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The Reel Blues Fest
at Cape Cod Melody Tent, 2003

The Cape Cod Melody Tent

Sunday, August 31, 2003 4:30 PM - 10:30 PM

The Music

Dr. John

Delbert McClinton

James Montgomery and Friends
Peter Hackel
Matt Woodburn
Steven Paul Perry
Stu Kimball
Dan Kenny
John Ryder

and special guests
Weepin' Willie Robinson
Shirley Lewis
Jon Butcher
Jesse Payo
Danny Kortchmar

The Films


a film by Scott Taradash

The BluesTM

an excerpt from the seven part series executive produced by Martin Scorsese

Welcome to the 3rd The Reel Blues Fest
Where Independent Film Meets Independent Music

The Reel Blues Fest is an annual summer event co-presented by the New England Blues Society and the Woods Hole Film Festival, both non-profit organizations, dedicated to helping independent musicians and filmmakers.

The Reel Blues Fest is a celebration of Blues, the quintessential American music,in both its rich traditional form and its evolution into the 21st century. Musicians and filmmakers who make blues their passion are often driven by the compelling connection of blues with all people. Recognizing this universal truth of blues music,Congress has proclaimed 2003 to be The Year of the Blues. For all those performing today, however, every year is the year of the blues

The Reel Blues Fest grew out of the acknowledgment that in spite of the amazing power of the music, many independent musicians and filmmakers still struggle torealize such basics as access to medical care or even the ability to get their workmade or seen. As The Reel Blues Fest grows and develops, we will remain dedicated toward achieving our goal, which is to help musicians and filmmakers obtain some of these basics. Both the New England Blues Society and the WoodsHole Film Festival have programs already in place that are fulfilling some of theseneeds but both organizations need to maintain and expand these programs. Yoursupport in this effort is crucial and we thank you for being here at this incredible event.

Today, we have an impressive line-up of music and film, as well as the presentationof lifetime achievement awards, and the Mai Kramer award for excellence in Blues Radio - all dedicated to that marvelous music called Blues.

We hope that as you enjoy this wonderful day, you will take the time to come talkto us and find out how to get involved. We would also like to thank our sponsorsfor their continuing and unfailing support: The Boston Phoenix & WFNX; everyone at 92.7 WMVY, and especially Barbara Dacey and Greg Orcutt; WGBH, Boston, presenting The Blues™, a seven part series executive produced by filmmakerMartin Scorsese beginning September 28, 2003, and especially Chikka Offurum;

90.1 WCAI and 91.1 WNAN, and especially Susan Loucks; AV Presentations for the ability to screen films here today; Northeast Performer Magazine, and everyoneat the Cape Cod Melody Tent. Also a special thanks to Tim Miller, Holly Harris,Steve Sweeney, John Black, Dan Gewertz, Peter Black,Carter Alan and Imus.

To find out more about the programs of the New England Blues Society, check on- line at

To find out more about the programs of the Woods Hole Film Festival, check on line at or call (508) 495-3456.

To find out more information about sponsoring our events or donating to The Reel Blues Fest, email us at

On behalf of The Reel Blues Fest, we thank you.

James Montgomery, Judy Laster, Dana Wolfe, Barry Miller. Jean-Paul Ouellette, Fran Berger, Jim Carty, Peter Cahill, Shirley Lewis, Eugene Ezchor, Peter Hackel & Sean Hunter.

The Reel Blues Fest 2003 is dedicated to Warren Zevon.


Dr. John, Delbert McClinton, James Montgomery and Friends,
Weepin' Willie Robinson, Shirley Lewis, Jon Butcher, Jesse Payo, Danny Kortchmar


Malcolm John Rebennack, Jr. was born on November 20, 1941. His mother, Dorothy, and his father, John Rebennack, Sr. owned a radio and electronics shop. By the time he was three Mac was already playing around on the family piano. When Mac reached his teens his mother took him downtown to Werleins's Music where he picked out a guitar.

