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2011 News December 11, 2017   

NO MORE BLUES @ LOU'S PIER 47
www.louspier47.com

From the Bay Area Blues Club at Yahoo! Groups

Monday, November 21, 2011

Just in, via phone, from the original owner of Lou's Pier 47, Lou (Laura) Gillespie:

There's more than "renovations" going on at 300 Jefferson Street that is keeping the calendar there blank with no live music scheduled.  Lou just found out that they will be tearing down the building and when it is rebuilt is will be a restaurant with no music on tap named "Lou's Crab Shack".  Why they will continue to associate Lou's name with a business that has had nothing to do with her for over a decade is a mystery.  The good coming out of this is that all the photos and art work, which she lost along with her business long ago, is being returned to her.  Hopefully it won't be too long before a City grant, which has been on hold for a while, will finally be released to Lou as part of the shabby part of Market Street's renovation near the City's Civic Center to become a center for theater, arts, and tech companies like Twitter and she'll be able to open Live At Lou's serving comfort food and live blues music.  With a shaky economy slowing the works down this could be later than sooner but at least the grant is still in limbo and not killed.  So, if you have been on the music schedule at Lou's Pier 47 and were hoping to be re-booked there after the Holidays like they did last year when they closed for "renovations" and then after the Holidays reopened with no noticeable changes being made, it ain't gonna happen!

I hope y'all have a very Happy Thanksgiving.  For those of you without family dinners to attend there's pot luck feasts at some of our favorite venues on Thursday (my favorite day of the year used to be the party Lou used to throw the day before Thanksgiving during the early years with rotating bands playing all day and night upstairs and an endless buffet downstairs)... JJ's Blues and The Saloon are in Pot Luck mode as usual and I'm sure there's other places not named St. Anthony's as well!

Jack


HUBERT SUMLIN
November 16, 1931 - December 4, 2011
www.hubertsumlinblues.com

Hubert Sumlin By Dave Hoekstra - Chicago Sun-Times www.suntimes.com

Sunday, December 4, 2011

Hubert Sumlin put the bite behind Howlin' Wolf.

And he then influenced a new pack of electric blues and rock guitarists.

Mr. Sumlin died Sunday in a hospital in Wayne, N.J., reportedly of heart failure.  He had turned 80 on Nov. 16.  Mr. Sumlin was best known as lead guitarist for Howlin' Wolf (Chester Burnett) from 1953 until Wolf's death in 1976.

This was no small feat.  The combustible guitar parts in Wolf's big-voiced tracks - "Smokestack Lightning", "Spoonful", "Ain't Superstitious" - set Wolf on fire at Sun Records in Memphis and later at Chess Records in Chicago.

The 1953 summit of Mr. Sumlin and Wolf was to blues what the meeting of Scotty Moore and Elvis Presley was to rock just a year later.

In the current issue of Rolling Stone, Mr. Sumlin is ranked 43rd on the magazine's list of the 100 greatest guitarists of all time.  Led Zeppelin's Jimmy Page told the magazine, "I love Hubert Sumlin.  He always played the right thing at the right time."

Mr. Sumlin's menacing lead on Wolf's "Killing Floor" inspired Jimi Hendrix to sit in with Eric Clapton during a 1967 London gig.  It would be the only time Clapton and Hendrix would play together.

Stevie Ray Vaughan was a fan.  In the early 1980s Vaughan gave Mr. Sumlin a vintage Rickenbacker guitar, one that Mr. Sumlin loved so much he was afraid to take it out of his house.

Born in Greenwood, Miss., Mr. Sumlin was part of the great blues migration to Chicago.  He and Burnett arrived in Chicago in 1953.  Mr. Sumlin had been playing with James Cotton in West Memphis, and Burnett hired him in Chicago.

