Thursday, October 07, 2010
My favorite blues pianist is back with a blast!
The last time I saw Bill was in JZ Club in Hangzhou about 6 months ago. I regret I never had the chance to really talk to him in depth about some musical rantings and sarcasm that I used have on his backyard outside his residence in Bethesda, MD. Not to mention the endless gigs I had with Bill in the US Post Office and BMW conventions in Maryland. We've been through so much. He taught me everything about the blues.
Unfortunately, in JZ Club, he was playing on his Nord (usually his shining instrument) with nice drummer Al Gordon and one of my favorite saxophonists Lyle Link. But the BA singer really stinked and I was quite overthrown by her starting to sing James Brown, Stevie Wonder and Temptations tunes, albeit not up to standard. I was thinking to myself, did I come to Hangzhou for this? I came to Hangzhou wanting to hear some swinging vicious blues by Bill Heid. I did manage to sit in with the band, but the vibe just wasn't there, and it had a lot to do with the tasteless Hangzhou crowds who went to JZ to have pseudo-intellectual conversations amongst themselves instead of giving respect to the wonderful musicians (minus one) up there on the stage.
Despite all this, when I saw that Bill Heid had a new release out, I was more than thrilled. In HK, I haven't played this kind of blues for a very long time. This is the blues I grew up listening to and loving, but very few pianists in HK can carry the zest (Jezrael and Jason Cheng being the exceptional cases). Check out the reviews from Downbeat Magazine:-
Check out the reviews on In a Blue Mood and Blues Blast Magazine.
Check out the mp3s.
Needless to say, Bill Heid is back and stronger than ever! This inspires me to play the blues the way it is supposed to play.
All I can say is, I'm back too! Deep down inside, I'm a bluesman, and Bill Heid certainly made me realize that!
You dig!
Labels: authentic blues, Bill Heid
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Monday, December 21, 2009
Special performance on 2nd January 2010 at Visage One
My first gig in 2010....
Featuring Yank Wong, Edward Chun & Rod Foo on acoustic guitars.
Playing songs by Mississippi John Hurt, Blind Willie Johnson, Blind Blake, Reverend Gary Davis, Leroy Carr, Big Bill Broonzy...and all kinds of delta blues tunes.
Blues lovers must not miss this show!
Visage One is located at:
G/F. 96 Hollywood Road Central HK
Date: 2nd January 2010, Saturday
Time: 10 pm til late
Read more about Visage One here.
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Featuring Yank Wong, Edward Chun & Rod Foo on acoustic guitars.
Playing songs by Mississippi John Hurt, Blind Willie Johnson, Blind Blake, Reverend Gary Davis, Leroy Carr, Big Bill Broonzy...and all kinds of delta blues tunes.
Blues lovers must not miss this show!
Visage One is located at:
G/F. 96 Hollywood Road Central HK
Date: 2nd January 2010, Saturday
Time: 10 pm til late
Read more about Visage One here.
Labels: authentic blues, Edward Chun, Rod Foo, Yank Wong
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Friday, December 04, 2009
From 有線電視《拉近文化》- 爵士與藍調 4 : 藍調口琴
爵士與藍調 4 : 藍調口琴
簡單一個「口琴」，充滿藍調靈魂，加上木結他的合奏，一彈一奏，盡顯美國南部鄉村藍調的魅力。《拉近文化》介紹最後一集藍調，節目將邀請香港著名藍調口琴家－鍾一匡，一同分享藍調音樂，深入感受「藍調口琴」帶出的哀怨纏綿。
To watch, please click here.
Labels: authentic blues, blues, blues harmonica, Edward Chun, Henry Chung, 精緻文化, 鍾一匡
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Wednesday, November 11, 2009
Another memorial of Jesse James Johnson
Jeff posted yet another great remembrance of the outlaw of the blues aptly entited "hey bartender, another knotty head." Here it is!!
Though he passed on over two years ago, I've been thinking about Jesse James a lot lately. I don’t remember the exact chain of events, but somehow shortly after I started showing up at blues jams around DC at the tender age of 19, I fell in with Jesse James and The Raiders. Looking back, It was one of the best things that ever happened to me.
