Sunday, October 31, 2010
If you love me....
Please come to this show!
MARK YOUR CALENDAR NOW!
Nov 20 (Sat) at Grappas Cellar
CHUNG MEETS PAO ROUND IV!
The 2010 Blues Event of the Year! Don't miss!
The lineup is:
Eugene Pao (Guitar)
Henry Chung (Harmonica)
Blaine Whittaker (alto sax)
Mark Henderson (Trumpet)
Vincent Lam (Guitar)
Jason Cheng (Keyboards)
Rayvaughn Covington (Bass)
Joel Haggard (drums)
Special guests:
Peter Ng (Superstar Guitarist from Ramband & Chyna)
and surprise guest!
Grappa's Cellar
Jardine House,
1 Connaught Place,
Central, Hong Kong
$228 for adults (including 1 free drink)
Reservation
Call (852) 2521-2322
Labels: blues, blues harmonica, Eugene Pao, Grappa's, Henry Chung, Superband
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Friday, February 26, 2010
Even the legends get the blues!
I love this poster, but I'm not a legend!
Labels: blues, Eugene Pao, Jun Kung, Koya Hisakazu, Vincent Lam
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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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Sunday, November 01, 2009
Chung Meets Pao Round III November 14, 9 p.m.
Mark your calendar!
14 Nov 2009 (Sat)
Chung Meets Pao Round III
A Night of Chicago Blues - November 14th, 2009 at 9:00pm.
Lineup:
Genevieve Marentette (Vocals)
Eugene Pao (Guitar)
Henry Chung (Harmonica)
Johnny Campo (Trumpet)
Charles Huntley (saxophone)
Jesrael Lucero (keyboards)
Tsang Tak Hong (upright bass)
Melchior Sarreal (drums)
$188 for adults (including 1 free drink)
$88 for students (including 1 soft drink)
Tickets are avilable from Grappa's Cellar.
Grappa's Cellar
Central
Jardine House,
1 Connaught Place,
Central, Hong Kong
Reservation
Call (852) 2521-2322
Check out website here.
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14 Nov 2009 (Sat)
Chung Meets Pao Round III
A Night of Chicago Blues - November 14th, 2009 at 9:00pm.
Lineup:
Genevieve Marentette (Vocals)
Eugene Pao (Guitar)
Henry Chung (Harmonica)
Johnny Campo (Trumpet)
Charles Huntley (saxophone)
Jesrael Lucero (keyboards)
Tsang Tak Hong (upright bass)
Melchior Sarreal (drums)
$188 for adults (including 1 free drink)
$88 for students (including 1 soft drink)
Tickets are avilable from Grappa's Cellar.
Grappa's Cellar
Central
Jardine House,
1 Connaught Place,
Central, Hong Kong
Reservation
Call (852) 2521-2322
Check out website here.
Labels: blues, blues harmonica, Chung Meets Pao, Eugene Pao, Grappa's, Henry Chung, HK Blues Allstars
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Tuesday, December 16, 2008
Unforgetting shows
Some shows, due to some reason, were just perfect, and you'll never forget them.
I've had a few: Blues Alley with Clarence, Mid-Atlantic Blues Allstars at Mandarin Oriental in DC, Lowell Lo at the Coliseum, Innonation gig with Gigi and Dan, Fringe Club gig with Bill Heid, etc.
And then there's NYE with Deanna Bogart at Rams Head in 2005.
David captured it so well here:
"We took Becky's cousin Pam and her husband Ben to the New Year's Eve show in 2005.
There was a small dance area next to the stage. There was a great band. We wanted this to be a great event for Pam and Ben.
I tried to get our buddy Henry Chung to go but the $125 plus cost was too high. Henry is from Hong Kong and had been playing blues harmonica for several years around DC and Baltimore. Henry is a stand-up guy. Too bad he has moved back to Hong Kong to work as a lawyer. We all miss him.
I told Henry to stop by Ram's Head anyway and I would come outside to hang with him. We were chatting with db before the show and my phone rang. It was Henry!!! So db told the guy at the door that Henry was with her. Then we fixed him a plate at the buffet and put him in with the sound man.
Our seats were right in the front center of the stage so I put Henry's harmonica box on the stage. The room temperature was warm and getting warmer. We were wearing dress clothes.
The heat started to rise as the band played on. Pam started to get woozy and left for the bathroom. Ben got really concerned so his mind left the show. Henry joined us by squeezing in at our table. db did a sweet thing and let Henry sit in with the band for several tunes. The crowd loved it! Pam & Ben were kind of out of it.
