The Sunday Six

Another Sunday is upon us and I hope everybody is feeling groovy. It’s time again to embark on another trip to visit music from different decades and in different flavors, six tunes at a time. Let’s do it!

Lou Donaldson/That Good Old Feeling

Our first stop today is June 1957, which saw the release of Wailing With Lou, a studio album by Lou Donaldson. The American jazz alto saxophonist who is now 96 years officially retired in 2017 after a 64-year career as an active performer. Here’s an excerpt from the bio on his website: Jazz critics agree that “Sweet Poppa Lou” Donaldson is one of the greatest alto saxophonists of all time. He began his career as a bandleader with Blue Note Records in 1952 and, already at age 25, had found his sound, though it would continue to sweeten over the years — earning him his famed nickname –“Sweet Poppa Lou.” He made a series of classic records for Blue Note Records in the 50’s and takes pride in having showcased many musicians who made their first records as sidemen for him: Clifford Brown, Grant Green, Blue Mitchell, Donald Byrd, Ray Barretto, Horace Parlan, John Patton, Charles Earland, Al Harewood, Herman Foster, Peck Morrison, Dave Bailey, Leon Spencer, Idris Muhammad, and others. Coming back to the above-mentioned album, here’s the beautiful Donaldson composition That Good Old Feeling. The recording featured various of the above-listed jazz musicians, including Bryd (trumpet), Foster (piano) and Morrison (bass), along with Art Taylor (drums).

The Blasters/Crazy Baby

After having been eased in with smooth jazz, let’s visit 1980 and pick up the speed with great music by The Blasters. I first read about this American roots rock band on Cincinnati Babyhead’s blog. Formed in Downey, Calif. in 1979 by Phil Alvin (vocals, guitar) and his brother Dave Alvin (guitar), together with John Bazz (bass) and Bill Bateman (drums), the group had an initial 6-year run before they first broke up. Various incarnations of The Blasters have since been led by Phil Alvin who together with Bazz has been the only constant member. The current line-up also includes cofounder Bateman who rejoined in 2008. Crazy Baby, co-written by Ron Volz and Ron Wemsman, appeared on the band’s 1980 debut album American Music. It’s got a cool retro rockabilly vibe!

Bee Gees/To Love Somebody

Time to go back to the ’60s and a beautiful early song by the Bee Gees. Co-written by Barry Gibb and his brother Robin Gibb, To Love Somebody first appeared in June 1967 as the second upfront single of the group’s international debut studio album Bee Gee’s 1st, which came out in July of the same year. Prior to that, they had released two albums in their native Australia only. To Love Somebody reached no. 17 in the U.S. on the Billboard Hot 100 and no. 49 on the UK Official Singles Charts. Ten years later, the Bee Gees would rule the charts in both the U.S. and the UK, as well as many other countries with their no. 1 soundtrack album Saturday Night Fever, which spawned multiple no. 1. singles. Oftentimes, the Bee Gees are associated with the disco era, but early songs like To Love Somebody show there was much more to the group. You can read more about the Bee Gees in my four-part series from December 2020 here, here, here and here.

Cordovas/High Feeling

Now, let’s set our music time machine to the current century, more specifically to October 2020. That’s when Americana and country rock band Cordovas released their third full-length studio album Destiny Hotel. The four-piece group from East Nashville, Tenn. first entered my radar screen in the summer of 2018 when I caught them during a free concert in a park not far from my house. Their multi-part harmony singing proved to be an immediate attraction. So was their sound that reminds me of bands like Crosby, Stills, Nash & Young, The Band, Grateful Dead, Eagles and Little Feat. Led by bassist Joe Firstman, Cordovas have been around for more than 10 years. Here’s the album’s opener High Feeling. These harmony vocals and the warm sound are right up my alley!

