Cory Henry is a multi-instrumentalist and producer with a catalog worthy of a man twice his age. His primary instrument is the organ, and he began playing at the age of two. At the age of six he competed at the Apollo Theater and made it to the finalist round. In 2010 he co-produced Jay White’s Larger than Life. Later that year he released his first album Christmas With You, which featured his lively renditions of Christmas classics and prominently showcased his skill as an improvisor. Kim Burrell’s Grammy nominated and Stellar Award winning Love album released in 2011 boasted several tracks that were written and produced by Henry. That year he wrote for and produced much of Krishnar Lewis’ One Lover’s Trilogy album and released his first, “Leave you alone”.
Henry is primarily known for harmonically rich organ playing that owes a greater debt to the virtuosic unpredictability of Tatum and Peterson than it does to Jimmy Smith and other members of the Hammond organ pantheon. In his best moments he seems to capture the breadth of the Jazz and Gospel idioms and produce something altogether new through his unique blending of the two genres. Although he possesses a great deal of technique, in his solos he regularly subordinates it to a narrative arch and exhibits a maturity that surpasses his years. Unlike many virtuosos he is a great accompanist, and perhaps this is why he excels also as a producer and sideman.
At the tender age of nineteen he had the opportunity to begin traveling with the Jazz legend Kenny Garrett as his organist in a stint that lasted three years. He has done television work playing on the third season of Sunday’s Best for BET and on the Jimmy Fallon Show. He has worked with Yolanda Adams, Sara Bareilles, Stanley Brown, Ray Chew And The Crew, P. Diddy, Kirk Franklin, Rob Glasper, Ron Grant, Lalah Hathway, Derrick Hodge, Israel Houghton, Joe, Shaun Kingston, Donald Lawrence, Mary Mary, Donnie McClurkin, Michael McDonald, Boyz 2 Men, NAS, Snarky Puppy, Tommy Sims, Bruce Springsteen, The Roots, Hezekiah Walker, Bishop Jeffrey White, Betty Wright, the late Timothy Wright, and many others. Henry’s awe inspiring impromptu YouTube performances have gained him a loyal and sizable following. His latest release, “First Steps” was released in the Spring of 2014 and went to #1 on iTunes Jazz Chart.
“Over the past two years, the Charleston quintet Weigh Station has made a name for itself as a gritty, blues/rock band with an affection for live performances. The band’s ability to meld the sounds of hard rock and moody blues makes for a jam session that transcends both genres for a blazing concoction that speaks as much to the soul-searcher as it does the head-banger.”
Right there, at two minutes and ten seconds into the first song, “Long Way Down.” The part where Gary Nichols sings, “Girl, we both know where your soul is bound.” Only he bleeds it as much as he sings it. He sounds murderous, maniacal. Her soul is bound for nothing skyward, for nothing heavenly. And he’s fine with that.
Richard Bailey’s banjo plays funky, little Kentucky-goes-to-Memphis rolls. Tammy Rogers’ fiddle soars. Brent Truitt’s mandolin chops time, and Mike Fleming’s bass pounds the downbeat. And all that is righteous and right-on. Elevated, even. But Nichols—he lets loose something the opposite of righteousness. It’s a howl, full of hurt and anger and life. Starts on the highest E note that 99.9% of male singers can hit, then ascends into a sweet falsetto, and then opens up like the gates of Hell, into a reeling screech.
“That made me dizzy for a second,” Nichols says, remembering the moment he sang the line. “Really, I almost passed out. There are certain lines in SteelDrivers songs that require a little bit of Wilson Pickett.”
Nichols knows about Wilson Pickett, who recorded “Mustang Sally” at FAME studios in Muscle Shoals, Alabama, less than three miles from Jimmy Nutt’s NuttHouse, where the SteelDrivers recorded these Muscle Shoals Recordings. Nichols is from Muscle Shoals. He grew up as a guitar slinger and a soul shouter, which should not be any help in fronting one of bluegrass music’s most engaging outfits. But part of the reason the SteelDrivers are such an engaging band is the seemingly incongruous blend of soul and slink, blues and country, mountain coal and red dirt.
“I think that’s what moves people when they come to see us: the realness and rawness and edge,” says Rogers, who formed the SteelDrivers in 2005 with Bailey, Fleming, multi-instrumentalist Mike Henderson, and soulful singer (and now-acclaimed contemporary country artist) Chris Stapleton. That version of the SteelDrivers received three GRAMMY® nominations and won an audience that was surprised and initially saddened by the 2010 and 2011 departures of Stapleton and Henderson. But the entries of Nichols and virtuoso mandolin talent Truitt have created a SteelDrivers band that carries the gutbucket ethic of the original combo, but pleases in different ways.
