# Blues Heaven in Frederikshavn 2019: Video, Photos

- Link: https://jazzblues.eu/2019/11/17/blues-heaven-in-frederikshavn-2019-video-photos/
- Published: 2019-11-17T20:06:09+01:00
- Author: https://JazzBlues.EU

**Holy Week 1-3. November 2019 was the world-class blues in Frederikshavn. Arena
Nord was the venue for Denmark’s biggest blues festival, Blues Heaven. The concerts
took place on three stages:**

The big stage, Arena Stage, a slightly smaller one named Stage 2 and the small café
stage, Acoustic Stage. Among the headliners was Shemekia Copeland (pictured).

Blues Heaven in Frederikshavn
 Shemekia Copeland at Blues Heaven in Frederikshavn.

The concerts on the two biggest stages took turns with about a 15 minute break so
the audience could move from one to the other. If you also wanted to hear the music
on Acoustic Stage, you had to make some choices, because here there was overlap 
in the program. Traditionally, the festival also had a detour to the local venue
Freddy’s Bar, and also Frederikshavn Church got a musical visit this time.

The festival was the third of its kind under the name Blues Heaven, but it is a 
continuation of the Frederikshavn Blues Festival and – before that – Djurs Bluesland.
Therefore, Blues Heaven 2019 could also mark the 30th anniversary of Peter Astrup
Blues Productions, which was also celebrated from the stage with cake and “happy
bluesday” song.

**Curtis Salgado**

Paul Benjamin – director of The Blues Foundation – welcomed the festival’s first
name at Arena Stage, the American blues and soul singer Curtis Salgado. Salgado 
is known both as a vocalist and a harmonica, but we did not hear much of the harmonica
in the concert which consisted of caressing, delicious southern soul and soul blues.
Curtis Salgado is a formidable singer, and with a strong and well-played band in
his back he opened the festival program in the best way. We also especially noticed
guitarist Alan Hager, who with his icy, Albert Collins-like tone wrapped Salgado’s
vocals in delicious and elegant licks. But also French Julien Brunetaud on electric
piano and organ made a really good figure.

After the opening song “Low down dirty shame” from Curtis Salgado’s Blues Music 
Award-winning 2017 album, The Beautiful Lowdown, the blow section The Bender Brass
came on stage. Baritone saxophonist Mark Earley, trumpet player Doug Woolverton 
and tenor saxophonist Jimmy Carpenter complemented Bobby Parker’s “Blues get off
my shoulder”, which perfectly staged Salgado’s great voice.

![](https://i0.wp.com/bluesnews.no/Files/Images/festivaler/festivaler19/curtissalg_bh19.
jpg?w=640&ssl=1)

Curtis Salgado. (Photo: Frank Nielsen).

![](https://i0.wp.com/bluesnews.no/Files/Images/festivaler/festivaler19/chriscain_bh19.
jpg?w=640&ssl=1)

Chris Cain (Photo: Frank Nielsen).

**Chris Cain Band**

On the first day of the festival, Stage 2 experienced American guitarist Chris Cain
and his band. Paul Benjamin presented Chris Cain as “one of the best kept secrets
in the United States”. Despite numerous Blues Music Award and other nominations,
as well as twelve fine albums behind him, Chris Cain may not be the best known blues-
with-more artist.

However, Chris Cain (guitar / vocals), Sky Garcia (drums), Greg Rahn (keyboards)
and bassist Steve Evans played through a distinguished, compelling and varied set
in front of a diverse audience, where the four musicians truly proved to be a well-
functioning unit . The bandleader was also not afraid to praise his fellow musicians
several times during their ten-song set, where everyone contributed fine games and
good solos. “I love this band,” Chris Cain said, and the playing fun shone through
the entire quartet.

Chris Cain is known as one of the world’s foremost B.B. King interpreters, and his
skills are documented on the fine album Cain does King from 2001. Also this evening
came B.B. The King spirit over Cain several times, for example in a bold edition
of B.B. King’s “Sweet Sixteen”. Furthermore, Chris Cain was good at making B.B. 
King grimaces, so it almost seemed like B.B. King was present in Arna Nord.

Chris Cain also listened to Albert King heard in a rousing version of “Crosscut 
saw” with biting guitar tones. We also heard Chris Cain on Mississippi Keys Fred
McDowell’s “What’s going to become of me?” We also got several Chris Cain tracks
like “Drinking straight tequila,” which ironically presented as “a tender love song,”
to in spite of the fact that this was in full force.

