Jun 6

Jun 6 Chicago Bluesfest--Day 2

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

I woke up this morning a little under the weather. Maybe too much Chicago Bluesfest yesterday. I, however, would not to be deterred. At 1:00 PM, I headed out the door, down to Millennium Park for Day 2 of non-stop fun and music. It wouldn’t be nine of hours of music today; just a manageable six. Regrettably, I missed the wild man, Theo Huff, who puts on a terrific show. With his provocative moves, Huff could have been a dancer at the Moulin Rouge back in 1925.

Upon arriving at Millennium Park, I immediately headed over to the Mississippi Crossroads stage where the Cuz Band, led by Chris Parks, was about to launch into their set. Parks is an emotional singer, who rode the wave of sound generated by his bandmates with great aplomb. The bass player and the drummer must have been dueling, because the beat coming from the bass drum gave the bass player a run for his money. For his part, Parks was particularly good at selling what his voice was singing, at times kneeling down while extending one arm, moving from the one side of the stage to other, and repeatedly using gestures underscoring the lyrics.

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

**The Music Is So Hot, She Needs an Electric Fan to Cool Off**

**Chris Parks Getting the Party Started with the CUZ Band**

I then pinged over to the Rosa’s Lounge stage on the north end of the promenade, where Nick Moss and company were playing some hard-edged Chicago Blues. While Moss would make several appearances during the weekend as a guitarist, for my money, Moss’s vocal skills surpassed his skills as a guitarist. He inserted the right inflections at the right moments. His voice could have easily appeared on an old 78 RPM record—a tenor with a little bit of a rasp, but oddly, also with a taste of honey mixed in.

Particularly impressive was Blues harpist Dennis Gruenling, who may have been the best dressed man I saw today or yesterday. Dressed from shoulder to his boots in what appeared to be snakeskin, Gruenling’s outfit certainly captured his exuberant style. Like a rattlesnake, his attack was deadly, first elevating the tension, and then striking out at his prey. I can’t say for sure, but I suspect Gruenling was using a large Electro-Voice mic, which meant that the full-bodied mic captured everything that Gruenling was putting out.

**Rodrigo Mantovani on the Upright Bass with Nick Moss**

**Dennis Gruenling** **Blowin' Harp with Nick Moss**

Toward the end of Moss’s set, I headed over to the Pritzker Pavilion, where St. Louis native, Dylan Triplett would open the festivities on the main stage today. Billy Branch and his Sons of the Blues closed out the day’s performance this evening in a celebration of Branch’s 75th birthday. Hopefully Branch, Ronnie Baker Brooks, and this generation’s elders will be with us for some time to come, but the age-old question lurks over the music: Who will step into their shoes when they exit the scene? Given his success to date, Triplett may be one answer, at least in the view of some fans.

I must admit, I was not impressed. To my way of thinking, Triplett represents the reversal of a historical arc. Blues spawned modern rock. Triplett is injecting rock into the Blues. Yes, Triplett sings Blues-infused music, but I found his effort pedestrian, in large part because his voice was somewhat monochromatic. I, however, did appreciate his take on John Lee Hooker’s Boom, Boom, Boom.

**Looking the Audience Squarely in Its Collective Face**

**Offering Up a Rock Beat in Support of Dylan Triplett's Effort**

**Stephen Hull Playing Lead Guitar Behind Dylan Triplett**

**Adding the Boom Boom to Dylan Triplett's Music**

**Dexter Allen on the Mississippi Crossroads Stage**

Fortunately, Shakura S’Aida was up next, bringing some subtlety to the Blues. Coming out in an elegant red dress, with the train billowing as she took the stage, S’Aida created a strong visual impression even before a single note passed her lips. She opened with Don’t You Walk Out that Door. Her band supported her effort rather than overpowering her, which has occurred during several other performance this weekend.