"We were playing Silvio's [at Lake and Oakley], and he said, 'You go home when you find out you've got my courage, then you can come back and play my songs' ", Mr. Sumlin told me in a 1988 interview from his South Side home.  "Man, I got home and cried all night.  I slept with my guitar by my head.  Then about 4 o'clock in the morning something said, 'Hey man, why don't you put the [guitar] picks down.  You ain't got no business using picks!' "

At that moment, Mr. Sumliln said, he discovered his own style, which evolved into an individualistic mix of African syncopation and itemized structure that forced the notes to stand alone.  Clapton once called Mr. Sumlin's style "just the weirdest."

Chicago blues guitarist Dave Specter began playing with Mr. Sumlin in 1985.  Wolf and Paul Butterfield drummer Sam Lay had hired Specter to join him and Mr. Sumlin on a three-week tour of Canada.  Specter was 22 years old.

"Hubert was just the sweetest guy and very encouraging and supportive of younger players," Specter said on Sunday.  "I wouldn't use 'tough' as an adjective for his playing.  He had a totally unique sound.  When you listen to his famous solos on [Wolf's] 'Hidden Charms' or '300 Pounds of Heavenly Joy' [later a hit for Chicago's Big Twist and the Mellow Fellows], there is so much style to it.  A lot of it had to do with his touch and playing with his fingers.  There are lots of guitar players who played with their fingers and had a more aggressive approach, like Albert Collins.  Your sound and your tone is a reflection of your personality.

"And Hubert had larger-than-life charm and devilishness."

In recent years Mr. Sumlin relocated from Chicago and then Milwaukee to Totowa, N.J.  Specter last saw Mr. Sumlin in 2009, when he was touring with the Nighthawks and they appeared at S.P.A.C.E., the popular Evanston music room that Specter co-owns.

In 2010 young guitarist Kenny Wayne Shepherd and Mr. Sumlin received a best contemporary blues album Grammy nomination for "Live! in Chicago."  Mr. Sumlin was also nominated for Grammys in 1998, 1999 and 2005 in best traditional blues album categories.  He never won.

Mr. Sumlin's patience likely came from his years of traveling with Burnett.

"Once we were on the road for three months and I had to drive because Eddie Shaw [the saxophonist who became Wolf's bandleader] wasn't with us," Mr. Sumlin said in 1988.  "I had to set up the instruments, load the instruments.  And nobody would help with nothin'.  We were at Silvio's and we were beat.  I was sitting up at a table and the folks hadn't even walked in yet.  Wolf was tired and just hauled off and hit me.  I hit him back.  We both knocked each other's teeth out.  And the whiskey went upside the wall.  I figure we tore down about $1,800 or $1,900 worth of whiskey displays."

"Yes sir."

Mr. Sumlin had been scheduled to appear at last summer's Chicago Blues Festival with David "Honeyboy" Edwards in a tribute to Robert Johnson.  They canceled their appearances because of health issues.  Edwards died at age 95 on Aug. 29.

Mr. Sumlin had a lung removed in 2004 and last year appeared at the Crossroads Guitar Festival with his oxygen tank.  Earlier this year the New York Times reported that Keith Richards was assisting Mr. Sumlin with his medical bills.  Richards was a guest on Mr. Sumlin's 2005 Grammy-nominated "About Them Shoes".

Funeral Information:

Festa Memorial Funeral Home - 111 Union Blvd. Totowa, NJ 07512 (973) 790-8686
Viewing and Receiving of guests - Sunday, December 11, 2011 2 - 4 PM & 7 - 9 PM
Funeral Service 10 AM Monday, December 12, 2011

Chicago Area Musical Celebration Of Life - Tuesday, December 13, 2011 doors open at 7 PM
FitzGerald's 6615 W. Roosevelt Road, Berwyn, Illinois 60402
Donations accepted at door.  Many musicians will honor Hubert this night.