The heat continued to rise and at about 90 degrees Henry took Pam and Ben back to the hotel. Becky and I came on a shuttle so we didn't have a car. Becky and I stayed through the end of the show and Henry came back. We hung out for a while and Henry took us back to the hotel.
As I said Henry is a stand-up guy. db is also a stand-up lady for letting Henry join us and play some tunes.
It was an interesting night…
dw"
It was interesting indeed, one of the few highlights of my uneventful music career.
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I've had a few: Blues Alley with Clarence, Mid-Atlantic Blues Allstars at Mandarin Oriental in DC, Lowell Lo at the Coliseum, Innonation gig with Gigi and Dan, Fringe Club gig with Bill Heid, etc.
And then there's NYE with Deanna Bogart at Rams Head in 2005.
David captured it so well here:
"We took Becky's cousin Pam and her husband Ben to the New Year's Eve show in 2005.
There was a small dance area next to the stage. There was a great band. We wanted this to be a great event for Pam and Ben.
I tried to get our buddy Henry Chung to go but the $125 plus cost was too high. Henry is from Hong Kong and had been playing blues harmonica for several years around DC and Baltimore. Henry is a stand-up guy. Too bad he has moved back to Hong Kong to work as a lawyer. We all miss him.
I told Henry to stop by Ram's Head anyway and I would come outside to hang with him. We were chatting with db before the show and my phone rang. It was Henry!!! So db told the guy at the door that Henry was with her. Then we fixed him a plate at the buffet and put him in with the sound man.
Our seats were right in the front center of the stage so I put Henry's harmonica box on the stage. The room temperature was warm and getting warmer. We were wearing dress clothes.
The heat started to rise as the band played on. Pam started to get woozy and left for the bathroom. Ben got really concerned so his mind left the show. Henry joined us by squeezing in at our table. db did a sweet thing and let Henry sit in with the band for several tunes. The crowd loved it! Pam & Ben were kind of out of it.
The heat continued to rise and at about 90 degrees Henry took Pam and Ben back to the hotel. Becky and I came on a shuttle so we didn't have a car. Becky and I stayed through the end of the show and Henry came back. We hung out for a while and Henry took us back to the hotel.
As I said Henry is a stand-up guy. db is also a stand-up lady for letting Henry join us and play some tunes.
It was an interesting night…
dw"
It was interesting indeed, one of the few highlights of my uneventful music career.
Labels: blues, Deanna Bogart
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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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Saturday, March 15, 2008
A Kafkasque roller coaster ride
Hung out with Georgie Fame unexpectedly last night. Talked for a long time. Talked about Ben Sidran, Mose Allison, "Lost Mind," Zoot Sims, Bob Malach, his record "Cool Cat Blues," the old Van Morrison and Eric Clapton records, Howlin' Wolf, the blues, and everything else. What a guy! The wisdom, the knowledge, and the demeanor. A guy with a rich history behind him.
And then he sang "Moody's Moody For Love." That almost brought tears to my eyes. A moving moment that reminds me why I love music in the first place.
So what do I like about music? Everything about it.
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And then he sang "Moody's Moody For Love." That almost brought tears to my eyes. A moving moment that reminds me why I love music in the first place.
So what do I like about music? Everything about it.
Labels: blues, Georgie Fame, Moody's Mood For Love, Mose Allison
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Sunday, January 13, 2008
World-class act in Hong Kong!
Hi kiddies! Happy New Year!
Last Friday I had the privilege to share the stage with, and most importantly, witness the amazing talents of a vastly underrated blues guitarist (who I'm proud to call my friend), Enrico Crivellaro.
Because of a flight change, he was in town for a few days, and I took him for a night out in Hong Kong. I'm no good as a tour guide, but I do know roughly where the nightspots are.
Of course, Enrico claimed that he hadn't picked up the guitar for 3 weeks and thus was rusty. But when he did pick up the guitar, the music filled the room and you could see the audience's jaws dropped...I had never witnessed anything like that, not even in DC. This was truly a class act, and I wish Hong Kong would bring in more musicians like that....
Some Youtube clips for your interests:
And for the record, these do not reflect how great he is....
He truly inspired me to work on my chops and become a better player. I'm the one who's rusty!
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Last Friday I had the privilege to share the stage with, and most importantly, witness the amazing talents of a vastly underrated blues guitarist (who I'm proud to call my friend), Enrico Crivellaro.
