So I am very pleased to be your emcee today. I'm very thankful to Craig and Lori Brenner for putting
this festival together yet again. And it's also an honor for me to be doing this today because
my grandmother, who was a ragtime and boogie-woogie piano player, was born on this day in 1917. Yeah, yeah.
First year of jazz record came out, so it was just a happy personal coincidence for me. Along
with introducing our performers, I'm going to periodically be thanking our many, many sponsors, which
is just a great sign of what goodwill there is for this festival. We're going to begin with major festival
sponsors, and please hold your applause until the end while we thank Anne Schertz Photography, Mark
Wiedemeyer, Jonathan Dyson, Tom Noonan,
in memory of Tim DeBroeker, the City of Bloomington Arts Commission, and Bloomington Urban Enterprise
Association's Zone Arts Grant Program, the IU Jacobs School of Music Jazz Studies department, and Anonymous.
We also thank the Buskirk Chumley for marketing and other support. Let's give them all a big round of applause.
Today we are featuring musicians who are skilled in boogie woogie, jazz, blues, and zydeco. And some
guest artists are going to be accompanied by our local all-star rhythm section, Gordon Bonham on guitar,
Joe Donnelly on sax, Dan Hostetler on drums, and Ron Kadish on bass. Yeah, yeah.
Some good musicians from right around our own environs. Now we're going to welcome our first guest.
He's originally from Osaka, Japan. He now calls New Orleans home. He's a wonderful jazz New Orleans
style pianist, and he's going to be performing solo. Ladies and gentlemen, please give a warm welcome
to Yoshitaka Z2 Suji.
Have fun? Ah, thank you so much. My name is Yoshitaka Tsuji, so I'm from New Orleans. I'm actually originally
from Osaka, Japan, but I have been in New Orleans for about 16 years, so usually I play with trumpet
and vocal, the comet laughing, you know? Orable? He say every time, yeah, so anyway.
I'm so honored to perform for this festival, so... Yeah. Thank you. All right. I'm going to pray. Maybe
10 more minutes. I want to pray more.
because very good piano. So I will introduce tonight instrumental, Yamaha. Thank you. Anyway, back to
the music. So next song, it's a very, very famous song in the orange. So it's a really,
Ray Armstrong, so such more things. What a wonderful world. I hope you enjoy it. Thank you.
Thank you so much. Palm Court Strut, so thank you. All right, so I play one more song. So next song
is my favorite song, so it's a title, it's a Hymn to Freedom, so composed by Oscar Peterson. And also
I have two CDs today, so it's a reception.
So I recorded the next song, Human to Freedom 2, so you have interesting. By the way, do you have CD
player? Okay, if you don't have CD player, you can search the internet, bandcamp.com. So please search
for my name so you can try to listen
and by my Dexter City. All right. Anyway, so thank you today. So I hope you enjoy the next song, Human
to Freedom. Thank you.
Yoshitaka Tsuji. Thank you, Yoshi. Wow. The curtains were about to catch fire backstage there. Hey,
as we get ready for our next performer, we've got some more festival underwriters we want to thank.
So again, please hold your applause. I've gotten through all of them. Mother Bear's Pizza, the Uptown
Cafe, Lenny's, Bob Kissel's Foundation, Bob Arnoff,
Linda Handelsman. We also like to recognize media sponsors WFHB, Bloom Magazine, WFYI, and Mike Leonard
and the B-Town Bee. Please give them all a big round of applause for helping to make Bloomington Boogies possible.
Our next artist presented a workshop yesterday at the Monroe County History Center, and she's known
for her electrifying blues, jazz, and boogie-woogie, and she's self-taught with over 40 years of captivating
audiences worldwide. She's performed with B.B. King, James Brown, Ray Charles, and others, and she's
always dazzling on keyboards and sax and mesmerizing with her smoky vocals and songwriting.
She's a five time blues music award winner, including recently the horn instrumentalist of the year.