Pink Floyd/Us And Them

This past Wednesday marked the 50th anniversary of The Dark Side of the Moon, one of my favorite Pink Floyd albums, an appropriate occasion to go back to March 1, 1973. Developed during live performances before work in the studio began, the eighth studio release by the British psychedelic and progressive rock band was a concept album revolving around dark human themes, such as conflict, greed, time, death and mental illness. One of the most critically acclaimed albums of all time, The Dark Side of the Moon is a sonic gem that not only represents one of the peaks in Floyd’s recording career but also a highlight in sound engineering provided by Alan Parsons. It catapulted Pink Floyd to international stardom and perhaps somewhat ironically made its members pretty wealthy. For more on this album, you can read an excellent recent post by fellow blogger Bruce from Vinyl Connections. Us And Them, composed by Richard Wright with lyrics by Roger Waters, became the album’s second single in February 1974 after Money from May 1973. A reissue, The Dark Side of the Moon 50th Anniversary, is set to appear on March 24. Among others, the box set includes remastered edits of the studio album and The Dark Side of the Moon Live at Wembley 1974.

Son Volt/Route

And once again it’s time to wrap up another musical journey. For the last stop, our time machine takes us to September 1995. Alternative country and Americana rock band Son Volt first entered my radar screen in July 2021 when their most recent studio album Electro Melodier appeared. Singer-songwriter and guitarist Jay Farrar formed the group in 1994 after the breakup of Uncle Tupelo, another alt. country outfit he had co-founded in 1987. To date, Son Volt have released 10 albums. Apart from Farrar, the current members include Chris Frame (guitar), Mark Spencer (keyboards, steel guitar),  Andrew DuPlantis  (bass) and Mark Patterson (drums). Route, penned by Farrar, is a nice crunchy rocker off their 1995 debut album Trace. It’s got a Neil Young and Crazy Horse vibe, which in my book usually is a great thing!

This post wouldn’t be complete without a Spotify playlist that includes all featured tunes. I gladly oblige and hope there’s something you dig!

Sources: Wikipedia; Lou Donaldson website; YouTube; Spotify

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The Sunday Six

Happy Sunday and welcome to another trip, leaving these crazy times behind and visiting the great world of music, including six tunes in different flavors from different decades. All aboard our magic time machine, fasten your seatbelt, and off we go!

Chick Corea/Crystal Silence

Today’s journey starts in September 1972 with beautiful music by Chick Corea, off his first self-titled album with his then-newly formed jazz fusion group Return to Forever. The jazz pianist had started his professional and recording career in the early ’60s as a sideman for Mongo Santamaria, Willie Bobo, Blue Mitchell, Herbie Mann, Stan Getz and Miles Davis. He also had launched his solo career in 1966 and released more than 10 albums under his name. In fact, technically, Return to Forever appeared as a Chick Corea record. The band of the same name had multiple line-ups over their long on-and-off run that ended with Corea’s death from cancer in February 2021 at the age of 79. In addition to Corea (electric piano), at the time of their eponymous debut album, the group featured Flora Purim (vocals, percussion), her husband Airto Moreira (drums, percussion), Joe Farrell (flute, soprano saxophone) and Stanley Clarke (bass). Check out the gorgeous Corea composition Crystal Silence – the combination of Farrell’s saxophone and Corea’s Fender Rodes is just mesmerizing!

Marc Cohn/Walking in Memphis

Let’s move on to February 1991 and a song I instantly fell in love with when I heard it for the first time back in Germany: Walking in Memphis, the biggest hit for American singer-songwriter Marc Cohn, off his eponymous debut album. The tune was also released separately as the album’s first single in March of the same year. Cohn’s signature song reached high positions on various U.S. charts, including no. 7 on Billboard’s Mainstream Rock and no. 13 on the Hot 100. The single also did well on mainstream charts elsewhere, including Canada (no. 3), Australia (no. 11), the UK (no. 22) and Germany (no. 25). This was pretty much mirrored by the performance of the album, for which Cohn won the 1992 Grammy Award for Best New Artist. He has since released five additional albums, which charted as well but could not match the success of the debut. After taking a break between 1998 and 2004, Cohn remains active to this day. In August 2005, he cheated death when he was shot in the head during an attempted car-jacking in Denver, Colo. Sadly, these types of incidents and even much worse happen in the U.S. all the time, yet nothing ever seems to change!