His father's friend Cosimo Matassa owned the only recording studio in town. Rock & roll music was in full swing. Mac left school during his junior year, formed a band the Dominos, took session work at Matassa's studio for such legends such as Professor Longhair and James Booker, and finished high school via correspondence course.

In 1958, Mac, now 17,joined the musicians' union and started writing songs with his friend, Seth David. They placed a few with Specialty Records through Harold Battiste. Between 1956 and 1963 more than fifty of Mac's compositions were recorded in New Orleans.

An altercation in 1961 which Mac tried to break up resulted in his left index finger being damaged. It took a year to heal, and he was never again able to play guitar as he had before. Mac began to play piano again and learned to play organ with the help of James Booker. That was the year New Orleans night clubs were rocked by the election of Earling Carothers "Jim" Garrison as District Attorney. Garrison put the screws to club owners, cracking down on gambling and prostitution. Clubs began to close down. Like many of his friends, Rebennack left for Los Angeles where exiled New Orleans studio musicians were in demand.

Mac's old buddy Harold Battiste was working as a producer for Sonny and Cher, and he hired Mac to play with the duo on the road as well as getting him session work. Rebennack worked with L.A. producers Leon Russell and Phil Spector, playing keyboards and/or guitar, often uncredited, on recordings by Iron Butterfly, Buffalo Springfield, John Sebastian, and other rock, psych, soul, blues and pop acts.

In 1967, he thought up the concept of forming a musical group around thepersonality of Dr. John, a 19th century New Orleans root doctor and, through

Harold Battiste, managed to cut a few tunes on "free" studio time at the Gold Star Studios. Ahmet Ertegun, despite the album being recorded "on the sly," agreed torelease it on Atco. The album, Gris-Gris, fell right into the "hippie" groove of thetime and soon became a kind of underground hit, being supported by the freeform radio stations and receiving good reviews.

Three more psycho-voodoo albums followed: Babylon sold poorly. Remedies went deeper into New Orleans musical styles but suffered from beingunderproduced. The rock community rallied around him for The Sun, the Moonand Herbs as Mick Jagger, Eric Clapton, and others assisted in the sessions.Unfortunately, it was not a commercial success. Mac Rebennack and his singersworked backing the Rolling Stones on Exile On Main Street and with The Band.

With Jerry Wexler from Atlantic Records, Dr. John moved in a moretraditional direction. Gumbo charted in Billboard and included renditions of "Tipitina", Earl King's "Those Lonely Nights", "Iko Iko." Mac dropped the Dr.John hoodoo persona and embarked on a major tour of Europe and the UnitedStates, his career at an all-time high. 1973's In The Right Place spawned the topten hit "Right Place, Wrong Time". Mac toured with the Meters and ProfessorLonghair, playing sold out shows in London and Paris and appearing at theMontreux Jazz Festival. The following year Dr. John, Toussaint, and The Metersrecorded the followup album, Desitively Bonaroo.

Between 1974 and 1978, Mac worked on tracks by Aretha Franklin("Spanish Harlem") and Carly Simon & James Taylor ("Mockingbird"). He produced Van Morrison's A Period of Transition album as well as Levon Helm's RCO All-Stars. He appeared at the Band's farewell concert, The Last Waltz. Herecorded the incredible LP City Lights for Horizon Records in 1978.

In the 1980s he recorded back-to-back solo piano albums: Dr. John PlaysMac Rebennack and The Brightest Smile In Town. These are extremely importantdocuments of Rebennack's oft-ignored piano chops. The recordings that followed saw Rebennack heading farther into a jazz groove. In a Sentimental Moodfeatured Cole Porter and Duke Ellington numbers (and a wonderful duet withRicky Lee Jones), and Bluesiana Triangle/Blusiana Triangle II saw him workingwith jazz greats Art Blakey and Fathead Newman.