And this is her first time at Bloomington Boogies. Please welcome Deanna Bogart. Hey, Yoshi.
in Indiana. We got a piano, a banana, I got a Hannah.
down, and I'm losing, losing ground. The money's like it's just all right again. I'm trying not to complain,
but maybe I'm still in the game. While things are bad, I'd rather be sad in Las Vegas or Indiana.
no fun and I miss all I miss I miss son the chips are down and all around I'm losing with the heart
and the goals to understand how it goes when I
Shuffle up, they deal me in 21 is all I need to win Lady love, have you been on me high Roll the dice,
close eyes Got a pocketful of coming by Zip martinis under neon skies With my new friends in the stands
What the hell? I'd rather be there.
Great. It's beautiful in here. It's been a long time since I've been here, and it's been for a long,
long time, and I'm so happy to be here again for all this time. So anyway. Ethel's place.
Yeah, the first song I wrote was a song without words.
intro.
15 more minutes.
Joe. And look at that. One more, one more, two more, three, one.
I got my dishes going home. Hey, I'm going home tomorrow in the back. Lid and visas going home, home,
going home. This weary old track didn't leave me in the back. Oh, in the rain, in the rain.
My kiss is going home, going home. You say, listen, missus, I'm going home, going home. With many apart
that dented my heart for beating.
I got my truth, I got my worry. I'm going home, going home. Age and youth, judge and jury. I'm going
home, going home. With the lonely storm that love wants to storm. A poor will see me rain, in the rain,
in the rain.
Okay.
We also have a hand for Ron Kadish on the bass, Dan Hostetler on drums, and Joe Donnelly on saxophone,
Gordon Bonham on guitar. And a cameo from our next guest, I'll get to him in just a moment. I want to
thank some additional supporters right now. Blooming Foods, Co-op Market, Cardinal Spirits, Go Express
Travel, Anonymous, Tom Barwise,
Ed and Wendy Bernstein, Michelle Brentano, Bridges Musical Arts Youth Organization, the Monroe County
History Center, Kerry Curry, Deep Roots Landscape Design, Cheryl Frank, Ken Grooms and Zane Mackey,
Val Haughton and Frank Motley, Open Stages Grant from Constellation Stage and Screen, and the City of
Bloomington. Please give them all a round of applause.
Today we're delighted to welcome back someone who is no stranger. And in fact, you just heard him playing
piano there on the last number. He's an alumnus of the Jacobs School of Music and former director of
the IU African-American Choral Ensemble. He performs music that meets at the intersection of genre and
style. His piano combines traditions of blues, gospel, and classical with virtuosity, using musical
influences from around the world. Please welcome our good friend, Dr. Keith McCutcheon.
Good to see you, David. Wonderful to see you. Wonderful pillar, yes, of this community sharing music
and love. So thank you, David. I was asked to do this variation on the blues that looks at the way Thelonious
Monk plays the blues versus John Coltrane. And then from there,
just a little bit of love, the way Coltrane wrote this ballad for his wife Naima. And so we'll start
with Monk, who was considered to be modern, but the people who really knew him knew he was looking back
and was a historian, telling the story of stride and all that that came before him, as well as putting
it in a new platform.
So Monk's Mysterioso, John Coltrane's Mr. PC, and then Naima.
I had the privilege to do a little intimate setting yesterday with people and talk about the fact that
all the sounds that are associated with blues, boogie woogie, all these different manifestations of
sound on the piano, I didn't hear them in the club first on records. I heard this type of sound in my
little country church I grew up in. And so,
It was just a matter of the sound aesthetic having a different meaning, but the same sound that allowed
me to be somewhat more fluent and multilingual in my understanding of music, how the same sound could
mean something so different, depending on context and et cetera. So with that in mind,
We're going to pay tribute to two early gospel pioneers who also had the full indoctrination of what
would have been what I call the blues aesthetic. Dorothy Love Coates, who had a song, You've Brought
Me From A Mighty Long Way, and then the father of gospel music,
Thomas A. Dorsey. He knows how much we can bear. And I think we'll start with him being a transition
from the blues to gospel, the very man who played both and bridged the gap. So he knows how much we can bear.
