Fantastic Negrito

Fantastic NegritoThe Last Days Of Oakland
Blackball Universe

If the blues had been born in today’s inner cities rather than the Mississippi Delta more than one hundred years ago, it may sound something akin to Fantastic Negrito. This is a blend of traditional blues patterns such as call and response meshed with soul, funk, and hip hop.  It is blues for a modern world filtered through an individual who has experienced first-hand the social issues that divide us and it is a bare-boned raw approach that is completely honest and though at times harsh, it is truly fresh and exciting.

When Fantastic Negrito, whose real name is Xavier Dphrepaulezz, first brought awareness to his music on the blues scene, it was with the song “Lost In a Crowd” that he had entered into NPR’s Tiny Desk Concert contest in 2015, taking the prize that year. It was followed with an EP of a handful of strong numbers working alongside the winning number. “Lost In A Crowd” is featured once again on his latest release The Last Days Of Oakland, and it remains a song of impact and a highlight of this first full-length recording (which incidentally took home the Grammy Award for Contemporary Blues Album this year).

The Last Days Of Oakland does not paint a pretty picture of Oakland or of modern America. It is a social statement that can slap you in the face at times. Dphrepaulezz has not had an easy life, especially after experiencing a life altering auto accident that placed him into a coma and then going through agonizing therapy to regain ability to function and survive let alone play his music. And all of this happened just shortly after receiving a major recording contract for his rock music that he was creating at the time, only to see it all disappear following his accident. The music on The Last Days Of Oakland is intense and thought-provoking, and though it may deal with issues of injustice and race, he reminds us in “Lost In A Crowd” that “we’re just people, lonely people, you and I.”

The musical approach is diverse, but all still remain true to the life issues at hand. In the rocking number “Hump Through The Winter” he asks exactly what happened America? He’s working multiple jobs to try to stay ahead but he’s still having a hard time just trying to survive. “Working Poor” with its funky gospel attitude is about gentrification, “him clean my city, me sell my soul.” Even his cover of the Leadbelly traditional blues “In The Pines” finds him adding his own verse about a single mother whose child is lost to gun violence. And corruption in the world is at hand in “Rant Rushmore” where the beautiful scene has died to a bitter scene. The closing number “Nothing Without You” may seem like a love song, yet even it has its dark side dealing with abusive relationships. There is a lot of overlaying sounds throughout the disc: various statements and comments, numerous instruments, handclaps, even the sound of a chain gang in “Interlude – What Would You Do?”

The Last Days Of Oakland is a tremendous release. A very deep and serious look at today’s society and like the way of the world, change is not always pretty but it happens. And so it is with the blues, this is a now take on a musical genre that must change with the times but still hold the impact that it always has. Outstanding!

Total Time: 43:04

Intro – The Last Days Of Oakland / Working Poor / About A Bird / Scary Woman / Interlude – What Would You Do? / The Nigga Song / In The Pines / Hump Through The Winter / Lost In A Crowd / Interlude – El Chileno / The Worst / Rant Rushmore / Nothing Without You

Journey To Memphis All-Stars

The 2017 Journey To Memphis competition to determine who will represent the Cascade Blues Association in Memphis, Tennessee next January begins the first weekend in June. Hosted by The Vinyl Tap, 2099 SE Oak Grove Blvd, the CBA will have eleven contestants taking part this year for the opening round, with the top two scoring acts from each night advancing to the Waterfront Blues Festival on Tuesday, July 4 to choose the overall winner.

Admission for each night is $10.00, and the proceeds from the door goes to help defray traveling expenses for the acts going to Memphis, therefore the only free admission either evening is for the musicians performing that night. All guests, wives, husbands, kids, roadies, pets, etc. must pay admission to help out.

Friday night, June 2 will have five acts compete, starting at 8:30 pm. Sets are half-an-hour each with ten minute set changes. All acts will play through the same equipment and will be scored by three judges on blues content, vocal talent, instrument talent, originality, and overall performance.

Saturday night, June 3, will begin at 8:00 pm with six acts scheduled. All of the acts were drawn at random for their set times.

Schedules for each night are as follows:

Friday, June 2
8:30 – Holfar Blue
9:10 – Rogue Rage Duo
9:50 – Sister Mercy
10:30 – Jason “J.T.” Thomas
11:10 – Gabriel Cox

Saturday, June 3:
8:00 – Timothy James & The Portland Blues Revue
8:40 – David Pinsky
9:20 – Louis Creed & The Geezer
10:00 – Julie Amici Duo
10:40 – Lightning Kings
11:20 – Randy Morrison Band

Ramblings on my mind

Greg Johnson, Cascade Blues Association President

As I reflect back on the past of my involvement with the Cascade Blues Association there have been a great deal of memories. The good friends that I have made and the musicians and friends that have been lost to untimely passings. The events that we have produced and created. And the success that we’ve had with many pursuits.

