2016 Performers

The Nick Moss Band Feat. Michael Ledbetter

Distinct, honest, and intense — a blend of traditional blues and progressive, jam-oriented blues rock. Face-melting guitar solos that rise above the crowded field of pretenders, and a versatile band that brilliantly delivers unparalleled improvisational jams to packed houses night after night, city after city.

John Nemeth – August 6th

Boise, Idaho is hardly the place anyone would conjure up as a hotbed of soul music.

But for John Németh, it’s where his love for the genre began—and the starting point for a journey that’s taken him from his first gigs fronting a teenaged band to five Blues Music Award nominations in 2013 alone.

It’s where this preternaturally talented son of a Hungarian immigrant gained his early chops on the harmonica, building on the style of rootsy heroes like Little Walter and Sonny Boy Williamson. Németh’s first paid performance came in 1991, when he was hired to perform drinking songs for a pinochle luncheon held by the Catholic Daughters of America before setting his sights on the Boise club scene, where, for nearly a decade, he played seven nights a week at local pubs, taverns, joints, and parties.

After opening a show for Junior Watson, Németh was tapped as tour opener for the guitar great, a gig that took him across the United States, to Scandinavia, and into the recording studio for his 2004 solo debut, Come And Get It, featuring Watson. When Németh’s girlfriend decided to relocate to California, he knew he couldn’t lose her, so he packed up the house and traveled west. It was an astute move: shortly after his arrival, Németh was signed by Blind Pig Records to a three-album deal. He also earned critical acclaim placing him in, as Nick Cristiano of the Philadelphia Inquirer put it, “a cadre of young and relatively young artists such as James Junter, Eli ‘Paperboy’ Reed, and Sharon Jones.”

“I learned a lot living in Oakland and San Francisco,” Németh says, “from recording and performing with Elvin Bishop to hearing Jimmy Hughes perform. Oakland is like a truly southern city, only it’s on the west coast. It wasn’t until after I arrived that I discovered that so many great songs I love actually originated there.”

In early 2013, Németh traded his life on the west coast to settle down in Memphis, Tennessee. He and Jaki, that girlfriend he followed to California, had married and started a family, and Memphis made sense for multiple reasons: It’s centrally located for touring, the cost of living is inexpensive, and the river town is the historical ground zero for American roots music.

“I moved to Memphis because it is the epicenter for soul and blues,” Németh confirms. “The wealth of knowledge runs deep in the instincts of its musicians and its studios.”

The 2000-mile trek south was wild. Németh’s 26-foot Budget rental truck broke down in the middle of the night in Flagstaff, Arizona, where he had to unload the entire truck and reload a new one on the side of the road. A scant two days after that, he was in Memphis and, as improbably as it sounds, in the recording studio.

Németh landed in the perfect place: Electraphonic Studio, home of producer and musician Scott Bomar, who composed the film scores for Hustle & Flow and Black Snake Moan and produced Cyndi Lauper’s Memphis Blues. Backed by the Bo-Keys, Bomar’s group of veteran Memphis performers who made their names backing the likes of Al Green, O.V. Wright, Rufus Thomas, and the Bar-Kays, Németh quickly laid down thirteen tracks that, as he describes it, “live in the style like I live in the style.” The tapes from that session caught the ear of manager Charles Driebe, who took the record to Denby Auble of Blue Corn Music. The Americana/roots music label signed Németh that year, adding him to a roster that boasts the likes of Ruthie Foster, Gurf Morlix, and Steve Forbert.

BIG JAMES & THE CHICAGO PLAYBOYS

Bandleader, arranger, vocalist, songwriter, and trombonist Big James Montgomery and his band are a breath of fresh air on the contemporary blues scene, as so many blues bands follow the guitar-harmonica-bass-drums format. The Chicago Playboys’ horn-heavy sound makes for some compelling dance music and intricate arrangements, and their live shows are generally intense affairs. Montgomery had a revelation when he first saw James Brown in concert at the Capitol Theater in Chicago, thanks to his father, who had taken him. The owner of the theater arranged for the young Montgomery and his father to watch the concert from the side of the stage, and Montgomery, seven-years-old at the time, knew what he wanted to do with the rest of his life. He began his music studies with guitar, but switched to trombone in his freshman year of high school, heavily influenced by the sounds of New Jersey-raised George Clinton and Parliament-Funkadelic. Fred Wesley, then the band’s trombone player, was a major source of inspiration for the teenaged Montgomery, because Wesley had also played with James Brown for many years. Montgomery attended many of the band’s performances in Chicago and got to meet his idols. Later in high school, he learned about jazz from recordings by trombonist J.J. Johnson and trumpeter Maynard Ferguson, and since one can’t play very good jazz without knowing the blues, Montgomery eventually settled on a style that mixed blues, funk, and jazz. Also as a teen, he began sitting in at a local blues club with the likes of harmonica player Billy Branch and guitarist Carl Weathersby. His first big break came about in college, where he was playing big-band jazz. One day some musicians came by his father’s tavern and asked if he wanted to join Little Milton Campbell on the road. After a rehearsal with the band during which Montgomery passed the audition, he left with Campbell’s band the next day, despite opposition from his mother and father about leaving college behind. Fortunately, both of Montgomery’s parents lived to see his success, performing with the likes of Buddy Guy, Lou Rawls, Campbell, and other nationally prominent musicians.