1992's Goin' Back to New Orleans is Dr. John's history of New Orleansmusic, from Buddy Bolden and Jelly Roll Morton, the Mardi Gras Indians, rightup to the funky music of Allan Toussaint and the Meters, not to mention Dr. Johnhimself. The album was a critical and commercial success. Since then he has recorded prolifically, recording the albums Television, Afterglow, Trippin' Live, Crawfish Soiree, Anutha Zone, Duke Elegant and Creole Moon.

As Dr. John himself says: "No matter how far away from New OrleansI've gone and what I've done, sooner or later I always want to come back to myhometown for a roots recharge. LA and New York are cool, but neither holds thespell for me that New Orleans still does…for better or worse, New Orleansremains its own strange self, and more than a little bit out of sync with other placesin the United States. This is one of its charms, but it's also a curse."

For further reading, check out "Under A Hoodoo Moon, The Life Of The Night Tripper," his very sincere memoirs published in 1994.




McClinton's early memories include being taken by his parents to see Bob Wills & His Texas Playboys at The Cotton Club in Lubbock, Texas, where he was born. His family moved to Ft. Worth when McClinton was 11, a city known as a fertile incubator for a variety of music styles. Out on the Jacksboro Highway at clubs like Jack's Place, Delbert mastered the craft of keeping the hard-drinking rednecks, cowpokes and roustabouts entertained all night long. And at the legendary Skyliner Ballroom, where McClinton's band, the Straitjackets, was the only white act to play its

Blue Monday nights AND be the backing band for the headliners, he received a first-class tutelage from the masters of blues music like Jimmy Reed, Howlin'Wolf and Sonny Boy Williamson.

McClinton made his first recordings as a member of the Ron-Dels, and was noted for his distinctive harmonica work on Bruce Channel 's "Hey Baby," a Top 3 single in the UK and number 1 in the USA in 1962. On a subsequent package tour of England, Delbert showed some of his harp licks to the rhythm guitarist for a young band at the bottom of the bill. Legend has it the young musician was John Lennon and that harmonica lesson resulted in the sound heard on "Love Me Do."

In the early 1970s, McClinton and his Ft. Worth pal Glen Clark headed out to Los Angeles. They achieved a degree of artistic success, releasing two then obscure but now prized albums for Atlantic Records as Delbert & Glen.

Returning to Texas, he landed a deal with ABC Records. With the release of his 1975 solo debut, Victim of Life's Circumstances, McClinton firmly stamped his Ft. Worth-bred blend of blues, country and blue-eyed soul onto the pop musical landscape. A succession of influential and critically acclaimed albums followed, along with coups like appearing on "Saturday Night Live" in its heyday -an acknowledgment of the pages torn from Delbert's play book by Dan 7 Aykroyd and John Belushi when they formed The Blues Brothers. He scored hits like "Giving It Up For Your Love" and "Sandy Beaches," won a Grammy with Bonnie Raitt for their "Good Man/Good Woman" duet, and over the years has enjoyed covers of his songs by Emmylou Harris, The Blues Brothers, Vince Gill, Wynonna, Lee Roy Parnell, Martina McBride, Garth Brooks and Trisha Yearwood, among others.

His subsequent output reflects several roadhouse influences. Three gritty releases, Victim Of Life's Circumstances, Genuine Cowhide and Love Rustler, offered country, R&B and southern-style funk, while a 1979 release, Keeper Of The Flame, contained material written by Chuck Berry and Don Covay, as well as several original songs, including loving remakes of two compositions from the Delbert And Glen period. Emmylou Harris had a C&W number 1 with McClinton's "Two More Bottles Of Wine" in 1978, and "B Movie Boxcar Blues" was used in the John Belushi/Dan Aykroyd movie The Blues Brothers.

His 1980 album, The Jealous Kind , contained his solitary hit single, a Jerry Williams song, "Givin' It Up For Your Love', which reached the US Top 10.

