THE BI-MONTHLY MAGAZINE OF THE SAINT LOUIS BLUES SOCIETY May/Jun 2018 Number 90

ATOMIC BLUES FESTIVAL NEWS -- Sweetie and the Toothaches Live at the Casa Loma Ballroom CD
Renee Smith's Fathers' Day Show -- The Porch at the National Blues Museum
 3 Atomic Blues Festival information
4 Sweetie and the Toothaches' Live at the Casa Loma Ballroom CD
by Bob Baugh/photo by Bob Baugh
5 2018 Summer Concerts
5 Renee Smith's Fathers' Day Show
8-11 Jimmy Hinds: The Sound of St. Louis
by Bob Baugh/photos courtesy of Jimmy Hinds/photos by Bob Baugh
COVER PHOTOGRAPH by Peter Newcomb
12 Sitting On The Porch at the National Blues Museum
by Kirk Zimmerman
15 St. Louis Musicians Listing

Hello Blues Lovers,

The season has finally changed and it's time to be outside listening to the Blues. Throughout the
city and surrounding areas there are numerous community park events, festivals, patio shows to attend.
If you are a band or event organizer, please make sure to send your dates to our concert calendar:
concertcalendar@stlouisbluessociety.org.
The 4th Annual Atomic Blues Festival is coming up June 24. NOTE that the venue has changed to
The Broadway Oyster Bar. This event is especially important to the St. Louis Blues Society because
it funds our education component. Funds from this event will help support our Blues in Schools,
Musicians’ Education and events like the conversations on Race and Blues we hosted with KDHX earlier this year. We have
a great line up with performances by St. Louis Blues Society Youth Band, Torrey Casey & the Southside Hustle, Kingdom
Brothers Duo, Eastsiders Review Band and the Brother Jefferson Band. This will be a great event for an event better cause,
so we really hope you can join us.
Make sure to mark your calendars for the 23rd Annual Big Muddy Blues Festival coming up Labor Day weekend on
Laclede's Landing. This year will feature over 60 St. Louis acts on 7 stages over 3 days. Look for the lineup and additional
information to be announced mid-to-late May.
Thank you all for supporting the St. Louis Blues Society and go out and
E-mailJeremy hear some live music in one of the greatest music cities in the world!
I'd love to hear from you!
Please write me at jsegelmoss@stlouisbluessociety.org Jeremy Segel-Moss, STLBS Board Chairperson
and tell me what you are doing for the blues this summer.

BluesLetter is published six times a year Officers

by the St. Louis Blues Society. Jeremy Segel-Moss
Board of Directors
The St. Louis Blues Society is dedicated
PO Box 78894 Chairperson
Michael Battle
Ridgley "Hound Dog" Brown to preserving and perpetuating blues
St. Louis MO 63178 Jerry Minchey Glenn Howard
Rich Hughes
music in and from St. Louis, while
stlouisbluessociety.org
facebook.com/stlbluessociety
Treasurer
Lynn Barlar
Greg Hunt fostering its growth and appreciation.
Secretary
Paul Niehaus IV
Marty D. Spikener The St. Louis Blues Society provides
Mary Kaye Tönnies Mary Kaye Tönnies Alonzo Townsend blues artists the opportunity for public
Co-Editor
mktonnies@stlouisbluessociety.org
Communications Kelly K Wells
Johnny Willis performance and individual improve-
Jeremy Segel-Moss Advisory Directors Directors Emeriti ment in their field, all for the educational
Co-Editor
jsegelmoss@stlouisbluessociety.org Charles Taylor Ron Edwards and artistic benefit of the general public.
Legal Consultant Bernie Hayes
John May The St. Louis Blues Society is a 501(c)(3) not-for-profit Missouri
© 2018 St. Louis Blues Club corporation. Memberships to the Blues Society are tax deductible
to the extent allowed by law.
 A n nu al
4th

v a l
Fe sti
lu e s
B

benefiting the
St. Louis Blues
Society Education Fund

BROADWAY OYSTER BAR

Sunday, June 24 from 1-6pm
$12 at the door or $10 for St. Louis Blues Society Members
RAFFLE / SILENT AUCTION / LIVE ART
Performances by:
St. Louis Blues Society Youth Band ~ Kingdom Brothers Duo
Eastsiders Review Band ~ Brother Jefferson Band
Torrey Casey & The Southside Hustle

The St. Louis Blues Society BluesLetter 3

 They concluded it was cheaper to make
a live CD than to buy hours of studio time.
Garrett who had some previous experience
with live recordings of his annual Piano
Stomp said he was good with the idea
because, “I love the live energy and a
recording of it can make you feel like you
are there.” Emilee too loves the energy but
recognizes of the need for humility, “When
it’s live there is no going back. If you mess
up, it’s there. That’s life.” She said. Niehaus
words and photo by Bob Baugh who loves to play and record had all the
tools needed for the live show.