So okay, that was gospel blues inspired. So that's okay. You can relate to that. I grew up with this
sound though. This was the sound when I really first heard the blues. I was like, yeah, I ain't doing
nothing. This is it. This was again in the choir was the horn section.
And they just said, you know, the soloist said, oh, Lord. And they went, you've been good to me, oh,
Lord. You've been good. And it went on like that. And so that's what we're going to do now. We're going
to do, you've brought me from a mighty long way and give tribute to Sister Dorothy Lovecoats.
You've been so good to me When I look back over my life You have been so good to me I could have been
dead Sleeping in my grave
But you told old dad that thing ain't what you brought me. From a mighty, mighty, mighty. Brought me
from a mighty, mighty, mighty long way. You know, Lord, you've been good to me. You've been good.
So good to me When I look back over my life You had this so good to me Said I could have been dead Sleeping
in my grave You told old death
from a mighty, mighty, mighty, mighty, from a mighty wrong way.
Thank you, Keith. Thanks for doing Stardust, too. You know, Hoagy Carmichael's mother used to play in
this theater, so if she's hanging out in spirit this afternoon, I'm sure she appreciated that. While
we get set for our next act, we've got some more folks to recognize and thank. Dan and Wendy Hogg. Ivy
Tech Bloomington. Wayne Jackson.
Dan and Maggie Kerwin, Richard and Renee Malone, Ed Marshall, Jane Matranga, Tanya Mitchell Yeager,
Albert Misan, MPI Solar, LLC, Mary Molly Morgan, Brian O'Neill, Dan Ostos and Beth Savage, Kathy and
Mike Romy, Fred and Jennifer Schultz, Larry Stahl, Story Insights, Templeton PTO, and Mariah Wallace.
Please give them all a big round of applause.
It's so great that we have so many people to thank. Our two next guest artists during this next set
include someone who's been here before, who's always delivered for the Bloomington Boogies Festival,
joined by another man from New Orleans, where they performed together as Sun Pie and Louisiana Sunspots.
And they'll be accompanied by our superb local rhythm section. Please welcome on accordion, Bruce Sun
Pie Barnes, and on guitar, Matt Hampsey.
Everybody. So happy to be back here. This is a grand thing. How about it for all the musicians, the
volunteers, the engineers, the teachers, the preachers, and the electricians. Let's book it, y'all.
I'm going back to Big Mammu Yeah, I'm going back Going back to Big Mammu I don't want nobody telling
me what to do Yeah, I'm going back Going back to Big Mammu Yeah, I'm going Going back to Big Mammu I
don't want nobody
Tellin' me what to do I said, make my move Oh, make my move Well, make my move Yeah, make my move I
don't want nobody Tellin' me what to do
Watch out.
the show chef.
Got a pretty little girl, lives way across town, yeah. Got a pretty little girl, lives way across town.
Run here pretty baby, sit down on my knee. Run here pretty baby.
Down on my knee
T'es ma qui t'es peut t'en aller, c'est pas la peine brûlée Cheikh, t'es ma qui t'es peut t'en aller,
c'est pas la peine brûlée Cheikh, t'es ma qui t'es peut t'en aller, c'est pas la peine brûlée Cheikh,
t'es ma qui t'es peut t'en aller, c'est pas la peine brûlée
This is a little number called, You Promise Me Love, Baby. Did you forget about me? I got you a brand
new iPhone 18 Pro Max, 3,000 terabytes. And you don't remember me?
The love will never die.
You will never die But you left me
L'amour va jamais mourir
Coup de mot. L'amour, moi, ça va jamais mourir. Qu'on fasse, c'était un vaillant mort.
I'm over, I'm over.
Yeah, go have a good time Rock and roll all night long One twink of gin and I'm feelin' like dynamite
I'm ready for you rockin' bed and panel Sunday night I say hey Chuck, lay that pistol down Be your good
lovin' daddy Sunfire stop is ridin' around I know you caught me with another doughnut way uptown
I just can't quit you, baby, Lord, I can't put you down. I said, hey, shut up. Lay that pistol down.
