Sugar Ray & The Bluetones – the blues ensemble celebrating its 35th
anniversary and featuring the three-time GRAMMY-nominated frontman Sugar
Ray Norcia – is earning raves for its new album ‘Living Tear To Tear’
(Severn Records). “Our Story” premiered at Huffington Post.
Here’s what we are reading:
“The hard-swinging band fully absorbed the lessons learned from Chicago
blues masters.” - Damian Fanelli, Guitar World, July 29, 2014
“Legendary blues ensemble.” –Chicago Sun-Times, July 17, 2014
“The Bluetones are easily one of the tightest blues ensembles working today, and Welch’s guitar world is as tasteful as anything he’s recorded to date… Firing on all cylinders… It seems a foregone conclusion that ‘Living Tear To Tear’ will find itself on several award lists next year.”
-Roger Gatchet, Living Blues, October issue
"If authenticity is your bag, these are the guys to check out."
- Ed Friedland, Bass Player, November, 2014
"[Sugar Ray Norcia's] voice is soulfully engaging, in sync with Welch's
guitar and his own masterful harmonica playing." –Samantha M. Lopez,
Elmore Magazine, August 7, 2014
“A gem… The album is a pleasure to hear.” – Bill Wilcox, Twangville, August 29, 2014
“Remarkable… If Muddy Waters was still out there in 2014, he and his
band would sound a lot like this--and that's a good thing.” –Jay Miller,
Patriot-Ledger (MA), August 2, 2014
Sugar Ray & The Bluetones Tour Dates
Friday, October 10 - Chans, Woonsocket, RI
Friday, October 24 - Johnny D's Uptown, Somerville, MA
Saturday, November 1 - The Flying Monkey Performance Center, Plymouth,NH (with Tommy Castro)
Thursday, December 4 - Sculler's Jazz Club, Boston, MA
Showing posts with label twangville. Show all posts
Showing posts with label twangville. Show all posts
Wednesday, October 1, 2014
Wednesday, September 3, 2014
LESSONS FROM EARLY MENTORS LIKE BIG WALTER HORTON, OTIS RUSH, ROOSEVELT SYKES, ETC. TO PLAY WITH DEEP FEELING STICK WITH SUGAR RAY AND THE BLUETONES
“THAT’S THE WAY HARMONICA IS SUPPOSED TO BE PLAYED”
-MUDDY WATERS
"SUGAR RAY HAS GREAT TONE AND GREAT PHRASING, SINGING AND PLAYING THE HARP. ONE OF MY FAVORITES!"
-CHARLIE MUSSELWHITE
SUGAR RAY & THE BLUETONES’ NEW ALBUM ‘LIVING TEAR TO TEAR’ OUT NOW ON SEVERN RECORDS TO RAVES FROM GUITAR WORLD, ELMORE
Three-time GRAMMY nominee Sugar Ray Norcia still draws on lessons he learned from playing with Muddy Waters, Otis Rush (who turned 80 this year), Hubert Sumlin, Jimmy Rogers, Big Walter Horton, Roosevelt Sykes, Big Mama Thornton and others in the 1970s and ‘80s, most of all to play with deep feeling. The leader of Sugar Ray & The Bluetones says, “We were in awe of them! Sometimes there’s a myth about old blues guys that they’re gun toting and gruff. But they were open with their ideas and had no prejudices. They could hear our love of the music immediately and feel our soul. They accepted us.”
Sugar Ray & The Bluetones have played shows with B.B. King. “He treats everyone with dignity. That’s always rubbed off on me,” says Norcia. “I sat in with Muddy Waters one time and he told me, ‘Son, now that’s the way the harpmonica is supposed to be played.’” (Ray confirms that he used the word “harpmonica.”)
Backing Roosevelt Sykes led directly to the band having the assurance to go into the studio for the first time in 1979 after the gigs led to Baron Records signing the band, making 2014 the 35th anniversary since that vinyl EP. “We backed Roosevelt Sykes at the Speakeasy [in Cambridge] before we ever made a recording. He said, ‘You fellows sound so good. You ought to capture that great sound in a recording studio.’”
The band toured extensively with harmonica great Big Walter Horton and Norcia remembers him fondly, “I learned so much from him, the way he handled himself on stage as well as the tonal qualities of the harp. Walter just stood up there and addressed the audience directly. It doesn’t take theatrics all the time; it takes deep inner feeling. Walter carried his harmonicas in a drawstring sack. He’d coil the cord after every show and carefully put it in his sack with his harps. We’d go to Ronnie Earl’s apartment and Walter would sleep on the floor, just unfurl the old mattress.”
Far less unassuming was slide master J.B. Hutto, who played in a flashy suit and used a 100 foot guitar cord to wander into the audience while the Bluetones backed him.
Bassist Mudcat Ward says he learned early from the masters “how to play with a drummer, how to make a pocket, make a groove,” continuing, “It was exciting to us.” He recalls the early Bluetones – the same lineup as now with one exception: Monster Mike Welch plays guitar in a spot once held by Ronnie Earl – as a band that took learning the craft seriously, saying, “The blues is serious as a heart attack. We always gravitated to the deep stuff, the lowdown stuff. If someone put on a tape or record of Robert Johnson, say, at an after-gig get-together or in the van, we'd shut up, just stop talking and things would get quiet. Why? Because we'd be listening. This was serious stuff to us."
