JAKARTA INTERNATIONAL BLUES FESTIVAL 2010

Jakarta International Blues Festival 2010! 4 Stages, 40+ Artist, 2 Days of Blues!

Event: Jakarta International Blues Festival 2010.
Date, Month, Year: 15-16 Oktober 2010.
Place: Istora Senayan Jakarta.
Ticket Price: Jakarta Blues Festival 2010 (special price for ticket, available only 250 ticket at price Rp 50.000 for information and contact ruby: 02194218392 081908260107 Yara:02199101621 Feby:02175904943 ).
Promotor: Indonesian Blues Association
Address: Ruko D'Best Fatmawati E-49 Jl. Fatmawati Raya No. 15 Jakarta 12420 - Indonesia.
Website: www.jakartabluesfestival.com
www.ina-blues.com

International Artists:
- Ana Popovic (Netherland/Yugoslavia)
- Matt Schofield (UK)
- Kevin Borich (Australia)
- Gary Clark Jr (USA)
- Kara Grainger (USA/Australia)
- Soulmate (India)
- Kim Mok Kyung (South Korea)

Local Artists:
- Rama Satria & Electric Mojos with Lance Lopez
- Gugun Blues Shelter
- Endah & Resa
- The SIGIT
- Oppie Andaresta & Friends
- Tjahjo Wissanggeni
- Adrian Adioetomo
- Andre Harihandoyo
- Ina Blues Band
- Yuyun George and The Jazmint Big Band
- TOR
- ORE
- SnR Band
- YeahYeah Boys
- Jakarta Blues Brothers
- The Big City
- Kartika Wede (Yogyakarta)
- Foxy Train (Surabaya)
- Syaharani
- Black Suit
- Alligator
- Fonticello (Yogyakarta)
- Black Stocking (Yogyakarta)

It's the biggest Blues Festival in Asia!!! So, come to this event, this event was held once a year, so you'll be sorry if you don't came to this event!

See ya at the event!

KEEP THE BLUES ALIVE!

Time To Blues!!!

First, we gonna learn for how to play blues, why blues?, because blues is the root of all music, so if you can play blues you can play anything:D. It's important thing to play blues, you must get the soul, if you played blues with out your soul, the tone wouldn't out perfectly, so the audience can't catch what you play!
Basic blues is 12 bar blues, the formula is:

Basic 12 Bar Blues:

|I7...|I7...|I7...|I7...|
|IV7...|IV7...|I7...|I7...|
|V7...|IV7...|I7...|V7...|

play that blues well, and next phase is, scale on blues, with this scale you can play a blue note, a special note with blues sound or 3rd flat note.

here is the scale

Pentatonic scale : note 1-2-3-5-6 on gamut.

Blues scale : 1-b3-4-b5-5-b7-8 on gamut

two scales above, is always played on blues, so you must explores the scales and chord for blues. Blues usually played with dominant 7 chord, it's really have taste for blues you know. when people start playing blues, the soul will appear, it doesn't matter your blues skill is jerk, blues talking about soul, not the skill.

Soul number 1, skill number 2.

so and so much about blues that you must explore by yourself.

Indonesian Jimi Hendrix! Asep Stone!!!

Asep Stone was born in Bandung, Indonesia.

He discovered a natural talent for the guitar and taught himself to play in a wide range of styles. He first performed at the age of 14 to an audience of nearly 20,000 people at the Bandung Gladiator Rocks Festival. He played extensively at venues in Indonesia and moved to the UK in 1993. He travelled all around the UK, performing original music with Stone Free. In 1999 Asep formed Purple Haze, who appeared on BBC Sessions and played with former Hendrix bass player Noel Redding at an auction of Jimi's guitars. Noel was keen to play with Asep again, but sadly died shortly after their meeting. Purple Haze toured the UK to great acclaim, but split up in 2004. In 2007 he moved to Switzerland where he formed Asep Stone Experience. He played various gigs around the country and started recording his own songs.
Asep went on to form The Experience with Tim and Daz who are based in Brighton and have been wowing audiences in various pubs and clubs around the city. They are now looking to play some larger venues.

Robert "The King of Crossroad" Johnson

Robert Leroy Johnson born on 8 May 1911 at Hazlehurst, Mississippi. Influenced by early blues pioneers such as Blind Lemon Jefferson, Son House, Lonnie Johnson. He influenced nearly all electric blues and rock players directly or indirectly, especially revolution electric blues at 1960s. Peter Green recording Robert Johnson Songbook at 1998, an album that explores the special cover version Robert Johnson song's.
Recording 32 song's in his life

(although there were rumors that there are songs that have not been found which is a sacred heritage for the blues player). Dissapeared for some time and finally reappeared as a better guitar player. Perhaps, he sold his soul to the devil as a reward for his brilliance grabbing the fretboard.

He died at 16 August 1938, almost certainly murdered. Some stories stated that he died because of being stabbed by a woman or a jealous husband, served with toxic whiskey, or like paying his debt to the devil.
He is a great bluesman but, he died in young age at 28 years old.....

Want Like Jimi Hendrix? Here The Tips

If you have Fender Stratocaster, or Squire Stratocaster, but you wanted vintage sound like 50's-60's-70's Stratocaster, this is not impossible!!!.
First, you must modified the TONE CAPACITOR. Many of today Stratocaster using 0.022uF, 0.033uF, or 0.047uF capacitor size. Make no mistake.... capacitor is very influence for the tone, although you set the tone till full, it will remain influence.
50's and 60's Stratocaster using 0.1uF capacitor size, 70's using 0.05uF (0.047uF if not in 0.05uF size)
Second, GROUNDING.This day, potensio to potensio in grounding. Not use in old days, The more there is a lot of grounding, not going to be more pure tone. So if you want vintage sound don't be afraid of NOISE, some time noise can be postitive, for feedback, and guitar sustain too.
Also on the back of the existing body of, who had no ground wire connect to ground or to ground potensio input jack. Where it is up to who. only if you cares with detail and likeness years 1954-1963, the per-connect grounding cable to ground input jack, connect current 1964-to potensio.

that's all my tips and information, hopefully helpfull for you, who love VINTAGE SOUND :D

You Must Know Your Own Guitar Fret!

Fret Size:


1. Fret-6230

perfect for vintage fender guitar, this small size, suitable for guitar player who love low action and thin strings 009.

2. Fret-6130

gibson guitar suits, small size, suitable for guitar player who love low action and thin strings 009.

3. Fret-6105

suitable for all types of guitar, jumbo-size medium, perfect for who guitar player likes medium / high action and thin strings / regular 009/010.

4. Fret-6150

suitable for all types of guitar, jumbo sizes, suitable for guitar player who like low / medium action and thin strings / 009/010 regular. good for shredders.