Cream/Sunshine of Your Love

Time to pay a visit to the ’60s and what may well be called the ultimate British supergroup: Cream. During their short career of less than two and a half years, the power trio of bassist Jack Bruce, guitarist Eric Clapton and drummer Ginger Baker recorded four albums featuring some of the best blues rock, psychedelic rock and acid rock coming out of the UK during that time period. Sunshine of Your Love, credited to Bruce, Clapton and lyricist Pete Brown, began as a bass riff Bruce came up with after he had attended a concert by the Jimi Hendrix Experience in London in January 1967. The tune first appeared on Cream’s sophomore studio album Disraeli Gears in November 1967. It was subsequently released as a single in the U.S. and the UK in December 1967 and September 1968, respectively. Two months after the UK single had come out Cream dissolved. Given the bad fights between Bruce and Baker, which also turned physical, it’s a miracle they lasted that long and nobody was killed.

Dire Straits/Brothers In Arms

Our next stop is May 1985, which saw the release of Dire Straits’ second-to-final album Brothers In Arms. I still well remember when it came out, in part because it was among the first all-digitally recorded albums and sounded absolutely amazing. I guess it’s fair to say Brothers In Arms is best known for Money For Nothing, which became the British group’s most commercially successful single. While it’s certainly a good tune, I feel it was heavily over-exposed on the radio. I also think there’s more to the album than its mega-hit. One of the tunes I’ve always liked is the title track. Like Money For Nothing, it was written by Mark Knopfler, though Sting who provided the falsetto vocals also received a writing credit for Money For Nothing. Brothers In Arms also appeared separately as a single, but it didn’t match the other tune’s chart performance. It came very close in New Zealand where it peaked at no. 5, just one spot below Money For Nothing.

Chuck Berry/Johnny B. Goode

Let’s speed things up a few notches with one of my all-time favorite classic rock & roll songs. In order to do that we shall travel back to March 1958 when Chuck Berry first released Johnny B. Goode as a single. Written by Berry, it became one of his best-known tunes, though amazingly it didn’t reach the top of any chart – really mind-boggling from today’s perspective! But it came close in the U.S. where it peaked at no. 2 on Billboard’s Hot Rhythm & Blues Singles chart. It also climbed to no. 8 on the mainstream pop chart. Johnny B. Goode was also included on Berry’s third studio album Chuck Berry Is On Top, together with other classics like Carol, Maybellene, Little Queenie and Roll Over Beethoven. While Berry didn’t invent rock & roll, it’s fair to say rock & roll wouldn’t have been the same without him.

CVC/Hail Mary

And once again another music journey is reaching its final destination. For this pick, we jump back to the present and a band I had not heard of before until a few weeks ago: CVC, which NME in this review describes as a Welsh psych-rock band. Also known as Church Village Collective, they were founded three years ago. It amazes me time and again how music groups have websites that don’t provide any background whatsoever! At least there’s a Spotify profile, which notes the six-piece named themselves “after the sleepy Welsh town they come from” and “are influenced by Snoop Dogg, Crosby, Stills & Nash, Super Furry Animals and Red Hot Chili Peppers.” CVC are Francesco Orsi (vocals), David Bassey (guitar, vocals), Elliot Bradfield (guitar, vocals), Daniel ‘Nanial’ Jones (keyboards), Ben Thorne (bass) and Tom Fry (drums). This brings me to Hail Mary, a nice tune from the band’s full-length debut album Get Real.

Last but not least, here’s a Spotify playlist featuring the above tunes. Hope there’s something here you dig!

