CD of the Month

I recently stumbled across Philadelphia singer Gina Sicilia's first album on CD-Baby and while many of the tracks seemed to channel the fire of classic Aretha Franklin or Tina Turner I wasn't prepared for the full vocal power of "Goin' Home Baby", the song off her second album, Hey Sugar, that greets you on Gina's website. Actually, it not so much greets you as grabs you and drags you onto an over-heated late night dance floor before you've even got a chance to take your coat off or catch your breath... and the next 4 songs are equally as good, each in their own way.

In fact, this 13 song CD easily boasts 6 songs I could (and do) play for blues dancers. It's a testament to this artist's versatility and song writing ability that dance friends have been fairly evenly split on which one's they ask me to play. While "I Pray Most Every Day" is an International Song Writing Competition finalist, I have to admit a particularly naughty fondness for the growling horns and flirty rhythmic twists of "So Attracted to You". Meanwhile, straight Chicago blues fans will appreciate Jack and Jill. Musical guests Dennis Gruenling (harmonica), Jon-Erik Kellso (trumpet) and Gerry Niewood (saxes & clarinet) are an amazing addition to this talented young singer. The unit sounds like they've been together for ages.

Meanwhile, the remaining 7 songs are no throw away either. Packing a countripolitan charm and warmth that conjures up Patsy Kline you find yourself intently listening to the lyrics about a Cherry Tree and trying not to be more touched than you want to admit.

http://http//www.amazon.com/Hey-Sugar-Gina-Sicilia/dp/B001G9F46E/ref=pd_bbs_sr_1?ie=UTF8&s=music&qid=1238448845&sr=8-1

While you're at it, keep your ears open because there's some buzz we may be seeing this gal at an upcoming east coast event or two in the coming months.

Jennie Löbel & Her Swing Kings

Some of you may know about 15 months ago I was trying to find a copy of Jennie Löbel & Her Swing Kings' out of print, limited printing first CD. I eventually contacted the band back home in Sweden to ask for advice because I loved DJing their music for dancers. Jennie wrote back to say she was surprised anyone was still interested in a 9 year old album, especially since their only other album was also 6 years earlier. We struck up a nice email correspondence in which she said she was never really completely happy with the sound of her vocals, which is partly why they hadn't recorded any new music since 2001. That just floored me because I particularly love her distinctive sound.

Their bass player ended up finding a spare copy of the CD in a box under his stairs, which he very kindly sent my way. A couple weeks later I got an email from Jennie saying she'd been inspired by my out of the blue email and had suggested the band head back into the studio since there appeared to still be some people interested in what they might record.

Imagine my elated surprise 20 minutes ago when I got an email from Jennie asking me to give her my post address again because they had a copy of their new album to send me.

It's amazing how simply acknowledging someone's talents with a kind word can truly make a difference in the world sometimes.

Success, a poem by Bessie Anderson Stanley

Success

He has achieved success
who has lived well,
laughed often, and loved much;

who has enjoyed the trust of pure women,
the respect of intelligent men and
the love of little children;
who has filled his niche and accomplished his task;

who has left the world better than he found it
whether by an improved poppy,
a perfect poem or a rescued soul;

who has never lacked appreciation of Earth's beauty
or failed to express it;

who has always looked for the best in others and
given them the best he had;

whose life was an inspiration;
whose memory a benediction.

- 1904 Bessie Anderson Stanley
(although frequently miscredited to Robert Louis Stevenson or Ralph Waldo Emerson)

Blues Muse 2008 - running my first major event

How does one decide if a dance event was successful?

For some, the answer is, “Did I make money or good contacts to market myself?” While both are important for your wallet, they don’t speak to the quality of the experience. Others will say, “the dance floor was pretty busy, so it was a good night”, but that ignores the fact that people have paid to dance and will try to do so to anything.

Interestingly, registration for the Blues Muse Workshops was about double what I’d expected. If I were still working for a Japanese Corporation I’d have to apologize for so shamefully miscalculating my expectations. Clearly lots of attendees isn’t the answer either.

I’ve heard nothing but positive feedback and healthy constructive criticism about this blues weekend LAB put on in Philly; notably there was no single thing that stood out. Each teacher and DJ was praised for their individual styles, the band appreciated, the toaster and the candles at the late night noticed, solo blues celebrated, partnered blues championed, and each host labeled as the friendliest. I think that’s a testimony to the collaborative approach the organizers took – there was no single rock star or headliner, everyone was equally challenged to be an inspiration and to foster growth in those around them. Clearly that was successful.

I also had my own measure of success. You frequently hear about the west coast or Texas blues scenes but never an “east coast blues scene”. In fact, leading up to the event I was repeatedly told we needed to hire a rock star from one of those areas as a headline draw or nobody would show up for Blues Muse. But we knew there were a lot of tiny pockets of blues tucked away throughout the east that are supported by very talented people—all we needed to do is start letting people know about each other.

So, each time someone said it was their first time dancing in Philadelphia, hearing one of the DJ’s, taking classes with an instructor, or dancing to Gordon Webster, it made me smile. For me, one of the biggest successes of the weekend was introducing organizers and dancers from different scenes and telling them about each other’s events and their key people. I think many people met lots of new friends and contacts this weekend.

For me, success would mean the Blues Muse Workshops might be a step towards fostering a more integrated East Coast Blues scene that celebrates our own local talents and inspires organizers and dancers travel more between Boston, Connecticut NY, Philly, Baltimore, DC, Virginia, and on down to Knoxville, Atlanta and even into Florida. Granted, we’ve spotted those folks out west a bit of a head start, but if this weekend is any reflection, Philadelphia and the rest of the east coast certainly know how to throw a blues party!

Many, many thanks to Philly's Lindy and Blues for believing in us and helping us to throw this awesome party in your town. Thanks to everyone who came out and helped create such a wonderful weekend. Extra special thanks to our wonderful Muses.