Press

“Ladies Sing the Blues”
March 15, 2008
Speakeasy Theater at Castaways Restaurant – Manitou Springs, CO
A Music Company Production –Amy Whitesell www.amusiccompanyinc.com

Featured vocalists: Erica Brown; Juanita Martin; Jill Watkins; Lila Mori
Supporting Musicians: Dave Deason – drums; Tim Zahn – piano; Brad Eastin – tenor sax; Santi Guarnera – bass violin and arranger; Jim Adam – sound

‘LADIES SING THE BLUES’
An Appreciation by Dan Todd
On a snowy March evening last week, I found myself at the Speakeasy Theater in Manitou Springs witnessing one of the greatest nights of music I have heard in my forty years of playing and following R&B. “Ladies Sing the Blues” featured four of the most seasoned, savvy and inspired vocalists, backed by a cracker-jack quartet, that this listener has ever been privileged to experience. The aforementioned ladies were Lila Mori, Juanita Martin, Erica Brown and Jill Watkins, and the feeling these singers brought to the room was so professional, so enjoyable, so uniting and transcendent that to not respond would be a crime. Each has her true story, and each told it truthfully during this three plus hours. No listener could ask for more.
The band, consisting of Tim Zahn – piano, Dave Deason – drums, Brad Eastin – tenor sax, and Santi Guarnera – bass violin and arranger, opened the night with the Herbie Mann chestnut “Comin’ Home, Baby” (sans Bob Dorough’s lyrics) by setting the low-volume, intense, atmospheric mood the audience came to expect right until the last note. Gentlemen, take a bow!
Then, out walks Erica Brown.
Nothing quite prepares an audience for the big presence and sheer joy of living listeners find in Ms. Brown’s performance. She was engaging and funny, at once self-effacing and supremely confident. Opening with “Night Time Is the Right Time,” she also showed that she can deliver the blues. Her middle range, dynamic voice soared, then growled, then soared again, insisting and pleading until the mood for the night was set. Musicians have what’s called a “get over number” to get the crowd on their side. “Night Time” got over, all right. With Erica in the driver’s seat, if you wanna take a ride, better fasten your seat belt. There is a feeling of continued anticipation in the rare art of great blues performance: each song builds on the energy and execution of the last one, and you find yourself thinking “How you gonna top that?” But Erica did, with “I Want Love,” followed by the heartfelt blue ballad “Nothing Takes the Place of You.”
Juanita Martin simply radiated joy and good will. Her confident smile and warm, bright eyes invited you to share these moments with her -- even before the first note arrived. Her opening lines on “I’ll Take Romance” glistened, the feeling building -- this just plain swings. Then the tender Ray Noble ballad “The Very Thought of You” – challenging upper range requirements here, but they presented no problem; later, we found out Juanita has an extra half octave to spare. Serious stuff here: Sarah and Dinah and Nina and Nancy…oh, and the blues? How about the “Lady Bear Blues”? Salty and knowing, it closed the first portion of her show. Thank you, Juanita, for making these moments unforgettable.
A less seasoned singer than Boulder’s Jill Watkins would have been sweating bullets…”How am I gonna top that?” Not this singer’s first county fair, her tiara and gown and liquid grace, her ease with the audience, her humor and soon, her songs, let us know that we were in the presence of a real artistic event: these women were not in the kind of competition so wearily familiar in the “blues” scene, the loudest-yet gunfight at the guitar slinger’s corral. They were feeding on one another’s energies, inspired by what they have heard – and what they are making us hear. They loved this more than the audience did – if that’s even possible. So Jill ratcheted it up another notch with a charged up version of the heart torn lover’s confrontational “Damn Your Eyes.” Pure conviction, pure delivery. (O.K. I surrender. I’ve somehow stumbled into the real deal. I’m 30 years younger and 20 pounds lighter.) Time for some fun with “Bare Necessities,” and the band is completely up to the task as Jill swings back and forth from temptress to clown, to everyone’s delight. And close it out with some Gershwin, “Summertime.” O my. And on deck, Lila Mori.
