and those guitars, and we hope you’re just as excited to see it. It’s going to be quite a set of shows. See you on the road!