Congleton Jazz and Blues Festival 2013
Sunday 25h August 2013
Ron Sayer Jr.
I promised myself that I would keep this review short, sweet, and with a minimum of digression, tangential threads, and unadulterated blathering. Well, I kinda jumped the shark on that one 2,900 words ago...
Ron Sayer Jr.
I'd been promised that I would not be disappointed and, when the bloke who is organising the event says that, you tend to pay attention. I'd played some of Ron's latest CD on my show (in fact, when I loaded it up, it started playing the wrong track so I just let it do it then, played a few more tracks, because I could) and it sounded a bit good.
It all depends on what you are expecting. You go to see some artists and stand there wondering how they did that or, marvel at how fast they are or, something of that ilk. Then, there are others that you go and see and you don't necessarily see anything jaw-droppingly new and flashy, but you enjoy the sight and sound of a really good band, playing it right, and taking care of business. Ron Sayer Jr. falls into the latter category.
Minor digression time: I am probably going to cut and paste this into the White Knuckle Blues Band review as the same circumstances apply...
2pm on a lazy, Sunday afternoon, and I'm making a beeline for The Cygnet Club. Last year I caught one of the best bands (for me) of 2012's CJABF right here, with The Hexmen. What is more, it is also one of the best venues to get some very nice photographs too, but more on that subject elsewhere. I plonked myself on the floor and just watched for the first three songs. Yes, this was very good stuff, indeed. In fact, it may even have been better than that. The band is super-tight, has a lot of fun playing, and it seems fairly effortless (although Barney does try to make it look hard :) ). That is always a good sign. The music just flows and you can get lost in it. It was around this time that I began to wonder why Ron and his band were playing this festival. You can tell that this bloke has the talent and is (no offence Vince) capable of bigger and better gigs. Looking at his biog he has played with some names, for sure: Buddy Guy, John Mayall, Robin Trower, and the one and only, Walter Trout. I'll bet he kept them honest, too! So, kudos for bringing Ron to Congleton.
Ron Sayer Jr.
I'd been promised that I would not be disappointed and, when the bloke who is organising the event says that, you tend to pay attention. I'd played some of Ron's latest CD on my show (in fact, when I loaded it up, it started playing the wrong track so I just let it do it then, played a few more tracks, because I could) and it sounded a bit good.
It all depends on what you are expecting. You go to see some artists and stand there wondering how they did that or, marvel at how fast they are or, something of that ilk. Then, there are others that you go and see and you don't necessarily see anything jaw-droppingly new and flashy, but you enjoy the sight and sound of a really good band, playing it right, and taking care of business. Ron Sayer Jr. falls into the latter category.
Minor digression time: I am probably going to cut and paste this into the White Knuckle Blues Band review as the same circumstances apply...
2pm on a lazy, Sunday afternoon, and I'm making a beeline for The Cygnet Club. Last year I caught one of the best bands (for me) of 2012's CJABF right here, with The Hexmen. What is more, it is also one of the best venues to get some very nice photographs too, but more on that subject elsewhere. I plonked myself on the floor and just watched for the first three songs. Yes, this was very good stuff, indeed. In fact, it may even have been better than that. The band is super-tight, has a lot of fun playing, and it seems fairly effortless (although Barney does try to make it look hard :) ). That is always a good sign. The music just flows and you can get lost in it. It was around this time that I began to wonder why Ron and his band were playing this festival. You can tell that this bloke has the talent and is (no offence Vince) capable of bigger and better gigs. Looking at his biog he has played with some names, for sure: Buddy Guy, John Mayall, Robin Trower, and the one and only, Walter Trout. I'll bet he kept them honest, too! So, kudos for bringing Ron to Congleton.
Now, I made a point of not reading the biog before I saw him play, as I wanted to see if I could detect influences in his style and sound. If I had to say he sounds like X or, Y, I'd say that if you enjoy Walter Trout, you will love Ron Sayer (especially that little thing with the volume control, fading the notes in and out, I love that!) Not that Ron is a clone, in any way. He has his own style and he is exceptionally good, without being flashy, and his original songs are of a very high standard. It is no surprise that he is up for multiple Blues awards this year. Comparing him to Walter is not something I do lightly. I have been following Walter since the late 1980s when my friend, Mick Schofield, brought him to the UK to play in Blackpool so, I know what I'm talking about. But, Ron is that damn good.