S o, what do you do when your

December Go Fund Me campaign
to make a studio CD fails? You pick up
fits our style.” The song is personal. “You
gotta go through the bad to write good
blues,” she said.
That brought everyone together on a cold
Friday night in February at the cavernous
historic Casa Loma Ballroom where the
the pieces and make a live CD at the Casa
By the end of the year they played their manager, Tommy, will show you the exact
Loma Ballroom. That’s what Sweetie and
first show at the Blue Pearl. In the next year spot his parents met in 1942. Manny, the
the Toothaches did in February.
they played the National Blues Museum and sound engineer worked with Niehaus to get
The band is the creation of two talented were invited to record their song “Bigger all the gear set up and run multiple sound
artists, vocalist Emilie Richard and Fool” on the St. Louis Blues Society 16 in checks. There was the ballroom sound
pianoman Chase Garrett. Both had migrated 16 compilation release. Chase would also system as well as all the additional mics for
to St. Louis within six recording. Niehaus wanted a
months of each other. multi-track recording which,
They met at Yaquis on he explained, meant that,
Cherokee Street when “each microphone/input
Chase was in town goes to its own separate
visiting his friend, track so that I can pull up
Ethan Leinwand, and all the separate tracks up my
checking out the music console, apply any needed
scene. More visits processing to get good sound
followed. Meanwhile, and mix it down to a stereo
Emilee began her first file.”
foray into singing by
And then they were
getting invited to sit in
ready for the 8pm show.
with Miss Jubilee. She
There dancers were there
got the bug.
and ready to go. There was
When Garrett even a lesion session for
moved to St. Louis in newbies prior to the start.
the spring of 2015 from Sweetie and the Toothaches live at the Casa Loma Ballroom February 10 The band planned on doing
Madison Wisconsin, he three sets. The first set of 15
hoped to land the same type of solo gigs he songs were the ones they wanted to record.
continue to do occasional solo appearances
had worked for the previous six years. His They planned to rerecord those in the third
and recorded his song “Sailor Man” for the
new friend Emilie had become vocalist in set. But, things happen. The set ran long so
17 in 17 CD. The band has coalesced into
search of a band. It was the beginning of they decided to drop the third set and mix a
a tight group that also includes saxophonist
something beautiful. Today Sweetie and the few songs they felt they needed redo in with
Josh Baumgartner, Missy Camp on trumpet,
Toothaches is a six-piece band specializing the second set.
drummer John Marshall, and Paul Niehaus
in a KC Swing and Jump Blues style that
on standup bass. The music was great. The dancers
attracts a real dance crowd. Chase, the
danced. The band played their hearts
band’s musical director says, “The music Niehaus is the hook in this story. Besides
out and everyone had a great time. Now
is influenced by our love for Count Basie, being one of the most sought-after sideman
Niehaus is working his studio magic on
Errol Garner, Oscar Peterson and always, in town he is also the incredibly productive
the live recordings. From those they will
Otis Spann.” owner/producer of Blue Lotus studios. The
select 10-12 songs for the CD. Richard and
studio is the mainstay behind the Blues
Those vintage tentacles keep coming Garrett are thrilled and looking forward to
Society’s CDs as well as a series of original
with younger musicians like Richard and the release party this summer. ♫
soul music CDs with Roland Johnson, Gene
Chase Garrett as heard with their early song,
Jackson, Kim Massie and others. So when
“Bigger Fool.” Emily says she and Chase
the online fundraising effort failed, Richard
“are energetic, happy people, so jump blues
and Garrett reassessed the situation with
4 The St. Louis Blues Society BluesLetter Niehaus.
*BRENTWOOD MUSIC ON THE MENU
Brentwood Park, 9100 Russell Ave.
Fridays 7-9PM
8/17 Melissa Neels Band
The 2018 Summer Concert Season
*CARONDELET SUMMER CONCERTS
Carondelet Park, 3800 Loughborough
The St. Louis Blues Society is proud to support
Bandstand by the Lake the performances marked with *
Sundays 6-8PM
6/10 Miss Jubilee All shows are FREE and open to the public. Any
6/17 Tommy Halloran’s Guerrilla Swing
6/24 Dawn Weber and the Swinging Blues and Funk Show
and all support is appreciated, these shows are
produced by neighborhood non-profit groups
South St. Louis Square Park, 7700 S. Broadway
Mondays 7-9PM and local parks departments.
6/4 Melissa Neels Band
Get Outside and Support the Blues!
Volunteers are n
See a great show eeded for the St. Louis Blues S
*CHRISTY PARK CONCERTS
Christy Park, 5000 S. Kingshighway
by a lo ociety
Tuesdays 6-9PM
You will interact cal Blues artist and help to promsummer events and concert supp
with the crowd at ot or
our table, talk ab e the Blues Society at the same ti t.
5/29 The Kingdom Brothers
m er chandise and li ou t the Blues Society me!
ECKERT'S BELLEVILLE FARM FREE CONCERTS
M st e n to g re a , se ll so
ork"as many showt music.
951 South Green Mount Rd.
This also include ak e your schedule"w m e
Fridays and Saturdays 7-9PM
Send us an e-mai s T h e B ig M uddy Blues Festi s as you want.
6/2 Hudson & Friends
6/9 Dawn Weber and the Electro Funk Assembly
l an d le t u s kn ow how you can va l on T h e L anding Labor Day
6/29 Jeremiah Johnson Band v o lu n te e r
h el p. L oo ki n g forward to wor Weekend.
6/30 Tommy Halloran’s Guerrilla Swing 4 @stlouisblu king with you!
7.6 Funky Butt Brass Band essocie ty.org
7/28 Miss Jubilee
8/4 Kim Massie