Chris Cain has also been involved in jazz, which could be heard several times.

![Blues Heaven i  Frederikshavn](https://i0.wp.com/bluesnews.no/Files/Images/festivaler/
festivaler19/shemekia_bh19.jpg?w=640&ssl=1)

**Shemekia Copeland**

Blues Queen Shemekia Copeland is the daughter of legend Johnny Copeland, and his
spirit floated over the waters in much of her concert. She gladly acknowledged her
musical heritage and sang several songs from her father’s repertoire, such as “Circumstances”
and “Ghetto child”.

Shemekia Copeland has long since established her own name, and not least her latest
album, the award-winning America’s child (2018), has cemented Shemekia Copeland’s
status as one of her generation’s most important blues singer. From here we got 
several songs, and the strong and often political lyrics made Shemekia Copeland’s
a different listening experience than most of the festival’s other concerts. “Ain’t
Got Time for Hate” opened the set, quickly followed by “Would you take my blood?”
Shemekia was charming and sang wonderfully, and she was backed by good people on
stage. In particular, we noticed the two guitarists, Arthur Neilson and Willie Scandlyn,
who both did really well.

Shemekia also used The Bender Brass, which came on the scene of John Prine’s swampy“
Great Rain”, and also provided plenty of soul-sound to the Johnny Copeland songs.
Not least, Doug Woolverton’s trumpet solo on “Circumstances” helped make this one
of the highlights of the set. “Big brand new religion” got the mood of the southern
state church before Shemekia Copeland ended with a rousing version of her hit, “
2 a.m.” with lots of slide guitar from Willie Scandlyn.

![](https://i0.wp.com/bluesnews.no/Files/Images/festivaler/festivaler19/mikesanchez_bh19.
jpg?w=640&ssl=1)

Mike Sanchez (Photo: Frank Nielsen).

**Mike Sanchez, Acoustic Stage**

On the evening of the first day of the festival, you could enjoy the English keyboardist
and singer Mike Sanchez, who was announced solo on the Acoustic Stage. Mike Sanchez
appeared alone with a twinkle in his eye. One should be in a bad mood at all so 
as not to pull on the smile band several times during this eminent piano man’s performance.

Mike Sanchez is a bit of an institution on the English music scene. He has had his
own bands like Big Town Playboys and was a member of Bill Wyman’s Rhythm Kings. 
Sanchez has the technique in order and he can really conjure up any assembly. He
also did that night. We got rock & roll, rockabilly and boogie-woogie spiced with
a splash of blues, so it was a real pleasure. Among other things, he performed “
Blueberry Hill” and “ready ready”, and the large audience spontaneously clapped 
on several tracks. After a while, Mike Sanchez did not play solo anymore, for British
harmonist Paul Lamb came on stage, and the duo played Slim Harpo’s “Shake your hips”
to the great excitement of the audience. Another Brit – bassist Dave Stevens, who
played several years more with Paul Lamb & the King Snakes – then joined. It was
the first time this spontaneous trio played together, but everything went smoothly.
A very positive experience

**Curtis Salgado & Alan Hager, Acoustic Stage**

Curtis Salgado is a masterful soul singer, but he is equally at home in the traditional
blues. Salgado and Hager played an outstanding intimate concert featuring down-home
blues with Chicago and Delta variants. Alan Hager sang “Somebody’s Been Using That
Thing” – a hit for Big Bill Broonzy and his Hokom Boys in 1929 – but otherwise Curtis
Salgado stood for the vocals. In contrast, in the duo format there was just as much
focus on Alan Hager’s guitar playing, and it was exciting to observe the elegant
style of the techniques.

![](https://i0.wp.com/bluesnews.no/Files/Images/festivaler/festivaler19/kennyw_bh19.
jpg?w=640&ssl=1)

Kenny Wayne Shepherd (Photo: Frank Nielsen).

**Kenny Wayne Shepherd Band**

The last name on Arena Stage on the first day of the festival was American blues
guitarist Kenny Wayne Shepherd. Kenny Wayne Shepherd’s great source of inspiration
is Stevie Ray Vaughan. That’s why it’s fitting that Chris Layton of Stevie Ray’s
Double Trouble is the Kenny Wayne Shepherd Band drummer.