WILLIE "BIG EYES" SMITH
January 19, 1936 - September 16, 2011
www.williebigeyessmith.com

Reuters / Mario Anzuoni By Alex Dobuzinskis - Reuters  www.reuters.com

Friday, September 16, 2011

Grammy-winning blues musician Willie "Big Eyes" Smith, who was a longtime sideman for Muddy Waters, died of a stroke on Friday in Chicago at age 75, according to a statement on his website.

Smith's death comes less than six months after the passing at age 97 of blues master Joe Willie "Pinetop" Perkins, with whom Smith shared a Grammy win this year in the best traditional blues album category for their 2010 release "Joined At The Hip".

Smith said backstage at the Grammy Awards that he first met Perkins as a boy and was glad to have found success recording with his elder.  "To tell you the truth, right now I'm one of the happiest men on earth", he said at the February event.

While the Grammy win at age 75 was Smith's first, he had previously had a long career playing with the late blues legend Muddy Waters.

Born in Helena, Arkansas, in 1936, Smith went to Chicago at age 17 and heard Waters playing for the first time.  He later joined Waters' band as a drummer in the early 1960s.

In 1964, Smith was forced to pack up his drum kit for a time and he supported himself with odd jobs such as driving a taxicab in Chicago, according to a profile on his website.

But Smith rejoined Waters' band in 1968 and played with him through the 1970s, the period when Waters won his six Grammys.

Aside from the drums, Smith also played the harmonica and sang.  In the 1980s, he performed in the Legendary Blues Band with Perkins, Louis Myers, Calvin Jones and Jerry Portnoy.

Neil Portnow, president and CEO of The Recording Academy, said in a statement that Smith was a "great, versatile Chicago bluesman" who "made an indelible impact" on the blues genre.

"Our sincerest condolences extend to his family, friends, fans and all who will continue to appreciate his rhythm and riffs for generations to come", Portnow said.


DAVID "HONEYBOY" EDWARDS
June 28, 1915 - August 29, 2011
www.davidhoneyboyedwards.com

AP Photo / Mark J. Terrill By Dave Hoekstra - Chicago Sun-Times  www.suntimes.com

Monday, August 29, 2011

The aura of a shaman surrounded any given appearance by blues legend David "Honeyboy" Edwards.

He often favored creased, pinstriped suits because he fit so well into dignity.  He had soft and easy cheekbones that were curtains to an enduring soul.

Mr. Edwards died of congestive heart failure early Monday morning in his South Shore apartment.  He was 96 years old.

He was the last of the Delta bluesmen.

Mr. Edwards was in the house when the iconic Robert Johnson took his last drink of poisoned whiskey.  He witnessed the Mississippi River flood of 1927.  In 1953, he moved to Chicago after recording "Drop Down Mama" for Chess Records.  He won Grammys and had a cameo in the 2007 spoof movie "Walk Hard".

But few events may have stirred Mr. Edwards' soul as much as his January 2009 appearance at the Hideout-sponsored party on the eve of President Barack Obama's inaguration at the Black Cat Nightclub in Washington.  "Playing the D.C. show was a very special thing for him", said Michael Frank, Mr. Edwards' longtime manager and harmonica player.

Mr. Edwards was the crowd-pleaser among heavies including Andrew Bird, the experimental band Tortoise and members of the Mekons.  A sold-out audience of more than 800 people saw Mr. Edwards deliver a haunting version of "Sweet Home Chicago" and Robert Lockwood's "Little Boy Blue".

Mr. Edwards piercing eyes were as wide as the Potomac River.

"I never thought I'd live to see the day a black man get elected president", Mr. Edwards said after his set as fans lined up for his autograph and Icy Demons played a mix of Brian Eno-influenced pop and hip-hop.  Mr. Edwards traveled the world.  He could adapt to every setting.

The Rolling Stones' Keith Richards was a fan.  In May 2004 he dropped in unannounced at the now-defunct Boxcar blues club near his home in Southport, Conn., to sit in with Mr. Edwards.