EDWARDSVILLE CITY PARK

112 South Kansas St.
Fridays 8-10PM
6/29 Soulard Blues Band
7/13 Funky Butt

CITY OF ELLISVILLE SUMMER CONCERTS

Bluebird Park, 225 Kiefer Creek Rd.
Thursdays 7-9PM
7/19 Common Time

KIRKWOOD PARK SUMMER CONCERTS

Lions Amphitheater, 111 S Geyer Rd.
Saturdays 7PM
6/30 Miss Jubilee

LAFAYETTE SQUARE PARK ARTS COUNCIL

2023 Lafayette Ave.
Saturdays 6-9PM
TBA

*OLD NORTH ST LOUIS NEIGHBORHOOD ASSOCIATION

Crown Square Park, 2700 N.14th
Friday 5-8PM
8/3 Ms.Zeno (Memphis)

RICHMOND HEIGHTS PARTY ON THE PAVEMENT

The Heights, 8001 Dale Ave.
Thursday 7-10PM
8/9 The Fabulous Motown Revue

SOULARD RESTORATION GROUP

Soulard Market Park, 700 Lafayette Ave.
Saturdays 6-9PM
5/12 Patti & The Hitmen
6/9 Blues Museum All-Star Jam

UNIVERSITY CITY STARLIGHT CONCERT SERIES

Heman Park’s Midland/Shaftesbury entrance
Mondays 6:30-8:30PM
7/9 Chuck Flowers
7/23 Inner City Blues
7/30 Moniks Williams
The St. Louis Blues Society BluesLetter 5
 May 9 - BB's Jazz, Blues, & Soups (w Rhythm Renegades) - St. Louis, MO - 7p
May 11 - Canton Inn (Duo) - Hillsboro, IL - 6:30p
May 17 - BB's Jazz, Blues, & Soups (Duo) - St. Louis, MO - 9p
May 18 - Ember's Pizza (Solo) - Vandalia, IL - 6p
May 19 - C.J. Mugg's (Band) - Webster Groves, MO - 9p
May 23 - James Armstrong Presents @ the Alamo (Band) - Springfield, IL - 6p
May 24 - Greenville Nursing & Rehab (Solo) - Greenville, IL - 2p
June 1 - Ember's Pizza (Solo) - Vandalia, IL - 6p
June 9 - BB's Jazz, Blues, & Soups (Band) - St. Louis, MO - 9p
June 13 - BB's Jazz, Blues, & Soups (w Rhythm Renegades) - St. Louis, MO - 9p
June 15 - Ember's Pizza (Solo) - Vandalia, IL - 6p
June 21 - BB's Jazz, Blues, & Soups (Duo) - St. Louis, MO - 9p
June 22 - C.J. Mugg's (Band) - Webster Groves, MO - 9p
June 24 - Atomic Blues Fest @ Broadway Oyster Bar (Band) - St. Louis, MO - TBD
June 29 - Corner Keg Pub (Duo) - Highland, IL - 9p