Be your good loving daddy. Start my ride around.
Man, we got time to do one more little short one here. Thank you so much. So happy to be back here at
the Bloomington Boogie Woogie. Yeah. That's boogie, y'all. Y'all ready? It's time to get off your cannon
on your feet. Out the shade and into the heat.
A place called Chicken Shack Go boogie from the front to the back Boogie, boogie, baby, all night long
Just dancing and singing songs I said, hey everybody Take me back to the track I said choo choo choo
choo choo the boogie choo choo choo the boogie choo choo choo the boogie choo
Take me right back and I'll try. Yeah, they got a place called the Chicken Shack. Go boogie from the
front to the back. Go boogie, boogie.
All night long, just dancing and singing this song. I said, hey, everybody, take me back in the track.
I said choo choo, choo choo da boogie choo, choo choo da boogie choo, choo choo da boogie choo, choo
choo da boogie choo, choo choo da boogie choo. Take me right back in the track.
Sun Pie Barnes, Sun Pie Barnes and Matt Hempsey. Thank you Sun Pie and Matt and the band. We're gonna
take a 20 minute nervous now, have a break, have a snack or a drink, support our artists in the festival,
in the lobby where you'll find CDs and merch, and we'll see you in just about 20 minutes.
And welcome back to Bloomington Boogies. Hey, before we begin the second half, I really want to thank,
we all want to thank our piano tuner, Stephen Bruner, as well as all of our fabulous volunteers. Please
give Stephen and all the volunteers a big hand. The piano tuner is crucial. And we also want to mention
that at 8 p.m. tonight, many of our artists are going to be at Lenny's down on Kirkwood.
just before Indiana Avenue for the return of Bloomington Boogie's After Hours, where they're going to
play a few tunes informally and there will be no cover charge. Now we're going to welcome to the stage
a festival favorite, the boss of the boogie, who plays the boogie woogie and jump blues of the 40s and
50s with a virtuosity that's excited audiences around the world for more than 40 years. He's originally
from the Bronx. He now resides in Los Angeles.
Yeah, the Bronx, where he writes, records, and performs at festivals, events, and clubs as a soloist
or with his five-piece band, The Revolvers. Please welcome back Rob Rio.
Good evening, ladies and gentlemen. Good afternoon. A pleasure for me to be back here in beautiful
Bloomington. Four years since I've been here, I recognize some faces. Unfortunately, we're looking a
little bit older. It happens.
I know that for a fact. You know how I know? Because I look into a mirror and what do I see? A stranger,
not a fit young stud staring back at me.
down the long, lustrous hair and smooth olive skin. Instead, gray straw, wrinkles, scars, mileage on
a life that's been. There's satchels below my eyes and a wattle leaves my chin. And each day when I
awake, I wonder what new wake I'm in. And any painless day is sure a natural gift. And the mirror tells
me Botox or a full-on life lift. Yeah, that's right. Life takes its toll.
Lord, I'm getting old But if the truth be told If I may be so bold Bless my soul I ain't too old For
sex, drugs, and rock and roll Sex, drugs, and rock and roll
But you know, the girls don't look at me quite like they used to. But I still ogle and flirt, and sometimes
I seduce too. And if I get so lucky, she says, daddy, give me some more. Well, I leer lascivious and
whisper, that's what drugs are for. Because you see, I got Cialis Viagra all covered in my Obama plan.
So if you want to go another few rounds, I think this man can. But I worry about side effects, maybe
even paralysis.
I wonder, is it okay to do Cialis when you're on dialysis? Life takes its toll. Lord, I'm getting old.
Ah, but if the truth be told, if I may be so droll, I ain't too old. Bless my soul for sex, drugs, and
rock and roll.
Six drugs and a rock and roll
But you know these days my drugs are mostly the pharmaceutical kind. But some of them get me pretty
high so I don't really mind. And you know they make great strides treating my PTSD with hallucinogenics
like psilocybin and ecstasy. Also fine by me. But I worry about side effects so I carefully read all
the directions. One thing I ain't worried about, one of those extended erections.