After a rest-period during much of the 80s, this rootsy and largely underrated figure made a welcome return in 1989 with the fiery Live From Austin.

His work during the 90s showed no signs of a drop in quality, with 1997's assured One Of The Fortunate Few arguably his finest recording to date. Tightening radio formats may have offered fewer opportunities for his expansive musical approach, yet McClinton solidified his loyal following with his relentless touring and his annual Delbert McClinton & Friends Sandy Beaches Cruise every January in the Caribbean. Now free from major label pressure, it is to be hoped that McClinton's best work is yet to come.



Originally from Detroit, blues harmonica master James Montgomery has led his own band, the James Montgomery Blues Band, since 1970. James started the group in Boston while he was attending Boston University.

While growing up in Detroit, James learned the blues first hand from James Cotton, Jr.Wells and John Lee Hooker. He has since played with blues legends such as B.B. King, Bonnie Raitt and Buddy Guy as well as rock greats like Bruce Springsteen, Mick Jagger and Aerosmith. In recent years, James has also recorded with fellow Motor City musician Kid Rock, for the hip-hop/rocker's DJ Uncle Kracker's year 2000 release. Among other artists he's played or recorded with include Gregg Allman, Les Paul, Bo Diddley and Steve Miller. He was also a member of the Original Blues Brothers on a Texas tour.

Montgomery's band has been a showcase for many now famous alumnae prompting Peter Wolf to refer to Montgomery as the John Mayall of New England.

For the past two years Montgomery has been a featured member of the Johnny Winter Band, touring the world extensively and recording. Montgomery co-wrote a song with Johnny that will appear on the next Johnny Winter release.

James Montgomery shows his commitment to the blues in many ways. He is vice president of The New England Blues Society, an organization that works toward furthering blues education in New England as well as establishing health benefits for blues musicians. He was presented with the first ever "Statesman of the Blues" from his peers to honor his tireless efforts to promote the blues. He is also co-founder of ACRC (Aids Camp Relief Coalition), which is dedicated to sending children with HIV to camp.

Montgomery also spread the blues gospel through his syndicated radio show called "Backstage With the Blues." The artists he's interviewed, such as Bonnie Raitt, Dr. John and John Lee Hooker, tell the stories behind their music. Who better to reminisce with than a man who has been living and breathing the blues for the last thirty years? None other than James Montgomery.


James Montgomery and Friends

Officially formed in 2000, James Montgomery and Friends, draw from decades of personal and professional experience. 'The Friends' share a unique musical history and understand the gift of performing together to support worthy causes.

Many of the Friends are known from recent and previous works . . . Johnny A, Stu Kimball (Peter Wolf), Joe Pet (Joe Perry Project), Dan Kenny (MD/ Brittany Spears Band), Steven Paul Perry (John Hiatt, Orchestra Luna), John Ryder (Face to Face), John Troy (Pousette-Dart Band), Dan Rabinovitz (Solomon Burke), Bruce Marshall (Toy Caldwell), Harry T, Dave Freedman (The Stompers), Mark Naftalin (Paul Butterfield) Dom Dinardo (Tower of Power) and Peter Hackel (JM+F co-founder) make up a few of the core group of musicians that have become The Friends.

Although he continues to record and tour with the ever-popular James Montgomery Band, as well as being front man for the legendary Johnny Winter Group, Mr. Montgomery has found another home with The Friends. "These guys came along at a good time for me and over the years it has continued to gel on every level" comments Mr. Montgomery. "Our personal history and musical background is the glue which holds us together on and off stage".

The love of the music and the opportunity to give back to the community and less fortunate is paramount with the group as they find fundraising events the best stage for what they do. "Over time, we have learned what is really important in our lives and our music, so we've committed our time and energy as a group to charitable causes " says drummer and co-founder Peter Hackel. "I take per-10 sonal pride and find great pleasure working with these guys," adds John Ryder. "Being in a position to help others while having so much fun is a blessing".