To have watched Mr. Edwards play was to have participated in history.

Mr. Edwards was born in Shaw, Miss.  His father, a guitarist and violinist in country jukes throughout Mississippi, bought Mr. Edwards a Sears guitar for $4 from a plantation worker.  At the age of 14 Mr. Edwards left home to hobo with bluesman Big Joe Williams.  Mr. Edwards' distinctive style of uneven phrasing and skewed timing was a response to woodshedding with Williams' clanky nine-string guitar.

"When I started playing with Big Joe, he had bad timing", Mr. Edwards told me in a 1988 interview at Wise Fools Pub.  "He played a lot of chords, but there was so much break time in the middle of them since he played by himself so much."

After roaming the mid-South with Williams, Mr. Edwards debuted in 1935 on the legendary Beale Street in Memphis.  He became homesick and returned to Greenwood, Miss., where he began playing with harmonica player Big Walter Horton.

This was the template that Frank used in 1972 when he met the guitarist, who was sharing a bill with Jim Brewer at Biddy Mulligan's in Rogers Park.

"Blues musicians from his generation were in one sense revolutionaries", said Frank, who also managed Brewer before his death in 1989.  "Honeyboy was very much underrecognized as a guitar player.  He was deliberate in some performance techniques because he knew they engaged the audience.  He enjoyed playing so much that when he did tricks, he did them for himself as well as the other musicians on stage.  He loved to screw around with the very last notes of a song.  He'd hold these chords and notes, look at the other guys on stage and laugh, almost to say, 'You can't do this, watch me.'  He never doubted himself.  He liked to hear a good player but he didn't have heroes as musicians."

Mr. Edwards cultivated a new audience around 1997, when he began woodshedding with blues band Devil and the Woodpile at the Hidedout music club, a non-blues room.  Club owners Tim and Katie Tuten were fans, and a photo of Mr. Edwards and Devil and the Woodpile hangs in the front of the bar.

"People sat on the floor around the bar", recalled former Woodpile frontman Rick Sherry.  "[Blues harmonica great] Sugar Blue showed up the first night and sat in with us.  Honeyboy was particular about playing in the city because he didn't get enough money.  He loved the fact the young crowd appreciated him."

Sherry's current band, the Sanctified Grumblers, was to play with Mr. Edwards at this year's Chicago Blues Festival, but Mr. Edwards cancelled because of illness.

"When you played with Honeyboy you were in the millisecond of the moment", said Sherry, who plays harmonica, washboard, clarinets and sings.  "You never knew where he went.  Every song was 12 bars.  It was never 12 bars.  He'd hold that note, look in the audience and kick his leg.  Playing with him was this amazing Zen thing I'm going to miss."

"You were living right there, and that's where the energy built."  Over the years there has been a mythical debate as to who wrote "Sweet Home Chicago", Robert Johnson or Mr. Edwards.  (But the wordplay and rhythm is derivative of Scrapper Blackwell's "Kokomo Blues", which preceded even Mr. Edwards and Johnson).

Mr. Edwards' life was well documented.  In 1997 he penned his autobiography, The World Don't Owe Me Nothing: The Life and Times of Delta Bluesman Honeyboy Edwards (Chicago Review Press), and in 2002 he was subject of the Scott Taradash documentary "Honeyboy".  Mr. Edwards also was featured in Martin Scorsese's PBS series "The Blues".

Mr. Edwards won a 2008 Grammy for best traditional blues album for "Last of the Great Misssissippi Bluesmen: Live in Dallas" and last year was honored with a Grammy Lifetime Achivement Award.

On the day of his death, Mr. Edwards was slated to perform at the noontime concert series at Millennium Park.  He last performed April 17 at the Juke Joint Festival in Clarksdale, Miss.

"He'd always put on a great show, even though sometimes at the beginning of the night he said he didn't feel like it", Frank said.  "But the music came to him."

"And then he got inspired by that commitment he made."