Mind you, there are many good blues bands out there. You go along and see them and you think: They were excellent! But, they will always be good playing small gigs. Then, with others, you get the feeling that you have been privileged to see a major artist, in a really small venue, when you know full well that they should be on stage at the Crossroads Festival, standing next to Sonny Landreth, Derek Trucks, and Eric Clapton, playing to 50,000 people.
Remember the name Ron Sayer Jr. You'll be hearing it again and you'll be able to say:
You did do Cong, Ron, you did do Cong.
Mind you, there are many good blues bands out there. You go along and see them and you think: They were excellent! But, they will always be good playing small gigs. Then, with others, you get the feeling that you have been privileged to see a major artist, in a really small venue, when you know full well that they should be on stage at the Crossroads Festival, standing next to Sonny Landreth, Derek Trucks, and Eric Clapton, playing to 50,000 people.
Remember the name Ron Sayer Jr. You'll be hearing it again and you'll be able to say:
You did do Cong, Ron, you did do Cong.
Steve Roux and The White Knuckle Blues Band
In my review of Ron Sayer, I wrote:
Minor digression time: I am probably going to cut and paste this into the White Knuckle Blues Band review as the same circumstances apply...
Well, no prizes for guessing what's coming up then!
Right after Ron's first set, I moseyed on down to The White Lion, to see The White Knuckle Blues Band, featuring the fine guitar-playing of Steve Roux. I had actually seen them on the Saturday night at The Bull's Head but it had been so damn dark in there, I couldn't get any pics, hell, I could barely see the band. Still, the music was hotter than a Russian wrestler's jockstrap and I knew they were playing the following day so, it was all gravy.
What a way to start off a Sunday of musical excellence. Ron Sayer Jr. followed by The White Knuckle Blues Band. I knew what would happen though. Both bands are of the highest quality, both play out of their skin and both have more than a feel of Walter Trout to them. How could I possibly write two different reviews, saying much the same thing?
I decided not to bother.
Minor digression time: I am probably going to cut and paste this into the White Knuckle Blues Band review as the same circumstances apply...
Well, no prizes for guessing what's coming up then!
Right after Ron's first set, I moseyed on down to The White Lion, to see The White Knuckle Blues Band, featuring the fine guitar-playing of Steve Roux. I had actually seen them on the Saturday night at The Bull's Head but it had been so damn dark in there, I couldn't get any pics, hell, I could barely see the band. Still, the music was hotter than a Russian wrestler's jockstrap and I knew they were playing the following day so, it was all gravy.
What a way to start off a Sunday of musical excellence. Ron Sayer Jr. followed by The White Knuckle Blues Band. I knew what would happen though. Both bands are of the highest quality, both play out of their skin and both have more than a feel of Walter Trout to them. How could I possibly write two different reviews, saying much the same thing?
I decided not to bother.
You know how you go to see some artists and you stand there wondering how they did that or, marvel at how fast they are or, something of that ilk. Then, there are others that you go and see and you don't necessarily see anything jaw-droppingly new and flashy, but you enjoy the sight and sound of a really good band, playing it right, and taking care of business. The White Knuckle Blues Band falls into the latter category.
3pm on a lazy, Sunday afternoon, and I'm making a beeline for The White Lion. I elbowed my way to the front and sat myself on the floor and just watched for the first three songs. Yes, this was very good stuff, indeed. In fact, it may even have been better than that. The band is super-tight, has a lot of fun playing, and it seems fairly effortless. That is always a good sign. The music just flows and you can get lost in it. It was around this time that I began to wonder why Steve and his band were playing this festival. You can tell that this bloke has the talent and is (no offence Vince) capable of bigger and better gigs. Looking at his biog he has played with some names, for sure: Albert Collins, Robben Ford, John Hammond, Pops Staples, and the one and only, Rory Gallagher. I'll bet he kept them honest, too! So, kudos for bringing Steve to Congleton.