Select James Montgomery and Friends Fundraising Performances October 2, 2001: Scullers Jazz Club, Cambridge MA: First Annual 9/11 event. January 2002: Waterville Valley Ski Area: Multiple show weekend at to benefit the Adaptive Skiing Program. April 2002: International Place, Boston: Great Chef's Event to benefit Dana Farber Cancer Institute. May 2002: Park Plaza Hotel / Grand Ballroom w/Steven Tyler: To benefit Victory Programs. September 12th 2002: The Big Easy, Boston: Second Annual 9/11 event to benefit Victory Programs. February 27, 2003:Regent Theatre, Arlington, MA w/Steven Tyler: To benefit Middlesex Human Services Agency. April 24, 2003: Sheraton Braintree: To benefit The Leukemia Society of Massachusetts. May 17, 2003: Boston's Museum of Science: To benefit Granada House. August 31, 2003: Cape Cod Melody Tent: To benefit New England Blues Society / Woods Hole Film Society. September 11, 2003: The Roxy, Boston: Third Annual 9/11 event to benefit Boston City Hospitals, Child Witness to Violence Project.



Jon Butcher, Vocals, Guitar

As the founder of Jon Butcher Axis, Jon Butcher was one of a select handful of influential recording artists on the now legendary Boston music scene during the eighties and nineties. The MTV video "Life Takes A Life" and subsequent Grammy nomination were the beginnings of a recording/touring career that continues to this day. With a discography of 15 national and international releases, international critical acclaim, awards and the support of fans worldwide, Jon Butcher in 1999 launched Electric Factory, a state-of-the-art recording facility with emphasis on film, TV and multimedia.

Jon's love of the American music form is boundless, from Jazz and Blues to Dixieland and Appalachia. "Our motto here is real music made by real people. We specialize in organic, home grown and somewhat eclectic approaches. I've compiled a who's who call list of players over the years that really makes the music breathe."

1999 and 2000 have seen Jon Butcher and Electric Factory on television (Turks, Pensacola-Wings Of Gold, CBS Television), in film (The War At Home -Tri-Star, Bedroom Window - Tri-Star) and on the airwaves (Best Of...; EMI/Capitol) with a live concert CD (King Biscuit Flower Hour) on store shelves now. Music has probably changed forever with the recent explosion of the internet. Personally, I embrace the changes and all the potential access those changes offer. Composers now have a way of seeking, and being sought out like never before. For someone doing something different, that's a good thing."

John Ryder, Bass

Raised in and around Boston, John Ryder entered the late 1970's punk scene playing bass for the avant-garde progressive power trio Ann Prim Group (pre November Group). From there John followed Powerhouse's frontman George Leh into hard traveling blues group George Leh and the Thrillers. The band ran from 1978-1980 and opened for tons of compatible shows like James Cotton, Albert King and James Montgomery. From 1980 to 1988 John was a member of the legendary rock band Face to Face, remembered for their 1984 Top 40 hit "10-9-8." Besides Ryder on bass, Face to Face was Laurie Sargent (vocals), Stu Kimball (vocals, guitar), Angelo (guitar), Billie Beard (drums, percussion). Their Los Angeles experience included an acting appearance as the Attackers in the 1984 film "Streets of Fire," with the guys acting and Laurie lending her voice for Diane Lane's character. The band also toured with Cyndi Lauper, The Romantics, and The Alarm and opened for everyone else in venues from Boston to New York City. When that wound down, John ventured into a normal life in electronics manufacturing while still using his musical talents for contemporary Christian rock, first at Park Street Church, now at Chapel of the Cross in Southborough. When "normal life" changed on September 11th, James Montgomery, Peter Hackel and Ryder set out to create the Friends, and he's been enjoying performing for charity ever since.

