Jun 7

Jun 7 Blues Fest, Day 3

Chicago, Blues, Festivals, Musicians, Performance, Things to Do in Chicago

Once I cleared security today, I headed across Millennium Park’s promenade to the Mississippi Crossroads stage located on park’s southend. Passing Anish Kapoor’s Gate (aka The Bean), I heard someone singing, “Shake, shake, shake it all night. Spend, spend, spend.” Those inspiring words were coming from just two guys, Eric Edwards on keyboards and Joe Eagle on drums. Know as 2 Blues for You, the two musicians had drawn an impressive crowd. The benches in front of the stage were packed, and the parkway on both sides of the promenade was already filled with lawn chairs, blankets and small folding tables.

As I arrived, Edwards launched into a Bobby Blue Bland number entitled, You Don’t Know the Blues Unless You’ve Sung this Song. Next the two took on Al Green’s Love and Happiness, complete with Edward’s effectuating Green’s signature growls. What was somewhat disconcerting was how Edwards used pre-programmed loops to add horns to the mix. At one point, Edwards sounded as if he was playing something akin to Herbie Hancock’s Roland AX-7 keytar—a hybrid handheld piano played as if it were a guitar.

Unfortunately, I could only stay for three songs because Stefan Hillesheim was performing in the Rosa’s Lounge on the North Promenade. Hillesheim arrived in Chicago just three years. I first saw him when he made his Chicago Blues Festival debut. Since then, he has become a regular on Chicago’s Blues scene. To his credit, Hillesheim is one of the few band leaders to identify the band members in in this year’s Blues Festival program. With him were Dionte McMusick on drums, Darryl Wright on bass, and the fantastic Sumi “Ariyo” Ariyoshi on electric piano.

Hillesheim was quite adept when sliding a bottleneck over his guitar’s strings, producing elongated notes and sweet tremolo sounds. Airyo, working on the sly, introduced some stride piano runs into mix.

I stayed with Hillesheim and Company longer than I should have, but eventually I made my way to the roof of the Harris Theater, where the Currie Metropolitan High School band was performing. The initial configuration included a female vocalist, bass and guitar, piano, and drums. The kids sounded good, but the band’s adviser needs to do some work on the visuals. The guitarist and bassist stood largely motionless, huddled with the adviser at the back corner of the stage. Given the large stage, this meant lots of empty space separated the young musicians from their audience. The vocalist had a nice voice, but she didn’t gesture or otherwise physically emote. Nobody had taught her how to “sell” what she was singing.

Following two numbers, 10 to 15 young women, dressed in what might best described as mint green cheerleading outfits, ran onto the stage, filling it with bodies engaged in a synchronized dance routine. To the tune of Mack the Knife, long hair whipped through the air and hips shook. I am not sure the costuming projected the Blues, but I appreciated the increased energy.

Following the dance routine, a horn section materialized, something that I always appreciate. Without the dancers, the visuals were once again lame, with the horn players hiding behind nondescript music stands. A tuba generates great sounds, the the tuba’s shiny brass surface engulfing the player’s body, creating visual humor. Yet, the band’s director chose to partially hide the tuba player behind a bank of amps.

[Click on an Image to Enlarge It. The Images Are Not Necessarily in Exact Chronological Order]

**Joe Eagle Playing the Drums with 2 Blues for You**

**Stefan Hilleshan Hand Crafting the Notes**

**Master Blues Pianist Sumi "Ariyo" Ariyoshi at the Keyboards**

**Darryl Wright Adding Bottom to Stefan Hilleshan Band's Mix**

**Hillesheim Using the Dexterity in His Thumb to His Advantage**

**Ariyo Adding Little Stride Piano Runs**

**You Just Gotta Love the Green Strings**

**Trying to Hide a Tuba Behind the Amps**

**Currie Metropolitan High School Students Dancing to the Blues**

Next, I headed back to the Mississippi Crossroads stage. Guitarist Jesse Robinson was doing double duty, having performed with the B.B. King Centennial Band during the festival’s tribute to King last night. Robinson’s solid guitar playing was perfectly complemented by the tenor saxophonist’s work. It took me a few seconds, but I quickly found myself mouthing the words to War’s The World is a Ghetto. When the band brought the number to a conclusion after what seemed like 10 or more minutes, I headed to a restaurant on Michigan Avenue.