Besides Kenny Wayne Shepherd and Chris Layton, vocalists Noah Hunt, bassist Kevin
McCormick and Joe Crown were heard on keyboards. The band was even reinforced with
scissors and trumpet.
 The band played a number of songs from different eras in 
the band’s career. Among other things, we got the blues song “Shame, shame, shame”
from 1995. Here even a guest came on stage in the form of fourteen-year-old English“
Wunderkind” Toby Lee, who contributed an ok guitar solo, while the vocals were taken
care of by Noah Hunt.

Speaking of vocal work, we got Kenny Wayne Shepherd on vocals – and Noah Hunt on
acoustic guitar – in “Blue on black” from the album Trouble is… (1997). However,
Kenny Wayne Shepherd should stick to what he can, namely playing guitar, as in the
Joe Walsh and Terry Trebandt composition “Turn to stone” from the 2019 album Traveler.
Here, too, there was good cooperation between Shepherd and Hunt. The concert ended
with the Jimi Hendrix classic “Voodoo Chile” as an extra number.

Toby Lee at Freddy’s bar. (Photo: Frank Nielsen).

**Toby Lee Blues Band, Freddy’s bar**

The second day of the festival began with dinner blues at Freddy’s Bar in downtown
Frederikshavn. Here, the English Toby Lee Blues Band played, a young, sympathetic
band with 14-year-old Toby Lee as band leader. The young talent Toby Lee has almost
been a kind of mascot for Blues Heaven since he first performed at the festival 
in 2017, just twelve years old.

The Toby Lee Blues Band played through ten songs, which consisted primarily of heavy,
instrumental blues rock, and that band should have adhered to, because vocally there
wasn’t much to gain from Toby Lee, whose natural voice sounded like a fourteen-year-
old voice. He has an indisputable talent, but he needs more time to mature.

![](https://i0.wp.com/bluesnews.no/Files/Images/festivaler/festivaler19/tobylee_bh19.
jpg?w=640&ssl=1)

The Toby Lee Band has an album ready for release in early 2020.

**Joe Louis Walker**

Rightfully the winning American guitar legend, singer and songwriter Joe Louis Walker
is a bit of a blues institution and a great ambassador for the style. He has performed
all over the world, has played with a myriad of other great blues names, such as
John Lee Hooker, Jimi Hendrix, B.B. King, Taj Mahal and James Cotton.

The opening number was the rocking, swinging Joe Louis Walker composition “Not Not
Messing Around” from the 1998 album Preacher & the President. Then the level was
laid and it held with a few exceptions. One of these was a mysterious version of
the classic “The train kept a-rollin”, which was delivered in a strangely jazzy 
version with lots of chorus, which didn’t work very well. The same must be said 
about the few times that pop-like elements crept into the music. Otherwise, it was
a really impressive instrumental and vocal work that was put to the day by an engaged
band that brought an enthusiastic audience along.

![](https://i0.wp.com/bluesnews.no/Files/Images/festivaler/festivaler19/wille-jlwalker.
jpg?w=640&ssl=1)

Above: Kenny Wayne and Joe Louis Walker. Under Tad Robinson and band. (Photos: Frank
Nielsen).

![](https://i0.wp.com/bluesnews.no/Files/Images/festivaler/festivaler19/tadrobinson2_bh19.
jpg?w=640&ssl=1)

**Tad Robinson**

American blues and soul singer Tad Robinson took the stage, Stage 2 in Arena Nord,
with his band composed for the occasion. In addition to Tad Robinson, the band consisted
of vocals and harmonica by a bassist, a drummer, a keyboardist and a guitarist. 
Tad Robinson had brought his old mate, super guitarist Alex Schultz from the US.
Alex Schultz played bl. a. with Rod Piazza for several years and with the late drummer
William Clarke. Interestingly, both the bassist and the drummer were Finns. Jaska
Prepula plays daily in the Finnish Tomi Leino Trio. Kevin Anker was on loan from
The Fabulous Thunderbirds. All the musicians made a good figure, both individually
and collectively, and a well-attended audience welcomed the fat soul blues.

![](https://i0.wp.com/bluesnews.no/Files/Images/festivaler/festivaler19/thornettadavis_bh19.
jpg?w=640&ssl=1)

**Thornetta Davis**

There are many who believe that every blues festival should have its blues diva,
and this year Blues Heaven had American Thornetta Davis from Detroit (pictured above).
Not only is she a blues diva; she is also the blues and rhythm & blues diva. She
has won more than 30 Detroit Music Awards.