She did one very slow number, with lots of humming, which I took to represent moaning. I believe it was entitled Clap Your Hands and Moan. Once again, the musicians laid back, giving S’Aida plenty of room to emote. For the most part, her set toed that line—slow Blues that relied on her sultry voice to deliver warnings to men and others who might do her wrong. Geechee Woman, another standout number, was a shuffling Blues that had her warning some man,

I am going tell you once, and warn you twice, and then you had best disappear.

S’Aida closed her set with Gotta Keep It Movin’, asking the audience to join in. Before exiting the stage, she even enticed the signer for the hearing impaired to join her with some dance steps.

Not surprisingly, S’Aida’s band included a drummer, bassist, and a guitar player. But the standout musician was a woman who played to great effect something akin to a lap steel guitar. She also served as a crackerjack backup vocalist, adding sweetening where required.

**S’Aida’s Bass Player Providing Some Support**

**Shakura S'Aida on the Pritzker Pavilion’s Wings**

**Hangin’ on the Pritzker Pavilion’s Great Lawn**

Following a short break that included the In Memoriam video honoring Blues musicians who died during the past year, guitarist and singer Ruthie Foster took the stage. Foster is definitely a Blues singer, but her voice has quite a range, which meant that at times she could have been leading a gospel choir. She opened her set with a song entitled, All Over the World.

Before starting a song entitled Rainbow, Foster paid homage to Pride Month. Along the way, she took on That’s All Right Mama, with guitarist Adam Sayers backing Foster’s voice with some slick slide guitar. Throughout Foster’s set, I was particularly impressed with keyboardist Scottie Miller.

As a vocalist, Foster who could not have taken on a better song than the Staple Singers’ The Ghetto. Her voice was perfect for what is an elongated lament about just how harsh life can be.

During the break between songs, Foster name-checked Maya Angelou, Gwendolyn Brooks, Nikki Giovanni, and Amanda Gorman. With that introduction, she launched into Phenomenal Woman, a song inspired by Maya Angelou. Scottie Miller led the way with a flourish-filled piano solo. Foster ended the song by telling all the women to celebrate themselves. She then played a song entitled, Mileage.

Foster then launched into Healing Time, a gospel rocker, telling us to hold it together. Offering more words of wisdom. Foster concluded her set with Take It Easy, which included a lyric instructing,

Let it all in, let it flow, hard times a coming and they go, take it easy

Apparently, Foster chose to end with a little bit of Zen philosophy. No surprise: the audience thunderously applauded as she hoisted her guitar above her head.

Foster has put together an outstanding band, giving them plenty of opportunity to solo and to add appropriate accents to underscore her vocals. I am glad the festival committee decided to bring her back.

**Ruthie Foster Is Ready for Her Next Dentist Appointment**

**Larry Fulcher** **Playing Bass with Ruthie Foster**

**Ruthie Foster Belting Another One Out**

Undoubtedly, many in the audience were waiting for hometown favorite, Billy Branch, and his Sons of the Blues, to close today out. The festival honored Branch by celebrating his 75th birthday, albeit five months early. Let’s see some birthday cake for the audience the next time the festival honors someone’s birthday. I could have used a little pick me up.

Branch is a fantastic and energetic bluesman. During the last several months, he has been promoting his new album, Blues is My Biography. In large part, this was the second time in recent months that I sat through this set, and gladly so.

Branch concluded his performance with a song entitled, The Whole World Is Ready for Change, an upbeat gospel anthem reflecting Branch’s hope for a better world, including one without dope,

There’s some bad dudes on the corner hustling the beat Sisters and her babies with nothing to eat. The same old game with an invisible rope Hanging from hope hooked on dope

For the closer, Branch brought out Howard Sandifer's Chicago West Community Music Youth Choir, comprised of more than a dozen high school students.

Along the way, Branch also sang I am the Harmonica Man, The Blues is My Biography, and Hole in My Soul. Add three backup singers to the mix, as well as a horn section—well you’ve got a kick ass closer.