Montgomery & the Chicago Playboys released Funkin’ Blues in 1998 on his own Jamot Music label, and followed it up with If It Wasn’t 4 the Blues in 2001. He and his band became frequent performers at Koko Taylor’s club, as well as Buddy Guy’s Legends. After releasing Now You Know, in 2005, and Thank God I Got the Blues in 2007, Big James & the Chicago Playboys signed with Blind Pig Records. Blind Pig released Right Here Right Now in 2008, an album that features eight of Montgomery’s original compositions as well as songs by the O’Jays, Bobby Bland, and Tyrone Davis. The international distribution and marketing of Blind Pig helped the band gain a wider following around the U.S., Canada, and Europe. They won the 2008 Prix Blues award from the Academie du Jazz in Paris. The band continues to tour, playing an eclectic mix of funk, blues, soul, and classic R&B.

ALEXIS P SUTOR BAND

Alexis P. Suter is the youngest daughter born to Carrie Suter (Artist, Teacher) and Albert Suter (Postal Worker, Preacher) in Brooklyn, New York.  Alexis was always destined for the stage as she began singing at the tender age of four in church recitals and special events.  As a young girl she would create songs to sing for her mother or anyone else who wanted to listen. Alexis attended “The Little Children’s Theatre” on Church Avenue in Brooklyn briefly for vocal lessons but preferred her mother’s instructions as she would receive her undivided attention.

While visiting New Orleans at age nine with her parents who were attending a postal convention, Alexis had the pleasure of meeting “The Mills Brothers”. When her parents attended various meetings and workshops, Alexis would sneak off into the rehearsal of the Mills Brothers enamored by their succinct harmonies and sound.  The music of the Mills Brothers was very new to Alexis as only Gospel music was played in her home.  Harry Mills, lead singer, was so moved by her wonder and excitement he invited Alexis and her family to their show that evening. From that night on a whole new world opened up for Alexis. She began discreetly bringing other forms of music into her home and discovering talent outside of the church.

In elementary school PS 20, she joined the band playing the “snare drums, bass drums and timpani’s” under the direction of James R. Drayton. Drayton was so impressed he later encouraged her to handle the “sousaphone B-flat tuba”.  Alexis played the sousaphone for the next 9 years until she left Junior High School 294 in the Clinton Hill/Fort Greene area of Brooklyn.  Also during her time at PS 20, Alexis sang in the school choir under the direction of Isaiah Ruffin.

As the years went by, Alexis seized every opportunity to perform and listen to other live performances.  Although she appreciated all types of music, her roots were Gospel.  She often attended different churches to experience the many styles of worship and music ministry. In her early twenties, Alexis discovered the world of theatre. She joined a very talented and diverse group of artists known as the “Performance Art Chorale” (PAC) under the direction of Miche Braden.  With Ms. Braden’s coaching she deepened her knowledge of the performance art, developed acting skills and expanded her vocal repertoire.

Butch Trucks & The Freight Train Band – August 5th

BUTCH TRUCKS is an American drummer who is one of the founding members of The Allman Brothers Band. One of Trucks’ first bands was local Jacksonville band The Vikings, who made one 7-inch record in 1964.  Another early band was The 31st of February which formed and broke up in 1968. This group’s lineup eventually included both Duane Allman and Gregg Allman. They recorded a cover of “Morning Dew”, by 1960 folk singer Bonnie Dobson.

Trucks then helped form The Allman Brothers Band in 1969, along with Duane Altman (guitar), Gregg Allman (vocals and organ), Dickey Belts (guitar), Berry Oakley (bass), and fellow drummer Jai Johanny Johanson (a.k.a. Jaimoe).