Thornetta Davis has a wide-ranging voice, and together with the musicians she really“
kicked” things off the stage. We got a nod to Muddy Waters with the classic “Got
my mojo working” in a nice edition with good choral work. From Honest woman we got
the rocking “I need a whole lot of lovin ‘” (to satisfy me), swinging soul-rock 
in the title song “Honest woman” and gospel-like notes in “Get up and dance away
your blues”. We also received an enchanting version of “Pretty good love”, made 
famous by Big Maybelle in 1956. With great effort from all the musicians, Thornetta
Davis delivered a versatile, high standard concert that will be remembered with 
the delight of an engaged audience.

**Ian Siegal**

English guitarist, singer and songwriter Ian Siegal played on the acoustic stage
on Saturday. “I can also be hired for children’s birthdays,” he joked, for Ian Siegal
was entertaining – absolutely – but he certainly wasn’t for kids. At least the kids
had to be tuned into dark, political lyrics like “Eagle Vulture” (from his latest
album, All the rage (2018)) and remarks like “I’m already sweating like a whore 
in church!”

![](https://i0.wp.com/bluesnews.no/Files/Images/festivaler/festivaler19/iansiegal_bh19.
jpg?w=640&ssl=1)

Ian Siegal’s songs were intense. His airy, hoarse, almost half-whispering voice 
contrasted with the deep delta blues of the model Charley Patton’s “Pony blues” 
or his own “I am the train”.
 His musical expression is versatile, and his set contained
blues, folk and spirituals. From the latter category, it took off especially when
he played “Mary Do You Weep”. Siegal had heard that the Danes knew the song with
a different text, and so at his request it was screamed “Oh Marie, I want to go 
home to you” with full neck.

Another fun feature was his “Talkin ‘overseas pirate blues”, a talking blues in 
the Woody Guthrie tradition. (The picture below).

![](https://i0.wp.com/bluesnews.no/Files/Images/festivaler/festivaler19/tbirds_bh19.
jpg?w=640&ssl=1)

Top: Ian Siegal. Sub: The Fabulous Tbunderbirds. (Photos: Frank Nielsen).

**The Fabulous Thunderbirds**

The concert with The Fabulous Thunderbirds was met with excitement. There have been
some changes in the cast since we last heard them, but as always, the central singer
and lead singer Kim Wilson was in the front. The only other remaining was guitarist
Johnny Moeller, and fortunately both seemed intent on delivering something better
than what we heard in Horsens nine years ago.

The Fabulous Thunderbirds started with “My babe”, not Little Walter’s Chicago classic,
but the 1959 hit with Ron Holden with the Thunderbirds (!). The band styled themselves
around funky blues rock (“Wrap it up”) and boogie, slow blues with fine guitar playing
by Johnny Moeller, and not least steamy hot Chicago blues. Here, Kim Wilson could
really show why he is considered one of the very best living harmonists. His metallic,
old-school harmonica style imitated the sound of Chicago’s heyday. Kim Wilson – 
the band’s only original member – was in good shape and danced almost throughout
the concert while singing and playing harmonica. Guitarist Johnny Moeller was also
in fantastic shape and behaved as if he were really at one with the music. He obviously
could play anything, and he did it with body and soul so it was a real pleasure.

The Fabulous Thunderbirds was one of the top names on the Blues Heaven poster and
one of the bands many had been looking forward to hearing.

**Kenny “Blues Boss” Wayne, Acoustic Stage**

Pianist Kenny “Blues Boss” Wayne has stated that he “aims to bring the keyboard 
into the spotlight of blues music so it doesn’t disappear between all the guitars.”

It was an extremely well-mannered Wayne, who with small anecdotes and big smiles
served dishes from the entire piano blues menu: Boogie-woogie, country ballads, 
New Orleans-R&B, swing, gospel, barrelhouse – we got to taste it all. Kenny “Blues
Boss” Wayne looked like someone who could stay up all night.

Along the way in Leiber & Stoller’s “Kansas City,” the ubiquitous Paul Lamb appeared;
he was invited to the scene and promised to come back later. He did that seriously,
and he signed in and started playing harmonica on Hoagy Carmichael’s “Georgia (on
my mind)”. Paul Lamb stayed on stage for 6-7 songs. They played, among others, Johnnie
Johnson’s “Tanqueray”, the spiritual “Down by the riverside”, the recently deceased
New Orleans legend Dave Bartholomew’s “I hear you knocking” and a (well almost blasphemous)
medley with “Got my mojo working” and ” Oh happy day ”!

