LITTLE MACK COLLINS AND HIS RYTHM MASTERS - have worked beliind almost every blues plavei in Detroil ovei the years ;md will provide backup lor the entire Detroit Blues Show. LITTLE JUNIOR (Cannady), currently re cording on Bobo Jenkins' Big Star label. ARTHUR GUNTER, authoi of the 1 Kis smash, "Baby Let's Play House," who now lives in Pon Huron, Michigan, and who recently hit the Michigan State Lottery tor a big sso.OOO. BABY BOY WARREN, a rhythmic country guiunisi 011K recent!) 1 o his music aft il unh sickness and fami y best known for "Baby Boy Blues" and "Sanai JOHNNY MAE MATTHEWS, one of the rare women blues til! active around Motown, and a distincl credil to the traditii 1 uphold. J AKI 'THE SHAKER" WOODS. kind performer well-known iw ONE-STRING SAM, immortalized by an impromptu recording session i his woman out of jail ( "I Need $100 I ! Baby's Bond"), monochord instrument he made himself al hon EDD1E BURNS, who I il mi vai ious labels and has played hai monica and lv wnh John I BOBOJENKIN ippiand I ROIT BI I IES nul ■ id label on il 1R. BO, unashamedly playing in the B.B. ently undi ld contra Diamond Jim (who was murdered in a Mi ■ " 1 BOOGIE WOOGIE REI), who played piano on nearlv ali of John I ee Hooi irdings, v, the llooker band in th : rerticipant 111 the modern day scène. LIGHTN1NLSLIM, one ol the best known Dl - TROI I B niginally from I ouisiana aud now living in Poní an industrial Detroit and 1 [j WASHBOARI) WILLIE. the grandaddy and master percussionist ( v. . bel!, ibourine, etc.) of the DETROIT 131 14 S scène, performing as evei with his Super-Suds of Rhythm. EDDIE KIRKLAND.one oí the most excitin all Detroit Blues performers, now lives principally in and came up especially to rejoin lus old cohorts m the Detroit Blues Show. Saturday Night THE RAY CHARLES SHOW 73 with the Raelettes - Ray Charles is the man most responsible luí blending.exciting blues, r and b, jazz and gospel si vies into a new and unique breed of music that was later dubbed Soul. "I want people to feel my soul . . . Soul is when you can take a song and make it part of you a part that's so true, so real, people think it must have happened to you. It's like electricity, like a spirit, a drive, a power." Charles is a legend in his own time - his virtuosity at all kinds of music, eomposition, a multitude of instruments which he taught himself to play and his incredible spirit-drive-power have touched the souls of audiences the world over. Charles was born on September 23, 1930, in Albany. Georgia. By the time he was six physical darkness, now known to have been glaucoma, was slowly but irreparably closing his eye er. Poverty and racism combined to rendei medical assistance an impossibility. Attending a mi forlhe blind in Florida, Charles left at fifteen to om a dance hand in Jacksonville. He worked his way through gips in New York and Seattle (where he had the tirst black TV show in the Northwest) until signing with Atlantic records in 1954. By this time Charles had formed his own group of seven: together they recorded his firsl hit, "I Got a Woman," and trom there the legend grew. Charles has recorded over 60 albums. He now lives in Los Angeles with his wife and sons, helping manage the alïairs of his own record company, line. CHARLES M1NGUS was born in Nogales, Arion April 22, W21. but grew up in Watts, California Mingus tirst gained musical training while singing in a sou t hem revivalist churcb, where worshippers "went into trances and the response was wild and uninhibited." He spent the 40's playing n bic bands and small ■ including stints with Duke Ellington, Red .nd Charlie Parker) until 1953 when he formed his own assemblage, the Ja Workshop. The year before Mingus, the first black musician to attempt comniand ofevery aspect of his music, including the finanaarted his own record company, "Debut". Mingus is known as a premier bass player. pianist, comi.l free black music. llis autobiography, Beneath The ( nierdog, is as explosive vailable on Impulse and more recentlv Columbia records. J1MMY REED - was born in 1926 in Leiand, Mississippi. Moving north to Gary, Indiana, he began practicing harp and guitar when not working full shift ai un h on foundry. After three years on the Chicago club circuit. Jimmy joined the new Vee Jay label. In time. he became Vee-Jay's biggest hit-maker with tunes like "Big Boss Man," "Hush-Hush," "Baby What You Want Me To Do", "Ain't That Loving You Baby" and "Honest I Do," to name just a few. Reed's lonesome "boogie-in-the-dark" rhythms (an éarly Jimmy Reed title on Vee Jay) have made their mark on contemporary popular music, but the man himself has never received the popularity he deserves. BIG WALTER HORTON - was