5. Fret-6110

suitable for all types of guitar, extra jumbo size, fit to make guitar player who love shredding, low / the medium / high action and the string of thin / heavy 009/010/011/012/etc. gitar2 make such cool Ibanez, Kramer, jackson, etc..


6. Fret-6100

suitable for all types of guitar, jumbo size, suitable for guitar player who love the medium / high action and the string of thin / heavy 009/010/011/012/etc.

7. Fret-6000

suitable for all types of guitar, extra jumbo size, suitable for jazz / blues / rock / metal guitar player, medium / high action and thin strings / heavy 009/010/011/012/etc. create a cool electric fender / gibson / etc and also all types of acoustic folk guitar like Martin, Takamine, Taylor, etc.. create and sustain good bending control.

B.B "The Blues" King

His reign as King of the Blues has been as long as that of any monarch on earth. Yet B.B. King continues to wear his crown well. At age 76, he is still light on his feet, singing and playing the blues with relentless passion. Time has no apparent effect on B.B., other than to make him more popular, more cherished, more relevant than ever. Don't look for him in some kind of semi-retirement; look for him out on the road, playing for people, popping up in a myriad of T.V. commercials, or laying down tracks for his next album. B.B. King is as alive as the music he plays, and a grateful world can't get enough of him.

For more than half a century, Riley B. King - better known as B.B. King - has defined the blues for a worldwide audience. Since he started recording in the 1940s, he has released over fifty albums, many of them classics. He was born September 16, 1925, on a plantation in Itta Bena, Mississippi, near Indianola. In his youth, he played on street corners for dimes, and would sometimes play in as many as four towns a night. In 1947, he hitchhiked to Memphis, TN, to pursue his music career. Memphis was where every important musician of the South gravitated, and which supported a large musical community where every style of African American music could be found. B.B. stayed with his cousin Bukka White, one of the most celebrated blues performers of his time, who schooled B.B. further in the art of the blues.

B.B.'s first big break came in 1948 when he performed on Sonny Boy Williamson's radio program on KWEM out of West Memphis. This led to steady engagements at the Sixteenth Avenue Grill in West Memphis, and later to a ten-minute spot on black-staffed and managed Memphis radio station WDIA. "King's Spot," became so popular, it was expanded and became the "Sepia Swing Club." Soon B.B. needed a catchy radio name. What started out as Beale Street Blues Boy was shortened to Blues Boy King, and eventually B.B. King.

In the mid-1950s, while B.B. was performing at a dance in Twist, Arkansas, a few fans became unruly. Two men got into a fight and knocked over a kerosene stove, setting fire to the hall. B.B. raced outdoors to safety with everyone else, then realized that he left his beloved $30 acoustic guitar inside, so he rushed back inside the burning building to retrieve it, narrowly escaping death. When he later found out that the fight had been over a woman named Lucille, he decided to give the name to his guitar to remind him never to do a crazy thing like fight over a woman. Ever since, each one of B.B.'s trademark Gibson guitars has been called Lucille.

Soon after his number one hit, "Three O'Clock Blues," B.B. began touring nationally. In 1956, B.B. and his band played an astonishing 342 one-night stands. From the chitlin circuit with its small-town cafes, juke joints, and country dance halls to rock palaces, symphony concert halls, universities, resort hotels and amphitheaters, nationally and internationally, B.B. has become the most renowned blues musician of the past 40 years.

Over the years, B.B. has developed one of the world's most identifiable guitar styles. He borrowed from Blind Lemon Jefferson, T-Bone Walker and others, integrating his precise and complex vocal-like string bends and his left hand vibrato, both of which have become indispensable components of rock guitarist's vocabulary. His economy, his every-note-counts phrasing, has been a model for thousands of players, from Eric Clapton and George Harrison to Jeff Beck. B.B. has mixed traditional blues, jazz, swing, mainstream pop and jump into a unique sound. In B.B.'s words, "When I sing, I play in my mind; the minute I stop singing orally, I start to sing by playing Lucille."

In 1968, B.B. played at the Newport Folk Festival and at Bill Graham's Fillmore West on bills with the hottest contemporary rock artists of the day who idolized B.B. and helped to introduce him to a young white audience. In ``69, B.B. was chosen by the Rolling Stones to open 18 American concerts for them; Ike and Tina Turner also played on 18 shows.

B.B. was inducted into the Blues Foundation Hall of Fame in 1984 and into the Rock and Roll Hall of Fame in 1987. He received NARAS' Lifetime Achievement Grammy Award in 1987, and has received honorary doctorates from Tougaloo(MS) College in 1973; Yale University in 1977; Berklee College of Music in 1982; Rhodes College of Memphis in 1990; Mississippi Valley State University in 2002 and Brown University in 2007. In 1992, he received the National Award of Distinction from the University of Mississippi.

In 1991, B.B. King's Blues Club opened on Beale Street in Memphis, and in 1994, a second club was launched at Universal CityWalk in Los Angeles. A third club in New York City's Times Square opened in June 2000 and most recently two clubs opened at Foxwoods Casino in Connecticut in January 2002. In 1996, the CD-Rom On The Road With B.B. King: An Interactive Autobiography was released to rave reviews. Also in 1996, B.B.'s autobiography, "Blues All Around Me" (written with David Ritz for Avon Books) was published. In a similar vein, Doubleday published "The Arrival of B.B. King" by Charles Sawyer, in 1980.

B.B. continues to tour extensively, averaging over 250 concerts per year around the world. Classics such as "Payin' The Cost To Be The Boss," "The Thrill Is Gone," How Blue Can You Get," "Everyday I Have The Blues," and "Why I Sing The Blues" are concert (and fan) staples. Over the years, the Grammy Award-winner has had two #1 R&B hits, 1951's "Three O'Clock Blues," and 1952's "You Don't Know Me," and four #2 R&B hits, 1953's "Please Love Me," 1954's "You Upset Me Baby," 1960's "Sweet Sixteen, Part I," and 1966's "Don't Answer The Door, Part I." B.B.'s most popular crossover hit, 1970's "The Thrill Is Gone," went to #15 pop.

Kurt "King of Grunge" Cobain

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Before the presence of Nirvana, alternative rock music is still underestimated ecek2 alias, but thanks to the hard work of Kurt with his band, Nrivana, Rock flow on this one so one of the flow of phenomenal, especially fitting ngluncurin Nirvana's legendary album "Nevermind", which received extraordinary, so extraordinary it sampai2 disebut2 as pioneers Nirvana Grunge flow.