6 The St. Louis Blues Society BluesLetter

SOULARD BLUES
BAND
RFT “Best Blues Band”
13 years in a row

(314) 832-4924
www.soulardbluesband.com
dwyerart@yahoo.com
King Solomon Records

The St. Louis Blues Society BluesLetter 7

 Jimmy Hinds:
The Sound of St. Louis
by Bob Baugh photos courtesy of Jimmy Hinds except where noted

Jimmy Hinds was a young teenager Wolf, Lightnin’ Hopkins, Muddy At the beginning of high school
in early 1960s when he and his brother Waters, B.B. King and Bobbly Bland (1964-68) Hinds was singing doo-wop
discovered a record store on Natural to be played. No James Brown for him. as part of a group called the Concepts
Bridge Avenue in north St. Louis. They Hinds, the second oldest boy, was one with his brother Leonard and two other
would hang there for hours looking of the six siblings who would become brothers, Andre and Michael Jones.
through the record bins. Hinds sensed musicians. Four of them including They achieved a fair amount of local
something special about the place but Jimmy were drummers. However, he recognition. He said he learned the bass
didn’t know what it was. What he did was always the music director in their out of frustration; “our bass player was
know was that when they got to the cash legendary third floor “Music Room” so bad I would take his Gibson EB2 bass
register with records and no money the which was also doubled as his bedroom. home to learn the songs and teach him.”
owner, Oliver Sain, would smile, sell But, his drive for perfection wasn’t just
them the records on credit and tell the The Third Floor Education the bass as his brother Jerome Hinds
boys, “I know where you live.” It was The 45s from Sain’s record store tells it, “During a show Jimmy would
the start of a relationship that would became the tools that Hinds used to stop singing if the music was wrong and
define the sound of St. Louis. learn music. To this day his brothers turn his back to the audience and fix the
are still amazed at how good Jimmy band.”
was with tools and needles. “He would That got Hinds started on the bass
break down records on their stereo into but it was the sound from Motown’s
individual tracks,” his brother Jerome legendary Funk Brothers bassist, James
said, “so he could learn each part.” Jamerson, that got him hooked. Self-
His brother, June Hinds, remembers taught through records and constant
the many times he would find “Jimmy practice, he said, “I mastered Jamerson’s
laying on the floor surrounded by 45s open string technique and learned how
listening and practicing.” His ear for to control the strings so they don’t hum
the right sound and precision would and bump into each other.” Chuck
become a career defining work ethic. Rainey a legendary New York bassist
Music, the third floor, and Sain’s and studio musician, who played with
record store, that became Archway Aretha Franklin, The King Curtis All
Studios in 1965, were central to Stars, and toured with the Beatles was
the Hinds family life. June Hinds another favorite.
remembers how “the music grabbed all The third leg of Hinds’ musical stool
of us and kept us out of trouble and if was jazz bassist Ron Carter who he met
we were doing wrong my mother would through an Oliver Nelson Jazz Clinic at
threaten, ‘I’ll tell to tell Oliver.’” Jimmy Washington University. “I was all ear
Jimmy with his mother Hinds controlled all the music on the and didn’t know anything about notes.
third floor as well as downstairs at his He taught me to respect the neck of my
Born on January 9, 1950, Hinds parents’ card parties where he played bass and how scales were executed in
was a Homer G Phillips’ baby who DJ for tips. As he learned the music he different positions. He taught me how
grew up with a mother who loved art, would go back up to Natural Bridge to spell the musical notes. It opened
a harmonica and guitar playing father, to show Oliver his moves. “I knew the door of knowledge for me about
five brothers and two sisters. In their there was something more going on knowing your music and knowing what
North Market Street home his dad there from the first time I went in and I you’re doing.”
would only allow records by Howlin’ knew he saw something in me,” Hinds
reminisced.
8 The St. Louis Blues Society BluesLetter
 Going Pro he wanted to record but even more than of music although his first call is for
that he wanted to become a producer blues, soul and R&B”
By the end of high school, Hinds and arranger. That was fine with Sain
was making a name for himself playing Working at Archway gave Hinds
who knew Hinds focused approach to
with The Magnificent Seven in east- the full range of experience. It was a
his Fender Precision bass and his ear for
side clubs. He laughs when he says, business where time was money and
music.
“at the time we were Oliver Sain’s there were always others waiting to
nemesis for popularity in town.” At 19 Oliver and Archway record. Bands wanted to make 45s and
he turned professional, began playing sell enough of them to get an album.
Being a studio musician takes a Sometimes Hinds would see something
in Sain’s band, The Oliver Sain Revue,
different temperament according to in a band, but other times he had to learn
and started recording for him. One
Hinds, “People who think playing to let go and follow Sain’s business
night in 1969 Sain’s band opened for
in a band will get you into a studio advice, “Leave it alone Jimmy, don’t
Bobby “Blue” Bland. When Bland’s
are wrong. There’s a much higher try to fix it. You can’t polish or perfume
bass player was a no show he grabbed
standard in recording. You gotta play a turd.”
Hinds to fill in. He liked what he heard
with precision, no raggedy unkempt
and offered him the slot in the band. In the studio he became an arranger
sound. The engineer will tell on you.”
“Oliver wasn’t happy but he understood and music director working closely
His friend Bob Lohr, who played piano
because he was a pro.” Hinds said, “he with guitarist Phil Westmoreland under
knew it was a step up for the tutelage of Oliver
me the same way Little Sain. “He helped me
Milton was for him.” and I helped him. We