The first night, I remember his amp being unreliable, his guitar going way out of tune, him getting belligerent after the third set break (smoking a Newport, downing a Seagram's, and yelling at his drummer Lee to "stop messin’ with the TIMING, man!" - even though Jesse himself was speeding up or slowing down). He was running the show (sometimes into the ground), and the people who came out to listen loved every second.
Adams Morgan hadn’t quite turned into the bridge and tunnel brodeo yet... it was still strong on its bohemian international flavor when I started with them. The owner of La Fourchette next door would give us amazing French food on set breaks while he rambled on about his undying love for American blues in a heavy accent; people would make the circuit of Columbia Station for jazz, any of the great African dance halls on the block, Madam's Organ, Mambo Room... there was always good, authentic music being played, attracting crowds of people from all over the city. Jesse’s shows at Cafe Toulouse ("right about now its showtime here at the Cafe Too-Loose!") were a cornerstone of it all for years.
My first night with him was a rollercoaster, and I dove in and played what I could, then backed off when I didn’t know where the song would go next. It wasn’t the best playing I'd ever done, but it was the best listening. At the time, I didn’t even realize it, but I was in the middle of an American Soul Music master class. Within only about a month, I knew half of Otis Redding's catalog. Albert King, Junior Walker, Rufus Thomas, Eddie Floyd... sometimes I had no idea who wrote the songs or how the originals actually sounded until years later, but I damn well knew the songs note for note.
His bandmates had been with him for decades, but I never felt like the odd man out. I was 45 years younger than them, but we joked like old friends. "Brother Jeff" had joined "Brother Lee" and "Brother Turner" as his permanent backing band. I really never thought of it as "Look at me! I'm playing with this cool old black guy!", but I understand that a lot of his friends were wary. We’d usually play outside the scope of the established "DC Blues" scene, and do big shows in old R'n'B clubs of the more segregated parts of NE and SE DC. I’d get stared down by doormen ("I think you’re looking for 14th St. NW, this is 14th St. SE"), or visibly make some folks uncomfortable as we loaded in and enjoyed a pre-show meal ("Sorry, all we have is soul food"), until the music began... then we were all friends. A massive 4th of July block party in Anacostia will undoubtedly go down as my favorite memory of *real* DC. We played on the front porch of his friend’s house. The whole neighborhood was out dancing, grilling, carrying on in the street... then we watched the fireworks over the river while old LPs spun on the record player. It was 2002, but it may as well have been 1967.
We would occasionally meet up to rehearse at an old red brick house on Rhode Island Ave NE. Have a cigarette and a beer on the stoop, neighborhood folks would walk by laughing and smiling when they saw Jesse. We’d go into the wood-paneled basement, and an unmistakable electricity was in the air. Some old recording equipment was in the corner... yellowed framed photographs on the walls. I strained to look closer between songs. Bo Diddley, 1961. The Bo-Ettes headshots. Tour photos, festival programs, letters from all around the world, framed 45’s. "Oh, yeah man... I didn’t tell you? This is Bo’s house. We recorded here a lot when I was in the band."
He never bragged about his career... I think 95% of the people who came out to the clubs to see him didn’t even know he was there from the beginning... but it didn’t matter. Jesse James and the Raiders was his world now, and it was going strong. Every now and then he’d show up to a gig in a full cowboy-getup, shooting cap guns at women in the audience and strutting around like he was in a duel during his solos. Putting the guitar down and dancing with the young women in there with their nervous dates. Thinking about it now, he could barely play lead guitar worth a damn (he was actually Bo's bass player). But none of that mattered. Even into his 70s, He was a true soul showman, playing with heart and conviction, making audiences feel connected with everything the band was doing through nothing more than his gravelly, infectious laugh.
-Jeff Conlin
-------------------------------------------------------------------------------------
My experience with Jesse James was not unlike Jeff's. In fact, it was largely similar. Now looking back, it was a good lesson for me. Thanks to Brother Lee Hailey for bringing me to Jesse. If it wasn't for Jesse, I'd never have met Clarence. If it weren't for them, there wouldn't be no Sonny Boy Chung.