Kurt (20 Februari1967, Aberdeen, Washington) since childhood actually already nunjukkin musical talent other than that, she also enjoys sports, art, and painting. Classic problem in American families: divorce, Yup! since Kurt's parents divorced, Kurt like a loud whip when his age was only nine years pass. Especially when both are either the father or mother have got masing2 successor, Kurt did not get really angry and that makes him so sad, closed, and like a rockstar most: LIAR!!. Because of the profound hatred towards her parents, Kurt dragged into drugs, he was so addicted sampai2 ninggalin he prefers to make the school benches (not emulated).

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Out of school, Kurt was serious in one way: Rock though its path is not an easy road but Kurt tetep keukeuh ngebelain that his chosen path, salute! cuman promo for the album, Nirvana sampai2 be traveling hundreds (even thousands) of miles! cuman do it, greeting from pennton too far from the word "commensurate" with the sacrifice is given.

But things changed fitting the birth of her second album "Nevermind" was released in september 1991, memuncaki successful billboard charts, pop legend ngegeser, M.jackson.

Success, Kurt began housekeep same nyobain Courtney Love, love, marriage it is actually the worst choice in hidu Cobain. After marriage, Kurt kecenduan ama haram goods named Heroin bener2 craze, and even he often preached to the extent Overdose Nirvana to the American concert must be postponed.

Then there was the events of history's most oppressive nature of grunge, Kurt escaped from a hospital in Los Angeles, where treatment. While taking drugs Kurt enter a gun into his mouth and DAR! a bullet penetrated his head ....... a tragic end. Some say if his death was disebabin ama ga despair due to be rid of his addiction to illegal drugs are consumed ever since (probably) his age / - 10 years.

Though dead, grunge is not dead yet ... as long as there are play-Grunge then Kurt was still alive (hiii) at least in our minds.

Jimmy Hendrix: Godfather of Electric-Guitar

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As in the title, Jimmy Hendrix is a legendary guitarist in the history of the world's most honored musik.Dia ringgi from all who see or never cooperate denganya, Jimmy's guitar playing style is more inclined toward blues, and rock and roll.

Unlike most children, childhood Jimmy exactly bleak, imagine the mother's leave it at the time Jimmy was 15 tahun.Ayahnya, an ex-military, is a hard Oran in educating his son, he also wants jimmy to attended his footsteps into the military ladder. For this reason, so Jimmy dropped out of high school, doi rushed off to the Airborne Division of the U.S. Army. Although located in a military environment, jimmy interest in world music (especially guitar) is larger. In an exercise, Jimmy hit by injury verdict that she can not be in the military, this made him happy-even if the father is very against it and even Jimmy can not go home now.

No broken charcoal, Jimmy angkatanya with friends in the military one, Billt Cox started playing from one club to another club. Jimmy's visit to New York soon and try their luck there, playing in several clubs, and met with leaders to his idol, Bob Dylan. God was just, in his band "Jimmy James" and "The Blue Flames" jimmy started successfully, when they played at a cafe called "Cafe Wha?" Jimmy observed coincidence stage action Londa Keith, girlfriend of Keith Richards.

Linda asked her boyfriend to see the appearance of Jimmy and he too interested! Jimmy immediately offered a contract and European tour with Keith Richards.Sampai in England, Jimmy began terlihat.Gigataris spurs British popular at that time, Eric Clapton and Pete Townshed to say "He thought his career was over after seeing Hendrix play the guitar."

European finished, Jimmy began to focus on the U.S. and perform at the Monterey Pop Fest there, she displays a game that has never seen before. Finished performing in Monterey, Jimmy like to become a Superstar and performs at festivals, large festivals.

Jimmy died on 18 september 1970, despite having gone, distortion and stylish appearance from Jimmy akn still be remembered forever .....

SRV The Texas "Flood" Bluesman

Stevie Ray Vaughan learned to play the guitar as a kid, influenced by his older brother, guitarist Jimmie Vaughan. By 1972 Stevie had dropped out of school and was playing blues guitar in bands in Austin, Texas. In 1981 he named his band Double Trouble, and in 1982 caught the attention of David Bowie, who in 1982 asked him to play on the hit "Let's Dance." In 1983 Vaughan released his debut album, Texas Flood, and the following year he released Couldn't Stand the Weather, a commercial and critical success. He continued to tour and record, playing a mix of electric blues, country and rock, until his death in a 1990 helicopter crash.

Gabriel Gratzer: One man and his guitar

Tokyo (Nov. 10)—Argentine bluesman Gabriel Gratzer wraps up a 1-1/2-year world tour with a series of gigs in Tokyo starting Friday. The Daily Yomiuri spoke over the telephone with the gaucho of the blues earlier this week during Gratzer's visit to Taiwan, where he was playing a blues festival.

"It's amazing. I never knew the Taiwanese were so into the blues," Gratzer said. "[But] the blues is universal. It's the roots of everything...It appeals directly to the heart of people."

Not only does this universal appeal reach as far afield as Taiwan, it clearly made it to Buenos Aires, too. But hasn't tango historically expressed the blue side of Argentina?

Asked if he saw any connection between the blues and tango, beyond both being played in a minor key, Gratzer said: "Maybe the older blues of the late 1930s--when blues started moving into the cities--and tango have something in common. But tango is more sophisticated in its form and composition, even the lyrics. But the sense is perhaps the same. And indeed, both musics came from Africa."

Gratzer first fell in love with the blues when he heard the Beatles.

"'For You Blues,' 'Lady Madonna'...had a very strong blues influence," he said, "So I looked behind, to see where their music was coming from, and I started discovering what the blues was all about."

This search led Gratzer to British blues bands, such as John Mayall, Alexis Korner, and then American artists such as Albert King, B.B. King, and Buddy Guy.

But electric blues bands did not fit Gratzer's inner vision of the true blues--one man and his guitar.

"That's the image of the blues I had in my head--one man with his guitar--just that--his guitar and his singing," Gratzer said.

Gratzer found this image personified at a concert he attended in the 1980s by Cristina Aguayo, an Argentinian gospel and blues singer. This feeling was immediately reinforced by some Robert Johnson recordings Gratzer heard soon afterward.

"I knew I was on the road, it felt like being home," Gratzer said of this encounter with his ideal form of blues.

Since Gratzer started playing with Aguayo in 1989, the blues has been a road more traveled for Gratzer. Along the way, he has organized blues festivals, edited a blues newsletter, and cut four very impressive CDs. He has also opened for just about every international blues act that has performed in Buenos Aires: Billy Branch, Dave Myers and John Primer to name a few.

But for Gratzer, the truth in blues remains one man and his guitar.

"In blues, it's all about the beat and the feel. And the first beat is your heart. If your heart don't work, you die--same as the blues," Gratzer said.