Nichols, who initially felt an obligation to replicate Stapleton’s mighty vocal turns, emerged as a vocalist of distinction, as a monster acoustic guitarist and as a songwriting force who wrote or co-wrote five of Shoals Recordings’ 11 songs. Rogers stepped up her songwriting as well, and she has credits on all but one of the album’s remaining songs. The one outlier on The Muscle Shoals Recordings is “Drinkin’ Alone,” a romp penned by Jay Knowles and former SteelDriver Stapleton. Wait, check that…
“Chris Stapleton and Mike Henderson will always be SteelDrivers,” Rogers says. “They aren’t in the band playing shows, but they are part of our sound, and part of our story.”
Truitt’s fluid mandolin added another virtuoso element to a group that is undergirded by Fleming’s upright bass and baritone harmonies.
“Mike is responsible for a lot of the emotion of the songs,” Nichols says. “He stands out more on this record vocally than he ever did before, and as a bass player he’s a big part of our sound. We don’t have a drummer, so he and I have to be the kick, snare, and high hat. He’s the backbone; I’m the hips.”
That’s not to say that this is all about swagger and sway. These Muscle Shoals Recordings hold much in the way of plaintive beauty. “Here She Goes,” written by Nichols and Dylan LeBlanc, is songwriting at its most honest—no posturing and no fronts. It’s a song about divorce, without blame: “If I were honest, I’d say she stayed too long,” Nichols sings, to a soundtrack aided by Jason Isbell, Nichols’ childhood friend and musical partner, who co-produced the track (and “Brother John”).
In the studio, the band kept pushing the tempo, perhaps to assuage the sadness and, perhaps, because it’s sometimes easier for master musicians to play with reckless abandon than with somber certainty.
“After we played it through, I spoke up and said, ‘Maybe it needs to be a bit faster,’” Rogers says. “Jason said, ‘Well, maybe we can just try harder.’ He was right, and we tried harder.”
Nichols and Isbell played together as teens when Nichols fronted Gulliver, a band that included bass man Jimbo Hart and drummer Ryan Tillery. When Nichols scored a major label deal with Mercury Records in 2006, he hit the road with Hart and Tillery. When Nichols exited Mercury, Hart and Tillery joined Isbell’s 400 Unit band.
Way back then, Gulliver worked with Jimmy Nutt, upon whose studio the SteelDrivers converged in late 2014 to make an uncommon and instantly identifiable album. Nutt cut his teeth at Rick Hall’s FAME studios, and Hall is the guy who produced “You Better Move On,” “Fancy,” “Slip Away,” and, come to think of it, Wilson Pickett’s “Mustang Sally.” All that stuff is supposed to be a world removed from Nashville, from bluegrass, from banjos and mandolins. But the SteelDrivers place it all in close proximity. They make music born of collisions of traditions, from meldings of things assumed un-meldable.
“This stuff is all related,” Nichols says. “The note selection, the melodies, and the licks are the same. It’s just a different accent.”
Nichols and the SteelDrivers speak in their own accent, one that charms and sears and beguiles. This is a band like no other, by inclination but not by calculation. Nichols, Rogers, Bailey, Fleming, Truitt … Those of us who have listened all know where their souls are bound. Bound to triumph. Bound to rise. Bound to matter. Bound to resound. Bound to impact. Bound to roar and shimmy, to howl and heal. A damn good band, this one. If you don’t believe it, start around two minutes and ten seconds into “Long Way Down.” That’s the stuff, right there.
It’s been a good few years for the relentlessly hard working six piece rock band from Durham, NC, whose sophomore album After It All will be coming out on April 7, 2015. Since the release of their debut album Carry The Fire in the summer of 2012 and 2013′s follow-up EP Chasing Twisters, Delta Rae has been profiled everywhere from NPR and Time to Forbes. Rolling Stone proclaimed that “if Fleetwood Mac came up in North Carolina, they might resemble Delta Rae.” VH1 hand selected them for their “You Oughta Know” Artist Of The Month program, and they performed not once, but twice on both The Tonight Show with Jay Leno and Conan. Live is where Delta Rae truly flourish, having spent the last year and a half playing to sold out venues from coast to coast, even sharing the stage with First Lady Michelle Obama when they performed during a Democratic rally at UNC Chapel Hill. They’ve played pretty much every festival under the sun, including Lollapalooza, Bonnaroo, Austin City Limits and Voodoo, and are excited to be hitting the road again this spring.
Medicine co-produced by ace songwriter Anders Osborne and features drummer Brady Blade, keyboardist Ivan Neville, bassist Corey Duplechin and the legendary Michael Doucet of BeauSoleil
You’ve tried the rest, now try the best! Tab Benoit’s amazing new Medicine, 100% pure musical snake-oil. A melodic potion that provides immediate and satisfying relief for all aches and pain. Benoit’s Medicine is a guaranteed cure for heartache. It’s the genuine article this Medicine is for whatever ails you.