Because of a flight change, he was in town for a few days, and I took him for a night out in Hong Kong. I'm no good as a tour guide, but I do know roughly where the nightspots are.
Of course, Enrico claimed that he hadn't picked up the guitar for 3 weeks and thus was rusty. But when he did pick up the guitar, the music filled the room and you could see the audience's jaws dropped...I had never witnessed anything like that, not even in DC. This was truly a class act, and I wish Hong Kong would bring in more musicians like that....
Some Youtube clips for your interests:
And for the record, these do not reflect how great he is....
He truly inspired me to work on my chops and become a better player. I'm the one who's rusty!
Labels: blues, Enrico Crivellaro
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Sunday, November 11, 2007
Moral support
Wow! Haven't updated in awhile. Work has occupied 90% of my time. Musically, I've come to the tip of an iceberg. I haven't been able to create anything groundbreaking lately. Fortunately, the live shows been up to my personal standard. I was really pleased with the Philia show. I didn't go out of my way to play my guts out, but for what I was doing, I put a lot of restraints into my soul. It turned out to be enjoyable, cuz I didn't overdo it.
And then I was told by half a dozen people that they really enjoyed our Kubrick Live show (one even told me it was the best concert she's been into in awhile), which gave me some reassurance and comfort. Here were some comments I found on the web:
From WinKris:
"今晚，欣賞左一場好聽好睇的音樂會。
係油麻地Kubrick Cafe演出geh "Henry Chung & The HK Blues Allstars"。
第一次係現場聽藍調，感覺好新鮮。Henry真係一個好出色geh口琴手，唔係真係係現場睇，真係感受唔到果種感覺，真係好正。可惜今晚的場地無酒飲，如果飲埋酒會更加high。
下次geh演出，都會再去~~"
From Lolita Summer:
"上星期五的Kubrick Friday Live
終於是真正的jazz~
Henry Chung & The HK Blues Allstars
非常非常精彩!
Jazz的確是兼容並蓄的音樂
幾乎任何樂器也能加入
以前聽過以海螺吹奏jazz
不過口琴也是第一次呢
樂手在台上自得其樂
隨著心情氣氛即興演奏
不計較拍子 不用跟樂譜
各自各精彩 又能配合得天衣無縫
Mood is everything~
永遠那麼隨意 那麼playful
愛上jazz是不是物以類聚的原理呢?"
Today I'm going to play at a good friend's birthday party. Wednesday at a kickoff party to raise fund for children with cancer. And then Saturday the big show at Grappa's.... I'm going to play my best. I can't wait to play!
Hope you will support me, whether in presence or in spirit.
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And then I was told by half a dozen people that they really enjoyed our Kubrick Live show (one even told me it was the best concert she's been into in awhile), which gave me some reassurance and comfort. Here were some comments I found on the web:
From WinKris:
"今晚，欣賞左一場好聽好睇的音樂會。
係油麻地Kubrick Cafe演出geh "Henry Chung & The HK Blues Allstars"。
第一次係現場聽藍調，感覺好新鮮。Henry真係一個好出色geh口琴手，唔係真係係現場睇，真係感受唔到果種感覺，真係好正。可惜今晚的場地無酒飲，如果飲埋酒會更加high。
下次geh演出，都會再去~~"
From Lolita Summer:
"上星期五的Kubrick Friday Live
終於是真正的jazz~
Henry Chung & The HK Blues Allstars
非常非常精彩!
Jazz的確是兼容並蓄的音樂
幾乎任何樂器也能加入
以前聽過以海螺吹奏jazz
不過口琴也是第一次呢
樂手在台上自得其樂
隨著心情氣氛即興演奏
不計較拍子 不用跟樂譜
各自各精彩 又能配合得天衣無縫
Mood is everything~
永遠那麼隨意 那麼playful
愛上jazz是不是物以類聚的原理呢?"
Today I'm going to play at a good friend's birthday party. Wednesday at a kickoff party to raise fund for children with cancer. And then Saturday the big show at Grappa's.... I'm going to play my best. I can't wait to play!
Hope you will support me, whether in presence or in spirit.
Labels: blues, blues harmonica, Grappa's, HK Blues Allstars
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Monday, July 09, 2007
Aftermath of a great gig!
Words can't even begin to describe my lingering excitement from Saturday's HK Live! gig. I think the level of music exceeded that night at Grappa's Cellar and the band reached another threshold of sophistication.