Did The White Knuckle Blues Band remind me of Walter Trout? Yes, and No. In the playing, a little, but this is a more British Blues sound, less slick and American, a bit of a throwback to the late '60s; harder-edged, if you like. They did remind me of the first line up of The Walter Trout Band that I saw. Rob Vick on bass is a big guy who, like Jimmy Trapp, just stands there, pounding out those meaty bass lines, looking like he is playing a child's guitar. The only thing missing was the Hammond B3. They do kick some major ass though.
Mind you, there are many good blues bands out there. You go along and see them and you think: They were excellent! But, they will always be good playing small gigs. Then, with others, you get the feeling that you have been privileged to see a major artist, in a really small venue, when you know full well that they should be on stage at the Crossroads Festival, standing next to Sonny Landreth, Derek Trucks, and Eric Clapton, playing to 50,000 people.
One of the highlights of the weekend, without a doubt.
3pm on a lazy, Sunday afternoon, and I'm making a beeline for The White Lion. I elbowed my way to the front and sat myself on the floor and just watched for the first three songs. Yes, this was very good stuff, indeed. In fact, it may even have been better than that. The band is super-tight, has a lot of fun playing, and it seems fairly effortless. That is always a good sign. The music just flows and you can get lost in it. It was around this time that I began to wonder why Steve and his band were playing this festival. You can tell that this bloke has the talent and is (no offence Vince) capable of bigger and better gigs. Looking at his biog he has played with some names, for sure: Albert Collins, Robben Ford, John Hammond, Pops Staples, and the one and only, Rory Gallagher. I'll bet he kept them honest, too! So, kudos for bringing Steve to Congleton.
Did The White Knuckle Blues Band remind me of Walter Trout? Yes, and No. In the playing, a little, but this is a more British Blues sound, less slick and American, a bit of a throwback to the late '60s; harder-edged, if you like. They did remind me of the first line up of The Walter Trout Band that I saw. Rob Vick on bass is a big guy who, like Jimmy Trapp, just stands there, pounding out those meaty bass lines, looking like he is playing a child's guitar. The only thing missing was the Hammond B3. They do kick some major ass though.
Mind you, there are many good blues bands out there. You go along and see them and you think: They were excellent! But, they will always be good playing small gigs. Then, with others, you get the feeling that you have been privileged to see a major artist, in a really small venue, when you know full well that they should be on stage at the Crossroads Festival, standing next to Sonny Landreth, Derek Trucks, and Eric Clapton, playing to 50,000 people.
One of the highlights of the weekend, without a doubt.
The Rob Livesey Trio
I know nothing about Rob Livesey and his trio other than what it says in the CJABF booklet. I hadn't intended to go and see them. I was going to catch The Paul Birchall Trio then, head over for the Bearcats Blues Band. But, when the former pulled out, I figured it was but a short step from The White Lion to The Kings and, besides, it gave me a good opportunity to eat my plums, on the bench, by that little memorial garden.
I wasn't expecting anything at all so, I wandered over and slumped against the bar, waiting for a reason to stay. I was so glad I did. I like trios and the space they place in the sound. Guitar, bass, drums. Really, anything else is pretentious. N'est-ce pas?
The blurb said something about 'songs you know played in a way you don't'. That is a pretty fair summation of what they did. Very well they did it too. More than once I detected an ululation issuing forth, from where I was standing. I turned around to see who was cheering and, you know what, it was me!
I really liked The Rob Livesey Trio. They really did give some great tunes a work out and a new lease of life. Very imaginative, exceedingly listenable, and thoroughly enjoyable. Having had a taster of what they can do, I would definitely go and see them play again.
I wasn't expecting anything at all so, I wandered over and slumped against the bar, waiting for a reason to stay. I was so glad I did. I like trios and the space they place in the sound. Guitar, bass, drums. Really, anything else is pretentious. N'est-ce pas?
The blurb said something about 'songs you know played in a way you don't'. That is a pretty fair summation of what they did. Very well they did it too. More than once I detected an ululation issuing forth, from where I was standing. I turned around to see who was cheering and, you know what, it was me!