You see, if I'm hard for four more hours, I ain't callin' no MD. I'm pickin' up my phone, I'm tweetin'
everybody. Mm, that makes it so. Lord, I'm gettin' old. Ah, but if the truth be told, if I may be so
bold, I ain't too old. Bless my soul.
For sex, drugs, and a rock and roll. Sex, drugs, rock and roll. Sex, drugs, and a rock and roll. Oh,
yeah. Because you know it is from boogie woogie.
Rock and roll evolved, and I said I do booze and boogie-woogie. But guys like rock and roll like this,
it's nothing but the boogie. You shake my nerves and you rattle my brain. Too much of loving drives
a man insane. You broke my will, oh what a thrill. Goodness and grace is great, balls of fire. I laughed
at Lord because I thought it was funny. But you came around and you moved me, honey.
I changed her mind. This love is fine. Goodness, the grace is great, boss. Squeeze me, baby. Oh, yeah.
Hold me, baby. Better let me love you like a lover should. You're fine. So kind. God tell the world
you're mine, mine, mine, mine. I'm getting nervous for this show. Come on, baby.
Drive me crazy, goodness gracious, great ball.
Nothing but the boogie, that's all this is. Now let's do it like the Big Bopper.
Chantilly lace, got some pretty face. Ponytail hanging down. Wiggling or walking or giggling or talking.
Making the world go round. There ain't nothing in the world like a big eyed girl. Make me act so funny.
Spend my money. Make me feel real loose like a long necked goose. Oh baby, that's what I like. Say what?
You want me to do what?
Right here, on the floor, some more. Well, when you put it like that, let's do it. Chantilly lades got
a pretty face.
So anybody can do that.
A monkey could do that. Chantilly lades got some pretty face. Ponytail hanging down. Wiggle little ball,
get a giggle and a talk. Making the world go round. There ain't nothing in the world like a big eyed
girl. Make me act so funny. Spend my money. Make me feel loose like a long necked goose.
Well, baby, that's what I like. Everybody knows that. Jerry Lee Lewis. Jerry Lee Lewis, I consider
second-generation boogie-woogie. As you just learned from guys like Albert Ammons, Pete Johnson, me,
that's Lewis. The fathers of boogie-woogie.
Felix Lewis played it like this from 1928.
To me, Lux Lewis's Honky Tonk Train, 19, actually 1927, December 30th, so almost 1928. So if you study
up on your old blues and boogie-woogie history, you'll find lots of references to the train, because
that's how boogie-woogie first started. Itinerant piano players riding the train throughout
the logging camps playing a hard-driving music for all the workers that got off. I said, now, hello,
Union Station. Give me information on the next train west. I got my reservation. I got to go. I ain't
gonna change my plan.
It was written on a bill, stamped on a hill, where one bum bum bum, there's another one that will, I
got to go. Ain't gonna change my plan. I'm leaving right away, right on that hill, Capitan.
written on a bill, stamped on a hill, where one woman born, there's another one that will,
I got to go. I ain't gonna change my plan. Yeah, I'm leaving right away, right on that hill, Capitan.
So if you see my baby, tell her I said goodbye.
Tied up in a fold. That's the reason why I got to go. Ain't gonna change my plan. I'm a-leaving right
away. Right on that El Capitan. Train songs. Train songs. That was for Memphis Slim.
The train used to go from St. Louis to Chicago, the El Capitan. Eddie Clean had this and got one too
about the Railroad Porter.
I woke up this morning. I was all packed up to go. My baby stood there crying. Said she missed me so.
Well, I passed back by the window. I heard her talking on the phone. She said, I'm so glad that no good
man of mine is gone. I'm just a railroad porter.
And I'm riding down the track. Yeah, one of these days, yeah, your daddy gonna double back. Well, when
I come back to town, I found Elaine on the bed. She had an empty whiskey bottle.