For one thing, we had a rehearsal this time and our drummer, Joel Haggard, was the perfect blues drummer I had been looking for in HK. Moreover, Paul Candelaria did play his electric upright bass which added more texture to our original blues sound (as original as it can get in HK). In addition, Vincent and Ram had already warmed in their sets so when they started playing, they were already spot on. I detected some fantastic chemistry between the guitar players and the entire Fender v. Gibson concept was never more eminent.
This was my first official gig at the Fringe and we packed the joint with about 300-350 people. Sometimes you can tell when people just come to Fringe for fun or for the music. This time it was definitely the latter. Helter Skelter and Dumb Melon had their fair share of steady fans who support them on every gig. That means more fans got exposed to my music at the end of the night, thanks to the two bands. The highlight was after we did 6-7 of songs, I pulled Jennifer Palor up to the stage, and the whole crowd just went nuts. First, after 2 and a half sets of pure testosterone, it's refreshing to have an attractive female to balance the unevenness of gender on stage. More importantly, the presence of Jennifer also added to the sexiness of the whole thing (well, Vincent himself was sexy enough, but could use more...you dig!).
Musically speaking, I was on a high. It seems every time I played this year I would discover something new to woo the audience. I don't merely want to be a technician (or performer if you will), I want to entertain the audience as well. Blues is not supposed to be boring or intellectual. I was especially delighted when organizer Clare Morin said, "This was the best HK Live! yet. It was the best in terms of musicianship and audience response." C-Chai also put it best when he wrote, "聽到那許多為聽音樂而來的女生的尖叫，是令人興奮的！" Don't forget this is the *blues* we're talking about - a form of music that was invented by the blacks on the cotton fields.
SCMP wrote that one of the reasons I decided to return to HK was to contribute to the culture here; it's true. On a selfish level, of course I cherished the last applause and cheer. On a deeper level, if my music moves somebody after a bad day or makes someone happy after a good day, then I've done my job.
Music cures and heals. There are no two ways about it.
So what have I learned from all this? Nothing except to keep following my heart.
Preview: If you liked when you heard last Saturday, a similar lineup will appear at the Grappa's Jazz Festival on August 17, Friday. The only difference is that Eugene Pao will be playing lead guitar for the band. "Chung Meets Pao" is bound to happen. Stay tuned!
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For one thing, we had a rehearsal this time and our drummer, Joel Haggard, was the perfect blues drummer I had been looking for in HK. Moreover, Paul Candelaria did play his electric upright bass which added more texture to our original blues sound (as original as it can get in HK). In addition, Vincent and Ram had already warmed in their sets so when they started playing, they were already spot on. I detected some fantastic chemistry between the guitar players and the entire Fender v. Gibson concept was never more eminent.
This was my first official gig at the Fringe and we packed the joint with about 300-350 people. Sometimes you can tell when people just come to Fringe for fun or for the music. This time it was definitely the latter. Helter Skelter and Dumb Melon had their fair share of steady fans who support them on every gig. That means more fans got exposed to my music at the end of the night, thanks to the two bands. The highlight was after we did 6-7 of songs, I pulled Jennifer Palor up to the stage, and the whole crowd just went nuts. First, after 2 and a half sets of pure testosterone, it's refreshing to have an attractive female to balance the unevenness of gender on stage. More importantly, the presence of Jennifer also added to the sexiness of the whole thing (well, Vincent himself was sexy enough, but could use more...you dig!).
Musically speaking, I was on a high. It seems every time I played this year I would discover something new to woo the audience. I don't merely want to be a technician (or performer if you will), I want to entertain the audience as well. Blues is not supposed to be boring or intellectual. I was especially delighted when organizer Clare Morin said, "This was the best HK Live! yet. It was the best in terms of musicianship and audience response." C-Chai also put it best when he wrote, "聽到那許多為聽音樂而來的女生的尖叫，是令人興奮的！" Don't forget this is the *blues* we're talking about - a form of music that was invented by the blacks on the cotton fields.
SCMP wrote that one of the reasons I decided to return to HK was to contribute to the culture here; it's true. On a selfish level, of course I cherished the last applause and cheer. On a deeper level, if my music moves somebody after a bad day or makes someone happy after a good day, then I've done my job.
Music cures and heals. There are no two ways about it.
So what have I learned from all this? Nothing except to keep following my heart.
Preview: If you liked when you heard last Saturday, a similar lineup will appear at the Grappa's Jazz Festival on August 17, Friday. The only difference is that Eugene Pao will be playing lead guitar for the band. "Chung Meets Pao" is bound to happen. Stay tuned!
Labels: blues, Fringe Club, Grappa's, HK Blues Allstars, HK Live
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