I really liked The Rob Livesey Trio. They really did give some great tunes a work out and a new lease of life. Very imaginative, exceedingly listenable, and thoroughly enjoyable. Having had a taster of what they can do, I would definitely go and see them play again.
I was so impressed I thought they deserved a review and some photos to mark their contribution to the festival. However, The Kings is a bit of a dungeon, as far as light is concerned. Taking pictures of Phil Maddocks and Nick Bayes the day before, I had encountered some issues with illumination and I knew that there was no easy answer to this conundrum. I hate using flash, and it strikes me that it's a bit rude to blitz someone when you cannot get more than a foot away from them. So, I got out my big Fuji and played with the settings. I have four presets which I have set for most crappy lighting conditions, none of which actually cut through the gloom. Then, I have to admit here and now, purely by accident I did something a little off the wall and when I looked at the little screen, saw that the image was actually well lit. It didn't make sense. So, I did it a few more times to prove to myself that I wasn't crazy. On a 3 inch screen, most shots look good, but these looked really good. I went with it and snapped a few more. Of course, I would only know if it had really worked once I loaded them onto the computer but, I'd either have a load of well-lit, blurred photos or, they'd all be too dark to see anything. Then again, maybe they would be really good. I would even settle for 'artistic' lighting...
Bearcats Blues Band
Talking of bands you know nothing about and have no expectations of, and can't see: Bearcats Blues Band. I'd been told this bunch was worth a look-see. Well, let's face it, it's not like I had anything else on during the weekend...
At The Bull's Head, it was wall-to-wall people, yet again. I complain when nobody comes out, and when they do; there's no pleasing me. So, yet again, I found a spot on the floor, got out my night vision goggles and waited to be impressed. It didn't take long. With the incredibly high level of musicianship in all of the bands, over the entire weekend, from the very first note it was clear that these boys had a little Dr Feelgood going on. If you fancy having your house barrelled, your boogie woogied, and your joint juked, then you won't find a better blues band to see to it. All kinds of blues-based tuneage receives the Bearcat special treatment and no matter what your favourite shade of blue, these fine gentleman of the music industry will have you strutting your funky stuff within minutes. Even I was seen tapping a foot, allegedly. Fantastically enjoyable performance and a great selection of music from the Mississippi Delta to Chicago, New Orleans to Canvey Island.
Oh, and my new technique for photographing black cats in coal houses worked wonders. Who's a clever boy?
To the guy who bought me a drink, if you are reading this, Cheers mate! That was very decent of you!
At The Bull's Head, it was wall-to-wall people, yet again. I complain when nobody comes out, and when they do; there's no pleasing me. So, yet again, I found a spot on the floor, got out my night vision goggles and waited to be impressed. It didn't take long. With the incredibly high level of musicianship in all of the bands, over the entire weekend, from the very first note it was clear that these boys had a little Dr Feelgood going on. If you fancy having your house barrelled, your boogie woogied, and your joint juked, then you won't find a better blues band to see to it. All kinds of blues-based tuneage receives the Bearcat special treatment and no matter what your favourite shade of blue, these fine gentleman of the music industry will have you strutting your funky stuff within minutes. Even I was seen tapping a foot, allegedly. Fantastically enjoyable performance and a great selection of music from the Mississippi Delta to Chicago, New Orleans to Canvey Island.
Oh, and my new technique for photographing black cats in coal houses worked wonders. Who's a clever boy?
To the guy who bought me a drink, if you are reading this, Cheers mate! That was very decent of you!
Sweet Winn Dixie
Same goes for SWD as for The RPB. I've seen them so often now that it's really difficult to write an objective review, saying something new. So, I won't bother.
The three at the front had been off travelling South East Asia during the summer months and, I must say that, Luke looks much better with skin. However, considering where they had been for three months, they looked incredibly pale. Did they only go out at night? Drummer, Rob, always looks pale but, I know for a fact that he is a nocturnal animal.
