By EDITOR-IN-CHIEF: Art Tipaldi
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Extra info for Blues Music Magazine #2
Hambridge, the man behind Susan Tedeschi’s sudden leap to fame in the late 1990s, provides much of the song craft, with credits on 18 tracks (five co-credited to Guy), and he backs Buddy on drums across the combined 81 minutes on the two discs. Former Stevie Ray Vaughan keyboard-man Reese Wynans, Texas guitar slinger David Grissom, and bassist Michael Rhodes, best known for his work with Nashville artists, also turn up on a majority of tracks. It’s a solid ensemble. At first glance, Rhythm & Blues might seem to be freighted with too many guests again.
What’s interesting about this tribute, her fourth in a series, is her own personal imprint that she brings to the process. Mississippi John Hurt was the sweetest, gentlest, and most folk friendly of the acoustic blues artists that Dick Waterman brought to Greenwich Village and Harvard Square with his Avalon Productions. ) In fact, Hurt sounded more like the softerspoken Appalachian blues artists than one from the Delta. As petite and feminine as Block looks and is, her finger picking has more thorns and bristles on it than Hurt ever thought of having.
People weren’t playing that sustained guitar lead at that time. BMM: What attracted you to the sax? Why tenor sax? 28 Blues Music Magazine PHOTOGRAPHY © TONY KUTTER Blues Music Magazine: Growing up in Chicago, what blues influences were you exposed to? Hanck: I was in a band called Grayson Street because I lived on Grayson Street in Berkeley. I was pretty green, completely naïve. A lot of people came in and out. We were like a farm team. Luther Tucker played in that band for a short time. Everyone hated us, except the musicians would come and see us.