Together, the two drummers developed a rhythmic drive that would prove crucial to the band. Trucks laid down a powerful conventional beat while the jazz-influenced Johanson added a second laminate of percussion and ad libitum cymbal flourishes, seamlessly melded into one syncopated sound.

Said founding member and co-lead guitarist Dickey Betts of Trucks’ addition to the original band lineup, ” …When Butch came along, he had that freight train, meat-and-potatoes kind of thing that set Jaimoe up perfectly. He had the power thing we needed.”

A little anecdote from Butch tells the tale of a drummer’s life. “We were playing North Lake Amphitheatre near Atlanta several years ago. Two offensive linemen that played with the Atlanta Falcons were at the show. They were obviously football players, or if they weren’t, they should have been. I introduced myself, and they told me their names. I said. “Yeah, I’m quite familiar with you. We’ve got a lot in common. “And they looked down at my little shrimp butt and they said, “Well, what do you mean by that?” And I said, “Well, we do all the work and the quarterbacks get all the credit.” They laughed their butts off.” Trucks keeps his sense of humor about his life in the back of the stage, but seems quite serious when he says, “It’s a band, and what we have in this group is a band. And all the elements are necessary.”

Butch continues to be a leading component in the Roots Rock Revival summer music camp. Roots Rock Revival is a four night, five day all-inclusive intensive that features master classes, jam sessions, Q&A sessions, open rehearsals and more. Its an intimate look at the Southern Blues Rock movement, the Allman Brothers Band and the music that forms the foundation of Rock ‘n Roll. Some of the young attendees are often invited to perform with Butch at local gigs.

Larry McCray Band – August 5th

Larry McCray’s heart and soul are in the blues. Of that, there’s no question. It’s been 25 years — award-winning ones at that — of scalding-hot and tasteful blues from the Arkansas-born, Michigan-based singer, guitarist, bandleader, songwriter and heir apparent to a lineage that includes personal influences and heroes such as B.B. King, Freddie King, Albert King, all of whom he’s had the chance to meet and play with. McCray’s eight albums have blended reverence for that tradition with his own soulful spin on the form, and those achievements have been noted with an Orville H. Gibson Male Blues Guitarist of the Year award as well as the Top Guitarist prize in International Blues Matters’ 2014 writer’s poll. But there’s a part of McCray here that has a rock ‘n’ roll beat too, and he’s following  that on his latest release, THE GIBSON SESSIONS, a 12-song set featuring some of his personal favorites by Lynyrd Skynyrd, Bob Seger, ZZ Top, Gregg Allman, the Doobie Brothers, the Rolling Stones, Creendence Clearwater Revival and others, with help from six-string brethren such as Allman Brothers Band co-founder Dickey Betts, Derek Trucks (Allman Brothers Band, Tedeschi Trucks Band, Eric Clapton), Los Lobos’ David Hidalgo and Jimmy Herring (Aquarium Rescue Unit, Allman Brothers Band, The Dead, Phil Lesh & Friends). “The blues is my favorite, for sure. I get more out of it, feeling-wise, but I’ve always been a rock ‘n’ roll fan and I’ve always tried to write music that was rock ‘n’ roll friendly,” McCray explains. He adds, THE GIBSON SESSIONS is as much a Larry McCray album as the 1990 or 91 debut AMBITION or any of the others that followed in its wake. “I always try to move forward and remember where I came from,” McCray says. This album is a way to do these songs I love and maybe get them heard by people who like that music already, but do it in my own way so I can have some of my personality and
self-identity within the music.”

Mr. Sipp  – August 5th

Castro Coleman a-k-a Mr. Sipp “The Mississippi Blues Child”. Born August 25, 1976 in the town of McComb, MS. He began playing the guitar at the tender age of 6. Due to hard work and perserverance Mr. Sipp has become an awesome vocalist, songwriter, musician, composer, producer and entertainer. Castro has over 130 credits and has played on over 50 national recordings. He has traveled abroad to Russia, Germany, Scotland and other countries spreading his gift of music. Castro is currently a Malaco recording artist. He is the 2016 Best New Artist Album Blues Music Award winner. In 2015 he won the JMA Male Artist of the year, National Artist of the year, Blues Artist of the year. He is also the 2014 International Blues Challenge and Gibson Best Guitarist. He was cast in the recently released James Brown movie, “Get On Up” Mr. Sipp is loving to live the life he loves which is music.