Medicine, Benoit’s seventh solo release on Telarc International, a division of Concord Music Group, successfully joins two gifted guitarists/songwriters in a session that proves greater than the sum of its very talented parts. Set for April 26, 2011 release, the 11-track recording features seven new Benoit originals co-written with ace songwriter Anders Osborne (his song “Watch the Wind Blow By” was recorded by Tim McGraw in 2002, hitting No. 1 on the country charts for two weeks and selling over three million albums, and Keb’ Mo’s 1999 GRAMMY-winning album Slow Down, featured two songs he had co-written).
“Anders and I have been friends for years, and we have a very comfortable relationship,” says Benoit, a GRAMMY®-nominated songwriter, as well as a guitarist and singer with a repertoire that ranges from swamp-pop classics to gritty blues and rootsy jams. “Songwriting needs to feel natural. It needs to flow easily. When he and I went out on the bayou, we came back with seven songs! Anders also played most of the rhythm parts on the album. He does a good job of not stepping on what I’m doing and making it fit the song.”
In an unusual twist, Osborne (who also co-produced the album) uses B.B. King’s famous guitar ‘Lucille’ on Medicine. “He played half the album on that guitar, basically anything that’s not slide guitar,” Benoit says.
Medicine showcases a lean, energetic young band, and vibe-wise it’s hipper and groovier than anything Benoit has ever done before. The recording also spotlights the work of keyboardist Ivan Neville (son of Aaron Neville and nephew to members of the Neville Brothers), drummer Brady Blade (Emmylou Harris, Steve Earle, Dave Matthews) and bassist Corey Duplechin (Chubby Carrier & Bayou Swamp Band). Fiddler/singer Michael Doucet of BeauSoleil makes a special appearance on three tracks.
Medicine was recorded at Louisiana’s legendary Dockside Studio (B.B. King, Dr. John, Keb’ Mo’, Taj Mahal, Buckwheat Zydeco), located on a 12 acre estate in the heart of Cajun country on the banks of the Vermilion Bayou, and engineered by David Z (Prince, Jonny Lang, Buddy Guy, Gov’t Mule). The award-winning music producer/engineer worked with Benoit on three earlier releases (Fever for the Bayou, Power of the Pontchartrain and Night Train to Nashville). “When David’s in the booth, I don’t have to worry,” says Benoit. “He’s always comfortable with the way I work. We have a lot of fun and like to joke around.”
Benoit’s blazing guitar kicks off the title track of the recording. ‘Medicine’ captures what this album is all about, he says. “Let music be the medicine. Like John Lee Hooker once said, Blues is the healer.”
‘Sunrise’ showcases Benoit’s keen sense of tasteful restraint when it comes to the slower blues numbers, and ‘A Whole Lotta Soul’ spotlights Ivan Neville on B-3, alongside Benoit’s crunchy fretwork and vocals.
‘Long Lonely Bayou’ is a special highlight. This roots summit features two of Louisiana’s biggest and most popular artists: Michael Doucet and Tab Benoit. ‘Michael and I have played several gigs together over the years,’ Benoit says. ‘When I wrote this song, I could practically hear him performing it. Most Cajun music is played in a major chord, but Michael approached it as crying, minor type of song.’
‘In It To Win It’ and ‘Next To Me’ both spotlight Benoit’s unbelievably solid guitar chops, while ‘Nothing Takes The Place of You’ is a deep, soulful ballad drenched in his whiskey-soaked vocals. Doucet returns to play fiddle and sing on ‘Can’t You See’ and the album’s funky closer, ‘Mudboat Melissa.’
Tab Benoit is Louisiana’s No. 1 roots export. More than just an acclaimed bluesman, he is an indefatigable conservation advocate. Benoit is a driving force behind Voice of the Wetlands, an organization working to save Louisiana’s wetlands. In 2010, he received the Governor’s Award for Conservationist of the Year from the Louisiana Wildlife Federation. Benoit also starred in the iMax motion picture Hurricane on the Bayou, a documentary of Hurricane Katrina’s effects and a call to restore the wetlands.
In 2007, Benoit won the dual awards of B.B. King Entertainer of the Year and Best Contemporary Male Performer at the Blues Music Awards in Memphis (formerly the W.C. Handy Awards). In 2006, he received a GRAMMY nomination for Best Traditional Blues Album for Brother to the Blues, a collaboration with Louisiana’s LeRoux. LeRoux joined Benoit on Power of the Pontchartrain in 2007 and the live Night Train to Nashville in 2008.