Anyhoo. I'd have to concede that the break has done them good. The same old inventiveness and musical creativity has, if anything, been enhanced by their travels and they are as much fun as ever. Their CJABF appearance suffered a few technical issues, which made the sound a bit shite, but they battled through and gave a very creditable performance, nonetheless. A little new material was showcased but you have to accept with these boys that anything new is a work in progress and it will evolve. The old favourites were present and correct and as enjoyable as always. You can't help but enjoy their performance. It is, seemingly, so random yet, you wonder if it is quite as haphazard as it appears. (It is, by the way!) Their musicality and proficiency is not in doubt though. If they could get a decent break, I think these guys could be quite big. They have a quirky Madness-style thing going for them.
Alles in allem, a good showing. I got talking to a few people outside, they had come from afar - all the way from Biddulph - and they were seriously impressed by SWD. But, they had been drinking and I had another appointment to get to.
The three at the front had been off travelling South East Asia during the summer months and, I must say that, Luke looks much better with skin. However, considering where they had been for three months, they looked incredibly pale. Did they only go out at night? Drummer, Rob, always looks pale but, I know for a fact that he is a nocturnal animal.
Anyhoo. I'd have to concede that the break has done them good. The same old inventiveness and musical creativity has, if anything, been enhanced by their travels and they are as much fun as ever. Their CJABF appearance suffered a few technical issues, which made the sound a bit shite, but they battled through and gave a very creditable performance, nonetheless. A little new material was showcased but you have to accept with these boys that anything new is a work in progress and it will evolve. The old favourites were present and correct and as enjoyable as always. You can't help but enjoy their performance. It is, seemingly, so random yet, you wonder if it is quite as haphazard as it appears. (It is, by the way!) Their musicality and proficiency is not in doubt though. If they could get a decent break, I think these guys could be quite big. They have a quirky Madness-style thing going for them.
Alles in allem, a good showing. I got talking to a few people outside, they had come from afar - all the way from Biddulph - and they were seriously impressed by SWD. But, they had been drinking and I had another appointment to get to.
John Ainsworth
The first time I saw John play I thought he was a special talent. The more often I see him, I never doubt my initial impression. His12-String guitar technique is absolutely wonderful and his singing is rather striking.
As I got to Illucini's, John had just arrived, having rushed from an earlier performance in York. He was tired, hot, and having a bit of a mare of a day but, as soon as he started playing Running With The Devil, the quality came to the fore and he sounded as good as I've ever heard him. His set consisted of a few new songs that I hadn't heard him play before and I quite enjoyed them. I'm not sure some of the onlookers quite got the humour in them though!
If I have one criticism of the weekend, at all, it is that Illucini's didn't particularly suit John's style. The YP, Beartown Tap, White Lion, The Kings, practically anywhere else would have been a different proposition but, with John's sound, the acoustics really worked against him. I only noticed this when I moved from my spot, in front of the PA. The further away you were, the echoes were quite bad and made his sound quite harsh. But, that's a minor criticism, I feel. The boy done good and I feel that he is becoming a stronger performer each time I see him. I do hope someone with some cash comes along and gives him a boost soon. If I had some brass, I would back him (and quite a few other local talents too).
As I got to Illucini's, John had just arrived, having rushed from an earlier performance in York. He was tired, hot, and having a bit of a mare of a day but, as soon as he started playing Running With The Devil, the quality came to the fore and he sounded as good as I've ever heard him. His set consisted of a few new songs that I hadn't heard him play before and I quite enjoyed them. I'm not sure some of the onlookers quite got the humour in them though!
If I have one criticism of the weekend, at all, it is that Illucini's didn't particularly suit John's style. The YP, Beartown Tap, White Lion, The Kings, practically anywhere else would have been a different proposition but, with John's sound, the acoustics really worked against him. I only noticed this when I moved from my spot, in front of the PA. The further away you were, the echoes were quite bad and made his sound quite harsh. But, that's a minor criticism, I feel. The boy done good and I feel that he is becoming a stronger performer each time I see him. I do hope someone with some cash comes along and gives him a boost soon. If I had some brass, I would back him (and quite a few other local talents too).
Cry Baby and The Hoochie Coochie Boys
By 8pm on Sunday, you'd have thought I was starting to chill out and take it easy. No such luck. From Illucini's, it was over to The White Lion and a little r'n'b, Cry Baby-style.