I remember once I was playing in Bohemian Caverns with Clarence and Jesse and his then Raiders were playing in the club upstairs. We crossed paths again. That might've been the last time I saw Jesse. And Jesse still had that old smile at me, and told his new harmonica player (name escapes me) that "You gotta learn something from that guy," pointing at me. In vanity, I was satisfied with his comment, as I was always proud to be in his band. And as always, I was his favorite. He would yell at Brother Lee for the TIMIN' thing and the saxophone player for playing too damn loud. Jesse would never yell at me.
Once we were playing at Cafe TouLOOSe, Jesse told me why he wanted me to be the harmonica player in his band. "The reason is simple. Those bastards (the other harp players who sat in) play over my singing. You don't play over my singing. You listen to the music. You respect the music. So when people ask me who's my harmonica player, it ain't gonna be those bastards. You know who it's gonna be!" I was deeply thankful for his recognition, which would shape me into a bluesman later on in life.
That's how our friendship started. The rest was history....
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Though he passed on over two years ago, I've been thinking about Jesse James a lot lately. I don’t remember the exact chain of events, but somehow shortly after I started showing up at blues jams around DC at the tender age of 19, I fell in with Jesse James and The Raiders. Looking back, It was one of the best things that ever happened to me.
The first night, I remember his amp being unreliable, his guitar going way out of tune, him getting belligerent after the third set break (smoking a Newport, downing a Seagram's, and yelling at his drummer Lee to "stop messin’ with the TIMING, man!" - even though Jesse himself was speeding up or slowing down). He was running the show (sometimes into the ground), and the people who came out to listen loved every second.
Adams Morgan hadn’t quite turned into the bridge and tunnel brodeo yet... it was still strong on its bohemian international flavor when I started with them. The owner of La Fourchette next door would give us amazing French food on set breaks while he rambled on about his undying love for American blues in a heavy accent; people would make the circuit of Columbia Station for jazz, any of the great African dance halls on the block, Madam's Organ, Mambo Room... there was always good, authentic music being played, attracting crowds of people from all over the city. Jesse’s shows at Cafe Toulouse ("right about now its showtime here at the Cafe Too-Loose!") were a cornerstone of it all for years.
My first night with him was a rollercoaster, and I dove in and played what I could, then backed off when I didn’t know where the song would go next. It wasn’t the best playing I'd ever done, but it was the best listening. At the time, I didn’t even realize it, but I was in the middle of an American Soul Music master class. Within only about a month, I knew half of Otis Redding's catalog. Albert King, Junior Walker, Rufus Thomas, Eddie Floyd... sometimes I had no idea who wrote the songs or how the originals actually sounded until years later, but I damn well knew the songs note for note.
His bandmates had been with him for decades, but I never felt like the odd man out. I was 45 years younger than them, but we joked like old friends. "Brother Jeff" had joined "Brother Lee" and "Brother Turner" as his permanent backing band. I really never thought of it as "Look at me! I'm playing with this cool old black guy!", but I understand that a lot of his friends were wary. We’d usually play outside the scope of the established "DC Blues" scene, and do big shows in old R'n'B clubs of the more segregated parts of NE and SE DC. I’d get stared down by doormen ("I think you’re looking for 14th St. NW, this is 14th St. SE"), or visibly make some folks uncomfortable as we loaded in and enjoyed a pre-show meal ("Sorry, all we have is soul food"), until the music began... then we were all friends. A massive 4th of July block party in Anacostia will undoubtedly go down as my favorite memory of *real* DC. We played on the front porch of his friend’s house. The whole neighborhood was out dancing, grilling, carrying on in the street... then we watched the fireworks over the river while old LPs spun on the record player. It was 2002, but it may as well have been 1967.
We would occasionally meet up to rehearse at an old red brick house on Rhode Island Ave NE. Have a cigarette and a beer on the stoop, neighborhood folks would walk by laughing and smiling when they saw Jesse. We’d go into the wood-paneled basement, and an unmistakable electricity was in the air. Some old recording equipment was in the corner... yellowed framed photographs on the walls. I strained to look closer between songs. Bo Diddley, 1961. The Bo-Ettes headshots. Tour photos, festival programs, letters from all around the world, framed 45’s. "Oh, yeah man... I didn’t tell you? This is Bo’s house. We recorded here a lot when I was in the band."