You could tune a piano using Lila’s voice and everyone knows it. A local legend and Broadmoor regular, yes, but few people have heard her really sing the blues. So, “How’s she gonna”… never mind: with a rare Percy Mayfield selection, the exacting, poignant “Lost Mind.” Then to the Harold Arlen/Johnny Mercer penned “Come Rain or Come Shine.” She sure knows her songwriters, and interprets them, breathes into them, and does them most proud. Tone, suggestion, dynamics, nuance…Lila’s got it all…and just visible behind the curtain, three other Ladies of the Blues finger popping, hip swaying, rooting their gal on. If this isn’t nice, I don’t know what is. Finish it off with some “Frim Fram Sauce” and then Sippie Wallace’s cautionary tale, “Women Be Wise” – a group effort – and, whew, intermission.
A short note on the band: Dave Deason’s playing really suits my ear. His tones, taste, and technique, his musicianship and dynamic sensibility, and sheer listening skills have built his reputation as the drummer who can make a band sound good! Tim Zahn left his accordian at home this time, but showed mastery of the acoustic piano like to get smiles from his influences, which run the whole gamut of twentieth century American piano approaches. His muscular, percussive attack, creative left hand and full range ear showed familiarity with players from Jelly Roll, FatsWaller, James P. Johnson through to Jerry Lee, Professor Longhair and modern greats like Herbie Hancock. Brad Eastin’s feathery tenor sax tone played with the vocalists, sometimes shadowing and sometimes countering their lines. The bass violin chores were handled by Santi Guarnera, the region’s most under-appreciated bassist, who also deserves credit as the arranger for the show.
I noticed that the theater was still full when the group reconvened after intermission; despite the March snow, the crowd had hung tough. Anticipation, approbation, attention: these are the hallmarks of a sophisticated and appreciative audience – and this crowd was there and ready to be transported – again.
Juanita opened up sparkling with Cole Porter’s, “What Is This Thing Called Love?” and followed it with a range stretching and breezy ”I’m in the Mood for Love.” Jill joined her for the Quincy Jones blues “Sister” from “The Color Purple,” and the sisterhood, the mutual respect and honor shown by two great artists, was evident in the music and the glow. A real highlight of the show was Erica Brown’s rendition of “Amazing Grace,” done over the dark minor changes of “House of the Rising Sun,” (arrangement by The Blind Boys of Alabama) making an old song utterly new. The energy kept building; it was magic, unbelievable, direct as a Straight No Chaser. Lila sweetened the mix with “Gee Baby, Ain’t I Good to You?” cruised down “Route 66,” and then delivered the greatest and true-est version of Etta James’ “At Last” I have ever heard. I held up my hand. Mere mortals don’t sing like that. Mere mortals don’t get to hear music like that. Normal reality had generously disappeared, on vacation for the evening.
Jill Watkins brought the event full circle, tearing up Freddie King’s “Tore Down” and following it with a sizzling “I Never Loved a Man.” She had us cracking up during “Middle Aged Blues Boogie” (the women laughing even harder than the men…?) and she took us out on the back porch with the closer, a medley called “G-Stacular!” to give all four singers their last good-byes.
In the final round of applause the audience showed their appreciation, stamping, whistling, hooting, cheering these Ladies of the Blues for their grooves and moves, their affirmation and vibes, their pure- as-country-water artistry.
The Real Blues is not a format but a feeling, a feeling which can be imbued in nearly any musical genre. It is an emotional language, and you can’t fake it. Like swing, it is defined not by what it is but by what it does. That night I heard every kind of blues I need to hear, from both the singers and the band. Each performer brought out the better angels that night, and the participating, engaged audience, God bless ‘em, met the artists at least half way. This doesn’t always happen. Thank you, ladies…thank you.

