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Corky Siegel at The West Theatre. Photos by Jill Fisher.

Long-time bluesman Corky Siegel arrived in Duluth on Thursday, Aug. 7, with his blues harp to play a gig at the West Theatre. 

I thought this would be the perfect kickoff to the three-day Bayfront Blues Fest that was to begin the next day. I guess I was in the minority since fewer than 100 souls were on hand to witness Siegel’s preeminent performance. 

This minority knew they’d be witnessing something special. 

Although he is best known for his mastery of the blues harp, Siegel began this concert on the keyboard with “Queen of the Zydeco.” He sang as well. It appeared that he was laying down an electronic track of his keys, what we heard later was actually pre-recorded. His performance was satisfyingly varied as he incorporated all his talents.

As typical of performers who have been around this long, he had stories to tell from his early days in Chicago. It was 1965 when he and his partner singer-songwriter and multi-instrumentalist Jim Schwall, in the Siegel-Schwall band, managed to land a weekly gig at a venue that attracted the likes of Howlin’ Wolf, Muddy Waters, Willie Dixon, Little Walter and Buddy Guy, who would join them onstage and ultimately take the two white college boys under their wings. 

By 1966 they were touring with Howlin’ Wolf. That same year 1966 they were approached by Chicago Symphony Orchestra’s Maestro Seiji Ozawa, who proposed that they explore fusing the blues with symphonic music. Ultimately seven such fusions were the result, however this solo concert by Siegel was unable to give us a taste of that music. CDs of those compositions were on hand for sale.

Another background story was about touring with George Carlin as he prefaced a tune inspired by that funny man. Indeed, as the show progressed, it was clear he had been more than a little influenced by Carlin, reeling off one-liners every so often. 

At one point, as he as he accompanied his electronic track with harmonica, he ended up rolling around on the stage, wailing unrestrainedly on his harp. After he finally resumed an upright position, Siegel announced that was the most exciting part of his concert — sure that the audience was wondering whether he’d manage to get up and admitting he was wondering the same.

This concert was interesting to me in several regards. One was Siegel’s funky, bluesy tune “Southwest Coast Blues” (the southwest coast of Lake Michigan, i.e. Chicago). 

Another was his incorporation of some of his non-blues ditties (“Rolling in the Morning Corn”). A sing-along was included at the end of the concert as was his last song that he considered his encore. But best of all was to hear this master of the harmonica on the eve of the Bayfront Blues Festival, where quite a few blues harpists would be heard — a sort of litmus test of who is or is not a master of that instrument.

So, onto to the 36th Annual Bayfront Blues Festival that took place Aug. 8, 9 and 10. And what a hot time it was down at the Duluth’s waterfront — temps in the mid-80s each afternoon.

DAY ONE: The festivities started promptly at noon Friday with the five-member Everett Smithson band. This band rewarded those of us who like to get to BBF at the very beginning in order not to miss one minute of great music. We weren’t disappointed. 

Everett let us know that, along with some originals they would be playing some covers with “their own twist.” One of these was the Talking Heads’ “Life During Wartime,” truly an amazing and wonderful twist on one of my favorites. 

Everett not only ripped it up on harmonica, but on rubboard as well. Bill Black on an electric standup bass provided plenty of funk. Further, it was Kathy Everett’s accordion that added a nice Creole spice to their special mix. I will be looking to see this group again.

The Minneapolis-based Dylan Salfer band was up next. The long-haired Salfer was joined by a cadre of cool cats that included two drummers with their complete drum sets and a saxophonist. “My Old Friend” was an original number with sincere and meaningful lyrics.

The third group on the Bayfront stage was Reverend Peyton’s Big Damn Band — something of an oxymoron since it is a trio. The band is based in Indiana and has toured all over the U.S., along with 38 other countries. Their rootsy, country-blues, jugband sound made the most of good ol’ washboard rhythms (by Breezy Peyton), together with the Rev’s country pickin’, slide guitar and “bass” which he provided with his thumb! They were great fun, very danceable.

Rev. Peyton's Big Damn Band at the Bay front Blues Fest. 

John Németh and the Blue Dreamers was a crowd favorite. Several folks told me this was their favorite performer of the evening. From the “muddy potato fields of Idaho” Németh spent time in San Francisco before locating in Memphis, Tennessee. This blues harpist, together with his backup band consisting of three young, blue-clad, “guns” (John Hay on electric guitar, Matt Wilson on bass and Danny Banks on drums), kept the place jumpin’. Németh compared well with Corky Siegel.

Second to the last act was Florida-based Desoto Tiger’s Testimony which, as stated by band leader Damon Fowler, “an experiment.” This was not just the three original members (Jonathan “Boogie” Long and Jason Ricci together with Fowler), but the band was newly expanded to five for the BBF. They played mostly original tunes, but it was their cover of the James Brown hit, “Pappa’s Got A Brand New Bag” that impressed me the most. The Curmudgeon felt it was a failed experiment.

First day headliner, Ana Popovic, had a somewhat different mix of musicians than when I saw her at Earth Rider’s Twin Ports Music Fest two years ago (reviewed in the Aug. 24, 2023, issue). 

Along with three  musicians playing bass, keys and drums, she replaced the horns (sax and trumpet) of her 2023 show with two female backup singers. I thought their vocals were best. Popovic’s performance at BBF may be an example of what can happen when one has very high expectations of a performer. I don’t think she measured up to what I had witnessed previously. Yes, she was still righteous on electric guitar, but her voice wasn’t as wonderful as I remembered, nor could I discern the lyrics. I’ll still check her out at my next opportunity but I must admit I was sorely disappointed.