He never bragged about his career... I think 95% of the people who came out to the clubs to see him didn’t even know he was there from the beginning... but it didn’t matter. Jesse James and the Raiders was his world now, and it was going strong. Every now and then he’d show up to a gig in a full cowboy-getup, shooting cap guns at women in the audience and strutting around like he was in a duel during his solos. Putting the guitar down and dancing with the young women in there with their nervous dates. Thinking about it now, he could barely play lead guitar worth a damn (he was actually Bo's bass player). But none of that mattered. Even into his 70s, He was a true soul showman, playing with heart and conviction, making audiences feel connected with everything the band was doing through nothing more than his gravelly, infectious laugh.
-Jeff Conlin
-------------------------------------------------------------------------------------
My experience with Jesse James was not unlike Jeff's. In fact, it was largely similar. Now looking back, it was a good lesson for me. Thanks to Brother Lee Hailey for bringing me to Jesse. If it wasn't for Jesse, I'd never have met Clarence. If it weren't for them, there wouldn't be no Sonny Boy Chung.
I remember once I was playing in Bohemian Caverns with Clarence and Jesse and his then Raiders were playing in the club upstairs. We crossed paths again. That might've been the last time I saw Jesse. And Jesse still had that old smile at me, and told his new harmonica player (name escapes me) that "You gotta learn something from that guy," pointing at me. In vanity, I was satisfied with his comment, as I was always proud to be in his band. And as always, I was his favorite. He would yell at Brother Lee for the TIMIN' thing and the saxophone player for playing too damn loud. Jesse would never yell at me.
Once we were playing at Cafe TouLOOSe, Jesse told me why he wanted me to be the harmonica player in his band. "The reason is simple. Those bastards (the other harp players who sat in) play over my singing. You don't play over my singing. You listen to the music. You respect the music. So when people ask me who's my harmonica player, it ain't gonna be those bastards. You know who it's gonna be!" I was deeply thankful for his recognition, which would shape me into a bluesman later on in life.