SET 1
Band -- Comin’ Home, Baby (inst.) –– Ben Tucker, Bob Dorough (lyrics)

Erica Brown—
The Night Time Is the Right Time
I Want Love (Bob Mocken)
Nothing Takes the Place of You (L. McCall Toussaint)

Juanita Martin—
I’ll Take Romance (Oscar Hammerstein II)
The Very Thought of You – (Ray Noble)
Lady Bear Blues

Jill Watkins –
Damn Your Eyes – Etta James (Barbara Wyrick, Steve Bogard)
Bare Necessities – from “The Jungle Book” – (Terry Gilkyson)
Summertime – (G. Gershwin, DuBois Heyward)

Lila Mori –
Lost Mind (Percy Mayfield)
Come Rain or Come Shine – (Harold Arlen, Johnny Mercer)
Frim Fram Sauce

All Four – Women Be Wise – (Sippie Wallace)

INTERMISSION

Juanita Martin –
What Is this Thing Called Love? (Cole Porter)
I’m In the Mood For Love – (Jimmy McHugh, Dorothy Fields)
Sister (Miss Seli’s Blues) – (Quincy Jones) – from “THE COLOR PURPLE” – with Jill Watkins

Erica Brown –
Satisfied Mind (Ben Harper)
Amazing Grace (Arr. Blind Boys of Alabama)
A Soldier in the Army of the Lord (trad.)

Lila Mori –
Gee Baby, Ain’t I Good to You (Don Redman, Andy Razaf)
Route 66 (Bobby Troup)
At Last – (Etta James, Harry Warren)

Jill Watkins –
I’m Tore Down – (Freddie King)
I Never Loved a Man (Aretha Franklin)
Middle Aged Blues – (Sapphire)
Steamroller Blues – (James Taylor)

ALL FOUR WOMEN—
G-Stacular – blues medley (Down Home Blues, Blues is Alright, etc.)

Interview with "Blues Diva" Candye Kane

Review of September 6, 2007 Ruthie Foster show at The Thirsty Parrot
By Thom Rogers

Phenomenal !!!

Ruthie Foster had the house in the palm of her hand by the end of her fantastic show Thursday night at the Thirsty Parrot. Singing from the heart and connecting with her audience, she delivered a near religious experience. I doubt you have ever seen an entertainer exchange energy with her audience the way Ruthie did.

The show kicked off with a 10-song set from Jim Adam, owner of local venue Jimbo’s Take Two. About half of his set came from his new CD, ‘Rock Island Line’, including originals as well as gems from the catalogs of Jimmy Reed, Robert Johnson, and Bill Withers.

He played all 3 of his guitars, explaining, “I tuned ‘em all and I’m gonna play ‘em all.” He invited local keyboard genius John Stilwagen on stage for his final 3 songs and finished out the set with ‘Big Boss Man’, ‘Built for Comfort’, and ‘The Chicken Song’. Jim’s skill at storytelling, emotional singing and the honest musicianship of his acoustic guitar with that right hand thumping bass while strumming were the perfect appetizer for Ruthie’s upcoming show.

I had been waiting to see Ruthie with her band ever since January and I wasn’t disappointed. Striding onstage with a smile that could light the city, she adjusted her Taylor acoustic and invited John Stilwagen back for her entire two set show. She and John met in January on the blues cruise where he sat in with her for virtually the entire week, earning the coveted ‘Jamminest Cruiser’ award by the end of the trip.

Touring in support of her latest CD, ‘The Phenomenal Ruthie Foster’, she led off with a rousing version of Sister Rosetta Tharpe’s ‘Up Above My Head (I Hear Music In the Air)’. John’s solo on that opener signaled that he had come to play, bringing immediate applause from the crowded room. Explaining that she liked to mix “my blues with my gospel”, She launched in to a groove-laden “My Soul’s Found a Happy Home” and then followed that up with a tune she wrote to honor Sam Cooke, “Another Rain Song”.

While truly gifted as a songwriter, Ruthie is more than happy to showcase other writer’s talents as shown by her interpretation of Lucinda Williams’ “Fruits of My Labor”. As her set continued to build, the audience could see the appreciation she had for what John was adding to the show. She smiled, gave him extended time, urging him on during his soaring solos. You could tell she was enjoying the keyboard work every bit as much as the rest of us.

Her band was totally in the pocket the entire night. Tanya Richardson on bass and Samantha Banks on drums showed their versatility, with Samantha playing spoons (the perfect rhythmic accompaniment) as Ruthie sang Mississippi John Hurt’s ‘Richly Woman Blues.’ The highlight of the first set was a version of Bob Marley’s ‘Real Love’, which brought the crowd to its feet. Her powerful voice sustained one note nearly forever as the band provided the classic reggae underpinning for what turned into an anthem. The excitement in the room after that song was almost too much to bear.

She finished out the set as the dance floor filled and swayed to ‘Death Came A-Knockin' (Travelin' Shoes)’. Everybody needed a release after the energy of that first set.