Sources: Wikipedia; NME; YouTube; Spotify

The Sunday Six

I hope everyone is enjoying their weekend. It’s time again for The Sunday Six and another set of tunes from different genres and different decades. This installment touches the 1950s, ’60s, ’70s, 90s and 2021, and features jazz, psychedelic blues rock, alternative pop rock, rock and bluesy R&B.

Lou Donaldson/Blues Walk

Starting us off is beautiful saxophone jazz by American jazz alto saxophonist Lou Donaldson. Donaldson, who is 94 years old and only retired in 2016, had a 64-year career as an active performer. That’s just mind-boggling! Here’s an excerpt from the bio on his website: Jazz critics agree that “Sweet Poppa Lou” Donaldson is one of the greatest alto saxophonists of all time. He began his career as a bandleader with Blue Note Records in 1952 and, already at age 25, had found his sound, though it would continue to sweeten over the years — earning him his famed nickname –“Sweet Poppa Lou.” He made a series of classic records for Blue Note Records in the 50’s and takes pride in having showcased many musicians who made their first records as sidemen for him: Clifford Brown, Grant Green, Blue Mitchell, Donald Byrd, Ray Barretto, Horace Parlan, John Patton, Charles Earland, Al Harewood, Herman Foster, Peck Morrison, Dave Bailey, Leon Spencer, Idris Muhammad, and others.  After also making some excellent recordings for Cadet and Argo Records in the early 60s, Lou’s return to Blue Note in 1967 was marked by one of his most famous recordings, Alligator Bogaloo. I’ve decided to highlight one of his earlier recordings: Blues Walk, the title track of his 1958 album, which according to Wikipedia “has been considered Donaldson’s undisputed masterpiece.” I’m not a jazz expert but I know is this: I love the saxophone, and Donaldson surely sounds sweet. Also, check out Herman Foster on piano!

The Doors/Riders on the Storm

Now let’s turn to a classic psychedelic tune with a great jazz and blues vibe by The Doors, who I trust need no further introduction. Riders on the Storm is the magnificent closer of their sixth studio album L.A. Woman from April 1971 – yet another great record that has turned 50 this year! It was the final to be released during the lifetime of lead vocalist Jim Morrison who passed away three months later in Paris, France at the age of 27. While the official cause of death was listed as heart failure, several people who maintained they were eyewitnesses said Morrison died from an accidental heroin overdose. Of course, we know all too well the history of rock is littered with so many talented artists who became casualties to drugs! Riders on the Storm was credited to all members of The Doors, who in addition to Morrison included Ray Manzarek (keyboards), Robby Krieger (lead guitar) and John Densmore (drums). It’s such a cool tune that still gives me goosebumps the moment that thunderstorm sound in comes on in the beginning.

Noods/Starting Over Again

For this next tune, let’s jump 50 years to the present and a recent discovery: Starting Over Again by Noods. Unfortunately, there is very little public information about the group. This short profile on Oh My Rockness describes them as a “fuzzy jangle pop band from from NY” and lists the following members: Trish Dieudonne (vocals, guitars), Nick Seip (vocals, guitars, synths, piano), Shane Danaher (drums, synths) and Mandy Romano (bass, vocals). According to this preview piece on Stereogum, the band released their debut EP Noods Please in 2017. The first full-length album is titled Blush. It has since appeared on April 16 this year. Here’s Starting Over Again, a pleasant song co-written by Dieudonne and Seip. I like the jingle-jangle guitar sound and the laidback vibe.