That's how our friendship started. The rest was history....
Labels: authentic blues, blues, blues harmonica, Jesse James and The Raiders, Jesse James Brown
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Monday, November 09, 2009
From 新報: 劍膽琴心
新報 Nov 10, 2009
劍膽琴心
撰文：馮慧殷 攝影：張福宏
Original post can be found here.
西裝畢挺的Henry Chung（鍾一匡）正職是一名律師，立志在不公平的社會尋找公義；拿起口琴，吹奏起悠然黑人藍調音樂，希望給人們了解音樂源頭，與音樂對話。
他為了兩種身份賦予自己兩種使命感，選擇做肩負正義之劍的口琴師。
同現在很多小孩一樣，我在6歲也是被家人捉去學畫畫，跟了位水墨畫家學，我怎麼畫都畫不好，家人們不死心，說「你總得學點甚麼」，恰好我剛學懂綁鞋帶，想有點突破就轉去學琴了。
學了二十多年，總考不到8級，最後只好放棄繼續。不過學琴學到了樂理，為日後了解音樂奠基，也是算收穫了。
家人有沒有刻意培養音樂才能？
自小都是聽港式流行曲大的，爸爸會聽歐西流行曲如貓王。家人都喜歡聽歌，也不揀擇，不會刻意讓我接觸甚麼音樂。不過耳濡目染下，對音樂的觸覺早受到影響了。
何時愛上藍調音樂？
15歲去到美國讀書，發現了藍調，是爵士樂的一種。感覺這種音樂好像和我說話，我知道這是屬於我的音樂，因為它可以在靈魂層面和我接觸到。不過那時還沒想過去學，直到2000年，當時我在華盛頓讀法律，有次行街，見到有個黑人在吹口琴賣藝，吹得極好。
我就忍不住問他怎麼吹，他同我講，其實不難，叫我回家學好頭三個孔，他說，練好這三個孔，再返去找他。之後我苦練下學懂了便再找到他，最終得到他傳授畢生絕技。
大學為何不選讀音樂？
我從未想過讀音樂，也沒想過以音樂「搵食」。我覺得音樂不是讀出來，音樂是要實踐出來，否則會似紙上談兵。以最直接的方法去聽和看，才可感受音樂，而且我沒有這種才能，應該留給更厲害的人去做。
律師與音樂的共同點？
做律師之後，多了音樂界的朋友找我處理法律問題。其實不少獨立音樂人，都沒有法律的代表，即使他們有經理人，都可能是一知半解的，在知識產權上未必得到更好的保障。如果有個律師，又搞音樂的，而且很熟悉兩方的流程，那麼這樣的一個我，就可以幫助到他們受到應有的法律保護，可以更大度幫助到他們了。
想用音樂表達甚麼？
律師的工作很繁忙，而音樂可以為我真正的解壓。不過即使音樂是我的娛樂或消遣，但我都是百份之百投入的，我敢說來看我表演的觀眾，絕對不會悶，有很多不同的音樂元素給到他們。
在11月27日的太古港島東Friday Fest＇戶外 表演，我會和加拿大「靚聲」女歌手Gigi Marentette，及Jesrael Lucero這位盲人鋼琴家合作表演，我相信我們三人的互動，可以給觀眾一點震撼的感覺，讓他們能融入到我們的音樂中。
生活與音樂有何關係？
為甚麼我要玩音樂，為甚麼要堅持？因為除了事業、工作之外，人應該還要有文化的。我想將在外國學到的，令我感觸的藍調，想製造一個平台再貢獻給香港人。因為如果你給香港人好的東西，他們會懂得欣賞的，會推動的。而我擁有的是純正的藍調，可以給他們除了工作外，生活上的另一種選擇。
音樂之路走得平坦嗎？
自己是個黃種人，吹黑人的音樂，卻被白人歧視兼「柴台」，其實是很奇怪的，我更被華盛頓一些Club列入不受歡迎人物。不過上天對我不薄，有一位鼓手聽我吹過後，覺得我吹得還可以，便帶我去找了位黑人藍調歌手Jesse James Johnson。
Jesse沒有嫌棄我，更讓我參加他的樂隊來鍛練我。後來，輾轉再認識另一位黑人藍調結他手Clarence Turner，得到他的提攜同教誨，才有今天的我。一路走來，有波折，卻幸運。
對金錢有甚麼看法？
人不可以沒有金錢，但我不會拿錢去投資買樓甚麼的，又帶不入棺材。不過，有時音樂是精緻文化，需要有支持才能享受，例如有人會儲很多錢買部機，以便聽得到「靚聲」的音樂CD，既然從中得到樂趣，何樂而不為呢？人的生命很短暫，盡可以都應該抽時間體會人生。
況且不一定要錢才有享受，就像去效野公園不需要很多錢，但隨時可以享受到鳥語花香。
藍調之源
藍調最早的起源應該在19世紀初，起源於新大陸殖民者的黑奴拓墾區。非洲黑人被白人抓來美洲作奴隸，他們就藉着工作或閒暇時間以歌唱來減輕肉體與心靈的苦痛。有學者考據，藍調音樂與某些西北非的民族音樂甚為接近。「blues」 原意指憂鬱，在黑人音樂裏面就是藍調的意思。
肩負正義的口琴師
Henry說他想當律師，是由來已久的，因為有種使命感，即使只有一點能力，都想在不公平的社會，彰顯公義。他說當聽眾聽到自己的音樂會感動，便想繼續做下去，他想帶給聽到他音樂的人，打開心扉感悟人生，同樣是一種使命感使然。憑着想在俗世中盡力做一股清泉，如同他的音樂，Henry給自己背負不少，卻樂在其中，也許就是音樂的美妙之處。
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劍膽琴心
撰文：馮慧殷 攝影：張福宏
Original post can be found here.