Unfortunately, with exchanged favors.” Hinds
the Viet Nam War raging, said, “I filled in with his
the government had other band as needed and he
plans. After his first show gave me authority in the
as a member of Bland’s studio.” Sain also kept an
band his draft notice eye out to be sure Hinds
arrived back home. By had the respect of the other
the end of the year he had musicians. “I did,” Hinds
been inducted into the US noted, “because I learned
Army 2nd Division. He the musical material
was stationed at Ft. Hood, better than anyone else
TX as an MP and band and Oliver knew that I
member. He had never knew.”
played upright bass but On the business
when auditioning he proved side, Sain managed the
he could. The assignment relationships with the
turned out to be a lucky stars and kept the studio
break. To keep the core of filled with state of the
the band intact the Army art recording equipment.
kept its best musicians like Although Hinds was the
Hinds stateside. He once musical director in the
was pictured on the front studio, both Sain and
page of the Army Times Hinds acted as engineers
exiting a Huey helicopter and musicians, playing
holding his bass overhead. their instruments as
Following his two needed for a recording.
years in the service, Hinds returned to They found their differing styles to be
St. Louis and immediately headed to for Chuck Berry for years, agrees and complimentary. “Oliver had a country-
CMC and KBK studios to see about thinks Hinds is one of the best; “It’s boy ear but was a stone bluesman. I had
staff musician opportunities. They had like playing under a magnifying glass. my blues, but I was a Motown baby
no idea what he was talking about so he I consider him the St. Louis answer to with clarity in hearing everything. We
headed over to Archway. Hinds knew James Jamerson. He can play any kind had two different ears so our mixes
continued on page 10
The St. Louis Blues Society BluesLetter 9
 continued from page 9 Oliver opened the doors for the black and Marvin “Buzzy” Morton (1987).
community to learn about music and The band was officially appointed as
sound different but there was no conflict
music production.” ambassadors for the City of St. Louis
because we came from the same place.
by Mayor Vincent Schoemehl.
We were bluesmen.” Remembering the Good Times
Another favorite was the extended
The thirty years at Archway were When you ask Hinds about any Phil Driscoll gig at the Chase Park
rewarding. Hinds became everything favorite memories you get a long
Plaza Hotel in the early 70s. At the time,
he aspired to be. Even as the most pause and an admission that, “As a
Driscoll was a national figure in R&B
recorded bass player in town he was band leader there was so much going
and rock. Hinds said the job made him
better known for his arranging prowess. on and I was so focused that it is hard
the envy of every bass player in town.
His stamp is on generations of bass to single one event out.” Then the
“They paid $600 a week and it came
players because if you wanted to play memories start to roll: the first Fontella
with a room. It was big money and set
in Sain’s band you had to learn Hinds’ Bass European tour; the 1982 Larry
me apart.” Getting the room was an
bass lines. Others, like Sharon Foehner, Davis album, Funny Stuff, with Johnny
issue. June Hinds laughs when telling
another outstanding local bass player, Johnson (piano), Billy Gayles (drums),
how the Chase owner, Hal Kopler,
were drawn in just watching him play. Jimmy Hinds (drums/bass), and Oliver
eventually had to give in saying, “he
She tells how that technique and control Sain (sax/horns); playing with Percy
gets one room, only one room.” The
dazzled her when she moved to St. Mayfield in 1984 in Long Beach, CA
Hinds brothers loved hanging there
Louis in 1987. “I went to see The St. (he died the next day); the Oliver Sain
while making good use of the room
Louis Kings of Rhythm—a supergroup Soul Reunions at Mississippi Nights
service.
with Jimmy Hinds on bass. It was mind- (1988-1998, musical director); and the
blowing. I stared at him all night and 2006 Bo Diddley tour. And, there memories of other
between breaks we would talk, and he studios along the way. There was a job
would teach me bass lines.” The 1986 and 1987 St. Louis Kings with Ike Turner’s studio in LA where he
of Rhythm European tours got a special ended up playing drums because Turner
What Hinds admires most about mention from Hinds. It was an all-star
knew he could. Then there was the one
Oliver Sain was the fact he brought cast of St. Louisans including several
that didn’t happen. In 1978 he signed
his record industry experience (and veterans of the original Ike Turner’s
a deal with Motown and Gwen Gordy
Fontella Bass) from Chess to St. Louis. Kings of Rhythm line up: Clayton Love
Productions (Barry Gordy’s sister) to
“A lot of us would never have seen (keyboard), Billy Gayles (drummer/
produce some girl groups. But, without
the technology or how to use it. White vocalist), Robbie Montgomery telling anyone, Gordy abruptly sold
studios were very uncomfortable to (vocalist), Stacey Johnson (vocalist),
Motown. The sale immediately cut off
work in. They didn’t want us [black Oliver Sain (sax), Jimmy Hinds (bass),
all the funding and Hinds had to walk
musicians] learning the business. and guitarists, Darrel Darden (1986)
away. It didn’t matter, Archway was
always his home.
Commitment and Family
The one thing you learn when
interviewing Jimmy Hinds is that he
prefers long term commitments. While
he traveled and played with many acts
over the years he liked regular jobs.
Archway was his day job and at night
it was Hilary’s in Soulard. He formed
Hilary’s Coalition in 1977 to be the
house band. Five years later, when the
club owner told Hinds he needed to get
a female vocalist, he knew exactly who
to ask. It was that sweet girl he met in
fourth grade, his buddy Marvin Evans
twin sister, Marsha. There was never
a doubt in Hinds mind. “In music,” he
said, “the one they [other singers] fear
On the tour bus with Bo Diddley is the one you want and they all feared

