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7th Annual Barrier Beach Blues Performer Bios:
Debbie Davies -debbiedavies.com
She wields an electric guitar as if it were a wand. — LOS ANGELES TIMES
Debbie
Davies is an award-winning singer, songwriter, guitar player of
extraordinary talent. A professional musician since the early 1980s,
Debbie ranks among the
top blues artists in the country. She has received ten nominations for
Blues Music Awards, and in 1997 and 2010 won the award for Best
Contemporary Female Blues Artist.
Davies’
rise to the upper echelon of blues music started at an early age as she
absorbed the music heard constantly in her home. Her (professional)
musician parents were either sitting at the piano or spinning discs on
their turntable, filling the air with the sounds of big band jazz,
harmony vocal groups, or the pop icons of the day. But the young Davies
was particularly attracted to the bluesier sounds of her father’s Ray
Charles records, and by the age of 12 realized that her affinity for an
instrument was not for the piano, but for the guitar.
Growing
up in Los Angeles in the 1960’s, she found that being a female guitar
player meant only one thing: acoustic guitar. Electric guitars were
still toys meant only for boys. But when Debbie heard the sounds of the
British blues-rock bands, particularly the electric guitar of Eric
Clapton with John Mayall’s Bluesbreakers, she became completely
captivated. Going against the grains of society’s accepted roles of the
time, Debbie pursued her dream with the passion of an artist and the
soul of a rebel.
Davies
cut her teeth playing in blues and rock ‘n roll bands in the San
Francisco Bay area before returning to Los Angeles in 1984, where she
landed the lead guitar spot in Maggie Mayall and the Cadillacs, an
all-female band led by wife of British blues pioneer, John Mayall. In
1988 she was recruited by Albert Collins to join the Icebreakers, and
for the next three years she was a featured guitarist performing behind
one of the most innovative bluesmen of all time. “I stepped through a
door into the real blues world when I joined Albert’s band,” Davies
says. “It’s one thing to listen to the records and pull off the licks,
or sit in the audience watching these artists play. But actually going
out and touring with one, turned the blues into something completely
three-dimensional for me. I knew then what a special opportunity this
was, but I know it even more now.” During her tenure with Albert, Debbie
was invited to perform on John Mayall’s 1990 album, A Sense of Place,
and in 1991 she recorded with Albert Collins and the Icebreakers on the
Grammy nominated self-titled release for Point Blank/Virgin Records.
In the
summer of 1991 Debbie became lead guitarist for Fingers Taylor and the
Ladyfingers Revue, which served as the opening act for Jimmy Buffett’s
“Outpost” tour. In September 1993 she came out with her debut solo
release, Picture This, on Blind Pig Records, which featured a cameo by
Collins on “I Wonder Why.” People like to ask Debbie if she learned her
technique from Collins, to which she gently points out that she had to
play well from the start to hold her own with Albert at every
performance. However, the experience taught her lessons in being a
better musician, both onstage and off. Says Davies, “It was the most
powerful band I had ever played with, so I learned to dig even deeper
into myself to pull out the music. Albert was a man of so much grace and
kindness, so I can only hope that I was able to absorb some of his
humanity too.”
Since
1993, Debbie has produced eleven solo recordings and two collaborative
CD’s, one with guitarists Tab Benoit and Kenny Neal, and another with
guitarists Anson Funderburgh and Otis Grand. The roster of other artists
who have joined Debbie in the studio on her recordings reads like a
who’s who of the blues: Albert Collins, Ike Turner, James Cotton, Mick
Taylor, Peter Green, Coco Montoya, Duke Robillard, Tommy Shannon, Chris
“Whipper” Layton, Sugar Ray Norcia, Mudcat Ward, Charlie Musselwhite,
Bruce Katz, Per Hanson, Noel Neal, and Rod Carey.