西裝畢挺的Henry Chung（鍾一匡）正職是一名律師，立志在不公平的社會尋找公義；拿起口琴，吹奏起悠然黑人藍調音樂，希望給人們了解音樂源頭，與音樂對話。
他為了兩種身份賦予自己兩種使命感，選擇做肩負正義之劍的口琴師。
同現在很多小孩一樣，我在6歲也是被家人捉去學畫畫，跟了位水墨畫家學，我怎麼畫都畫不好，家人們不死心，說「你總得學點甚麼」，恰好我剛學懂綁鞋帶，想有點突破就轉去學琴了。
學了二十多年，總考不到8級，最後只好放棄繼續。不過學琴學到了樂理，為日後了解音樂奠基，也是算收穫了。
家人有沒有刻意培養音樂才能？
自小都是聽港式流行曲大的，爸爸會聽歐西流行曲如貓王。家人都喜歡聽歌，也不揀擇，不會刻意讓我接觸甚麼音樂。不過耳濡目染下，對音樂的觸覺早受到影響了。
何時愛上藍調音樂？
15歲去到美國讀書，發現了藍調，是爵士樂的一種。感覺這種音樂好像和我說話，我知道這是屬於我的音樂，因為它可以在靈魂層面和我接觸到。不過那時還沒想過去學，直到2000年，當時我在華盛頓讀法律，有次行街，見到有個黑人在吹口琴賣藝，吹得極好。
我就忍不住問他怎麼吹，他同我講，其實不難，叫我回家學好頭三個孔，他說，練好這三個孔，再返去找他。之後我苦練下學懂了便再找到他，最終得到他傳授畢生絕技。
大學為何不選讀音樂？
我從未想過讀音樂，也沒想過以音樂「搵食」。我覺得音樂不是讀出來，音樂是要實踐出來，否則會似紙上談兵。以最直接的方法去聽和看，才可感受音樂，而且我沒有這種才能，應該留給更厲害的人去做。
律師與音樂的共同點？
做律師之後，多了音樂界的朋友找我處理法律問題。其實不少獨立音樂人，都沒有法律的代表，即使他們有經理人，都可能是一知半解的，在知識產權上未必得到更好的保障。如果有個律師，又搞音樂的，而且很熟悉兩方的流程，那麼這樣的一個我，就可以幫助到他們受到應有的法律保護，可以更大度幫助到他們了。
想用音樂表達甚麼？
律師的工作很繁忙，而音樂可以為我真正的解壓。不過即使音樂是我的娛樂或消遣，但我都是百份之百投入的，我敢說來看我表演的觀眾，絕對不會悶，有很多不同的音樂元素給到他們。
在11月27日的太古港島東Friday Fest＇戶外 表演，我會和加拿大「靚聲」女歌手Gigi Marentette，及Jesrael Lucero這位盲人鋼琴家合作表演，我相信我們三人的互動，可以給觀眾一點震撼的感覺，讓他們能融入到我們的音樂中。
生活與音樂有何關係？
為甚麼我要玩音樂，為甚麼要堅持？因為除了事業、工作之外，人應該還要有文化的。我想將在外國學到的，令我感觸的藍調，想製造一個平台再貢獻給香港人。因為如果你給香港人好的東西，他們會懂得欣賞的，會推動的。而我擁有的是純正的藍調，可以給他們除了工作外，生活上的另一種選擇。
音樂之路走得平坦嗎？
自己是個黃種人，吹黑人的音樂，卻被白人歧視兼「柴台」，其實是很奇怪的，我更被華盛頓一些Club列入不受歡迎人物。不過上天對我不薄，有一位鼓手聽我吹過後，覺得我吹得還可以，便帶我去找了位黑人藍調歌手Jesse James Johnson。
Jesse沒有嫌棄我，更讓我參加他的樂隊來鍛練我。後來，輾轉再認識另一位黑人藍調結他手Clarence Turner，得到他的提攜同教誨，才有今天的我。一路走來，有波折，卻幸運。
對金錢有甚麼看法？
人不可以沒有金錢，但我不會拿錢去投資買樓甚麼的，又帶不入棺材。不過，有時音樂是精緻文化，需要有支持才能享受，例如有人會儲很多錢買部機，以便聽得到「靚聲」的音樂CD，既然從中得到樂趣，何樂而不為呢？人的生命很短暫，盡可以都應該抽時間體會人生。
況且不一定要錢才有享受，就像去效野公園不需要很多錢，但隨時可以享受到鳥語花香。
藍調之源
藍調最早的起源應該在19世紀初，起源於新大陸殖民者的黑奴拓墾區。非洲黑人被白人抓來美洲作奴隸，他們就藉着工作或閒暇時間以歌唱來減輕肉體與心靈的苦痛。有學者考據，藍調音樂與某些西北非的民族音樂甚為接近。「blues」 原意指憂鬱，在黑人音樂裏面就是藍調的意思。
肩負正義的口琴師
Henry說他想當律師，是由來已久的，因為有種使命感，即使只有一點能力，都想在不公平的社會，彰顯公義。他說當聽眾聽到自己的音樂會感動，便想繼續做下去，他想帶給聽到他音樂的人，打開心扉感悟人生，同樣是一種使命感使然。憑着想在俗世中盡力做一股清泉，如同他的音樂，Henry給自己背負不少，卻樂在其中，也許就是音樂的美妙之處。
Labels: authentic blues, blues, Clarence "The Bluesman" Turner, Clarence Turner, Henry Chung, HK Blues Allstars, Jesse James and The Raiders, Jesse James Brown, The Chimes, 新報, 鍾一匡, 鐘聲
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Wednesday, May 13, 2009
Blues gig of the year!
Thanks to the geneorsity of HK journalists, I've been warmly received since returning to HK. For instance, check out this snippet from TOHK:-
"Fighting hard - sometimes seemingly alone - at the top of Hong Kong’s boutique blues circle, mouth organist Henry Chung is doing as much as anyone to keep our live music scene alive and diverse. After learning his trade in the US, and sitting in and gigging with the likes of BB King and Grammy-nominee Joe Louis Walker, the mild-mannered lawyer returned to Hong Kong a few years back and quickly set about establishing himself as the most recognisable blues name in town. Proving his diversity, he has gone on to record with jazz artists and pop singers alike, including Anthony Wong, at17, and Lo Lo, with whom he performed at the Coliseum to an audience of thousands.