Gabriel Gratzer will play:
Nov. 11, 8 p.m. at The Warrior Celt in Ueno, Tokyo, (03) 3836-8588;
Nov. 13, 7 p.m. at Club Wire in Shinjuku, Tokyo, (03) 3207-6953;
Nov. 14, 7 p.m. at Rossa Fiesta in Roppongi, Tokyo, (03) 3475-1322;
Nov. 16, 7 p.m at Rock Factory in Roppongi, Tokyo, (03) 5545-4242.

Blues Origin

Blues has evolved from an unaccompanied vocal music and oral traditions of African-American slaves (imported from West Africa; principally Mali, Senegal; the Gambia and Ghana) and rural blacks into a wide variety of styles and subgenres, with regional variations across the United States and, later, Europe and Africa. The musical forms and styles that are now considered the "blues" as well as modern "country music" arose in the same regions during the nineteenth century in the southern United States. Recorded blues and country can be found from as far back as the 1920s, when the popular record industry developed and created marketing categories called "race music" and "hillbilly music" to sell music by blacks for blacks and by whites for whites, respectively.

At the time, there was no clear musical division between "blues" and "country," except for the ethnicity of the performer, and even that was sometimes documented incorrectly by record companies. Studies have situated the origin of black spirituals in slaves' exposure to southern white hymns related to shape note music, the hymns of the Methodist John Wesley carried by 19th c. revivalist preachers, and later Scots-Irish musical influence. African-American economist and historian Thomas Sowell also notes that the southern, black, ex-slave population was acculturated to a considerable degree by and among their Scots-Irish neighbors. However, the findings of Kubik and others also clearly attest to the essential Africanness of many essential aspects of blues expression.

The social and economic reasons for the appearance of the blues are not fully known. The first appearance of the blues is not well defined and is often dated between 1870 and 1900, a period that coincides with Emancipation, the development of juke joints as a refuge for blacks separate from the white society, and the transition from slavery to sharecropping, small-scale agricultural production and the expansion of railroads in the southern United States.

Several scholars characterize the early 1900s development of blues music as a move from group performances to a more individualized style. They argue that the development of the blues is associated with the newly acquired freedom of the enslaved people. According to Lawrence Levine, "there was a direct relationship between the national ideological emphasis upon the individual, the popularity of Booker T. Washington's teachings, and the rise of the blues." Levine states that "psychologically, socially, and economically, Negroes were being acculturated in a way that would have been impossible during slavery, and it is hardly surprising that their secular music reflected this as much as their religious music did."

Prewar blues

The American sheet music publishing industry produced a great deal of ragtime music. By 1912, the sheet music industry published three popular blues-like compositions, precipitating the Tin Pan Alley adoption of blues elements: "Baby Seals' Blues" by "Baby" F. Seals (arranged by Artie Matthews), "Dallas Blues" by Hart Wand and "The Memphis Blues" by W. C. Handy.^[33]

Handy was a formally trained musician, composer and arranger who helped to popularize the blues by transcribing and orchestrating blues in an almost symphonic style, with bands and singers. He became a popular and prolific composer, and billed himself as the "Father of the Blues"; however, his compositions can be described as a fusion of blues with ragtime and jazz, a merger facilitated using the Cuban habanera rhythm that had long been a part of ragtime;^[34][19] Handy's signature work was the "St. Louis Blues".

In the 1920s, the blues became a major element of African American and American popular music, reaching white audiences via Handy's arrangements and the classic female blues performers. The blues evolved from informal performances in bars to entertainment in theaters. Blues performances were organized by the Theater Owners Bookers Association in nightclubs such as the Cotton Club, and juke joints, such as the bars along Beale Street in Memphis. This evolution led to a notable diversification of the styles and to a clearer division between blues and jazz. Several record companies, such as the American Record Corporation, Okeh Records, and Paramount Records, began to record African American music.

As the recording industry grew, country blues performers like Bo Carter, Blind Lemon Jefferson, Lonnie Johnson, Tampa Red and Blind Blake became more popular in the African American community. Sylvester Weaver was the first to record the slide guitar style, in which a guitar is fretted with a knife blade or the sawed-off neck of a bottle. The slide guitar became an important part of the Delta blues.^[35] The first blues recordings from the 1920s were in two categories: a traditional, rural country blues and more polished 'city' or urban blues.

Country blues performers often improvised, either without accompaniment or with only a banjo or guitar. There were many regional styles of country blues in the early 20th century. The (Mississippi) Delta blues was a rootsy sparse style with passionate vocals accompanied by slide guitar. Robert Johnson, who was little-recorded, combined elements of both urban and rural blues. Along with Robert Johnson, influential performers of this style were his predecessors Charley Patton and Son House. Singers such as Blind Willie McTell and Blind Boy Fuller performed in the southeastern "delicate and lyrical" Piedmont blues tradition, which used an elaborate fingerpicking guitar technique. Georgia also had an early slide tradition.

Blues Lyric Origin

The original lyrical form of the blues was probably a single line, repeated four times. It was only later that the current, most common structure of a line, repeated once and then followed by a single line conclusion, became standard. Two of the first published blues songs, however, Dallas Blues (1912) and St Louis Blues (1914) both featured lines repeated twice, followed by an "answer" line, over 12 bars of music. W.C. Handy wrote that he adopted this convention to avoid the monotony of lines repeated three times. These lines were often sung following a pattern closer to a rhythmic talk than to a melody. Early blues frequently took the form of a loose narrative. The singer voiced often his or her "personal woes in a world of harsh reality: a lost love, the cruelty of police officers, oppression at the hands of white folk, [and] hard times".

Author Ed Morales has claimed that Yoruba mythology played a part in early blues, citing Robert Johnson's "Cross Road Blues" as a "thinly veiled reference to Eleggua, the orisha in charge of the crossroads". However, many seminal blues artists such as Son House, or Skip James had in their repertoire several religious songs or spirituals. Reverend Gary Davis and Blind Willie Johnson are examples of artists often categorized as blues musicians for their music but whose lyrics clearly belong to the spirituals.

Although the blues gained an association with misery and oppression, the blues could also be humorous and raunchy as well:

"Rebecca, Rebecca, get your big legs off of me,

Rebecca, Rebecca, get your big legs off of me,

It may be sending you baby, but it's worrying the hell out of me."

From Big Joe Turner's "Rebecca", a compilation of traditional blues lyrics

Hokum blues celebrated both comedic lyrical content and a boisterous, farcical performance style. Tampa Red's classic "Tight Like That" is a sly wordplay with the double meaning of being "tight" with someone coupled with a more salacious physical familiarity. Lyrical content of music became slightly simpler in post war-blues in which focus was often almost exclusively on singer's relationship woes or sexual worries. Many lyrical themes that frequently appeared in pre-war blues such as economic depression, farming, devils, gambling, magic, floods and dry periods were less common post war blues.