Her
2007 Telarc Records release Blues Blast is highly-acclaimed and is a
pressure cooker recording that showcases her seasoned guitar and vocal
capabilities. It includes guest appearances by three high-profile
bluesmen: guitarists Tab Benoit and Coco Montoya, and harpist Charlie
Musselwhite.
In
2009, Debbie Davies released the ground-breaking and acclaimed all
instrumental CD, HOLDIN’ COURT on Vizz Tone Records. That year also
found Davies teaming up with blues singer and harp player, the late
Robin Rogers to tour the country with performances at many festivals.
Davies
also joined Tommy Castro’s Legendary Rythym and Blues Cruise Revue that
same year, performing both on the land and at sea. Debbie Davies is
featured on the 2011 release of the review performing the tune ALL I
FOUND, on Alligator Records.
At the
close of 2010, Debbie was deeply affected by the passing of Robin
Rogers. Later that year Debbie suffered a broken arm…a “no-no” for a
musician! As she began to heal, she started writing and putting many of
her experiences and feelings into songs. The result is 2012’s, AFTER
THE FALL on MC Records. The all-original CD also features songs written
by Debbie’s long time drummer Don Castagno and a guest appearance by
pianist Bruce Katz.
In 2013
Davies felt it was time to treat her fans to a RETROSPECTIVE and she
self released a CD of tunes recorded through the years both live and in
the studio.
Davies
brand new 2015 release, LOVE SPIN, is at once funky, rocking’, and
bluesy. It’s collection of all original tunes showcases an artist at
her peak, and will no doubt put smiles on the faces of long time fans
and bring many new ones into the fold. Released by the VizzTone Label
Group.
A
thirty-year veteran of the road, this latest recording leaves no doubt
that Debbie Davies is truly one of the leading lights on the
contemporary blues music scene today.
TOBY
WALKER 
Internationally
and nationally acclaimed Toby Walker has been hailed as a roots music
fingerstyle guitar virtuoso who has toured the US, England, Wales,
France, Germany, Belgium and Holland. Walker has been featured in the
New
York Times, the London Sunday Times, the London BBC, Sirius-XM radio
and was the 1st
place recipient of the International Blues Challenge Award - Solo
division - given out by the Blues Foundation in Memphis TN.
Walker
blends the styles of blues, ragtime, country, bluegrass, rock and old
time jazz into his own unique style. Jorma Kaukonen of Hot Tuna
and the Jefferson Airplane says "Flat
out... you have to hear this great musician... I'm blown away"
and has employed Walker to teach at his famous Fur Peace Ranch Guitar
Camp for 6 years. In 2010 Walker won the NY
Music Award
for 'Best Instrumental CD,'
sharing the honors with Mariah Carey, Rufus Wainwright and Judy
Collins among many others.
Walker has recently released three
instructional guitar DVD's for the world famous company Homespun
Tapes which have been getting rave reviews. His latest CD release -
'What
You See Is What You Get'
- has been hailed as a shining success in the genre of traditional
blues recordings.
Carnegie
Hall acknowledged his
rare talents and hired him to augment and teach in their
"American Roots" program aimed at honor level middle school
students.
Toby’s passion for blues, rags, folk, and
other traditional American music drove him to leave an apartment
crammed full of recordings, books and instruments for the Mississippi
Delta,
Virginia and the Carolinas where he tracked down some of the more
obscure - but immensely talented - music makers of an earlier era. He
learned directly from Eugene
Powell,
James
"Son" Thomas,Etta
Baker,
and R.L
Burnside,
among others.
Quotes:
"If
he doesn't get them with his phenomenal guitar playing or catchy
songs, he gets them with his wonderful stories. True entertainers
have an engaing spirit that puts a smile on your face. Arlo Guthrie
has it. David Bromberg has it. And so does Toby. "
- John
Platt - WFUV
"As
a blues guitar player, I am stunned and in awe of Toby Walker's
pickin'! Add to that his fine songs and singing and friendly
presentation, and it's obvious that Toby Walker is one of the most
enjoyable artists in today's Blues World."
