Another review-and-photos report from Ottawa Bluesfest: JW-Jones and Texas Horns
[Another report from Zachary Resnik. – AC]
Day 8 at the River Stage: The Texas Horns/JW-Jones
Day 8 of Ottawa Bluesfest looked grey and a bit chilly, but things heated up quickly over at the River Stage. Looking to put the ‘blues’ back into Bluesfest were The Texas Horns and JW-Jones.
Releasing their first album back in 2015, The Texas Horns – Mark “Kaz” Kazanoff, John Mills, and Al Gomez – are widely recognized as the preeminent hard-blowing three-piece blues, soul and roots music horn section in, quite possibly, the world.
The trio, with a backing band in tow, strolled out onto the River Stage and opened with “Soul Stroll,” before letting the enraptured audience know that this was their 25th year (!!!) performing at Bluesfest.
We were then treated to the sounds of “Feeling No Pain,” followed by “Everybody Let’s Roll,” the title track off of their most recent album.
Collaboration is big for blues musicians, and to prove the point, Ottawa’s own Matt Chaffy came out to provide some guest vocals, then played one of his own tunes, “Monday to Tuesday Woman” with The Horns. Chaffy stayed for the rest of the set.
The aptly titled “Ode to Earl” was a tribute to the late New Orleans blues legend Earl King. Following that, another guest joined the band on stage – JW-Jones, the next act, lent his voice and guitar to a smokin’ cover of Muddy Waters’ “Mojo Working.”
The Texas Horns closed their set out with “Soulshine” and walked triumphantly offstage to a standing ovation… but they wouldn’t be gone long.
Following closely was the aforementioned JW-Jones, the local blues legend. Cited as one of the people who’ll keep the blues alive for future generations, Jones is a consummate performer, always a blast to see.
Jones stepped out to a solid crowd of dedicated fans, and not a few JW t-shirts could be seen in the audience. Opening with “Watch Your Step,” you could feel the electricity in the air. Jone’s stage presence, his voice, his superior axemanship are all inimitable.
“Papa’s in the Pen” brought some meaty bass with it, and when Jones covered some BB King (whom he opened for, years ago, at a prior Bluesfest) The Texas Horns were invited back out to jam too.
When Jones decides to show off a little, either by using a drumstick to hit his chords, or by playing behind-the-back (both of which he did), it’s always entertaining. He really is one of the most talented guitarists I’ve ever had the pleasure of watching perform. Yeah, I said it. He’s one of the greats.
“Take Your Time,” which features Jimme Vaughan on Jones’ album, was a rocking good time. The Texas Horns again took their leave, and JW’s band launched into “Keepin’ Me Up,” which boasts a long, hazy, dream-like instrumental before ramping back up.
“If You Love Me Like You Say, Why You Treat Me Like You Do?” originally Albert Collins and the Icebreakers, saw Jones and the other members of his band all switch instruments – MID SONG – with JW ending up on the drum kit. What a spectacle! What showmanship!
The set tuned a little more rock ‘n’ roll with “So Long Baby Goodbye,” a classic from The Blasters, before morphing into an extended, genre-bending medley of songs too numerous to mention.
There were familiar riffs and bars of everyone from AC/DC to Michael Jackson, from Queen to Black Sabbath to The B-52’s. Truly something for everyone.
The blues were alive and well at Bluesfest, and even if they don’t grace the main stage as much anymore, the River Stage kept it rockin’… blues-style.
