GREAT PARIS CONCERT

2022 release. Demetria Taylor was born to sing the blues. The songs on Demetria Taylor: Doin' What I'm Supposed To Do are a balance of traditional blues and modern R & B, with some written by her family, some by fellow musicians Mike Wheeler and Larry Williams, one by the venerable Magic Sam, and two by Demetria herself. This second Delmark record is a strong follow up to her Delmark debut, Bad Girl, and also features the legendary Deitra Farr on one track.

With Billy Branch, Eddie Shaw, Big Time Sarah, Eddie Taylor Jr.., Shun Kikuta, Roosevelt Purifoy, Greg McDaniel and Pookie Styx. The debut CD by the daughter of legendary Eddie Taylor (Jimmy Reed rhythm guitarist), who had a hit for VJ with the song "Bad Boy" in 1955. Demetria revisits the song here as a tribute to her late father. But Demetria is not just riding pops' coattails. Even though she just turned 38, Demetria won the B.L.U.E.S. on Halsted Blues Diva Contest 2010, has already performed three times at the Chicago Blues Festival and guested on two Eddie Taylor CDs. 11 songs including the rousing duet with Big Time Sarah on "Wang Dang Doodle".

Released to celebrate soul legend Johnnie Taylor's 90th birthday, One Step From The Blues is a 12-song collection from the "The Philosopher of Soul." Delivered in Taylor's distinctive style with roots in blues and gospel, the tracklist includes "Steal Away," "Cheaper To Keep Her," "Stop Doggin' Me," and the Hayes/Porter penned "I Had A Dream." One Step From The Blues is released on Stax Records and available on standard black vinyl with liner notes by Memphis journalist Andria Lisle.

One of the finer young tenor players on the New York scene in the last decade, Sam Taylor squares off against Philadelphia's acclaimed tenor man, Larry McKenna on "Along The Way." Taylor and the elder McKenna don't musically spar so much as put their equally rich saxophone sounds to good use in a spirited, cooperative effort in a warm program of standards that suits their unfettered bebop style.

FUZZY LOGIC

In Scotland we are fortunate to enjoy a living oral tradition which features the performance of lengthy ballads to simple melodies in a manner which would certainly have been recognisable to our forebears in previous centuries, and it seems sensible to draw on this tradition when reconstructing a performance of 'Graysteil.' This cross-fertilisation between the traditional and art music of Scotland also serves helpfullly to undermine our modern habit of catagorising music, an irrelevance which would never even have occurred to James IV or his 'fithelaris'! - D. James Ross