-
Steady Rollin' Bob Margolin
Guitarist for the late Muddy
Waters
"A
fingerpicking guitar virtuoso"
-
Happy Traum
"When
Toby Walker straps the guitar on, the notes fly at a rate that is
dizzying. They dance with speed, grace and precision. The effect is
one of steel-like strength. His blues are a flash of muscle and his
gentle fingerstyle ballads speak poetry."
-Richard
Cuccaro - Acoustic Live
www.littletobywalker.com
Hoodoo
Honeydrippers 
The
Hoodoo Honeydrippers are A country and delta blues duo based in
Brooklyn, NY and comprised of Sarah Wonsever (aka Short Slide
Saree) on vocals, guitar, percussion andJerie "La China"
Choi on vocals, fiddle, guitar, percussion.
Their
musical influences includeMemphis Minnie, Jessie Mae Hemphill,
Trixie Smith, The Mississippi Sheiks, R.L. Burnside, Andrew &
Jim Baxter, Skip James, Mississippi John Hurt, Cecil Barfield, Bud
Spires & Jack Owens.
Slam
Allen 
www.slamallen.com
Slam Allen couldn’t
help but play the blues. His folks had the blues down home in
Alabama, and when they came to the cold north with the great
migration of African Americans, they brought it up with them. The
blues’ve always been there, like a member of the family, through
good and hard times, passed on through generations like an
heirloom. The family couldn’t shake the blues, just like their
distinct Southern way of talking that still carries through today.
When Slam greets his audience with “How are ‘ya’ll tonite”
it comes straight from the deep south and deep from within the
heart. His daddy, Harrison Allen Sr., a superb blues bassist and
guitarist and the greatest influence on Slam, taught him how to
play. When Slam was growing up, the blues and all other
African-American music was all around. His uncle, his cousins,
everyone played it. Slam Allen was born with the blues.
On his telephone
answering machine, Slam Allen has a simple, but poignant message,
“… and remember”, he says, “…there is no black, no white,
only the blues”. Actually, his musical repertoire includes far
more than “only the blues”. He comfortably encompasses the
entire African-American musical spectrum he grew up on, including
blues, soul, R&B, funk and even a bit of hip-hop. “I am
foremost an entertainer”, says Allen, “I play music, all kinds
of music. Not just the blues. My job is to make my audience happy,
and I do it well”. That he does, indeed.
Since he first lead
his own band in 1994, the musical persona that is Slam Allen has
been multi-faceted. A soulful singer, a versatile guitarist with
lightning fast speed when he wants it, he prefers a warm feeling
and a tight groove over show-off guitar theatrics. His emphasis
lies more in a good overall band sound- cohesive, full and
exciting. Slam Allen is equally at home in a variety of styles and
he reflects the entire range from Memphis to Chicago, from blues to
soul, from the gritty inner city to the heart of the country blues
on which it is all based.
For Slam Allen, it’s
all about the show for the people. When he talks about
“entertaining” he means it. They call Slam Allen “The Working
Man” for a reason. He works harder than anyone to please an
audience. He knows how gives it all up for his listeners as he
coaxes, caresses and charms the crowd with his earnest ear-to-ear
smile that comes from truly and totally enjoying what he does. He
works the crowd as if he was the reincarnate of Louis Armstrong; he
solicits their call and response, and he sings and plays until the
sweat pours off him profusely- always with a giant smile on his
face. He loves what he does and it shows, as he spins out buoyant,
cheerful melodies, with a tinge of funky blues and pop, soul,
gospel and R&B. Slam’s walks out to the audience for the
personal, up-close and intimate portion of the program moving
people with his lilting harmonies and irresistibly snappy, knee
slapping rhythms. He shakes hands and touches hearts while kicking
out some of the best blues imaginable. His sound is fresh and
eminently listenable both for the hard core blues audience and
newcomers. Another reason for his appeal maybe that Slam Allen’s
songs are of the “happy blue” variety. No heavy torment and
pain, no gut-wrenching deep wailing moans, no death letters or
killing floors.