DAY TWO: Starting the day off was the Chris O’Leary band. Arriving a little late, we were surprised to see our own Jacob Mahon playing keys with them. Turns out their regular keyboardist couldn’t make it and Jacob was credited with pulling their asses out of the fire! The first tune I heard was a cover of The Band’s “Ophelia” (not really a blues number) but which makes sense when one learns that Chris was the lead singer for Levon Helm and the Barnburners, based in Woodstock, New York, during the time Levon was recovering from throat cancer surgery. 

I found their original tunes quite engaging, together with the stories that informed them. “If You Break It, You Bought It” was a true story and a cautionary tale from which the band morphed right into “Cheaper To Keep Her.” Chris made a point of saying that sometimes the best songs are derived from the most awful incidents and memories.

The second band on day two also has a Woodstock connection: the Bruce Katz Band. Katz plays keys very energetically, so much so that the resounding finale to “Get Your Grove” resulted in the crashing down of the keyboard! Fortunately they weren’t damaged and the show could go on. He also played the Hammond B-3 organ that was on hand for any and all of the performers who wished to play it. An Allman Brothers cover was on their playlist along with originals, including what they called their “existential tune” “Right Here Right Now” – a rockin’ throwback to boogie woogie. Great to dance to.

McKinley James was someone different from the other acts. A trio, McKinley plays lead guitar with his father, a drummer, and a bassist backing him up. They performed a set that included both covers (Jimmy Reed’s “Call Me Lonesome”) and originals (“Lead Me On”) which had me noting they had a pop and rock and roll sound. However, their last three numbers demonstrated their blues creds.

Nick Moss Band, another trio, was crazy good, with driving sounds that kept me dancing. They covered Lynwood Slim’s song, “All Night Long” as a memorial to this blues harmonica player who died in 2014 at the age of 60. I loved this group with its standup bass keeping a funky rhythm going, together with the drums such that I didn’t get around to taking notes.

The Texas native and singer-songwriter Sugaray Rayford (Caron Nimoy Rayford) is a big Black man who gave us some great soul along with the blues, which stemmed from his upbringing immersed in church gospel. What a powerful voice, with all the inflections you could wish for. His four-person backup band included a keyboardist who played the Hammond B-3 organ. I’d like to hear him again sometime. 

And then we got to see Tommy Castro & the Pain Killers. By all accounts, this was the best band of the day (and, as some claimed, of the entire BBF).This band kept the energy up till the last seconds of the evening’s festivities. Perhaps the full moon rising as he began his set added a cosmic energy. 

Tommy Castro & the Pain Killers

Here again I had very high expectations, having seen him perform at the West Theatre back in March of 2023. In no way was I disappointed—just amazed that this 70-year old man felt as fresh and upbeat as any of the younger musicians we heard during the festival.

DAY THREE: Once again the first band of the day, the Harrison Street Band, was steaming hot with dynamite lead singer Erin McCawley. As soon as she opened her mouth to let her powerful voice fill the venue, I remembered having heard her several years back when there used to be a second, “acoustic” tent for more local/regional bands. I was impressed then and was again on this occasion. 

Duluth native Bill Whelen was backing her on drums along with three other musicians (Tony Houle, John Tubbs and Joe Gagliardi). There were some female-forward lyrics (“No Drama Mama” and “I Choose Me”) along with a wonderful cover of James Brown’s “I Feel Good.” It was a great start to the final festival day. 

The trio led by Rocky Athas was second up. Rocky played with John Mayall, who died a little moe than a year ago. You could tell he was of that same caliber. This was one of the bands I needed to have my earplugs for; loud and rockin’! There were some noteworthy songs played: “Texas Girls,” “Watching the River Flow,” “Livin’ My Best Life” and “Hideaway.” He also covered Jimi Hendrix’s “Little Wing.” 

Then it was on to The Stephen Hull Experience, which provided a great mix of covers. One was Freddie King’s “Big Legged Woman,” another was “She’s Got A Thing Goin’ On” by Sunnyland Slim and then came a cover of Louie Jordan’s “Caldonia.” Before it was all over they even took on a Beach Boys number, that I believe was “Surfin’ USA.” It included a drum solo that had me jumping and got me all set for The Jimmys. 

The Madison, Wisconsin-based Jimmys were supposed to be the backup band for Marcia Ball, who was unable to perform. But few tears were shed as the Jimmy’s kept the pace up and the music flowing. Standing in for Marcia Ball was Nashville artist Tracy Nelson who sang her own 1993 tune “Miss You Like the Devil.” Both it and she were fabulous. The blues standard, “It Hurts Me Too” was another we heard and wouldn’t you know it, “Ophelia” was covered again! Not sure why, since it isn’t a blues tune, but whatever, the Jimmy’s were great as always. 

And that was it for my BBF experience this year. I was sorry to miss the last act, Nathan & The Zydeco Cha Chas, but out-town-guests took precedence. I’ll have to work some zydeco music into my music schedule as I round out 2025.    

UPCOMING: The biggie coming up for me this weekend is the Earth Rider Fest 2025 that takes place Saturday, Aug. 16. It should be a good one with Erik Koskinen, Molly Maher & Her Disbelievers, Cry on Cue, Father Hennepin, the Mike Munson Trio, Boss Mama & the Jebberhooch and the Jack Klatt Trio. Not a sleeper in the lineup. See you there!