10 The St. Louis Blues Society BluesLetter

 Oliver Sain. She became played with Jimmy through the years
a mainstay at his Archway and Jerome fills in on drums as needed.
Records (vocals and But, it is Evans that is his musical muse.
background) and with his They were so attuned to one another
band. through background and decades with
Oliver Sain that both have said, “we did
Ironically, Evans and
all kinds of music, so we never had to
Hinds never really saw
rehearse.”
each other at Archway.
Marsha was a full time A St. Louis Story
teacher so their schedules
put them in the studio Hinds fifty-year career has been a
at different times. But, search for musical perfection. It took
they were always aware a good ear, hard work and endless
of each other’s music. practice to get it right. His good friend,
When Hinds approached Gus Thornton, knows he found it: “His
her about joining The tone is distinct, solid, and strong. It’s
Coalition she jumped at directional like James Jamerson. He is
the opportunity. Once a leader; somebody you would follow.”
they started, Hinds said, Thornton said. And, if you don’t, Hinds
“I knew I would never will let you know, “I’m the old guy who
want to work with anyone gets on you heavy if you can’t shuffle.”
else.” Evans smiles when He worries that young players make a
she talks about how easy mistake in going for speed and that the
Jimmy and Marsha at home
it has been, “We always rise of the keyboard bass is replacing
Marsha.” In 1982 the band became
understood each other musically since real bass players. When asked, “what
Marsha Evans and the Coalition.
the beginning and he allows me to be a is the St. Louis sound?” his answer is
They would play 4-5 times a week for
creative artist. He is the very best at his simple, “Listen to my music.”
decades.
craft.” Getting married sealed the deal Jimmy Hinds is a St. Louis story.
Evans had grown up in music. Her for life. He met a record-making man who
father, Leonard Bolar, was the lead
No surprise there because, in Hinds’ opened the doors of music production
trumpet in the jazzy George Hudson
world, music and family have always to this city’s black community. Oliver
Band when sixteen-year old Marsha
gone together. Evans remembers her Sain encouraged and mentored Jimmy
joined their singers, The Georgettes.
brother and Jimmy drawing pictures Hinds as he did with so many others.
Becoming a big band jazz soloist and
and talking music in grade school. He He found a kid, a bluesman, with the
working with the acclaimed mini
and his brother Leonard started The same determination, attention to detail
Motown East St. Louis Model Cities
Concepts in high school. His brother and love of music that he had. The
program, the Young Disciples, paid
Kent was The Coalition’s drummer old record store and Archway Studios
dividends. It led to a lifelong friendship
for many years until he moved to Los are long gone but the legacy of their
with another extraordinary bassist, Gus
Angeles. June, a percussionist, has friendship and collaboration lives on.
Thornton, and ultimately to meeting They call it, “St. Louis soul.” 