Tom Petty and the Heartbreakers/Something in the Air

When it comes to Tom Petty, one of my long-time favorite artists, there are so many great original tunes I could have picked. And yet I chose to highlight a cover. Why? Coz I absolutely love this tune and Petty’s rendition, which he recorded with The Heartbreakers for their November 1993 Greatest Hits compilation. That album is best known for the single Mary Jane’s Last Dance, which climbed to no. 14 on the Billboard Hot 100, marking Petty’s first top 20 hit of the ’90s in the U.S. mainstream chart. The band’s cover of Something in the Air also appeared as a single but missed the Billboard Hot 100. It did make Billboard’s Main Stream Rock chart, reaching no. 19. Written by singer-songwriter Speedy Keen, the tune was first recorded by short-lived British band Thunderclap Newman and became a no. 1 hit in the UK in mid-1969. Before joining Thunderclap Newman, Keen was the driver of none other than Pete Townshend and shared an apartment with him in London. Keen also wrote Armenia in the Sky, a tune The Who included on their third studio album The Who Sell Out from December 1967. Townshend was the catalyst behind the formation of Thunderclap Newman and also produced Something in the Air and the band’s only album Hollywood Dream released in September 1970.

Credence Clearwater Revival/Have You Ever Seen the Rain

This brings me to another band and song I’ve dug for many years: Creedence Clearwater Revival and Have You Ever Seen the Rain. In my book, it’s a great timeless tune that holds up well, even though I literally must have listened to it more than 100 times. In fact, it’s running in the background as I’m writing this! 🙂 Like most CCR songs, Have You Ever Seen the Rain was penned by the great John Fogerty. CCR were on a roll when this came out. The tune was included on their sixth studio album Pendulum released in December 1970, only five months after predecessor Cosmo’s Factory. It’s perhaps my favorite CCR song, together with Hey Tonight, Proud Mary and Born on the Bayou.

The Animals/I’m Crying

Am I already again at the point to wrap up this post, just when I’m having so much fun? I guess this means it’s time to shed some tears! 🙂 But, don’t worry, since I started The Sunday Six this January, it’s become my favorite recurring feature, so there will be more. The final tune for this installment shall belong to The Animals. When I first learned about them as a teenager, essentially, I only knew The House of the Rising Sun, their signature song and biggest hit that topped the charts in the U.S., UK and Canada in 1964. While it’s a great tune, there’s much more to the British rock band that was fronted by one of the best white blues vocalists, Eric Burdon, who turned 80 just a few days ago. Which brings me to I’m Crying, a gem that first appeared as a single in September 1964. Co-written by Burdon and the band’s first keyboarder Alan Price, the tune was also included on The Animals’ second studio album The Animals on Tour from February 1965 – a somewhat misleading title for a record that didn’t include any live tracks. I always liked the band’s raw bluesy guitar sound combined with Price’s organ and Burdon’s distinct, deep vocals.

Sources: Wikipedia; Lou Donaldson website; Oh My Rockness; Stereogum; YouTube

John Mayall Has Turned 85 And No Plans For Retirement After More Than 50 Years

What do Eric Clapton and Jack Bruce have in common? Together with Ginger Baker, they formed what perhaps was the ultimate blues rock power trio Cream. How about Peter Green, John McVie and Mick Fleetwood? Well, they became part of the first incarnation of Fleetwood Mac. Andy Fraser? He joined Free as a 15-year-old bass player. Last but not least, Mick Taylor? He of course became a member The Rolling Stones during what is widely considered their musical peak. What else do all these top-notch artists share? They all played with John Mayall, mostly before they became famous.

As a ’60s blues rock fan, it is pretty much impossible not to come across the name of John Mayall & The Bluesbreakers. That being said, I’m the first to admit that oftentimes my music knowledge is still pretty insular. While I was well aware of Eric Clapton’s connection with Mayall, I didn’t know about all of the other above mentioned artists. I also had not heard much of John Mayall’s music and had not appreciated that in addition to being a multi-instrumentalist, he’s a pretty good vocalist. What finally caught my attention was a great story about him for his recent 85th birthday in German national daily newspaper Süddeutsche Zeitung, which I spotted on Facebook the other day. It made me start listening to some of Mayall’s more recent solo albums I dug instantly, which in turn inspired this post.