Bllues Style and Culture Origin

There are few characteristics common to all blues, because the genre takes its shape from the idiosyncrasies of individual performances. However, there are some characteristics that were present long before the creation of the modern blues. An early form of blues-like music were call-and-response shouts, which were a "functional expression... style without accompaniment or harmony and unbounded by the formality of any particular musical structure." A form of this pre-blues was heard in slave field shouts and hollers, expanded into "simple solo songs laden with emotional content". The blues, as it is now known, can be seen as a musical style based on both European harmonic structure and the African call-and-response tradition, transformed into an interplay of voice and guitar.

Many blues elements, such as the call-and-response format and the use of blue notes, can be traced back to the music of Africa. The Diddley bow, a homemade one-stringed instrument found in parts of the American South in the early twentieth century, and the banjo, are African-derived instruments that may have helped in the transfer of African performance techniques into the early blues instrumental vocabulary.^{[ citation needed ]} Blues music later adopted elements from the "Ethiopian airs", minstrel shows and Negro spirituals, including instrumental and harmonic accompaniment. The style also was closely related to ragtime, which developed at about the same time, though the blues better preserved "the original melodic patterns of African music". The blues form itself bears no resemblance to the melodic styles of the West African griots, and the influences are faint and tenuous. And no specific African musical form can be identified as the single direct ancestor of the blues.

Blues songs from this period, such as Lead Belly's or Henry Thomas's recordings, show many different structures. The twelve-, eight-, or sixteen-bar structure based on tonic (I), subdominant (IV) and dominant chords (V) became the most common forms. What is now recognizable as the standard 12-bar blues form is documented from oral history and sheet music appearing in African American communities throughout the region along the lower Mississippi River, in Memphis, Tennessee's Beale Street, and by white bands in New Orleans.

Blues Style

During the first decades of the twentieth century blues music was not clearly defined in terms of a chord progression. There were many blues in 8-bar form, such as "How Long Blues", "Trouble in Mind", and Big Bill Broonzy's "Key to the Highway". Idiosyncratic numbers of bars are also encountered occasionally, as with the 9-bar progression in Howlin' Wolf's "Sitting on Top of the World". The basic twelve-bar lyric framework of a blues composition is reflected by a standard harmonic progression of twelve bars, in 4/4 or (rarely) 2/4 time. Slow blues are often played in 12/8 (4 beats per measure with 3 subdivisions per beat), that is, 4/4 time with triplets.

By the 1930s, twelve-bar blues became the standard. There would also be 16 bar blues, as in Ray Charles's instrumental "Sweet 16 Bars", and in Herbie Hancock's "Watermelon Man". The blues chords associated to a twelve-bar blues are typically a set of three different chords played over a twelve-bar scheme:

I	I or IV	I	I7
IV	IV	I	I7
V	IV	I	I or V

where the Roman numbers refer to the degrees of the progression. That would mean, if played in the tonality of C, the chords would be as follows:

C	C or F	C	C
F	F	C	C
G	F	C	C or G

(When the IV chord is played in bar 2, the blues is called a "Quick-Change" blues).

In this example, C is the tonic chord, F the subdominant. Much of the time, some or all of these chords are played in the harmonic seventh (7th) form. Frequently, the last chord is the dominant (V or in this case G) turnaround making the transition to the beginning of the next progression.

The use of the harmonic seventh interval is a characteristic of blues, and is popularly called the "blues seven" . At a 7:4 ratio, it is not close to any interval, minor or major, on the conventional Western diatonic scale . However, through convenience or necessity it is often approximated by a minor seventh interval, or in terms of chords, a dominant seventh chord.

Delta Blues Museum Awarded $1.5 M Grant

The Mississippi Transportation Commision recently approved a grant to the Delta Blues Museum for more than $1.5 million. The money will be used for expansion of the former railroad depot in which the blues museum has been housed since 1999. This expansion will mean an addition of at least 2,700 square feet to the blues museum for new permanent educationalexhibits. Delta Blues Museum director Shelley Ritter said the expansion project has been in the works since before her arrival at the museum in July 2003."There was talk of [expansion] prior to my getting here, but we've been working to bring the existing museum up to certain standards before expanding," Ritter said. "It was a direction from the [Delta Blues Museum] Board [of Trustees]. They wanted to do this expansion, and I've been working towards it since I've been here."

Ritter said that part of the addition will probably be devoted to housing the Muddy Waters cabin. The full cabin has never been on display in the museum, because the existing gallery room is not tall enough to house some of the cabin's timbers.

Before the museum could file for the grant, it had to first receive permission from Clarksdale's mayor and board of commissioners. Mayor Henry Espy said he was more than happy to support the request."I think this grant is going to be excellent for the Delta Blues Museum and for Clarksdale as a whole," Espy said. "Clarksdale is the birthplace and home of the blues and, as a town, we should do anything we can to promote that." Also aiding the museum in its campaign for the grant were 25th District Rep. John Mayo, 26th District Rep. Chuck Espy and Senator Robert Jackson, D-Marks, who all wrote letters to the Mississippi Department of Transportation in support of the museum. Ritter says the Mississippi Arts Commission has also been supportive in the plans for the expansion.

The museum will develop a schedule for the expansion once the paperwork with the Mississippi Department of Transportation is completed. According to the MDOT guidelines, construction can begin no later than September 2009. "We hope we can begin sooner than that, but there's a lot of planning phases we will have to go through before that," Ritter says. "All the drawings and design development has to be done, so we're not ready to go just yet." Ritter said she hopes the addition will prove a significant enhancement to the blues museum.

"I think the museum is going to be empowered to realize its potential," she said. "We're finally going to have some resources to really honor the artists and give them what they deserve." The Delta Blues Museum was founded in 1979 by Sid Graves and the Carnegie Public Library Board of Trustees and is Mississippi's oldest music museum. The building currently housing the museum at 1 Blues Alley was built in 1918 to serve as the freight depot for the Yazoo and Mississippi Valley Railroad. It is approximately 12,000 square feet, five thousand of which are devoted to exhibits.

About Blues

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A Little about the Blues
Very complicated to explain where the blues began as a theory should be very broad. I just deliver the user of this website to a stage sufficient as a basis step and enjoyed the genre. With this base you will be very easy later to hear the tone of the blues musicians of the world and the tone of what they played.

Then Why Must Love Blues?
Because a lot of hits came from this genre eg Red House, Little Wing (Jimi Hendrix). Yes most do not reference the Top 100 guitar virtuoso nearly 80% of them come from the blues genre. Or the average they were from Western and I think western synonymous with the blues and its derivatives from Europe while playing Classic. And I think music is an outline of the differences in American music (blues-pentatonic) and European music (classical-diatonic) yes of course the translation follows. Because this site is the translation of the blues will reach critical scale-scale that must be understood if you want to play the blues. Could be blues easier to rock n 'roll, rockabilly to jazz because there are also modes.