Yesterday, I didn’t eat lunch or dinner unless a single hot dog is considered a meal. When I arrived home, I added two Chobani yogurts and a handful of peanuts to the mix. Not an adequate dinner. As I was heading to Remington’s on Michigan Avenue across from Millennium Park, Robinson launched into Rainy Nights in Georgia. I immediately reversed course. Since Conway Twitty and Sam Moore teamed up in 1994 for a duet, Rainy Nights has been a favorite. For those who are interested, their version appears on a terrific collection of duets entitled Rhythm and Country Blues. Appropriately, given last night’s tribute to B.B. King, the album includes the tear-jerker, Patches, as performed by B.B. King and George Jones. Eventually my empty stomach got the better of me.

**Jesse Robinson, Who Played Elmore James' Guitar as a Teenager**

**Eating Lunch While Listening to Jesse Robinson**

**Playing the Tenor Saxphone with Jesse Robinson**

**The Guitar that B.B. King Played When He Was a Toddler**

**Busking the Blues Across the Street from Blues Festival**

After returning from lunch, I headed back to the Mississippi Crossroads stage, where Vickie Baker, the V Souls, and the Groove Crew were tearing it up. The group included two backup singers (presumably the V Souls) and a terrific band that included a trumpet player and alto saxophonist (presumably the Groove Crew). Baker had an engaging stage presence, moving from one corner of the stage to the other so that she could better connect with everyone occupying space in front of the stage. She mixed the Blues with Soul, adding some sassy vocals along the way. “Don’t give me no loop. Keep it rolling all night.”

**Vicki Baker Performing with the V Souls and the Groove Crew**

The 4:00 PM tribute to the late Denise LaSalle was fast approaching, so I headed to the Pritzker Pavilion, not wanting to miss the Women of the Blues, who tonight included Nellie “Tiger” Travis, Thornetta Davis, Nora Jean Wallace, and Mzz Reese.

On my way to the Pritzker Pavilion, I spent time wandering among the crowd gathered on the great lawn. Kids were roughhousing under their parents’ watchful eyes, older couples were eating cheese and crackers, and couples lazed about on large blankets. Perfect preparation for an evening of Blues.

The singers generally didn’t mention song titles, but the lyrics were sufficient. Mzz Reese opened the LaSalle tribute, singing “I am an older woman looking for a younger man. I know what a man needs. When I was 16, I had my first.” Naturally, the tempo was slow, and the vocals were sultry.

Thornetta Davis followed Mzz Reese. With a saturated brightly red shirt and sash, nobody was going to lose sight of Davis as she moved about the stage. She brought feminism to the Blues, singing “Ain’t over until you make my bell ring. It ain’t over until the fat man sings. It ain’t over until I do my thing.” Here was a woman who had expectations about what her man could do for her, rather than what she could do for him. Following her anthem, she launched into Down Home Blues.

Late in Davis’ set, guitarist Jonathan Ellison seemly succeeded in impressing Davis. Holding his guitar’s strings to his mouth, Ellison plucked at the strings with his teeth, producing some fine sounds. Many other guitarists know the trick; I am always surprised by the sonic results.

Following Davis’ stint on stage, Nora Jean Wallace appeared, wearing a striking blue dress. Wallace became the evening’s Ann Landers, advising the women in the audience, “As long as your ugly man is good to you, don’t listen to your girlfriends.” Adding, “He’s so ugly he looks like ET.”

Each singer was an experienced performer, who knew how to captivate the people in the seats using gestures and fancy footwork.

**The Blues is Sprouting Up Everywhere**

**Nora Jean Wallace Paying Tribute to the Late Denise LaSalle**

**The Fans are Seated Everywhere, Including Backstage**

**"Chicago Blues Festival, June 5-8, 2025"**

**Playing with His Teeth to Impress the Thornetta Davis**

I ended up skipping Nelly “Tiger” Travis, returning to the Mississippi Crossroads stage, where John Primer & The Real Deal Blues Band were scheduled to play at 6:30 PM. Like yesterday, Primer had his red Gibson guitar and was accompanied by Steve Bell, as well as by terrific band that included pianist Johnny Iguana.

Unlike Primer and Bell’s excellent somewhat acoustic set yesterday, Primer went full tilt today, even taking a walk into the audience with his guitar. Too much of the Blues that is played in the clubs these days evidences more rock than Blues, which may explain why Primer calls his band The Real Deal Blues Band. Yes, the music is amplified, but it is the electric Blues that was played on Chicago’s South side by iconic bluesmen now known throughout the world during the halcyon days that inspired the Rolling Stones and other mid-Sixties bands . Kudos to Primer and his band.

Before returning to the Pritzker Pavilion, I stopped by Rosa’s Lounge to hear Joe Barr, a singer who has mined the Soul/Blues tradition for decades.