Visitation will be from 2 to 7 p.m. Thursday at the McCullough Funeral Home, 851 E. 75th St.  There will be an open mic between 7 and 9 p.m. for remembrances from friends and fans.  A friends-and-fans gathering will begin at 8 p.m. at Lee's Unleaded Blues, 7401 S. Chicago Ave.

Services will be private on Friday.  In lieu of flowers, it is requested that donations be made to the National Blues Museum.


BLUES at the MUSE
Saturday, April 9, 2011

Fresno Art Museum
2233 N. First Street
Fresno, CA  93703
www.fresnoartmuseum

Doors open at 7:00 pm, music after 8:00 pm

This concert is a not-to-be-missed reunion of musicians from the West Fresno Blues Scene that began just after WWII and continues today.  It flourished during the 1950s and 1960s in clubs like the Jericho, the Sugar Hill, The Juicy Pig, The American Legion Hall, Wagner's Soul Hole and others.  I got my own start there in the early 1980s, playing in Warren Milton's band at Wagner's Soul Hole.  We played there every Friday and Saturday from 10:00 pm to 5:00 am!  Warren will be joining Joe Walton and me as our special guest, as will saxophonist Bobby Logan and singer Bobby Brown, both veterans of the West Fresno Blues scene.

In the old days, pianist Mercy Dee Walton lived, played, and recorded in West Fresno.  Artists like Lowell Fulson, Charles Brown and Jimmy McCracklin, to name but a few, stopped in for regular appearances.  Troyce Key (former owner of Eli's Mile High Club in Oakland) got his start in West Fresno, along with his musical colleagues J.J. Malone and Clarence Smith (today known as Sonny Rhodes).  When I joined Warren's band, I replaced guitarist Calvin Leavy after he was arrested for murder.  Before that I used to go sit in with the band, taking over Calvin's guitar and amp while he took a break.  Calvin Leavy's 1970 LP "Cummings Prison Farm" is still sought after by collectors and can be found today in CD and mp3 formats.

Blues At The Muse will feature music on TWO stages, along with a live video feed, refreshments and more.  Don't miss this one-of-a-kind special concert.

See you there.

Joel Pickford


PINETOP PERKINS
July 7, 1913 - March 21, 2011
www.pinetopperkins.com

Photo by Steve Azzato www.steveazzato.com From Bob Corritore
www.bobcorritore.com

Tuesday, March 21, 2011

Nobody can live forever, but for a period of time in his long life of 97 years, the legendary Pinetop Perkins made us think it was possible.  It is with tears that we say goodbye to one of the most loved and highly respected blues musicians of our time.  Pinetop Perkins died today of heart failure at his home in Austin, Texas.  We know that Pinetop led a rich and happy life, and that he understood the simple pleasures, which he enjoyed everyday.

Pinetop Perkins was born in Belzoni, Mississippi.  He began his career as a guitarist, but then injured the tendons in his left arm in a fight with a choirgirl in Helena, Arkansas.  Unable to play guitar, Pinetop switched to the piano.  He got his moniker from playing the popular "Pinetop's Boogie Woogie", a 1928 hit by pianist Pinetop Smith.

Pinetop accompanied Sonny Boy Williamson II on the Helena based radio program King Biscuit Time on KFFA.  He worked with Robert Nighthawk, accompanying him on the 1950 Aristocrat recording of "Jackson Town Gal".  In the 1950s, Perkins joined Earl Hooker's band and began touring, stopping to record "Pinetop's Boogie Woogie" at Sam Phillips' studio in Memphis, Tennessee.

Pinetop was a major influence on the young Ike Turner, whom he taught piano.  Pinetop joined the Muddy Waters Band in 1969, replacing Otis Spann, and playing in the band for over a decade.  It is from his time with Muddy that Pinetop became a well known name in the blues.  Pinetop would leave Muddy's band with other band members to form The Legendary Blues Band before restarting his solo career.  Along the way, Pinetop was helped by the confident direction provided by manager Patricia Morgan, who was a tireless and diplomatic advocate.