Learning Methods in Made Blues
I'm not going to say much the same theory but the practice immediately. If necessary please search and read elsewhere. Learning music is like learning languages. Eg grammar and vocabulary. The more vocabulary the more things can be spoken. So just follow the basic theory and practical examples are presented not so long then you will be able to play the tone of the sentence. Because the blues is that its tone-a tone that's all the other musicians to play legitimate and many of the top blues musicians are influenced or affected blueser predecessors. Call it one of the SRV influenced by T-Bone Walker or Eric Clapton to play Robert Johnson. Or Chuck Berry almost rhytm blues influence in general. Just tone down the musicians imitate it if able.

B.B. King is set to release a new album - "One Kind Favor" Features Classic Blues Songs

Santa Monica, California, July 22, 2008 – The King of the Blues is set to release a new album featuring covers of old blues songs from B.B. King’s early influences. With production by T Bone Burnett (Robert Plant & Alison Krauss, Roy Orbison, Elvis Costello) the set revisits the music that influenced B.B. in the 1950s, the beginning of King’s extraordinary professional journey that, literally, changed the texture of modern blues playing. One Kind Favor will be released on Geffen Records August 26^th.

Recorded at The Village Recorder in Los Angeles, CA One Kind Favor is meant to sound like an album recorded in the 50s. To get this sound Burnett and King replicated the kind of blues band King had back in the day bringing in some of the greats – Dr. John on piano, Nathan East on stand up acoustic bass and Jim Keltner on drums, to name a few. Studio conditions of the time were reproduced. The result is a vintage sounding album filled with the songs that influenced King in his early days as an artist.

The full track listing for One Kind Favor, along with the name of the artist who originally recorded the track, is:” See That My Grave Is Kept Clean” (Lemon Jefferson), “I Get So Weary” (T-Bone Walker), “Get These Blues Off Me” (Lee Vida Walker), “How Many More Years” (Chester Burnett), “Waiting For Your Call” (Oscar Lollie), “My Love Is Down” (Lonnie Johnson), “The World Is Gone Wrong” ( Walter Vinson, also known as Walter Jacobs, and Lonnie Chatmon, core members of the Mississippi Sheiks), “Blues Before Sunrise” (John Lee Hooker), “Midnight Blues” (John Willie “Shifty” Henry), “Backwater Blues” (Big Bill Broonzy), “Sitting On Top Of The World” (Walter Vinson and Lonnie Chatmon) and “Tomorrow Night” (Lonnie Johnson).

In other B.B. news, on September 13^th King– one of the few musicians in the world to be so honored – will preside at the opening of the B.B. King Museum and Delta Interpretive Center in his hometown of Indianola, MS. Also in September B.B. King will begin hosting his own weekly radio show on XM Radio on their newly relaunched blues channel “BB Kings Bluesville” (XM 74).

For more than 60 years, Riley B. King - better known as B.B. King - has defined the blues for a worldwide audience. Since he started recording in the 1940s, he has released over 50 albums, many of them classics, won 14 Grammy® Awards, been inducted into the Blues Foundation Hall of Fame and the Rock & Roll Hall of Fame and received the Presidential Medal of Freedom, the National Medal of the Arts, the Kennedy Center Honors, the Grammy® Lifetime Achievement Award and the NARM (National Association of Recording Merchandisers) Chairman’s Award, among many other awards. In a special ceremony at the Library of Congress, Librarian of Congress, James H. Billington presented B.B. with a “Living Legend” medal in honor of his achievements as a musician and ambassador for the blues. After 10,000 concerts, B.B. King continues to bring his music to audiences around the globe spending the better part of each year on the road with his beloved guitar, “Lucille.”

Bring to a Young Man Blues Music

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The flow of blues music was not that much to her. Image as the music is quite attached to their parents so that young people are reluctant to make contact with the music that supposedly born of former African slaves in the United States.

This reason is also that form of Bandung Blues Society (BBS). A community for lovers of blues music, especially young people who want to further deepen Bandung this music flow.

Blues, according to Chief BBS Luky Kusumah. is the roots music that is rarely appreciated and forgotten. During these young people may not ngeh if in any music they play there music elements bluesnya.

Especially with the amount of music that emerged today, so the flow is not the blues even more blatant. "BBS forum for young people who want to learn, share and play the blues," said Luky.

Unfortunately penggagasnya namely alamarhum Micko Prototype could only deliver to this community until the third month since its establishment in March 8, 2008. But according to Micko gives this community the mandate to continue and be maintained.

"The late Micko want a community that can bridge between parents and young children," said Luky when found in regular concerts on Earth BBS Sangkuriang Kiputih Road, Tuesday (9/3/2010).

Proximity to the management of the Earth Sangkuring Micko had opportunities to go public this community. BS party providing the opportunity for BBS regularly every month to fill the ballroom BS every Tuesday night. Finally BS also was asked to base campnya BBS.

After the death of Micko, the personnel of The Bohemian, the band has ever dimanageri BBS for Micko continue the struggle to exist. Even by Luky as one of the personnel they have to spend money from his own wallet for BBS operation.

But not for long, because the members grew increasingly BBS. Loyalty also emerged from each member. Not only the material side, physically present much help. "Every meeting we like to distribute kencleng," said Luky. In addition, any assistance from management BS BS mempemudah enough for regular concerts every month in the BS.

The young boy who used to just play the blues in the studio or in a room can appear on the surface. Each month is given the opportunity to 5-6 blues band to show their musical skill. At least there are hundreds of bands that have appeared over the past two years keberadaa BBS.

"But that is active until now to perform at least 15 bands only," explained Luky.

Although the BBS for young container, such as the desire penggagasnya Micko first, this community is to connect young people and parents. And in any activity involving any senior musicians to nurture the seeds of this blues musician.

Clinics are also held to discuss about music as a concert supporting activities each month. A few times too often brings renowned musicians who have as a resource.

Micko penggagasnya so desire to unite the old and the blues mudan even realized.