Marsha Evans and the Coalition at the National Blues Museum with Kim Massie on the left; and on the right, on the main
stage during the 2017 Labor Day Weekend Big Muddy Blues Festival on the Landing. photos by Bob Baugh
The St. Louis Blues Society BluesLetter 11
 by Kirk Zimmerman
Continuing with St. Louis’ tradition as a music-friendly far, it seems to work.” In addition to musicians of all ages
city, one of the quickest-growing open blues jams can be and instruments, the Sitting on the Porch Jam has hosted
found at the National Blues Museum. There, musicians of musicians from all over the world. International guests who
all ages and experience, gather every Thursday to trade licks visit the museum are often intrigued and end up grabbing
and have a good time. Hosted by National Blues Museum their own instruments to sit in on the jam too.
volunteer, Jesse Lopez, the jam session began as an idea
Another exciting aspect of the Sitting on the Porch
developed by Lopez and founding Executive Director
Jam Session is that you never know who will pop-in to play.
Dion Brown. “When I went to the Delta to visit Sharon
It’s a great place for amateur musicians to play with some
McConnell-Dickerson, I sat on the same porch at her home
of the top local talent in St. Louis. Marquise Knox, Marty
that Honeyboy Edwards, Hubert Sumlin, Bobby Rush, Blind
Spikener, Torrey Casey, and Joe Metzka are just some of St.
Mississippi Morris and many others sat and played on—it
Louis’s premier local artists who have joined the jam. As the
was a moving moment. When I returned, Dion suggested we
jam session continues to grow week by week, I asked Jesse
have a jam session and asked if I would run it and I readily
where he hopes to see the jam session go in the future. He
agreed.” Lopez said. Inspired by his trip, Lopez named the
said, “I would like to see the jam expand to three hours and
show, Sitting on the Porch Open Jam.
be able to live-stream it. This is becoming a staple at the
The jam session launched in January and more people National Blues Museum and I see it only getting bigger and
have been coming every week. Players as young as 14 join better.”
in on the fun. The jam session is open to players of any
If the first four months are any indication, then Lopez is
instrument. There have been banjo players and saxophone
right, this jam session is destined to continue to become one
players in addition to the usual guitars, harps, drums, and
of the top open jams in St. Louis. The Sitting on the Porch
bass. According to Lopez, “My favorite thing is coordinating
Jam Session is held every Thursday from 6pm to 8pm and is
musicians that are unrehearsed with each other. I have no
free to attend. The National Blues Museum is located at 615
idea who is going to show up and what instrument they play
Washington Avenue, downtown. 
and I have the pleasure of putting the puzzle together and so

12 The St. Louis Blues Society BluesLetter

 k
ac

tb ou
come

r garage
visit us
up front

out ou
Unconventional Workspace for the
Unconventionally Employed

eck
ch
,
or

Live Music
May June
Thursday 5/10 Big Mike Aguirre and the Blu City All Stars
Thursday 5/17 Stax Tribute w/Roland Johnson, Gene Jackson and Kim Massie
nebulastl.com Thursday 5/24 The Cash Box Kings
Saturday 5/26 The Dust Covers
Thursday 5/31 Paul Bonn and the Bluesmen
Thursday 6/7 Kilborn Alley Blues Band
Thursday 6/14 Michael Ledbetter and Nate Boff
Saturday 6/16 Christopher Parrish Trio
Thursday 6/21 The 44s [LA]
Thursday 6/28 Aaron Griffin, Elliot Sowell, Sal Ruelas and Keith Robinson

2438 McNair, St. Louis MO 63104

314.773.8225   314.833.4489
bluescitydeli.com melospizzeria.com

...proudly presenting 2 exciting

new full length original releases!