**Time to Sell My Soul to the Devil Because I am Already a Sinner**

**Steve Bell Changing His Alliance from the Cubs to the Yankees**

**John Primer's a Wecolming Kinda Fellow**

After two songs, I headed back to the Pritzker Pavilion to catch Joey J. Saye, Stephen Hull, and Harrell “Young Rell” Davenport, three acoustic guitarists, with Young Rell doubling on Blues harp. Once again, I must say that the all-acoustic set proved far more engaging and impactful than many of the all-electric ones, particularly the ones in the Rosa’s Lounge tent. No pounding bass guitar or bass drum.

Supporting that sentiment, the three musicians did the number that the power-trio Cream did back in the Sixties, Sitting On Top of the World. I never like Cream’s take, which was lumbering and lugubrious, filled with pointless electric guitar riffs. Messrs. Saye, Hull and Davenport brought nuance and a natural Blues bent to the song. Their set was particularly enjoyable. The festival’s programming committee should double the number of acoustic acts next year.

**Stephen Hull Deep in Thought as He Plays**

**"Young Rell," Hull, and Saye Together**

Following Saye, Hull, and Young Rell, Benjamin Lattimore took the stage, standing behind an electric piano for as much of his performance as I saw. The only even remotely likeable element in Latimore’s set occurred when Chicago Blues harpist extraordinaire Billy Branch joined Latimore on stage for an extended jam.

Instead of suffering until Latimore sang his last song of the evening, I headed over to Rosa’s Lounge tent where Theo Huff was scheduled to play. The programmers made a huge mistake. Latimore should have been on the Rosa’s stage, with Huff holding down the main stage.

I saw Huff six or seven months ago. Huff is as high energy as they come, best described as a male stripper who does shed his clothes. With sweat dripping from his face, Huff moved from one side of the stage to the other, prancing and seductively gyrating his hips. He leans into the audience. Were there no barriers between him and the first several rows, he would have been in the audience., dancing with the ladies while he sang.

But it is not just Huff’s physicality. The man has a terrifically soulful voice. The combination of the two makes for an exhilarating performance. Bring him back next year.

Last night, three noteworthy guitarists paid tribute to B.B. King, but the 26-year-old phenom, Christone “Kingfish” Ingram overshadowed the other two, largely because he is this era’s “It” guitarist. Tonight, Kingfish was back as the headliner. Not surprisingly, Pritzker Pavilion was packed, as well as the large lawn that unfolds behind it. Anticipation was in the air.

Ingram came strolling out from the wings wearing a snappy baby-blue suit, with comfortable shorts instead of full-length pants. I must confess, I came as a skeptic. Admittedly, Kingfish’s singing has improved over his short career, but nobody will remember him for his vocals. He is a guitar god. I find his playing technically proficient and enjoyable, but I prefer other players, including John Primer and Lurrie Bell. Like those high school students earlier in the day, Kingfish needs to work a bit on selling his sound with visuals, including gestures and facial expressions.

Of course, I am in a distinct minority. You don’t criticize a guitar god, even constructively.

**Tonight's Lineup on the Pritzker Pavilion's Main Stage**

**Christone "Kingfish" Making His Entrance**

**Totally Captivated By What He Is Seeing and Hearing**

**Providing Kingfish With a Strong Beat**

**Kingfish on the Big Screen While Chicago Picnics on the Great Lawn**

**Kingfish's Bass Player is Into AC/DC**

Kingfish made one gigantic mistake when closing out his set. He asked ten ladies to join him on the stage. I have no idea how many eventually came forward, but the number most likely exceeded 100. Pandemonium broke out, with women jumping from the photo pit to the stage, while others ran up the ramps flanking the stage. Nobody, including Kingfish, meant any harm, but the situation quickly grew out of control. I knew exactly what the Millennium Park officials were thinking—the City’s exposure to liability should someone fall off the stage or trip while dancing. Moreover, once on the stage, everyone had easy access to the backstage areas.

As a spectator, I thoroughly enjoyed the commotion. People were dancing, singing, taking selfies, and even grinding their hips into Kingfish, who at times disappeared behind his fans. When Kingfish closed out his set, there were calls for an encore, but Millennium Park security put the kibosh on that.

Undoubtedly, Millennium Park officials will be reviewing their security plan. if I were the City Attorney, I would add a clause to every performer’s contract imposing a $10,000 fine should anyone invite people onto the stage. I would also require the performer to indemnify the City should it be held liable for any resulting injuries.