McCoy Tyner - Mosaic Select 25 (Mosaic, 2007)

After a very successful tenure with the great John Coltrane Quartet from 1961-1965, pianist McCoy Tyner struck out on his own, signing with Blue Note records and putting together his own groups and albums. Things started off very well, with the classic albums The Real McCoy and Tender Moments being released in 1967. However, as the sixties waned, Tyner's record sales and performance opportunities grew fewer, to the point where he was driving a cab in New York to make ends meet. The music on this three disc set contains the final four albums of Tyner's first stay with Blue Note: Expansions, Extensions, Asante and Cosmos. It's kind of a mystery why these albums never gained much attention the first time around, as they are filled with exciting and thoughtful music, with Tyner accompanied by the likes of Gary Bartz, Woody Shaw, Wayne Shorter and many others. The Expansions LP, taking up most of disc one, is open ended spiritual hard bop, clearly influenced with the exploratory music he had played with Coltrane, but much more centered in the hard-bop mainstream. Bartz, Shorter and Shaw make for an awesome front line, with "Vision" and "Song of Happiness" taking lengthy journeys into spiritual modality. The Cosmos session was the most experimental, and that is probably why the music was withheld until 1974. The core trio of Tyner with Herbie Lewis on bass and Freddie Watts on drums is joined by a small string section that swirls and slides around the percussive trio. The Extensions session, making up the latter half of disc two is excellent, featuring the explosive "Message from the Nile" and "Survival Blues." Anchored by Ron Carter and Elvin Jones, the music is relentlessly propulsive, and with Bartz and Shorter returning to the front line and Alice Coltrane adding showers of sparks from her harp, the music is memorable and very exciting. Disc three wraps up the remaining music with the string-free tracks of Cosmos and Asante, which are interesting for adding extra percussion, guitar and wordless vocals. After leaving Blue Note, Tyner's fortunes thankfully revived with excellent (and popular) albums like Sahara and the torrid live LP's Atlantis and Enlightenment. These albums consolidated the music he made on these under-appreciated Blue Note albums and solidified his standing as a jazz legend

James Moody - Moody 4B (IPO Recordings, 2010)

Saxophonist James Moody (who is also a great flute player, just not on this album) is well into his eighth decade, and still making wonderful music. Moody has been at the forefront of mainstream jazz since the bebop era and he brings all of the wisdom and experience he has gained to a set of standards (and a few originals) recorded the day after his successful predecessor Moody 4A. Accompanied on this album by Kenny Barron on piano, Todd Coolman on bass and Lewis Nash on drums, the music exudes class and dignity mixing in equal measure cookers, ballads and mid-tempo groovers. Opening with a genial and swinging version of Billy Strayhorn's "Take the A Train" the band really sets the tone for the album. Coolman and Nash provide a huge pocket, playing a wonderfully supportive role with great compassion. Barron is the perfect pianist for this setting, accompanying Moody with beautiful and subtle chords and soloing with discriminating taste. The ballads played by the band are quite tasteful and patient, the standard "Polka Dots and Moonbeams" and Kenny Barron's original "Nikara's Song" move slowly, allowing the band to gently probe the length and breadth of the songs. Moody plays with great melodic sense, telling a story with each of his solos and never overplaying. They swing the tempos back up with versions of "Swing Low" and Benny Golson's classic composition "Along Came Betty." This was a very well played relaxed and easy going album of straight ahead jazz. Moody's beautiful tone on tenor saxophone is the centerpiece, as it should be, and the rhythm section is tasteful and supportive, making for relaxed and swinging music throughout.

The Claudia Quintet w/ Gary Versace - Royal Toast (Cuneiform Records, 2010)

With a wide variety of influences ranging from experimental jazz to rock and classical, the eclectic Claudia Quintet can always be counted on to make interesting and unusual music. Consisting of Drew Gress on bass, John Hollenbeck on drums, Matt Moran on vibraphone, Ted Reichman on accordion, Chris Speed on clarinet and tenor saxophone, and special guest Gary Versace on piano. The group covers a wide range of musical territory on this album. The music is broken down into original improvisations for the group and short individual unaccompanied interludes from each musician of the group. There is a lightness and an airy feeling to the music that separates it from most contemporary jazz being made today. Hollenback has been quoted as saying that he wanted the group's sound to have something of a female quality, and this come through quite successfully here. Speed's clarinet and saxophone gently float over a luxurious bed of shimmering vibraphone and swirling accordion. Hollenbeck's compositions and agile drumwork are the foundation of the groups overall sound, carving out a unique niche. "Crane Merit" opens the album with a mellow and dreamy slow building hypnotic feel. Gently comped piano and slow saxophone round out the gauzy sound that envelops the music. "Keramag" raises to tempo to a spritely fast level with agile drums and vibes and punchy accordion. This combination of instruments is unusual in jazz and makes for a very cool and enjoyable sound. Smears of saxophone over light and fast percussion usher in "Paterna Terra" building to an intense quasi-free feel with swirling accordion gaining in intensity and speed throughout. "Ideal Standard" slows the pace down to a moderate level and allows the band to fully investigate the haunting melody and arrangement. This is multi-faceted music that always deviates from the expected. Often filled with a gentle impish humor, the music here is filled with the personalities of its creators and makes for compelling listening

Book Review: The Killer by Tom Hinshelwood

y rating: 4 of 5 stars
Victor is an assassin, a hired gun with few possessions and no relationships beyond the next target. Paid to kill at Latvian national and recover a small computer flash drive, Victor accomplishes his task with cool and calculating efficiency. Only then the hunter becomes the hunted as he is set upon by a seven member kill team in a Paris hotel and has to use all of his skills and wit to survive the ensuing bloodbath. Hoping to figure out who set him up and why, he reluctantly teams up with Rebecca, his rogue CIA handler, and soon finds himself in the cross hairs of killers from around the world. Victor must use all of his cold blooded prowess to be the last man standing. This was a very exciting and action packed novel, Hinshelwood keeps the pace breathless throughout as we switch locations from the intelligence offices of the United States and Russia to the brutal killers that track Victor across Europe. Victor is a fascinating character, the master of disguise and the dark art of assassination, he reminded me of Richard Stark's great character, the anti-hero and master thief Parker, with his single minded approach to survival. This book works well on a couple of levels: as a spy/espionage thriller and as a straight up action story that begs to be adapted for the big screen, particularly an epic car chase and mano e mano battle to death in the book's final quarter. Note that the level of violence of the this book is nearly of James Ellroy proportions, so those with an aversion to blood may want to look elsewhere. But for action or espionage fans, this was a very well written and compelling story that has twists and turns right up to the end and is highly recommended.

The Black Keys

The Black Keys - Brothers After working on a surprising hip-hop experiment called BlakRoc and a solo album by Dan Auerbach, The Black Keys return with their first proper album since 2008's attack and release. Guitarist and vocalist Auerbach and drummer Patrick Carney continue their development as a group, working with guests and producers to flesh out their core sound and add different textures to their music. While straight up garage rock still remains their focus of the group's sound, there is a strong tinge of soulful R&B on this record. Mixing in deep soul with world weary R&B helps the band expand their range, and makes for a powerfully expressive record. Appropriately recorded for the most part in the Muscle Shoals, AL studio that gave birth to so many great soul albums in the 1960's, the lead-off track "Everlasting Light" sets the stage nicely with a gently chugging groove and vocals in a light and airy falsetto. The guys still remember how to go down in the alley with stinging guitars and ominous singing underpinning "Next Girl" and "Ten Cent Pistol." The track "Sinister Kid" pulls all of these influences together with lean guitars and a thick beat laying the foundation for deep strong singing. While this album may lack the visceral impact of their stark, hard rocking earlier album, the music has become deeper and more thoughtful, pulling together all of their diverse influences and interests and weaving them into a unique and diverse whole.