Incredibly, I had not seen this band before; I don't know how I'd managed that but, 'twas the case. I know the guitarist a bit and I wanted to see if he was any good. As I got to the venue, I knew that this was not going to be easy. For a start, even sticking my elbows out, doing my thing and shoving my way to the front was proving to be a challenge. It was absolutely crammed full of a sea of humanity, many of whom were taking my spot, front and centre. How rude! If that wasn't bad enough, they were dancing around, having fun. I'd have had them all taken out back and thrashed but, it seems, my liberal attitudes are not the contemporary Zeitgeist. How times change. Oh, and there was only blue light. A challenge, did I say?
Musically, I hate to admit it but they were like hot shit off a shiny shovel. If you fancy a bit of hot, sweaty, Nine Below Zero/Dr Feelgood-style r'n'b, the sort of stuff that'll make you get up and boogie your sneakers away, check these guys out.
Visually, in spite of the almost complete darkness, I did take a couple of pictures that I rather like. Besides, Vince looks much better in the dark.
Incredibly, I had not seen this band before; I don't know how I'd managed that but, 'twas the case. I know the guitarist a bit and I wanted to see if he was any good. As I got to the venue, I knew that this was not going to be easy. For a start, even sticking my elbows out, doing my thing and shoving my way to the front was proving to be a challenge. It was absolutely crammed full of a sea of humanity, many of whom were taking my spot, front and centre. How rude! If that wasn't bad enough, they were dancing around, having fun. I'd have had them all taken out back and thrashed but, it seems, my liberal attitudes are not the contemporary Zeitgeist. How times change. Oh, and there was only blue light. A challenge, did I say?
Musically, I hate to admit it but they were like hot shit off a shiny shovel. If you fancy a bit of hot, sweaty, Nine Below Zero/Dr Feelgood-style r'n'b, the sort of stuff that'll make you get up and boogie your sneakers away, check these guys out.
Visually, in spite of the almost complete darkness, I did take a couple of pictures that I rather like. Besides, Vince looks much better in the dark.
The Freddie Garner Quartet
Walking up to The YP, I came across a chap who was looking lost. He was asking where the jazz gig was going on and he was carrying a case that looked as if it contained a funny-shaped lump of brass. The young lady he was asking didn't seem to know which way was up so, I butted in.
“You looking for a jazz gig, mate?” spake I.
“I'm playing in it!” he expostulated. “I parked across the other side of town and I have no idea where it is.”
“Who you playing with?” I enquired.
“Freddie Garner Quartet,” he explained.
“Follow me, I said, “that's where I'm headed.”
And, thus, I saved the day. I was knighted for my services to music and awarded lands of the realm and wealth beyond imagination for my actions. I swear to Me, that is exactly how it went down.
Arriving at The YP, once again I was struck by how crowded the place was. Everywhere was full and there wasn't enough room to swing a cat. When you think about it, that is an odd (and messy) way to establish the dimensions of a room. Why not use a tape measure? Still, it takes all sorts.
The Freddie Garner Quartet played some very nice jazz. I wish I could describe it to you but, I have no idea what the hell I'm talking about and, if you are this far through my reviews, you have suffered enough bullshit, tangential digressions, and all that other funny, witty stuff. I believe that the style is post-Bop but, I really have no idea what that means. I did consider making some Be Bop Deluxe reference or, maybe talking about the postal service (I'll wait for you to get there...) but, I decided against it.
All I can tell you is that it was really rather nice, Mr Mainwaring, and you find yourself getting lost in a dreamlike state, being transported to a freaky beatnik bar, in 1950s San Francisco, contemplating Kerouac, debating the merits of Trad vs Modern, and desperately craving an unmasculine, European coffee. If you like jazz, I can't see why you wouldn't enjoy Freddie Garner's Quartet. What they did, they did extremely well and, obviously, with an excess of musical talent to spare. If you have ears, check them out and go with it would be my advice. Just enjoy the sounds and stop thinking too much about it and I'll try to be more hip to the lingo next time I review jazz, man.
“You looking for a jazz gig, mate?” spake I.