**Nick Moss Band**

Chicago has nurtured a sea of ​​outstanding blues musicians, and guitarist, singer
and songwriter Nick Moss comes in among the best of the last 30 years. Nick Moss
and his various bands have been showered with awards. The band that Nick Moss put
on at Blues Heaven this year besides himself consisted of the relatively recently
arrived Dennis Gruenling on harmonica, Taylor Streiff on keyboards, Patrick Seals
on drums and Rodrigo Mantovani on bass. An absolute super band.

Nick Moss & co. played through seven songs on Stage 2. Among other things, we got
the almost Louis Jordan-like title track from the latest Nick Moss Band album Lucky
Guy. We were also treated to a very, very long version of Billy Boy Arnold’s “I 
wish you would”.

Here Dutch Big Pete came on stage and together with Dennis Gruenling gave a long
harmonica performance.

![](https://i0.wp.com/bluesnews.no/Files/Images/festivaler/festivaler19/nickmoss_bh19.
jpg?w=640&ssl=1)

The last song was the Jimmy Rogers composition “Rock this house”. Big Pete, who 
had been there before, returned to the scene. Along with Big Pete, British guitarist
Ian Siegal also came in as a guest. However, despite the many qualities of the musicians
and the music, there were too many idle blues during the concert, which was unfortunately
disappointing.

![](https://i0.wp.com/bluesnews.no/Files/Images/festivaler/festivaler19/dennis_bh19.
jpg?w=640&ssl=1)

Above: Nick Moss. Subs: Dennis Gruenling. (Photos: Frank Nielsen).

**Nick Moss Band, Freddy’s Bar**

It was quite different when the Nick Moss Band played on Freddy’s Bar on Sunday,
November 3rd. Here things were held in much tighter bridges than the night before
on Stage 2. The songs were shorter and more concise than at the band’s first performance
at the festival. However, Freddy’s Bar also had room for improvisations. On the 
other hand, they never got too long, and the band’s distinctive energy level did
not in any way lose its momentum.

There were also guests at the scene this early afternoon. Curtis Salgado made his
entrance, as did Paul Lamb, who joined the Americans on stage. The mood was high
on the small stage at Freddy’s Bar, and the harmonica virtuoso Dennis Gruenling 
danced almost continuously with his white snakeskin-like boots on.

One of the festival’s most touching moments also occurred at this concert when Nick
Moss, before the extras – sitting on the drummer’s chair – shared his memories of
his friend and former band member Mike Ledbetter, who died as suddenly as just 33-
year-old in January this year. It brought tears to many of those in attendance, 
including several who had experienced Ledbetter in Frederikshavn the previous two
years with Kilborn Alley Blues Band and Welch Ledbetter Connection respectively.

The closing song “The comet”, which Nick Moss wrote about Ledbetter right after 
his friend’s death, was a nice and touching ending to a first-rate concert at Freddy’s
Bar.

**Gospel Heaven, Frederikshavn Church**

Festival organizer Peter Astrup had included the Sunday event Gospel Heaven in the
program. As Blues Heaven gathers a number of blues superstars, many of whom have
roots in gospel music, it became a concert with mainly religious repertoire in Frederikshavn
Church. Peter Astrup welcomed, before Joe Louis Walker on guitar and vocals performed
a solo performance of “Not tired yet”. The next singer was Tad Robinson, who was
backed by Bl. a. Alex Schultz and Nick Moss Band’s bassist, Rodrigo Mantovani.

Curtis Salgado started a cappella and without a microphone. He first praised the
gospel music as “the mothership of blues, soul, jazz, funk …,” and then he sang 
the gospel song “He did it all by himself”. Eventually Kenny “Blues Boss” Wayne 
and the rest of Joe Louis Walker’s band came in, and Walker himself joined in with
funky guitar playing on “Let’s get down”.

Thornetta Davis received great acclaim after a festive “This little light of mine”
with blown action by Jimmy Carpenter, Doug Woolverton and Mark Early. A subdued 
version of Percy Mayfield’s “Please Send Me Someone To Love” with keyboard accompaniment
by Kenny “Blues Boss” Wayne rounded out Thornetta’s Davis’ section in a nice way,
before the IDMC Gospel Soul Choir ended with three songs.

Gospel Heaven was really a good idea on paper, and with so much talent present, 
the event had a huge potential. But the big, big problems with the sound made the
church concert a disappointment. If Gospel Heaven is to be repeated next year – 
and there are many indications that it should – it must work with the sound, and
perhaps it should be considered whether to adhere to acoustic instruments and to
acoustic singing, – a set designed by the church to endure.


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