ST. LOUIS
SOUL | JAZZ | FUNK
dogtownrecords.co

The St. Louis Blues Society BluesLetter 13

 recording
mixing
mastering
Every Monday Night
7 – 10 PM

Uncle Albert
BLU E
LO T US Tim

Stove Handle Jackson

STUDIO
Dan

Randy Blind Lime Roberts

audiophile oriented,
located in southampton
neighborhood
Hammerstone’s @ 9th and Russell
In historic Soulard
BLUELOTUSRECORDINGS@GMAIL.COM
314.397.3823

advertise in the BluesLetter contact Jeremy Segel-Moss

jsegelmoss@stlouisbluessociety.org

EVERY MONDAY AT 9PM

the longest running
blues jam
in the world hosted
by the

Soulard
Blues
Band
14 The St. Louis Blues Society BluesLetter
 Musicians Directory
Paul Niehaus IV
The House of Bishops Blue Lotus Studio
Aaron Griffin Zydeco Show and Blues Revue www.bluelotusrecordings.com
aggriffdog11@gmail.com Ron Clingenpeel
314.378.0022 314.397.3823
www.bishopsmusic.net
Annie and the Fur Trappers 314.249.5908 Raven Wolf
Annie Linders C. Felton Jennings II
Hudson & the Hoodoo Cats www.pugdogrecords.com
anneglinders@gmail.com Hudson Harkins
314.489.3162 314.550.2743
www.hudsonband.com
Big Mike Aguirre 314.603.5641 Raw Earth “Casbah-ssippi”
and the Blu City All Stars Ivan Martin
JD Hughes & The Fuze www.facebook.com/
www.bigmikestl.com www.jdhughes.net RawEarthNation
618.610.7467 314.954.7288 314.605.3474
Bob Case Jim McClaren The Rhythm Section
www.bobcasemusician.com www.jimmcclaren.com
bobcasemusician@sbcglobal.net Road Show
314.664.3449 Andy Coco
314.807.5770
Johnny Dean Blues www.rsrs.co
Bottlesnakes John Wilson 314.255.3708
Nick Pence jdeanblues@yahoo.com
www.facebook.com/ Sins of the Pioneers
314.534.8060 Mark “Sunny Boy” Mason
thebottlesnakes
314.657.6114 Kingdom Brothers Band www.facebook.com/
Bob Walther TheSinsofthePioneers
The Bottoms Up www.kingdombrothersband.com 314.481.3380
Blues Gang 314.910.8490
Jeremy Segel-Moss Soulard Blues Band
www.bottomsupblues.com Larry Griffin Art Dwyer
& Eric McSpadden Duo www.soulardbluesband.com
314.482.0314
Larry Griffin 314.832.4924
Brian Curran ljgriff43@yahoo.com
www.briantcurran.com The Spys
314.662.1857 Michael Shornick
314.753.1395
Marty D. Spikener’s www.facebook.com/
Brother Jefferson Band On Call Band The SpysBand
Jeff Chapman spikemoves@hotmail.com 314.662.7555
www.jeffchapmanmusic.com 314.435.7053
618.292.7196
Tom Hall
Matt “The Rattlesnake” Lesch www.tomhallmusic.com
Bud Summers Chris Totty 314.853.0060
budsummers.com www.reverbnation.com/
618.401.5845
Tommy Halloran
matttherattlesnakelesch and Guerrilla Swing
Dave Black 314.596.8116 www.tommyhalloran.net
www.daveblackstl.com Melissa Neels Band 314.243.3147
314.647.1415 melissaneels.net Uncle Albert
Deja Blu STL Blues Band 314.306.8407 Tim Albert
Amy Sampo North of the Quarter dogschew@aol.com
www.dejablustl.rocks Toby Mechem www.facebook.com/
dejablustl.rocks@yahoo.com www.northofthequarter.com unclealbertband
314.853.5788 314.691.7056 618.660.7935
Ethan Leinwand Pat Liston
www.ethanleinwand.com Dawn Liston
202.558.8513 www.patliston.com
Eugene Johnson 618.741.1166
& Company Paul Bonn
www.eugenejohnson.org
314.537.2396
& The Bluesmen
bonnblues@gmail.com
Musicians
advertise your contact information in
BluesLetter
Gateway Blues Band 618.632.9420
Jeff Sieth
the
www.gatewaybluesband.com contact Kari Liston
618.830.3347 karithewrist@gmail.com
a one-year listing includes a link on our website

The St. Louis Blues Society BluesLetter 15