Pinetop won three Grammy Awards, and so many Handy Awards that he gracefully took himself out of the running by changing the piano category award to his namesake.  Though he rose to the highest of stature, Pinetop was always very accessible and appeared on numerous albums, and projects.

He remained active, healthy and happy until the end, even with a daily habit of cigarettes, and McDonald's (double Mac with cheese, medium Sprite, and an apple pie).  He spent his 97th birthday flying to Spain to play a blues festival, and this year he won his third Grammy for "Best Traditional Blues album" for Joined At The Hip, his collaboration with Willie "Big Eyes" Smith on the Telarc label.  We should also mention Barry Nowlin, Michael Freeman, Bob Margolin, Hugh Southard of Blue Mountain Artists, Onnie Heaney, Little Frank Krakowski, Bob Stroger, Diunna Greenleaf, and Pete Carlson for their support roles in Pinetop's life.

We will miss Pinetop's distinctive voice and his elegant, interactive piano style.  He has touched all of us with his charm, his talent, and his loving approach to life.  Though we hate to say goodbye, we have to be thankful for the great joy that he brought us.  God bless you Pinetop.


JOHNNY NITRO
1951 - February 19, 2011
www.sfblues.net/JohnnyNitro.html

Johnny Nitro Carolyn Jones, San Francisco Chronicle Staff Writer
Sunday February 20, 2011

SAN FRANCISCO -- Johnny Nitro's life ended like one of his gigs:  in an old North Beach bar, on a Saturday night, surrounded by fans.

Mr. Nitro, whose raspy voice and low-down rhythm guitar made him a beloved fixture in the Bay Area blues scene, died Saturday evening in his apartment upstairs from The Saloon on Grant Avenue, where he performed regularly for decades.

"The paramedics came.  It was chaos.  But when they brought his body down wrapped in a white sheet, everyone just got quiet and started applauding.  "It was amazing", said Futoshi Morioka, a San Francisco guitarist who was playing at the Saloon when Mr. Nitro died.

"We finished the set because Johnny would have wanted that," Morioka said.  "But then we played Bill Withers' 'Lean on Me' in his honor.  I just played my heart out for him."

Mr. Nitro, 59, had been suffering from heart disease and diabetes for several years.  In December, he collapsed onstage and was hospitalized for several days but was back performing the next weekend, said Burton Winn of San Anselmo, the bassist for Mr. Nitro's band, the Doorslammers.

"We've lost an institution", Winn said.  "When he played, it was like he was in your living room, talking directly to you.  He's irreplaceable."

Despite his health problems, Mr. Nitro was among the most tireless musicians in the Bay Area, his friends and colleagues said.  He played several nights a week, taught at the Blue Bear School of Music at Fort Mason and mentored dozens of younger musicians.

"I'm 10 years younger than him, and he would wear my ass out.", said Kathy Tejcka of Benicia, who played keyboard for the Doorslammers.  "He rocked."

Mr. Nitro, whose real name was John Newton, grew up in Sacramento.  When he was 13, he saved his lunch money and bought his first guitar from a pawn shop, teaching himself to play by listening to friends' B.B. King records.

A scholarship to the San Francisco Art Institute brought him to North Beach in the 1970s, and since then, he rarely left.  He lived for a while in a 1947 panel truck and worked as a car mechanic to make ends meet.

For a short time, he worked at Sears Point and other raceways.

"I was the guy who mixed the fuel, so I was Nitro Man", he told The Chronicle in 2006, explaining the origins of his stage name.

Mr. Nitro performed with stars such as Albert Collins and Albert King, and released several albums.  Collins covered one of Mr. Nitro's original songs, "Dirty Dishes".