Heading off in another surprising direction, Chung has just finished work on a gospel album, The Chimes, with his brother and numerous top Hong Kong musicians - one of whom is long-time collaborator Eugene Pao, who has an unshakeable grip on the title of ‘Hong Kong’s best jazz guitarist’. Pao is on stage with Chung for this night of raw and authentic Chicago Blues and 1940s and 50s blues, along with a host of other jazz types, including Canadian vocalist Genevieve Marentette."
And this from BC Magazine:
"Local king of harmonica Henry Chung and jazz/ blues guitar icon Eugene Pao are teaming up for an all-star line-up for the local blues gig of the year – also playing are Vincent Lam (vocals/guitar), Edward Chun (vocals/guitar), Bob Mocarsky (keyboards), Ah Hong (bass) and Anthony Fernandes (drums) with special guest Genevieve Marentette on vocals. The gig will be on May 16 at 9pm at Grappa’s Cellar (2521 2322) and tickets are $188 (includes two drinks)."
It's THIS COMING SATURDAY. The word is that there are a few tickets left. Make your reservations now at 2521 2322!
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"Fighting hard - sometimes seemingly alone - at the top of Hong Kong’s boutique blues circle, mouth organist Henry Chung is doing as much as anyone to keep our live music scene alive and diverse. After learning his trade in the US, and sitting in and gigging with the likes of BB King and Grammy-nominee Joe Louis Walker, the mild-mannered lawyer returned to Hong Kong a few years back and quickly set about establishing himself as the most recognisable blues name in town. Proving his diversity, he has gone on to record with jazz artists and pop singers alike, including Anthony Wong, at17, and Lo Lo, with whom he performed at the Coliseum to an audience of thousands.
Heading off in another surprising direction, Chung has just finished work on a gospel album, The Chimes, with his brother and numerous top Hong Kong musicians - one of whom is long-time collaborator Eugene Pao, who has an unshakeable grip on the title of ‘Hong Kong’s best jazz guitarist’. Pao is on stage with Chung for this night of raw and authentic Chicago Blues and 1940s and 50s blues, along with a host of other jazz types, including Canadian vocalist Genevieve Marentette."