The White Stripes - Under Great White Northern Lights The White Stripes have been relatively inactive during the past few years due to the debilitating anxiety problems suffered by drummer Meg White and guitarist and singer Jack White's directing his energy to other bands, notably The The Dead Weather and The Raconteurs. This album is something of a placeholder for the band, it's a soundtrack for the film of the same name, chronicling their tour in 2007 Canadian tour. The duo has always been a powerful life act, and the music on this album bears that out. Jack White's powerful guitar and near hysterical vocals and Meg White's potent yet primitive drums drive the music ever forward, with Jack adding some huge slabs of keyboards and organ to change up the texture on "The Union Forever" and "Ball and Biscuit." But apart from that, they wisely stick to their bread and butter, scalding garage rock honed to a very tight edge. Piledrivers like the singles "Blue Orchid" and "Icky Thump" play off nicely against the potent yearning of the dynamic yearning of "Jolene" and lighter pop fare like "We are Going to Be Friends." It's a very solid live album and both the soundtrack and the DVD provide ample evidence for the bands continued success.

THE S.I.G.I.T

Just when you couldn’t see a more diminutive rock n roll frontman than sam scherr, The Super Insurgent Group of Intemperance Talent (S.I.G.I.T.) got up on stage. The indonesia natives have been described as another Jet, and while the comparisons are not only abvious but totally fair, this retro rock quartet has an organic quality not seen so much in their denim-clad peers. While steeped in led Zep style ’70s rock n roll influences, the band dont have that epic quality, but do mix things up a little with a bit of KISS-influenced glam and grungey bottom end.

SIGIT attacted a healthy contingent of fellow countrymen and woman to the show, no doubt proved rewarding to the band and Australian audiences alike. Here’s hoping their tour will encourage a little more cross-cultiral exchange with our equatorial neighbors.

Here They are:

1. Rekti On Vocal and Guitar
2. Farri On Guitar
3. Adit on bass
4. Acil on drum.
   

In 2004, The S.I.G.I.T. signed to Spills Records and released their self titled debut mini album (EP) and performed many bar gigs and venue. Their first single, Soul Sister soon became a local radio hits in Bandung and Jakarta. MTV Trax Magazine described them as “The Hottest Rock N Roll Band in town”.

By contributing on movie soundtrack for Catatan Akhir Sekolah (CAS), their fanbase grew rapidly. Did I Ask Your Opinion, finally became their first single to be broadcasted on MTV Indonesia.

After leaving Spills Records, they begun to spread their stage performance to bigger venue and region by their own.

there was their profile, hope you enjoy it:D

Adrian Adioetomo

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Three years have passed since the release of "Delta Indonesia", the debut album by Adrian Adioetomo, but fever 'blues' has just begun. Under the name MySeeds records, Adrian released his album at the end of 2007 ago. This album marks the declaration of an independent in the wilds of Indonesian music that seems divided into two; industry and independent.



Delta-blues musical based '30an year, Delta Indonesia 'rebellion' from all types of music that has been established in Indonesia. 'Delta' album is certainly not mainstream, but also not like the album "indie" post-another alternative. This album is full of 'mud' delta, a solitary song, a clever slide guitar, and lyrics that seemed to pit careful. Production that deliberately 'old' leads to more goal to become a replica rather than a "retro". Chosen as one of the best albums that came out in th 2007 by Rolling Stone Indonesia, Indonesia Delta audience rewarded listeners with a meeting between the Mississippi th 1930 with the pre-independence Indonesia.



Lately, fever sweeping the country-blues. This is a trend that is built up from accumulated interest together in a kind of music that is not too popular in pop culture industry. But curiosity will lead a new search music almost a century old, and Adrian has produced a prime example of her first album in late 2007. His stage appearance is also evidence that preceded the advice of his business. It is no doubt, the fever-blues has become a blessing in disguise for Adrian. Now many want to see the appearance to find out what kind of blues music on the stage again without wondering about this music.



Richness of our publications leave first, Adrian will still try to present music in a way that he knew. And that is to 'deliver' the spirit and essence of the blues itself. Not just merely rely on rhythm and blues scales, but also to express feelings and inspiration in new ways and more explorative. This has long been expected from the appearance of his second album planned for release during the dry season in 2010 (around March).

This profile of a delta blues Indonesia a Adioetomo Adrian, I hope you like it.

Andre Harihandoyo & Sonic People

Allright, this one is heavily influenced bluesman John Mayer, from the lyrics, musical composition, and also riffnya, jakarta birth of this guitarist, has a Relic Fender Stratocaster guitar, and many other acoustic guitars, the album was originally released EP when he said that this was the blues band, but after making the second album "Good For The Soul" he said that this was more to the Folk Blues, acoustic. Browse this Sonic personnel:

1. Andre Harihandoyo on guitar
2. Andreas Arianto on clarinet
3. BJ on bass
4. Adit on Drums


ok, this band has made two albums, namely:

1. Room Session
2. Good For The Soul.


Just this profile Andre Harihandoyo & Sonic People, I hope you like it

Rama Satria & Electric Mojos

This is one talented young musicians nih: D, has the full name of Rama Satria Claproth, this bluesman already have a lot of flying hours, since childhood, her parents had invited the American tour, if not one skill, and his soul was forged with the good: D , Rama Satria is currently making a band called Rama Satria & Electric Mojos, was nih personnel:

1. Rama Satria, do not need to be asked again what deh kayak skillnya, texas bluesman sempet help overseas, a Lance Lopez, asked skillnya not need anymore, have a Fender Stratocaster guitar, which he named "Whitelady" makes me very amazed. how Rama is not like playing with my soulmatenya, get some really chemistrynya
2. Yansen Silalahi, well this one bass pemaian emang deh ace for playing with Rama, groovenya get, ngiringinnya also good, emeng chemistrynya get really, probably because the old've also played with Rama with his Elecetric Mojos: D.
3. Steve Wilson, I i do not know much about him, that would really get the drummer nih ama beatnya rhythm with the bass and guitar. one of the very groovy drummer I really said.


Okay, this is just the info I love to make you're on, of Rama Satria & Electric Mojos See ya!