Like most blues artists, Mr. Nitro loved to tell a good story.  Onstage at The Saloon, he'd chat with the audience, flirt with women, tell jokes and keep the crowd - which typically included local regulars and tourists from around the world - dancing all night.

"His presence onstage was irresistible", Morioka said.  "He could just stand there holding his guitar but had so much charisma."

Among Mr. Nitro's favorite quips, said Tejcka, was this:  "Keep drinking triples till you're seeing double, feeling single and getting in trouble."

Mr. Nitro himself quit drinking and smoking several years ago, his friends said.

"He was really proud of that.  He knew what it was like to have a second chance.", Tejcka said.  "He just referred to those years as 'back when I was really sick.'"

Mr. Nitro's last gig was Friday at The Saloon.  He usually ended gigs with "Great Balls of Fire," but that night he veered from his routine, Tejcka said.

"Some guy in the audience called out for 'Johnny B. Goode', " she said.  "You know, 'Go, Johnny, go ...' He laughed, 'Well, you'd think I oughta know that one.'"

Mr. Nitro is survived by his wife, saxophonist Silvia Cicardini of Antioch, and a daughter, Kirsten Newton of San Francisco.

Friends plan to play a show in his honor on March 30 at the Little Fox, 2209 Broadway, Redwood City.


GARY MOORE
April 4, 1952 - February 6, 2011
www.gary-moore.com

Photo by John Swanell, courtesy Charisma Records By Reverend Keith A. Gordon
Monday February 7, 2011

The Internet was buzzing last night with news of the death of British blues-rock guitarist Gary Moore.  We have since confirmed that Moore passed away on Sunday, February 6, 2011 at the age of 58 while on vacation in Spain.  While it is thought that Moore died of a heart attack, Spanish authorities have ordered an autopsy to confirm the cause of death.

Influenced by artists like Eric Clapton, Jimi Hendrix, and especially his mentor Peter Green, Moore made a splash as a guitar hero at a very young age.  He left his hometown of Belfast, Ireland and moved to Dublin at the age of 16, forming the blues-rock band Skid Row with a young singer by the name of Phil Lynott.  While Lynott would leave to form Thin Lizzy, Skid Row would record a pair of critically-acclaimed albums that set the stage for the young guitar talent.  After leaving Skid Row, Moore recorded an album with his Gary Moore Band before temporarily joining Thin Lizzy for the 1973 album Vagabonds of the Western World.

Throughout his lengthy career, Moore's solo work would veer from hard rock to heavy metal, and back to the blues, which always remained his first love.  Moore's resume was littered with interesting asides, the guitarist playing jazz-rock as a member of Colosseum II, prog-rock with Greg Lake of ELP, and another late-1970s stint with Thin Lizzy that resulted in 1979's Black Rose album.  Moore also contributed to Lynott's 1980 solo album Solo In Soho.  As a respected blues guitarist, Moore lent his skills in the studio to recordings from B.B. King, Albert Collins, Otis Taylor, and John Mayall.

It is as a bluesman that Moore will be remembered, the talented guitarist first returning to the form with 1990's critically- acclaimed and commercially successful Still Got The Blues album.  Moore would continue in the same blues-rock vein with 1992's After Hours and 1993's Blues Alive.  In 1995, Moore honored his mentor with the Blues For Greeny album, a tribute to fellow guitarist Peter Green.  After delving back into hard rock and a little guitar experimentation for a couple of albums, Moore's 2001 album Back To The Blues would provide the blueprint for the remainder of Moore's career.  Moore's last album was 2008's Bad For You Baby.

Tributes for Moore have begun to pour in.  Bob Geldoff is quoted by the BBC saying that Moore was "without question, one of the great Irish bluesmen."  Former Thin Lizzy bandmate Scott Gorham said "playing with Gary during the Black Rose era was a great experience, he was a great player and a great guy," adding "I will miss him."  Our thoughts go out to Moore's family, friends, and many fans around the world.



 

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