Slam Allen makes an
impression, and the prevailing response is overwhelming. People
love his show. They know that they’ve enjoyed a world-class act,
equal or better than anyone they’ve ever heard, worthy of
comparison to the biggest acts in the blue scene , today or
yesterday. Put him next to B.B. King, Freddie King, Albert King,
Albert Collins, Otis Redding, Wilson Pickett or James Brown and
Slam Allen would not be intimidated. He delivers! He knows how to
work hard and he has the right stuff. Slam Allen puts on as good as
a show can get. Period. Nobody who’s ever seen his show will deny
that.
Audiences all over
the country will attest that Slam brings down the house, be it in
festivals, clubs and concert halls from Chicago’s ‘Rosa’s
Lounge’ to ‘Warm Daddy’s’ in Philadelphia, ‘B.B. King’s
Blues Club’ in Memphis, as he spreads his good-news sound all the
way down to key West, Florida.
His combination of
showmanship and guitar virtuosity, heartfelt entertainment and
superb musicianship is Slam Allen’s trademark, but his legacy may
well be the substance of his songs – the strength of his
songwriting. In 1995 he was voted “Best New Soul Blues Artist”
by the Manhattan Blues Alliance. His critically acclaimed 1998
release on the RaveOn label “Things Sho’ Done Changed” raised
eyebrows among blues aficionados and established Slam Allen as the
blues act to watch, a singer/songwriter and bandleader destined to
ascend.
His new
release
“Still Working” on the Level B label, has Slam Allen fronting a
new band and touting a new sense of independence. As brilliant and
heartfelt as Slam Allen's past work was, this new record surpasses
even Slam's highest expectations. Here is a musician in his prime, one
of the most exciting and promising contemporary blues players with the
sparkle in his eyes. Slam Allen is his own man charting his own destiny
and believing in the inevitable success that is due to a man who has
paid his dues, over and over, and who puts out 110% for everything he
does. He's still waiting for he can already hear that whistle blowing.
.
.
The
Better Late Than Never Jug Band
Jug Bands formed in the twenties when southern blues musicians
got together to play. They usually had a guitar and harmonica. Others
joined in with a washboard for percussion, a comb and tissue paper
(predecessor of the Kazoo) and a bass made from a wash tub and a broom
stick. There was a Jug Band revival in the early Sixties and groups
such as the Jim Kweskin Jug Band and the Even Dozen Jug Band recorded
several albums of old time and Blues music. The Better Late Than
Never Jug Band has six members. “Big Mike” Meyer plays guitar,
sings and plays Kazoo. Rob “The Blue Streak” Bellassai plays
harmonica, jug and a bunch of other things that make noise. Angela
Giannotti plays wash board and sings. Rich Fuller plays mandolin and
sings. Carl Batchelder plays upright bass. Rich Giannotti plays
guitar and sings.
http://www.betterlatethanneverjugband.com
Michael Hill's Blues Mob: Original York-Style Blues
Michael
Hill’s Blues Mob has recorded six internationally released albums
of
their Original, New York-Style Blues. The Mob has captivated
audiences
in
twenty-nine countries around the globe. Beginning with Bloodlines,
their
1994
Alligator Records debut, they’ve built a distinguished body of work
that
has drawn world-wide critical and audience acclaim for dynamic
musicianship
and vivid storytelling.
Michael
Hill’s lyrics eloquently convey the passion, the humor and the
desire
for freedom and justice that are intrinsic to the blues. The band
transmits
those lyrics through blues that is seasoned with flavors of rock,
R&B,
funk and more, making every show a celebration of music, life and
love.