Medicine is more than another strong entry in Benoit’s increasingly impressive discography it’s one of his most defining albums. ‘Magic happens when you least expect it,’ says Benoit. ‘Most of the stuff here was played live ~ these are mostly first takes. When it came down to playing, we weren’t trying to structure things. We were open to the moment.’
If music has the power to help relieve pain and suffering, then Tab Benoit’s Medicine might be just what the doctor ordered.
MARCUS KING BAND
Call him the next Duane Allman or Jimi Hendrix, but whatever you do, don’t call Marcus King a child prodigy. Sure, the 18-year-old guitar shredder’s talent shimmers with the same resonance as his heroes, but he’s been wielding an axe since he learned to talk – he started playing when he was 2.
Marcus was born into music, gifted with steel-string DNA and two generations of men before him who nurtured the boy’s musical nature. Marcus’s dad, the slyly talented Marvin King, has been a force in Upstate South Carolina’s music heritage for as long as anyone can remember. Marvin’s father and Marcus’s granddad, Bill, played a big part, too. It was only natural, then, that the boy who got his first guitar (a Squier Strat) at age 7 would land his first paying gig a year later.
When he was 11, he joined his father’s Marvin King & The Blues Revival to open for Muddy Waters’s onetime bassist Mac Arnold at The Handlebar, the storied venue in their Greenville, S.C., hometown. Around that time, he also played on his dad’s critically acclaimed album, Huge in Europe. And when he was 15, the Marcus King Band opened for the legendary Johnny Winter. MKB’s most recent achievement came with the September 2014 release of Soul InSight.
The album’s 12 original tunes, including three instrumentals, showcase a literal lifetime of virtuosity, along with vocals as clear and as soulful as Marvin Gaye’s and as nuanced as Amy Winehouse ’s. Adding to all that, Marcus knows jazz. That’s because he built on his Southern-rock foundation with lessons from one of the best instrumentalists around: Steve Watson, the formidable guitarist renowned for his performance on TV’s seminal Hill Street Blues theme song.
Marcus still continues to grow, to experiment, to share his passions, although he’s not much of a talker. He lets his guitar do that, using it to tell the same story we all tell, to share emotions we all feel. “I can say more truthfully in song what I can say in words,” he says. “Music breaks down the awkward barrier.” (For the record, whenever he hears the shopworn “teen angst,” Marcus recoils with the same allergic reaction that he has to “child prodigy.”)
Still, Marcus is the youngest member of his own band. Jack Ryan, 21, plays drums with a musicianship that brings to mind Ginger Baker and Charlie Watts. Bassist Stephen Campbell’s the old man of the trio, a 24-year-old who drives MKB the same way that Garry W. Tallent keeps Bruce Springsteen’s E Street Band on course. In total The Marcus King Band travels as a 5 piece ensemble with Marcus King on guitars and vocals, Jack Ryan on drum kit, Stephen Campbell on bass, Matt Jennings on keys and Jason Phillips on percussions.
Through it all, Marcus gives his mates plenty of breathing room to jam. The result is a fusion of wildly eclectic genres, offering a live experience as mesmerizing as it is dance-inducing. Marcus himself lists an intriguing roster of favorites and influences: Duane Allman, of course, as well as Warren Haynes, Little Feat and Aretha Franklin, to name a few, and his band on any given night plays covers from Bob Marley to Lauryn Hill and from Les McCann to Black Sabbath. That’s Marcus – an engaged and engaging young man with a lifetime of experience, still coming into his own, still carrying his guitar with him, and promising us all a promising future.
Family and Friends:
As these things so often do, Family And Friends began as a lowly seedling of inspiration. “Good music, good people.” A stalk gave yield to branches. One became six, a collective of musicians by trade, lovers by spirit. Inspired by a life worth living, the Fam and Pals remained rooted with three ambitions in heart, mind, and soul: the people, the music, the memories. The reflection represented by blend of earnest folk rock and a communal spirit pouring a collective heart into something bigger than itself. An intangible force of an unfaltering love worth giving away. A Family And Friend tree ever-growing, ever-lasting.
Somewhere between bonsai orchestra and over-filled rock band lies the Collection, a band who’s name is as self-descriptive as it is ambiguous. With an army of instruments and influences, the 7+ member ensemble creates songs layered with strings, brass, and woodwinds, crescendoing like a gigantic wave crashing on a shore of folk melodies and rock rhythms. The vocal ranges echo the myriad of instrumental textures, accompanying death and hope filled lyrics, weaving in and out of spiritual survival and thriving. But, though there are many seemingly different elements that make up who the Collection is, the sound is a unified one, the sound of a family with a common name; And that’s what the Collection is and invites us to be – a big family.