Shirley Lewis, Vocals

Shirley Lewis was born in Sicklerville, New Jersey on February 25, 1937. She performed professionally since early childhood with her father and brothers as the Lewis Gospel Singers. She sang throughout her youth and after high school became an accountant, singing in church on the weekends. The music won out over the numbers and she traveled to Las Vegas, San Francisco and ended up in Vancouver British Columbia in 1972. She sang in a show at Isy's Supperclub in a revue called, "Black is Beautiful." She then held a residency at club New Delhi for a four year run. Shirley continued her mutual love affair with Canada, touring throughout the country until 1985.

Lewis moved back to the states to be closer to her family in the mid-80s, settling in the Boston area. She has been a Boston based singer since that time, recording and touring all along. Shirley Lewis is a gifted vocalist who sings from the heart, like many of her fellow Jersey and Philadelphia R&B singers. She is more concerned with the feel of her performance than the technicality of it. That's a tradition that goes back a long way. Some of today's music students can take a lesson from that approach. She is the recipient of the 2001 Blues Trust Lifetime Achievement Award.

Jessie Payo, Vocals

At five foot, young Jesse Payo packs a powerful vocal punch. She's already won "Emerging Artist of the Year" award at the Las Vegas EAT'M event. She's been compared to Janis Joplin, Aretha Franklin and Etta James, but what comes across is pure Jessie. Born in Colorado and raised in LA by performer parents, Jessie was in her first musical at the age of 4.

At the age of 12 she was smitten by the blues and her focus changed. She put herself on a healthy diet of Etta James, Memphis Minnie, Big Mama Thornton, with doses of Sarah Vaughn, Dinah Washington and Ella Fitzgerald. By the time she was 14 in 1996, she had her own band, Jessie and the Raindogs in Burbank, California.

Her band has performed at such venues as The House of Blues, B.B. King's Blues Club, Gilley's at the Frontier in Vegas, Cozy's, and many more. She writes her material with her father Jose Payo of the band Blues Garage. He is also the bass player, back up vocalist and arranger for Jessie & The Raindogs which also includes Tom Romero on guitar and Steve Kim on drums.

Jessie was inducted into "Women of the Blues" when she was 16 and was nominated for an L.A. Music Award in the Category of Best Female Vocalist. The band was nominated for Best Blues Artist. Several of their songs have reached #1 on the blues charts on mp3 and Jessica perfomed at the first stop of the Women of mp3 tour in San Diego in 2000. Their songs have been featured on the radio stations KLOS in Los Angeles, KUCI, Irvine, and KSFM San Mateo and has also been featured on "The Young and the Restless."

An accomplished actress and dancer, Jesee is also a member of the Los Angeles Women in Shakespeare Company.

Through the internet, she has gained many fans throughout the world: in England, Australia, France, Switzerland, Germany, Japan, and Brazil. Her songs are played on over 40 radio stations on the internet. Her record release concert at B.B. King's Blues Club was a sell-out; and as the manager of B.B.'s noted, "We haven't had a crowd like this since B.B. himself played here." It's all about the blues.

Weepin Willie, Vocals

Born in Atlanta on July 6, 1926, William Lorenzo Robinson is known as Weep to hisclose friends. He grew up in Winter Garden, Florida.. In 1939, when he was 13, hisfather put him on a truck bound for a farm in New Jersey where they needed someextra hands, and that was the last he saw of him. His mother had died three yearsearlier. Willie's youth was spent working as a migrant farm laborer.

After serving in the US Army, Willie met a friend who booked bands inTrenton, and he started working as master of ceremonies in a nightclub, getting achance to mingle with the likes of B.B. King and Bobby Blue Bland. Willie never thought of becoming a singer until the day in 1959 B.B. King invited him to come upon stage and sing with his band after they heard him sing a few lines. At thatmoment, a long-running career was born.