She returned after a short intermission and again led off with a song from the new CD. This time it was a song she had written about her mother, called ‘Mama Said’. She then moved to the keyboard as she explained that piano was her original instrument, prior to guitar. She then treated us to a rousing version of ‘Phenomenal Woman’, a poem of Maya Angelou’s set to music by Amy Sky and David Pickell. You could tell by her introduction that this is the tune that is becoming known as Ruthie’s song.

Throughout the show, the power and raw emotion of her voice gained strength. Her voice needs to be heard to be believed (and even then it’s hard to believe). She sings with so much soul and energy that the entire audience is moved and feels personally connected to the singer.

After her stint at the keys, John returned and she introduced the next song as a song of celebration – launching into a rhumba-influenced version of ‘My Mind is Set on Freedom’’. She quieted things down by following up with ‘Beaver Creek Blues’.

Her show is a positive affirmation of life, with themes of celebration, family, healing, and hope. She gave us a gut wrenching version of ‘Heal Yourself’ and then in response to a shouted request, ‘Hole in My Pocket’, which had the crowd singing along. The last set ended with a song of perseverance and faith, ‘Walk On’ – performed by many, but rarely this personally.

The crowd would not let her go and she came back for a two song encore - the first a dreamy, languid version of ‘Oh, Susanna’ with only Tanya on stage playing a fiddle as Ruthie played guitar and sang. She politely told a fan that this was ‘something I have to do’.

She returned to reggae for her final encore as she played the Jimmy Cliff classic, ‘No Woman, No Cry’. The dance floor was filled, as everyone sang the chorus - “Everything's gonna be alright, everything's gonna be alright”. She stepped away from the microphone and sang un-amplified to the dance floor, trading lines with the crowd. It was a perfect feel good ending to what was an awesome show.

It wouldn’t be fair to conclude without acknowledging the efforts of A Music Company Inc. and their numerous sponsors (KRCC, Pikes Peak Blues Community, and others) for bringing such a quality show to Colorado Springs. Between the Legendary Rhythm and Blues Revue in April, Candy Kane just last month, and now Ruthie Foster, the quality of live music in the Springs has taken a leap forward. As a fan, I’m glad somebody cares enough to make all this happen. Continuing the tradition, an announcement was made from the stage that A Music Company is bringing Tab Benoit back to town, at the Thirsty Parrot, on October 30.

"George Whitesell & His All Stars featuring Jill Watkins"

With his trademark long, white hair and beard, George Whitesell looks like a blues Santa. But he sounds like a blues legend — and is in these parts. For decades, Whitesell's been singing and playing guitar and alto sax in the Pikes Peak region, most recently with Metro Blues. Now he's assembled what could be described as the blues board of directors in this area: George Whitesell & His All Stars.
The term "all star" is thrown around loosely, but if it's possible for there to be a blues supergroup in Colorado Springs, this is it. The résumés of the seven band members include experience with local and legendary acts, including Cab Calloway, Frank Zappa and Heart. Considering there's four sax players — alto through baritone — expect a sound bright with horns above Whitesell's solid guitar playing and John Stilwagen's keys, with Santi Guarnera (bass) and Dave Deason (drums) bringing it up on the bottom.
But only the band and those close to the band can truly describe the sound, because the All Stars are making their debut at Classics on Monday. Chances are, they will live up to the name.

"George Whitesell & His All Stars featuring Jill Watkins"

Part-time musician, part-time Santa, and full-time good guy, George Whitesell celebrated his 60th birthday in style with help from wife Amy, the owners of Classics, a bunch of talented musicians and a room full of friends and family. The party, held Monday June 5, was also the debut of a new band: George Whitesell & His All Stars. I've known George through Metro Blues, the band he has worked with for several years in the Colorado Springs area. Although Metro Blues is still happening, the All Stars represent the fulfillment of a dream: a big band of top-notch performers doing classics and originals and featuring a knock-out female vocalist—who turns out to be Jill Watkins.

George told me that he has wanted to start this project for many years but he didn't get serious about it until about 5 years ago. I asked him for a brief history of the project.