There's an ice pack on her head. There's a sink full of dirty dishes. The whole house was a wreck. Before
she even said good morning, that woman asked me for my check. I'm just a railroad porter. And I'm riding
down the track.
One of these days, yeah, your daddy gonna double back. Watch out, baby.
Take it easy. I've been having too much fun. I'm just a railroad porter riding down the track. And one
of these days, yeah, your daddy gonna double
in the railroad quarter. And in the middle there, I did some Avery Parish after hours. But you know,
I like to boogie-woogie. Let me show you how I like to do it. First, I'll start with the left hand like
this, A to the bar. One, two, three, four, five, six, seven, eight.
tickle with the right hand.
I just tickle a little bit. Then I set it in the groove.
You got to set the syncopation. Come on, let's syncopate. Now, break it up.
But I want to do it again. Like Pete Johnson. Oh, I want to do it again. Albert Ammons this time.
that Albert Ammons, let me try it again. Albert Ammons.
I'll do this all night, no problem. Nah, bring it up.
I got a gal, she live up on the hill I got a gal, she live up on the hill You know the fool tried to
get me in love, but I love her still She got eyes like diamond, she shine like Klondike gold She got
eyes like diamond, she shine like Klondike gold When it comes to loving, she send my melo soul
You're so beautiful but you're gonna die someday. That's right. You're so beautiful but you got to die
someday. All I want is a little loving before you pass away. Give it to me. Roll on, boy. Let them jump
for joy. Yeah, man. Happy as a baby, boy. Hanging on a brand new choo-choo toy.
I'm going away, gonna leave you by yourself. I'm going away, gonna leave you by yourself. You mistreat
me enough, now mistreat somebody else. Yes, yes. Yes, yes. Yes, yes. Yes, yes. Yes, yes.
Yeah.
The good thing about boogie-woogie is you can make any song a boogie-woogie. You just add a little bit
of A to the bar in the left hand, you've got a boogie-woogie. You can thank Rimsky-Korsakov for this
one, adapted from his flight of the bumblebee called the Bumble Boogie.
up a good sweat up here. Thank you very much, ladies and gentlemen. A pleasure to be here for you. God
bless y'all. Rob Rio. Rob Rio. Thank you so much, Rob. That was terrific. Our next and final performer
before our big jam finale is the youngest sibling of Wynton, Branford, and Delphio Marcellus.
whose father, Ellis Marcellus, was the pivotal figure in their upbringing. This artist was introduced
to a toy drum set at the age of three, and his fascination evolved into a love for performing, and by
the age of six, he had acquired a real set and began studying with the renowned drummer, James Black.
His progress led him to play with his father's group and to join forces with his trombonist brother,
Del Feo. Fast forward through stints with and producing musicians such as virtuoso pianist, Marcus Roberts,
studying composition with Roger Dickerson while maintaining a demanding touring schedule, co-founding
Los hombres calientes, performing with Bela Fleck, and adding vibes to his arsenal, which garnered him
opportunities with the legendary Lionel Hampton Orchestra. He's topped Jazz Week's radio charts, and
he's now pushing the boundaries of modern jazz with the 21st century trad band. Tomorrow, this guest
will present a workshop on vibes and drums at the IU School of Music, thanks to support from IU Jacobs
School of Music Jazz Studies.
please welcome Jason Marsalis. Thank you all very much. It's actually a pleasure to be here in Bloomington, Indiana.
And before we start, there is a reason that I'm happy to be here and that it does actually involve members
of my family. It was about 25 years ago that my eldest brother Branford was working on a documentary
film entitled The Music Tells You. And they had done a workshop at Indiana University when the great
Dr. David Baker was around.
