John and Anne Harris have been plugging away now for about six months with The Blues Jamm Sessions at The Anker Inn on Tuesday Nights. They have put their own money into advertising, yet attendances have been patchy-even though the turnout and support by local musicians has always been impressive. Last night was one of the best nights so far.
The "Blues" tag, as I have commented previously, is a misnomer. In 2018, most Folk Club followers I know expect to hear some blues,or blues-influenced work. Many performers throw a few bluesy numbers into their set lists anyway and on "Anker Folk" our twice monthly Radio show, Blues,Country Blues, Americana, Roots Music and Cajun are all regularly included.
Last night we had Blues tunes but we also has pop, soul and yes, Folk. Perhaps most importantly of all we had a damn good time! Blues is a state of mind-you can add a bluesy feel to almost any kind of music.
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| One of several variations on the House band get into Mustang Sally. |
The evening started well, as ace Photographer John B. Smith passed me some contraband-a couple of Islay Single Malt miniatures which we'd been discussing at The Sly Old Dogs gig on Sunday night. Nuneaton's own Dragonhead-John and Ann in person-started us off and it wasn't long after that before they started extending the mix to involve other audience members. Paul Moore seated himself on the Bodhran/beat box and started dusting the brushes in some percussion John Kearney led us in rousing versions of "You Never Can Tell" and "Bad Moon Rising," which really got the feet tapping.
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| Dragonhead |
Tom Young was an unassuming young man who had travelled over from Leamington to make his debut at The Anker. It was immediately established from his opening chords that he was an accomplished picker. A self confessed admirer of earlier country-style blues,his fingers flashed nimbly across the strings as he coaxed and picked a remarkable variety of authentic notes from a diminutive Gibson. Added to an entirely appropriate vocal style,it was an enjoyable and authentic cameo. He performed three songs including Kokomo and an R.L. Burnside number.
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| Tom Young |
Messrs Harris Moore and Kearney had organised a cheeky Saturday rehearsal so I was cajoled up to have a pitch at "Some Day The Sun Won't Shine For You." This was an early Jethro Tull number we used to do occasionally in Black Parrot Seaside days. Fair to say it needs further work, but the same line-up performed "Guilty" expertly and gave this fine Randy Newman song due respect, I felt.
Pete McParland was then called to supplement a growing stage outfit and led the vocal on "Let's Work Together" which was appropriate in oh so many ways. Especially as he did not then slope off to do Open Mic up at Church End, but took to the percussion box as Lesley Wilson,(making her second consecutive appearance) was pressed into service.
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| Pete MacParland |
Despite her protests ,Lesley rattled off thoroughly competent versions of "Road To hell," and "Call me The Breeze" before finishing with a good cover of The Cranberries classic, "Zombie." Good stuff. We've persuaded her to make her NFC debut with a floor spot in May.
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| Lesley Wilson |
Had we by now seen and heard it all? No. Not a bit of it. Up stepped a Paul Moore protege,Miles Walker, to make the second debut of the evening. He drew a slim white electric guitar from a case, like a gunslinger unsheathing a Colt 45 from a leather holster. He then proceeded to draw two remarkable Stevie Ray Vaughan solos from it. Firstly the instrumental "Lenny" and then SVR's signature song "Pride and Joy." He demonstrated a remarkable cornucopia of styles with (for me anyway) bits of Healey, Hendrix and Trower in there alongside an awful lot of Miles Walker's unique style. He used everything on the guitar including the whammy bar and held us spellbound. Wow! Watching John Harris's face as he tried to keep up with him, was a treat in itself alone
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| Miles Walker |
Nuncmonkey and Dr Bennett have both already guested in Feature Spots at The Anker. Last night Michael Luntley was a worthy addition to the List of Honour. He was every bit as good as I have ever heard and seen him,in fact, the best I had seen him. I told him so afterwards. He has quite evidently put a lot of work and thought into presentation and into honing technique. Last night he ran through two sets using both a mix of his own very original material and some impressive covers. His vocals are strong,and his guitar work is impressive.
Michael is a perfectionist. Talking to him afterwards,he was unhappy with a couple of "mistakes" he reckons he made,but which in all honesty I hadn't noticed. In a room full of guitarists and other musicians I was the only non-guitar playing vocalist there and it sounded mighty fine to me. Whether using his prettily embellished Taylor or a tastefully distressed Dobro,he got some fine sounds out of both machines!
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| Michael Luntley |
So it was an impressive Guest performance and the cherry on the cake was that we had not one but two young guitarists making their debut. Finally! Some more new blood. New performers and new audience members, for a second Tuesday at The Anker. Despite the (alleged) counter attractions of (apparently) England v Italy on telly and Flossy Maliaville at Brinklow. Back of the net.
Before Michael's second set, a newly extended House band ran through "Mustang Sally" (wuth Pete and Lesley on vocals) and "How Long Blues" followed by "Standin' Round Cryin'" with me taking the lead vocal. Now those two are Blues songs, no getting away from it, but if Leroy Carr or Muddy Waters had wandered in just then I'd like to think either of them might have been been impressed.
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| How Long has that evenin'train been gone? |