"A couple of summers ago I talked to Brad Eastin because I needed somebody to arrange the horns. He loved the idea and agreed to do it. So we just needed to find the players. Chris Wojtecki, I had known for a number of years and I asked him if he would be the baritone player. As it progressed on, I just started hand picking some of the people I thought would be most suited for this type of endeavor."

Once the musicians had committed and rehearsals began, George realized that the best way to introduce the band would be with a big show on a Monday night (so that others in the music business would be able to attend). While considering when to hold the concert he realized that, (with his 60th birthday falling on a Monday) and instantly knew that had to be date. He and Amy began planning a party that had well over 100 guests. There was a buffet supper and the entertainment was fabulous.

This is a blues/R&B/jump/swing show band—its members are not only excellent players but also enthusiastic performers—and they did, indeed, put on a show. At one point the audience was treated to synchonized marching/dancing/table hopping, which got a huge cheer.

George had mentioned the idea to Jill a couple of years ago and she liked it but didn't know if it would happen. Then last fall, George sent an email stating: "Alright, I'm doing it. That's it, and I have watched you, Jill, developing your character and your persona, and that's exactly who I want on stage. You are exactly tailor made for this." Jill says she likes the idea of an allstar band, "that everyone has their own band, is such a cool concept to me. So he threw it out there and said, 'are you in?' and I didn't bat an eye—oh, absolutely. I'm just flattered as hell that he even thought about me, let alone that I was asked to do it."

It wasn't until the second set that Jill was brought up to sing. We sat together during dinner and she was very excited about being involved with the All Stars. I asked her how it felt to be handed the keys to the candy store and was rewarded with a brilliant smile and a laugh. She later told me of her experience on stage that night: "Like getting your hands on a Ferrari. I was also in awe of all the different players around me. Each one had their own solo, and from one solo to the next it was just one monster performer after another. When they wanted me to come back in [for the vocal], I was like, well, OK, if you like that sort of thing. It was an incredible feeling."

This new association does not mean the end of the Jill Watkins Band, nor does it mean the end of Metro Blues—both bands will continue to work. This is another project for all involved, one that allows some stretching out in a different direction while taking on new and welcome challenges.
I recommend that you see George Whitesell & His All Stars when you get the chance. I guarantee that you will have a good time.

"George Whitesell & His All Stars featuring Jill Watkins"

There was a time in this country following WWII when people sought out danceable live entertainment at small clubs, commonly referred to as 'rib' or 'juke' joints, either located in urban areas or outside of town in "roadhouses". Physical traces of these can occasionally be found, but, save for recorded music; the jumping sounds that could be heard within are now almost extinct in a live format. The music which came to be known as jump blues or more generically rhythm and blues was an amalgamation of post-war blues played in a swinging tempo, boogie woogie and swing. More often than not, except for hip whites the musicians were black, enjoying a new-found amount of creationary freedom; a product of the war itself and some integrated entertainment venues from the prior decade. Mirroring the end of the war, the sounds evoked good times, sometimes with humor, but always pulling the dancers to the floor. As all popular music eventually does, the sounds evolved, principally to rock and roll (which dumped the blues but kept the rhythm). And eventually, the pureness and the originality got lost.

Enter George Whitesell and his dream band, the "All Stars". Monday nights are traditionally one of the slower nights for a live venue anywhere, but this was not the case at Classics. The full house ranged from barely legal to those old enough to remember the era mentioned above. And, to paraphrase an oft used line in jump music, "this joint was jumpin'." Peruse the crowd and one noted many confirmed jazzers as well as blues people (funny how that works out with this type of music!) and all were having a good time. The band features George on vocals, guitar and alto sax. The sax section also includes Kenny Johnston and Brad Eastin on tenors – Brad also handling the arrangements, and Chris Wojtecki on bari. Yeah – that's four! The rhythm section is ably filled out with John Stilwagen on keyboards, Santi Guarnera on bass and drummer Dave Deason driving this bus. Tough to pick a favorite here.