John Mayall was born on November 29, 1933 in Macclesfield, England, and grew up in a village close to Manchester. He was first exposed to jazz and blues as a young teenager when he listened to the 78 record collection of his father Murray Mayall, a guitarist and jazz music fan. So it certainly was no coincidence that young John initially became attracted to the guitar and guitarists like Big Bill Broonzy, Brownie McGhee, Josh White and Leadbelly. As a 14-year-old, he began to learn the basics for playing the piano. A couple of years later, he also picked up the harmonica. Not only does this mean Mayall is a multi-instrumentalist, but he’s also self-taught – pretty cool!

John Mayall & The Bluesbreakers ca. 1966 (from left): John Mayall, Eric Clapton, Hughie Flint and John McVie

While Mayall had been playing music since his teenage years and during his twenties, it wasn’t until 1962 that he decided to make a living with music. He gave up his job as a graphic designer and moved from Manchester to London. Soon thereafter, he started The Bluesbreakers. In the spring of 1964, the band recorded their first two tracks: Crawling Up A Hill and Mr. James. Afterwards, they backed John Lee Hooker on his 1964 British tour. At the end of the year, Mayall signed with Decca and recorded his debut John Mayall Plays John Mayall, a live record that appeared in March 1965, but it was not successful.

Things started cooking for The Bluesbreakers when Eric Clapton joined the band in April 1965. While initially Clapton only stood until August and left for another venture called The Glands, he returned in November. A few months later, the band recorded Blues Breakers With Eric Clapton. But by the time the album was entering the charts, Clapton and then-Bluesbreakers bassist Jack Bruce had already left to form Cream. The next few years saw a succession of guitarists who came and left, including Peter Green, Mick Taylor, Jon Mark and Harvey Mandel. In fact, frequent line-up changes would become a constant for Mayall, yet I haven’t read anything that he was ever annoyed about it.

John Mayall at 2018 Jazz Fest in New Orleans

In 1969, Mayall moved from England to Laurel Canyon, Los Angeles and began playing with American musicians. Over the next three decades, he recorded many albums featuring artists like Blue Mitchell, Red Holloway, Larry Taylor, Harvey Mandel, Buddy Guy, Mavis Staples, Albert Collins and Mick Taylor. In 2008, Mayall decided to retire The Bluesbreakers name. The following year, he started touring with Rocky Athas (guitar), Jay Davenport (drums) and Greg Rzab (bass). In 2016, after Athas had been unable to attend a festival gig due to airline cancellations, Mayall was left with Davenport and Rzab. He liked the trio format and decided to keep it until May of this year, when guitarist Caroyln Wonderland joined the band.

With a recording career of more than 50 years and 60-plus albums, it’s impossible to do Mayall and his music full justice, so the following selection can only scratch the surface. Let’s start with the above mentioned Blues Breakers With Eric Clapton. Here’s Double Crossin’ Time, a tune co-written by Mayall and Clapton. Apart from them, the core line-up of The Bluesbreakers at the time also included John McVie (bass) and Hughie Flint (drums).

In September 1967, John Mayall & The Bluesbreakers released their fourth album Crusade. It was the first record with then-18-year-old Mick Taylor. Check out this hot track called Snowy Wood, which is credited to Mayall and Taylor.

To A Princess is an unusual tune from Mayall’s 13th album Empty Rooms, which appeared in 1970. It includes a bass duet featuring band member Steven Thompson and former Canned Heat bassist Larry Taylor as a guest. In addition to Mayall (vocals, harmonica, guitars, keyboards), Thompson and Taylor, other musicians on the record were Jon Mark (guitar) and Johnny Almond (saxophone, flute). Mark and Almond left right after the album’s recording to form the duo Mark-Almond.

Next up: The title track of Mayall’s 19th album Ten Years Are Gone released in September 1973. I dig the brass work on this groovy tune, which gives it a cool jazzy and soulful vibe. The musicians on the record included Mayall (piano, guitar, harmonica, vocals), Freddy Robinson (guitar), Victor Gaskin (bass), Keef Hartley (drums), Sugarcane Harris (violin), Blue Mitchell (trumpet, flugelhorn) and Red Holloway (saxophone, flute).