Personally I have been praised with awards, but for me it is more about the accomplishments we have made as a group than accolades for myself. Make no mistake, I am proud to have been honored with three Back What You Believe In awards and a Lifetime Achievement recognition. But as I look at what we have done it is the events like the Willamette Delta Showcase or the Journey To Memphis that I participated in organizing with people like the late Del Seitzinger or Jackson Lee, the Blues In The Schools fundraisers, especially those that had Kenny Neal take part thanks to Jimmy Hale or with my friend Sean Carney, the recordings of the Acoustic Festival organized by LynnAnn Hyde and put together on disc with Ken Condit and Rick Hall, and the twin discs of Puddletown Blues that showcased the blues artists of Oregon that I pieced together with Terry Robb and Dennis Carter in the studio. Even the Show Your Love For The CBA shows that we had to hold to save ourselves from going bankrupt during the hard economic times of late 2008/early 2009.. A situation that we’re once again trying to prevent with our CBA 30 concert. Our local musicians and members have always come through to save the day then and now, and we’re blessed to have them in our corner.

I was approached by a friend shortly after the CBA was founded in late 1986 and asked if I would like to join or be involved. While working two jobs at the time it didn’t seem feasible. But I did find the time to join a couple years later and started attending all the monthly meetings and events that I could. The memories started pouring in with the Acoustic Festivals and presentations of touring artists like Earl King, Hubert Sumlin, Floyd Dixon and more. The creation of the Rose City Blues Festival and its morphing into the Waterfront Blues Festival. Eventually I was persuaded by then President Rick Hall and Vice President Val Davis to seek a position on the board after starting to write articles for the BluesNotes the year before. After a couple years as an At Large Board Member, Susan Stewart asked me to run as her Vice President as did Jackson Lee a year later. When I first took on the role as President sixteen-plus years ago, former President Erroll Shervey told me, “Now that you’re in the position, you’ll never be able to leave.” As I look at all these years I wonder if he may have been right. But it has been a labor of love without doubt. The reason I got into the CBA Board to begin with was to give back to the musicians who had given so much happiness to me over the years with their music. And it is why I still do it today.

As I think back there has been a great deal of heartache with the loss of so many friends and musicians. Board members such as the aforementioned Del Seitzinger and Jackson Lee, as well as John Enten and recently David Moore and perhaps my closest friend on the Board R.D. Dill. I still remember sitting in a bar on Beale Street with R.D. having breakfast drinks as I worked out the contract to bring Robert Lockwood Jr. to Portland to play at the Willamette Delta Showcase. Too many musicians that we have all loved left this world way too early, notable Muddy Lifetime Award inductees Paul deLay, Linda Hornbuckle, Janice Scroggins, Jimmy Lloyd Rea and Phil Haxton. And The Mayther Brothers, Fritz Richmond, Rick Welter, just too many overall.

Being a member of the CBA Board has offered me many opportunities that I will remember for a lifetime. I traveled to Memphis to represent the organization as we were honored with the Keeping the Blues Alive Award for Organization of the Year in the Congress mandated Year of the Blues in 2003. I have had the honor to meet and become close friends with many artists, both local and international. It also allowed me to introduce some of my heroes on mic from many stages. I will never forget as long as I live such moments with Bobby Bland, Robert Lockwood Jr, Hubert Sumlin and Charlie Musselwhite among them.

Again as I reflect on the past thirty years I am reminded of the same statement I have made at the fifteenth, twentieth and twenty-fifth anniversaries. Look back at when the CBA first formed. We had musicians within our region such as Bill Rhoades, Lloyd Jones, DK Stewart, Norman Sylvester, Terry Robb and Curtis Salgado. They’re all still here. They’re all names I mentioned every year along with a few no longer with us. But if you look at the pop acts in Portland at the time you had groups like the late Billy Rancher, Nu Shooz, the Dan Reed Network and Black & Blue to mention a few. All of whom may still work from time to time, but are not on the top of their genre as the blues musicians of town have held onto for the length of time that has moved on.

Yes, the CBA is celebrating thirty years. But it is more a celebration of the people who have made the scene long-lasting and thriving for so long, our musicians. The CBA 30 is a celebration for their efforts. We are merely here to make sure to try to see that they receive the praise they so much deserve. Let’s keep those memories rolling on for another thirty years and more. Thank you to all.

On another note, I also want to acknowledge the longevity and efforts of our good friend Steve “Squrl” Curley. May marks his twenty-fifth anniversary of bringing the blues to the Columbia River Gorge as both radio host and promoter. Check out his special show this month at The Bingen Theater with the Nick Moss Band. Thank you Squrl for your selfless and lasting work.