Whitesell has an immense well from which to pull music of that period of the late 1940's thru the early 1950's – some of which enjoyed brief re-creations in the ensuing years – and for his first session he chose wisely. The sax sections honking sounds reminiscent of Big Jay McNeely, Joe Houston, or Little Richard's band, The Upsetters. Brad Eastin's trademark incredible solos, Chris Wojtecki getting sounds from a bari that should only be legal on a tenor, Kenny Johnston blowing the house down. Ooh! My Soul! John Stilwagen's precise imaging of Pete Johnson's backing on the Big Joe Turner numbers, with the rest of the rhythm section nicely driving but never overpowering the song's intent. And, George providing his excellent vocal and guitar work and keeping the selections in sync with just enough historical banter of the song's origin in between. To add some dessert to this already excellent mix, blues-based vocalist Jill Watkins from up Boulder way, graced the stage for two numbers. In a word, wow! Her promo describes her powerful voice, playfulness and personality. It should add pulchritude. If you weren't there, you were not only square, but possibly trapezoidal. George Whitesell & His All Stars provide a righteous and riotous ride through the rarely tapped world of jump and rhythm & blues, long overdue on the entertainment scene. I wish them many happy returns.

"Legendary Rhythm & Blues Revue", April 29, 2007. Bigg City Event Center.

Amy,
I just wanted to let you how much fun my family and I had at the Legendary Rhythm & Blues Show at Mr Biggs on Sunday night. It was a great show and a good way to introduce us to their music as Kristin, Sean and I will be going on the Blues Cruise in Jan for the 1st time. Because of your work, the music scene in Co Spgs is definitely improving. I know there was a lot of hard work and risk involved in putting on this show . Your contributions are appreciated. It was also wonderful listening to our friends, John and Brent, jammin with the band.

Keep up the great work. I'm looking forward to the next show.

Keith Woestehoff
May 3, 2007

"George Whitesell & His All Stars featuring Jill Watkins"

A Music Company Inc. and Circle 504 Records offers an historic evening for Colorado Springs’ first ever “World-Wide CD Release Party”. Presenting “Skat” by George Whitesell & His All Stars featuring Jill Watkins on Wednesday, July 11, 2007, along with internet radio station A World of Blues.
The event will take place at the Coffee Exchange, 526 S. Tejon, Colorado Springs, Co, from 6 to 9pm
This dynamic eight piece Las Vegas style show band was formed a year ago by well known local musician George Whitesell and features some of the finest musicians in Colorado along with renowned vocalist Jill Watkins. Ms Watkins, from Boulder, led her own band for four years and has performed in numerous festivals, clubs and concert engagements
Known for their ability to truly entertain, the band plays a variety of jump, swing, R&B and blues from the classic era of the late 40's through mid 60's when "show" bands featuring a female singer were the rage. "I wanted to put together a band that was reminiscent of an era past, when people would dress up to go out and dance and be entertained by a live, exciting show band". "Nowadays there is a renewed interest in this type of music with swing dance clubs forming all over the world" said Whitesell.
Band members include:
George Whitesell: Vocal, Guitar and Alto sax (Metro Blues)
Jill Watkins: Vocals, Trumpet (The Jill Watkins Band)
Brad Eastin: Tenor sax and arranger (Frankie Laine, Cab Calloway, Rosemary Clooney, Eastinwest, USAF Academy Band "The Falconaires", The Springs Contemporary Big Band, Johnny and the Jukes, The Brad Eastin Trio)
Kenny Johnston: Tenor sax (Spicy Soup, The Kenny Johnston Band, The Bill Wright Band, Some People's Kids, Phat Daddy and the Phat Horn Doctors, Denver's KHIH Contemporary Smooth Jazz Artist for the year 2000)
Chris Wojtecki: Bari sax (Dennis Diblasio, Leslie Gore, Sam the Sham and the Pharoes, New Jack Hippies, 21/3, Dick Cunico's Little Big Band, the Delta 88's, The Springs Contemporary Jazz Big Band, Dwight Shaw Big Band)
John Stilwagen: Keyboards, Vocals (Metro Blues, The Nostalgics)
Santi Guarnera: Bass (Casey Rush, Dave Hodges, The Rocky Mountain Jazz Quartet, Magic Dave and the New Mules, Brenda Miles, The Nostalgics)
Dave Deason: Drums, Vocals (Heart, Tom Scott, The Holy Modal Rounders, Doug Kershaw, Johnny and the Jukes)
The band just recorded their first CD entitled Skat. The CD was produced by nationally known recording artist Ken Saydak (he also plays piano on one of the songs) and includes guest artist Bob Margolin, best known for his many years as guitarist with legendary bluesman Muddy Waters.
Record producer Saydak had this to say: "I first heard George Whitesell and His All-Stars on a live CD that George had recorded at one of the new group's gigs. I really liked what I heard, but I was even more impressed when I saw the band live a few weeks later. Here was a band playing that exciting music that had been the bridge between big band swing and what would later be called rock 'n roll. It's a deceptively simple sound, but it takes a high level of musicianship to pull it off. This band certainly has that musicianship. With a skin-tight rhythm section and a horn trio that I would stack up against any that I have ever heard (even in the studios of Chicago), bandleader, guitarist and vocalist George Whitesell knows how this sound is made. He understands that this is an ensemble sound where the whole is indeed greater than the sum of its parts. He has assembled a group that willingly checked their musical egos at the studio door and came in to work on a project that was everything that this music is intended to be: fun, fun and more fun. When you add singer Jill Watkins to the mix, what you get is a band that has breadth, style and class. George Whitesell and His All Stars is an entertainment juggernaut, and whether you listen to this, their first studio recording, or see their exciting stage show, I dare you to not smile."
Originally from the Hudson River Valley area of New York, Whitesell started playing music in his teens and before long was opening shows for the top artists of the day such as the Four Seasons, Peter and Gordon, the Young Rascals and Herman’s Hermits to name a few. He relocated to Colorado in the 1970’s and quickly became a fixture on the local music scene playing as a single and in groups from duo to six piece band..