Pianist Anthony Geraci says, “One time when we were backing the great Memphis Slim, we played a few numbers and then we called him up to do his show. He placed his arm on my shoulder and said ‘you play, I’ll sing.’ That was a thrill.”
Sugar Ray & The Bluetones’ new album ‘Living Tear To Tear’ (Severn Records) came out last month. Damian Fanelli writes, “The hard-swinging band fully absorbed the lessons learned from Chicago blues masters.” Elmore Magazine said, "(Sugar Ray Norcia's) voice is soulfully engaging, in sync with Welch's guitar and his own masterful harmonica playing." Twangville called it “a gem,” saying, “The album is a pleasure to hear.”
Norcia strives to return the favor to his early mentors. When Big Walter Horton’s family didn’t have the money for a tombstone for the master musician, Sugar Ray & The Bluetones played several benefit concerts to raise the money. “I have his amplifier and his microphone. That’s pretty special.”
He encourages young blues musicians to explore its roots and give the music space to breathe, saying, “Slow down, take a minute, think about it, play it with more feeling.”
-MUDDY WATERS
"SUGAR RAY HAS GREAT TONE AND GREAT PHRASING, SINGING AND PLAYING THE HARP. ONE OF MY FAVORITES!"
-CHARLIE MUSSELWHITE
SUGAR RAY & THE BLUETONES’ NEW ALBUM ‘LIVING TEAR TO TEAR’ OUT NOW ON SEVERN RECORDS TO RAVES FROM GUITAR WORLD, ELMORE
Three-time GRAMMY nominee Sugar Ray Norcia still draws on lessons he learned from playing with Muddy Waters, Otis Rush (who turned 80 this year), Hubert Sumlin, Jimmy Rogers, Big Walter Horton, Roosevelt Sykes, Big Mama Thornton and others in the 1970s and ‘80s, most of all to play with deep feeling. The leader of Sugar Ray & The Bluetones says, “We were in awe of them! Sometimes there’s a myth about old blues guys that they’re gun toting and gruff. But they were open with their ideas and had no prejudices. They could hear our love of the music immediately and feel our soul. They accepted us.”
Sugar Ray & The Bluetones have played shows with B.B. King. “He treats everyone with dignity. That’s always rubbed off on me,” says Norcia. “I sat in with Muddy Waters one time and he told me, ‘Son, now that’s the way the harpmonica is supposed to be played.’” (Ray confirms that he used the word “harpmonica.”)
Backing Roosevelt Sykes led directly to the band having the assurance to go into the studio for the first time in 1979 after the gigs led to Baron Records signing the band, making 2014 the 35th anniversary since that vinyl EP. “We backed Roosevelt Sykes at the Speakeasy [in Cambridge] before we ever made a recording. He said, ‘You fellows sound so good. You ought to capture that great sound in a recording studio.’”
The band toured extensively with harmonica great Big Walter Horton and Norcia remembers him fondly, “I learned so much from him, the way he handled himself on stage as well as the tonal qualities of the harp. Walter just stood up there and addressed the audience directly. It doesn’t take theatrics all the time; it takes deep inner feeling. Walter carried his harmonicas in a drawstring sack. He’d coil the cord after every show and carefully put it in his sack with his harps. We’d go to Ronnie Earl’s apartment and Walter would sleep on the floor, just unfurl the old mattress.”
Far less unassuming was slide master J.B. Hutto, who played in a flashy suit and used a 100 foot guitar cord to wander into the audience while the Bluetones backed him.
Bassist Mudcat Ward says he learned early from the masters “how to play with a drummer, how to make a pocket, make a groove,” continuing, “It was exciting to us.” He recalls the early Bluetones – the same lineup as now with one exception: Monster Mike Welch plays guitar in a spot once held by Ronnie Earl – as a band that took learning the craft seriously, saying, “The blues is serious as a heart attack. We always gravitated to the deep stuff, the lowdown stuff. If someone put on a tape or record of Robert Johnson, say, at an after-gig get-together or in the van, we'd shut up, just stop talking and things would get quiet. Why? Because we'd be listening. This was serious stuff to us."
Pianist Anthony Geraci says, “One time when we were backing the great Memphis Slim, we played a few numbers and then we called him up to do his show. He placed his arm on my shoulder and said ‘you play, I’ll sing.’ That was a thrill.”
Sugar Ray & The Bluetones’ new album ‘Living Tear To Tear’ (Severn Records) came out last month. Damian Fanelli writes, “The hard-swinging band fully absorbed the lessons learned from Chicago blues masters.” Elmore Magazine said, "(Sugar Ray Norcia's) voice is soulfully engaging, in sync with Welch's guitar and his own masterful harmonica playing." Twangville called it “a gem,” saying, “The album is a pleasure to hear.”
Norcia strives to return the favor to his early mentors. When Big Walter Horton’s family didn’t have the money for a tombstone for the master musician, Sugar Ray & The Bluetones played several benefit concerts to raise the money. “I have his amplifier and his microphone. That’s pretty special.”
He encourages young blues musicians to explore its roots and give the music space to breathe, saying, “Slow down, take a minute, think about it, play it with more feeling.”
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