Michael is a 2011 inductee into the New York Blues Hall of Fame as a
Master
Blues Artist. Michael Hill’s Blues Mob’s most recent album is
Goddesses
& Gold Redux on JSP Records.
BENOIR 
Benoir plays the electric blues with
influences ranging from Stevie Ray Vaughan to B.B. King and Robert Cray. His
Blues quartet will include Michael Carman a.k.a. the "Great
Carmonica", Chris DeCarmine - drums, and Tony Breit - bass. Selections include his originals "If I
Could Only Hold You", "Trepidation", "Stormy
Wednesday", "Refugee", "Soulful of Blues", and
"Nothing But Trouble" co-written by singer/guitarist "Pretty
Finger Ganji".
Rob
Europe 
Rob Europe is a NY
blues guitarist mesmerizing audiences wherever he appears - And at 24
years old, he's just getting started.
Long Island's 2014
International Blues Challenge representative plays with an expertly
executed Piedmont style upstaged only by a voice so soaked in soul it
comes as no surprise that musical mastery runs in the bluesician's
family.
Europe is the great-grandson of Jazz Hall-of-Famer James
Reese Europe of the Harlem Rattlers; ragtime music and the Clef Club
Orchestra.
This ancestral connection gives context to how deeply
this rising young musician – whose unique, gravel-laden vocals jibe
perfectly with fingers that pluck notes as powerfully as they wield a
slide – bleeds the blues, particulary the pre-war country
variety.
His 'tier one' idols include the genre's oldest –
Charlie Patton, Robert Johnson and Eddie James “Son” House –
Artists he covers with so signature a stamp that the judges who chose
him to represent Long Island in this January's international
competition often stopped Europe between songs to clarify whether he
had just played them an original song.
“He made old
originals his own,” one judge wrote on Europe's score card, noting
a “hot” slide ability that captivated the audience.
“Very
authentic blues.”
Europe began studying guitar and cello at
eight years old.
EMAIL:
robeuropemusic@gmail.com
Acoustic
Breakaway 
Howie
Haber and Lou Carrollo are two-time members of the NY Blues Hall of
Fame both as solo artists and as members of the band Breakaway. With
a 35 year history they have offered their take on original blues from
New York City to Memphis. This acoustic version offers a look at the
duo's original songwriting in a more intimate light.
Mike
Barnett 
Mike
Barnett was House guitarist at Tramps NYC in the 80s.He performed
frequently with Big Joe Turner, Otis Rush,Cousin Joe, Charles
Honeyboy Otis,and Louisiana Red to name a few.Mike and his band
opened up for Many national acts like BB King, Sam and Dave ,Muddy
Waters etc.
Mike and his band perform frequently in the tri-state
area.
"I
started off playing clubs and bars before I was old enough to drink.I
worked plenty of Dives, and "buckets of blood" before My
Band started working as an opening act at Concert Halls.Many times we
opened up the show for BB King,Albert King,Muddy Waters,Sam and
Dave,Johnny Winter,Mike Bloomfield,John Mayall, among many others.I
was guitarist in the house band at NYC's St.Regis Hotel and also
performed frequently at other NYC venues which included,the
Limelight,Dr.Generousitys,Dan lynch bar,Chicago Blues, and Pops
place.I was hired by the Famous Drummer Charles" Honeyboy"
Otis to play Guitar in his Band.We performed primarily at the World
famous Nite club Tramps in NYC, where we were working five nights a
week over two years. I also Performed over 200 gigs playing Guitar
with Honeyboy and the Great Big Joe Turner.I learned alot about the
Blues ,also working frequently with Otis Rush,Louisiana Red,Charles
Honeyboy Otis ,Cousin Joe,Little Buster and many other"Blues
Greats".
Over the last several years I have been performing
Local Festivals,Clubs and recording Original Compositions with my
Jazz-Blues trio ,The Mike Barnett Band.
www.reverbnation.com/mikebarnettband
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