born in Mississippi in 1918. but considers himself a Memphis native. By the time he was twelve he was hanging around Memphis blues people and traveling around the South. Eventually heading north to Chicago, Walter hooked up with guitarist Eddie Taylor (on the Festival bill with Mighty Joe Young) and the two joined Muddy Water's band in 1953. Lately many of hisgigs have featured fellow harpist Chicago Carey Bell.whom Walter practical!; raised. His most recent album was released on Alligator Records. THE JOHNNY OTIS SHOW - Johnny Otis was the t nst white musician to make a dent in the 1940's world of rhythm & blues, or as it was known then, "race music." He formed his first band in 1 945 and recorded his first national hit, "Harlem Nocturne" the next year. In the years that followed, Otis became known as the top r and b talent finder on the west coast, turning up people such as Etta James, Esther Phillips, Big MamaThornton, Little Willie John, Jackie Wilson and Hank Ballard. He hosted the first rock and roll radio show oh the West Coast, which eventually landed him the first rock and roll televisión show as well in the mid-to-late fifties. His songwriting credits include such r & b standards as "So Fine," "Work with me Aanie" (banned on the radio lor alleged obscenity) and the classic "Willie and the Hand Jive." Johnny now travels with the Johnny Otis Show, a collection of some of the finest r & b musicians ever gathered into one act: Eddie "Cleanhead" Vinson (sax), the Mighty [- lea (trombone). Big Joe Turner ( vocals), PeeWee Crayton (guitar & vocals). Marie Adams and the Three Tons of Joy, Delmar "Mighty Mouth" Evans, and the Otisettes stand back and give them room to work! ORNETTE COLEMAN - was one of the premier'musicians to develop the new black music in the late 1950's and proclaim to the world through his album titles that it was "The Shape of Jazz to Come" and "Something Else" - "This Is Our Music." Ornette tearing saxophone "is the human voice transcending the limitations of language; its cry is one of cosrhic anguish." Coleman's freedom music i as relevant today as it was in 1959, when he first challenged the slenlity of hardbop and the emotional emasculation of West Coast Cool, taking music bevond the artificial bound.i mdard, accepted chording and harmony. Born in Fort Worth. Texas, in 1930, Ornette spent hls formative years in Southwestern-styled r & b groups, under the influenee of such great blowers as King Curtis. Loui. Jordán and Red Conners. Still an innovator. Coleman was recently voted "Ja Man of the Year" by Downbeat magazine lor "Skies of America," a compositional work including his quartei along with the London Symphony Orchestra, released asan LP.by Columi Records. VICTORIA SPIVEY - is a living legend of the blues. Bom in Houston, Texas, she spent the eaily 20's playing the Galveston and Houston wards with Blind Lemon Jefferson and Sippie Wallace. She reded a series of hit records during the 20's and 31 many of which have survived as perennial blues standards, recorded by the likes of Louis Armstrong, Duke Ellington. Leadbelly, B.B. King. l.ightnin' Hopkins, John Lee Hooker and others. Victoria began her own record company, Spivey Records, by releasing fine traditional blues LPS, including some early Bob Dylan tracks. JOE WILLIE WILKINS AND HIS KING BISCUIT BOYS FEATURING HOUSTON STACKHOUSE - Joe Willie Wilkins and Houston Stackhouse play warm, mellow country delta blues, direct f rom Memphis, Tennessee, where they both live. Both worked in the original King Biscuit Boys along side harmonica legend Sonny Boy Williamson. Stackhouse, 63 years old, started out with an early pi blues band; nis recording career dates back to 30's Luiitar work with Robert Johnson and other blues greats of the times. Fifty-year-old Joe WillieWilkins.backed up by Little Walter and Roosevelt Sykes, greatly influenced B.B. King's guitar work in his time. The band deserves a lot more than quick juke joint gigs and rare concerts, about all they get to play nowadays. INFINITE SOUND - isGlenn Howell (Contrabass, Voice and Percussion) and Roland Young(B-flat and Bass Clarinets, Soprano Saxophone. Voice and Percussion). Glenn and Roland first began to develop y their musical relationship while working on the air at San Francisco radio stations KSAN and KMPX. Together they now produce a weekly twelve-hour radio program on KPFA (Berkeley) known asOneness. Infinite Sound, contemporary free black music "to create a texture. a feeling. a possibility of whal this LJniverse couldshould be, and to destroy tliat which prevents the affinnation of life, love and comradely unity o' our sisters and brothers." (Roland Young wil] also serve as the Festival