So they do this concert at the auditorium at Indiana University. And so it was not long after that,
on a Sunday evening, Delphio, as I mentioned, he comes home with this recording. And it was me and my
father. And then he asked my father, hey, man, guess what tune this is? And they were playing this standard
song, and they're playing it. And it was near the end when Brantford
plays a melody, and my father says, oh yeah, everything happens to be, yeah, that's a nice tune,
you know, it's nice how they're playing that. Now, what I'm thinking is, man, Braff is about to come
out with this record called Beautiful Ones and Not Yet Born, and this is that same music but live. Man,
I gotta hear this tape and see what's going on. And so Delph eventually does give me a copy of the tape,
and I heard it and was floored.
because the energy that they were playing with and the interaction was something that I had never heard
before. And it was Midway listening through the tape, I said to myself, he recorded this? This got recorded?
Because usually you hear about shows like that. But there's no tape, but there's like a recording of
this. So it was after one of those tunes, the tune ended, man, and I got on the phone and left Delphi
a message and said, man,
I was listening to that tape from this concert from Bloomington, man, that needs to be released tomorrow.
I know Bradford's working on a blues record and all this, no, that needs to come out right now. And
he calls me back in shock, like, are you serious? Yes, I'm very serious. You ought to check that tape
out again and see what I'm talking about. And so I think it was maybe a,
Months or so later, you know, I saw Brantford. Brantford tells me, yeah, we're going to release that
live concert. I'm like, thank God for that. He said, we're not even going to call the album yet. We're
just going to call it Bloomington. I'm like, yeah. So yeah. So if you look up in Brantford Marcellus'
discography in 1993, there is an album that is called Bloomington. And it was that concert at Indiana
University.
And if you hear it, you'll see what I'm talking about in terms of the interaction. You know, I would
play that for classical musicians and midway through one of these pieces, and they would ask me, so
did Brantford read all of that? I said, no, that's all improvised. What? Are you? Yeah, I'm very serious.
The only thing written was the first 10 seconds. The other 15 minutes, that's all improvised. So anyway,
so whenever I think of Bloomington, that's like one of the first things that I think of. Now, yeah.
So, speaking of family, we're going to start off this portion of the evening with a tune, and it's a
blues, as written by my late father, Ellis Marcellus, and this is simply titled, That Old Time Blues.
titled On the Sunny Side of the Street.
I would say it is a pleasure being a part of this festival in here and like boogie woogie music and
blues and it's different iterations if you will and it makes you realize how much music relates to each
other. And I think about that a lot because especially when it came to my generation and definitely
the musicians, the generation after me, there's a tendency to separate things and separate this thing
and this music over here and we don't need
about that music over there and instead of realizing that all of these styles relate, especially if
you look at music from the 20th century, they all relate and they've all had influences on each other
and it's very important to understand that and that's why it's a pleasure for me to be a part of this
because I'm glad to be reminded of that. And so we're going to do for you
This is entitled CREO Love Call.
So that tune, I at least wanted to tell y'all what that tune was. Because you may not be familiar with
that one, but you may be familiar with the songwriter. And the songwriter is a gentleman who I've been
actually exploring and arranging a lot of his music. It was an idea that I had many years ago, but I
had forgotten about it. But unfortunately, he passed away last year. And it reminded me, damn, I never
got around to that idea.
So I started doing it, and there's a lot of music of his that's popular, but then there's music of his
that is not popular. And the songwriter I'm talking about is Brian Wilson from the Beach Boys. And that
song actually comes from an album he released, I believe, in the 2000s. I want to say 2007 or 2008.
The name of that album was Lucky Old Sun, and the name of that blues was
Morning Beat, and that's one that definitely surprises some folks, but that's a fun one to play. And
now we're going to do, we have for you a jam session. Remember when I mentioned community and things
relating, well, we're definitely going to show that right now.
Well, I get the blues, you're gonna get me a rocking chair. Well, I get the blues, you're gonna get
me a rocking chair. And if the blues overtake me, gonna rock it right away from here. Well, I get lonesome,
get on the telephone. Well, I get lonesome, get on the telephone.
I said I'm on my way back home. Come on now. I said flip, flop, and fly. Don't care if I die. Flip,
flop, and fly. I don't care if I die. Don't ever leave. Don't ever say goodbye.
So I do.
tonight. Thank you so much everybody for coming out. Hope to see you next year at Bloomington Boogies.