In 1983 Whitesell wrote and recorded “Pray For Me” (I Drive Academy) which quickly became a local hit and is still played today on 1530 KCMN.

Most recently Whitesell was part of Metro Blues, one of the most popular blues bands in the state. During their six year existence Metro Blues opened shows for many nationally known blues artists, performed on numerous blues festivals and recorded a self titled CD that received air-play internationally. In 2003 they were voted the winner in the blues category of the Colorado Springs Music Awards.
“I wanted to do something a little different for this CD release. I have thousands of friends worldwide on MySpace who enjoy my music and I have a friend in Colorado who broadcasts worldwide on the internet radio station, A World of Blues. It just seemed natural to bring the two together”, explained Whitesell.
A World of Blues began in January 2007, streaming the blues 24/7 over the Internet, but with a twist. AWOB blues are served up by live broadcasters playing from their own collections and contacts. The roster of broadcasters has grown from the two original founders to seven. It’s a diverse crew hailing from California, Austria, Massachusetts, Pennsylvania, Indiana, and Colorado.
Another unique feature of AWOB is the live chat room. Listeners can interact with the broadcaster and fellow listeners from the international audience during the show. Local blues fan Thom Rogers; a familiar face at most of the blues jams and shows in the area, started broadcasting on A World of Blues in April. Recognizing the amazing talent level of local musicians, he jumped at the opportunity to bring them to a wider audience via A World of Blues.
Thom’s on-air name of Chophouse, whose origins are obscured in the best blues tradition, is also the name of his show airing every Monday, Wednesday and Friday from 5 to 8 PM Mountain Time.
While listening to the debut of the new CD Skat in its entirety, listeners will also be able to purchase the CD in person, or on line through A Music Company Inc., and internet music stores, MySpace, CD Baby and CD Mojo.
“The world has grown smaller since the World Wide Web has come into being and this is a perfect opportunity to reach friends internationally while offering our local friends an opportunity to celebrate this big event. To the best of my knowledge, this is a first for Colorado Springs” says Whitesell.
To hear song clips and watch videos of George Whitesell & His All Stars featuring Jill Watkins, visit www.myspace.com/georgewhitesell and www.sonicbids.com/georgewhitesell .
A World Of Blues will air the internet radio broadcast from the Coffee Exchange located in the heart of downtown Colorado Springs on July 11 from 6 to 9PM Mountain Time. Those not able to attend locally can tune in www.aworldofblues.com to hear the new CD played. Both the live and on-air audience can participate by asking questions or making comments.

This is your invitation to join us for our World-Wide CD Release Party at The Coffee Exchange. The Coffee Exchange offers the best coffees, a full line of beer & liquor and great food. See you there!
For more information, www.amusiccompanyinc.com, 719-576-5945 or 719-237-9953.