M.C. throughout the three days.) Sunday Night LUTHER ALLISON - carne to Chicago f rom Forrest City, Arkansas in 1 95 1 , and right away started "hanging around the neighborhood bars listening to Howlin' Wolf and Muddy Waters." Allsion was leading Freddie King's old band when he was only 19, and jamming all over town with Magie Sam and Mighty Joe Young. Long one of the mainstays of the Chicago blues scène, Allison first gained national attention at the first Ann Arbor Blues Festival in 1969. and has been scheduled to close out this year's Festival due to the overwhelming response he generated a! la event. Luther's guitar work can be heard on the C'Iik based Delmark label, with his most recent record. "Bad News Is Coming," out on Motown. SUN RA AND HIS ARKESTRA - Sun Ra has been a major torce in extending the frontiers ot'contemporary creative music tbr ovei twenty years. Born in the South on an unspecitïed date actually, Ra contends he was never bom - the former Sonny Blount worked with many bands coming up in Chicago as a pianwt -and sometime arranger before he created his own Arkestra in the early fifties to play the music he could hear only in his head. Organi.ed round a nudeus of some of the most dedicated musicians on the planet saxophonists John Gilmore. Marshall Allen and Pat Patrick have been with Ra since around 195 the Arkestra has persevered through years of economie deprivation and has managed to exhibit considerable growth during that time. The Arkestra is now twenty persons strong, give or take a couple people, and has recordcd more than thirty albums, most of which are only minimally available outside a few of the hippest record stores in the country. Ra's ascensión at last year's Festival was greeted by continua! cheers of "Sun Ra, Sun Ra" by an audience most critics claimed would not be able to comprehend his music. OTIS RUSH - "I never thought the blues would die," said Otis Rush, recently, "after all, there's too many people that's got 'em." Otis has good reason to have the blues. Almost 20 years ago he gave up the Chicago stockyards and picked up the guitar. joining contemporaries such as Muddy Waters, Junior Wells, and Magie Sam. But as far as the general public is concerned. Rush is still relatively unknown. A brilliant bluesman, invited back for his second Blues and Ja Festival, Rush is right now without a recording contract. LUCILLE SPANN - The widow of the legendary Chicago blues pianist Oti Spann, namesake of the Festival site in rememberance of lus slunning performances a! the earlier Ann Arbor Blues Festivals, 1 ucille Spann isa moving vocalist and blueswoman in hei own right. Having learned to sing in a church choii with gospel singers SÜch as Mahalia Jackson and the Staple Singers, lucillo first emerged as a blues vocalist on the 1967 recording "Bottom of the Blues" with husband Otis holding down the piano. Her performance with Mighty Joe Young at last year's Festival was a definite highlight. Lucille's t'irst LP, "Mojo Workin." wil] appeai soon on ABCBluesway. HOMESICK JAMES - has dóminated the Chicago slide guitar scène since the death of Elmore James. "See," Homesick recalls, "Me and him was cousins. We used to get out of the house and stnng up a pile of wire, then play it with a bottle." Home bom in 111() in Somervill i the guitar at the age of leu, he played through tl South until mo nton. Miss. to live and play with Elmore. In ll'd4 he ■ the Presti and "Blues on the South Side" w ily thereafter. Bui mostly Homesict like so man y black artists. trom lack of recognitio nanctal support. He1 spenl long int! 1 ician and pamt rpixei to suppoi i his familj called up trom time to time by hlu. play the 1969 Moni Park blues festival, un Arbor in 19 MIGHTY JOE YOUNG BLUES BAND WITH EDD1ETAYLOR min Chicago on September 23 Milwaukee. He's played all ovei and through Ihe Chi long wilh people like Otis Rush. Jimmy Ri Willie Dia Mbeu Kil cked iko I aylor and Lucille S festival. A fine LPoi his own material nk in 1971.' lie Taylor i taiisi Jimmy Reed on Vee-Jay in th ded and gi ntly wilh Howlin' W Hooker, Sunnyland Slit HOUND DOG TAYLOR AND THE HOUSE, Hound Di hat name ■ I used to nm around with tl heen making thi isl intense you'll ever be able to withstand foi ily almost unnotieed except hy a wise I known to friends, harkens back to the i joints of Mississippi and Alabama with his happy-time rhythms and slide guitar. Bom iu Natchcv. Miss. i 57 years ago, Dog is a regular sight at taverns in the teeming ghetto that is Chicago's South Side. Now, because of a popular first LP on Alligator Records and a roof-raising performance at last year's Festival, he's invited often to colleges and festivals around the country.