And this from BC Magazine:
"Local king of harmonica Henry Chung and jazz/ blues guitar icon Eugene Pao are teaming up for an all-star line-up for the local blues gig of the year – also playing are Vincent Lam (vocals/guitar), Edward Chun (vocals/guitar), Bob Mocarsky (keyboards), Ah Hong (bass) and Anthony Fernandes (drums) with special guest Genevieve Marentette on vocals. The gig will be on May 16 at 9pm at Grappa’s Cellar (2521 2322) and tickets are $188 (includes two drinks)."
It's THIS COMING SATURDAY. The word is that there are a few tickets left. Make your reservations now at 2521 2322!
Labels: authentic blues, Eugene Pao, Grappa's
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Sunday, September 21, 2008
Wow, what a night!
Saturday night at the Fringe Club with Bill Heid, Edward Chun, Ram Cheung, Koya Hisakazu and Jimi S. Galvea was some of the best blues I've ever played or heard in HK. For those who missed the gig, you'd have to wait until Bill next rolls into town. I anticipate that time to come soon.
Now, some YouTube clips of Bill for you thirsty fans:
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Now, some YouTube clips of Bill for you thirsty fans:
Labels: authentic blues, Bill Heid, blues
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Tuesday, July 01, 2008
I still love the blues...
My three-month tenure at the RTHK Radio 4 has come to an end. I'm quite satisfied with the song selections that I've lent to the programs, only to find a few essential artists missing from the mix, e.g. John Coltrane, Miles Davis. Oh well, you can't really include everything. But all the songs were chosen from my private collection and at some point in my life had a rather profound impact. Most of all, I was back being a DJ again, after my 14 year absence from WNMH, FM91.5, Gill, Keene, and Brattleboro. What a nostalgic feeling!
I've been involved in a lot of commercial releases lately. I've been quite far from the blues. But I still love the blues. The blues is still part of me. I miss playing blues with the likes of Clarence Turner, Bill Heid, Big Joe Maher, Deanna Bogart (congrats to her for winning best horn for the Blues Awards!). I miss playing with authentic blues players. That's the price you have to pay for working in a law firm in HK.
Jazz-wise, I haven't come across any impressive local acts lately. The Shunzo Ohno gig at the Fringe club was sadly a self-indulged disappointment. Come to think of it, I think the best jazz was when I happened to hop into Juliette's Wine Bar some 9 months ago when I encountered a nice groovy local trio. They were "in sync" and knew each other well musically. Good music doesn't require big names; it just needs chemistry.
I have no concrete idea of I want to do next musically (I never do). But good things are due to come. So stay tuned, and be fascinated!
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I've been involved in a lot of commercial releases lately. I've been quite far from the blues. But I still love the blues. The blues is still part of me. I miss playing blues with the likes of Clarence Turner, Bill Heid, Big Joe Maher, Deanna Bogart (congrats to her for winning best horn for the Blues Awards!). I miss playing with authentic blues players. That's the price you have to pay for working in a law firm in HK.
Jazz-wise, I haven't come across any impressive local acts lately. The Shunzo Ohno gig at the Fringe club was sadly a self-indulged disappointment. Come to think of it, I think the best jazz was when I happened to hop into Juliette's Wine Bar some 9 months ago when I encountered a nice groovy local trio. They were "in sync" and knew each other well musically. Good music doesn't require big names; it just needs chemistry.
I have no concrete idea of I want to do next musically (I never do). But good things are due to come. So stay tuned, and be fascinated!
Labels: authentic blues, Blues Awards, jazz in Hong Kong, Jazzing Up, RTHK Radio 4, WNMH
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Wednesday, March 28, 2007
My blues partner-in-crime
Just found out my blues partner-in-crime Clarence "The Bluesman" Turner has just released a CD called "Live at Chick Hall's Surf Club." It's got some authentic blues out there. This was the show that got Clarence to the IBC finals in Memphis. It's the best medicine for the lonely soul and hunger for some authentic blues. Check out the samples and then buy the CD!
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Labels: authentic blues, Clarence "The Bluesman" Turner
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