“I'm playing in it!” he expostulated. “I parked across the other side of town and I have no idea where it is.”
“Who you playing with?” I enquired.
“Freddie Garner Quartet,” he explained.
“Follow me, I said, “that's where I'm headed.”
And, thus, I saved the day. I was knighted for my services to music and awarded lands of the realm and wealth beyond imagination for my actions. I swear to Me, that is exactly how it went down.
Arriving at The YP, once again I was struck by how crowded the place was. Everywhere was full and there wasn't enough room to swing a cat. When you think about it, that is an odd (and messy) way to establish the dimensions of a room. Why not use a tape measure? Still, it takes all sorts.
The Freddie Garner Quartet played some very nice jazz. I wish I could describe it to you but, I have no idea what the hell I'm talking about and, if you are this far through my reviews, you have suffered enough bullshit, tangential digressions, and all that other funny, witty stuff. I believe that the style is post-Bop but, I really have no idea what that means. I did consider making some Be Bop Deluxe reference or, maybe talking about the postal service (I'll wait for you to get there...) but, I decided against it.
All I can tell you is that it was really rather nice, Mr Mainwaring, and you find yourself getting lost in a dreamlike state, being transported to a freaky beatnik bar, in 1950s San Francisco, contemplating Kerouac, debating the merits of Trad vs Modern, and desperately craving an unmasculine, European coffee. If you like jazz, I can't see why you wouldn't enjoy Freddie Garner's Quartet. What they did, they did extremely well and, obviously, with an excess of musical talent to spare. If you have ears, check them out and go with it would be my advice. Just enjoy the sounds and stop thinking too much about it and I'll try to be more hip to the lingo next time I review jazz, man.
Junkhouse Dog
By 10pm on Sunday, I was plum tuckered out. I think all of Congleton was crammed into The White Lion and even my elbows didn't work. So, I resorted to weapons of mass distraction then, barged through. After all the effort, I was barely a dozen photos into Junkhouse Dog when my camera battery, finally, cried, “No More!” It flipped me the finger and turned itself off. I took a few snaps on my phone but, at the time of writing, I am still battling the Samsung for ways to retrieve them. It knows they are there and I can look at them on the phone but, when I plug the little bugger in, my computer says, a most emphatic, NO. Once I have this finished, I shall go back and try to add them, provided they're not crap.
So, 6,300 words ago, I was discussing The Weave and their jazzy, cold, wet and socklessness. It was, somehow, appropriate that the last gig of the weekend was so diametrically opposed to that first one that it was hardly conceivable that I had seen them both during the same weekend. Yet, that is the beauty of the Congleton Jazz and Blues Festival. And, Junkhouse Dog couldn't have been more different. OK, if they had been Norwegian Death Metal, I suppose they could, but don't you play the slippery eel with me. You know what I mean.
Hailing from Manchester, this is one hell of a band. Double bass, harmonica, guitar, drums and, from the moment they took to the stage, it was balls-to-the-wall, heads down, no-nonsense, mindless boogie. That fella, front and centre, knows how to blow that thing, that's for sure. It's nasty, gritty, dirty, blues-boogie, with more than a little Chicago sass, and enough swing to make you slip a disc. It was relentless and I loved every second of it. A perfect ending to the weekend.
So, 6,300 words ago, I was discussing The Weave and their jazzy, cold, wet and socklessness. It was, somehow, appropriate that the last gig of the weekend was so diametrically opposed to that first one that it was hardly conceivable that I had seen them both during the same weekend. Yet, that is the beauty of the Congleton Jazz and Blues Festival. And, Junkhouse Dog couldn't have been more different. OK, if they had been Norwegian Death Metal, I suppose they could, but don't you play the slippery eel with me. You know what I mean.
Hailing from Manchester, this is one hell of a band. Double bass, harmonica, guitar, drums and, from the moment they took to the stage, it was balls-to-the-wall, heads down, no-nonsense, mindless boogie. That fella, front and centre, knows how to blow that thing, that's for sure. It's nasty, gritty, dirty, blues-boogie, with more than a little Chicago sass, and enough swing to make you slip a disc. It was relentless and I loved every second of it. A perfect ending to the weekend.