Moving to Boston, he continued emcee at such legendary venues as theSugar Shack in Boston, while putting a band together. He joined up with saxophonistEmmett Simmons, who joined in 1964, and bassist and vocalist, Buddy Johnson.Until Johnson's passing in 1998. the band was known for several years as the Weepin'Willie/Buddy Johnson band.

In 1999, at 74, Willie's first CD "At Last, On Time", was released. It features guest appearances by Mighty Sam McClain and Susan Tedeschi. Recipient of the Lifetime Achievement Award in 2000, and first runner-up for the BestLocal R&B Soul Act in the Boston Phoenix 2000, Weepin'Willie continues to charmaudiences with his smooth blues style and engaging stage presence.

Danny Kortchmar, Guitar

Danny Kortchmar met James Taylor in the early '60's on Martha's Vineyard and the two began to play folk gigs locally. Kootch (as he is sometimes called) was a member of a number of aspiring New York '60s groups; the Kingbees (which backed up a Peter* & Gordon tour) and Flying Machine** (which featured James Taylor). [Peter* Asher (later A&R at Apple Records) released the Flying Machine's** demos in 1971 under the title "James Taylor & The Original Flying Machine."] With the Flying Machine "in pieces on the ground," Danny spent six months with the Fugs in the late '67 and moved to LA with exFug Charles Larkey. They met Carole King and formed The City. The band never toured due to King's stage fright.

Besides solo and group album releases, Kortchmar did session work in LA, playing on most of King's and Taylor's records. He toured with both and became one of LA's better known session players, playing on many major '70's albums, including those of Crosby & Nash, Jackson Browne, and Linda Ronstadt.

In 1979 he moved to producing beginning with Louise Goffin, Carole King's daughter. In 1981 he joined Don Henley's band. He was the cowriter and coproducer of most of Don Henley's solo projects. With his friend Jackson Browne, he cowrote songs, notably "Somebody's Baby," "Shaky Town," and "Tender Is The Night."

Kortchmar has worked with the likes of Bon Jovi, Bob Dylan, Billy Joel, Neil Young, Carly Simon, and the Spin Doctors. He's also squeezed in another band, Slo Leak. He's now working with Boz Scaggs and with Hanson on their forthcoming record, "Underneath."





A lively biography of 88 year old Delta Blues singer and 2002 NEA National Heritage Fellowship recipient David "Honeyboy" Edwards, this film delivers the Blues, its roots, personal accounts of the Deep South before the civil rights movement, heartfelt stories of Edwards' missed recording opportunities and life on the road.

2002, 82 min., Chicago, IL. Director: Scott Taradash, Producer: Jamie Tarandash, Featuring: David "Honeyboy" Edwards, BB King, Sam Carr, Willie Foster, Bruce Iglauer, RB Moore, Waymon Meeks, Ace Atkins, Michael Frank.


A 30 minute compilation reel of The BluesTM, executive produced by Martin Scorses and premiering Sunday, September 28 at 9 p.m. on PBS, anchors a mult-media project to help raise awareness of the blues and its contribution to American culture and music worldwide. Volkswagen is the exclusive sponsor of The BluesTM project. The BluesTM is a presentation of Vulcan Productions and Road Movies in association with Cappa Productions and Jigsaw Productions; WGBH Boston presents the series on PBS; public television funding is provided by PBS and the Corporation for Public Broadcasting. Along with Scorsese, Paul G. Allen and Jody Patton of Vulcan Productions and Ulrich Felsberg of Road Movies are executive producing the series; Alex Gibney is the series producer; Margaret Bodde is the producer, and Richard Hutton is the co-producer.


copyright 2003 The Reel Blues Fest, Inc.
all rights reserved







The Reel Blues Fest, Inc. is a non-profit organization dedicated to helping musicians receive access to medical care and to supporting the work of independent filmmakers. Proceeds from events will be distributed to eligible 501 (C) (3) organizations pursuant to the guidelines established by The Reel Blues Fest, Inc.

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