In 1975, Mayall’s 22nd album Notice To Appear came out. For the most part, it featured covers, including the following hot funky take of The Beatles’ A Hard Day’s Night. The track features Mayall (vocals), Rick Vito (guitar), Larry Taylor (bass), Soko Richardson (drums), Jay Spell (keyboards), Don Harris (violin) and Dee McKinnie (backing vocals).

In 1988, Mayall recorded his 34th album called Archives To Eighties. It included revised versions of select tunes that originally had appeared on his 1971 release Back To The Roots. Just like the earlier record, Archives To Eighties featured Eric Clapton and Mick Taylor. Here’s Force Of Nature.

Wake Up Call was Mayall’s 39th album. The Grammy-nominated record from 1994 brought together many prominent musicians, including Buddy Guy, Mick Taylor, Albert Collins and Mavis Staples, among others. Here’s the smoking hot title track with Taylor on guitar and Staples on vocals.

In 2005, Mayall released his 53rd album called Road Dogs, one of the last under The Bluesbreakers name. The band’s line-up at the time included Buddy Whittington (guitars), Hank Van Sickle (bass) and Joe Yuele (drums), in addition to Mayall (vocals, keyboard, harmonica). Following is the record’s closer Scrambling.

Here’s the title track of Mayall’s 61st record A Special Life from May 2014. It featured his then-core backing band Rocky Athas (guitar), Greg Rzab (bass, percussions) and Jay Davenport (drums), as well as C. J. Chenier (accordion, vocals). As usually, Mayall provided vocals, guitar, harmonica and keyboards.

The last album I’d like to touch on is Mayall’s most recent, Three For The Road. Released in February 2018, it is his 66th record – unbelievable! It presents live recordings from two 2017 concerts in Germany, performed by the trio format of Mayall, Rzab and Davenport. Here’s Lonely Feelings.

Just before his 85th birthday on November 29, Mayall made two announcements. After completing a few shows in California, he is planning a 2019 tour and has started booking gigs in Europe. A look on the current schedule already reveals 22 dates starting February 26 in Tampere, Finland and stretching out to March 24 in Ancona, Italy. U.S. dates are supposed to be announced soon. Mayall also revealed a new studio album, Nobody Told Me, which is scheduled to be released on February 22, 2019. Apart from his new guitarist Carolyn Wonderland, it includes numerous prominent guest guitarists, including Todd Rundgren, Steven Van Zandt and Alex Lifeson.

I’d like to finish this post with a few quotes posted on Mayall’s website, which I think speak for themselves:

John Mayall has actually run an incredible school for musician. (Eric Clapton)

John Mayall, he was the master of it. If it wasn’t for the British musicians, a lot of us black musicians in America would still be catchin’ the hell that we caught long before. So thanks to all you guys, thank you very much! (B.B. King)

I had this friend in London, John Mayall of the Bluesbreakers, who used to play me a lot of records late at night. He was a kind of DJ-type guy. You’d go back to his place, and he’d sit you down, give you a drink, and say “Just check this out.” He’d go over to his deck, and for hours he’d blast you with B.B. King, Eric Clapton – he was sort of showing me where all of Eric’s stuff was from, you know. He gave me a little evening’s education in that. I was turned on after that, and I went and bought an Epiphone. So then I could wind up with the Vox amp and get some nice feedback. (Paul McCartney)

As far as being a blues-guitar sideman, the Bluesbreakers gig is the pinnacle. That’s Mount Everest. You could play with B.B. King or Buddy Guy, but you’re just gonna play chords all night. This guy features you. You get to play solos. He yells your name after every song, brings you to the front of the stage, and lets you sing. He creates a place for you in the world. (Walter Trout)

Sources: Wikipedia, John Mayall website, YouTube