ALOHA Y'all:
News from the past.
"Boston Gets a Grip" to be released after 12 years.
"Boston Gets a Grip", a compilation of Boston bands paying a tribute to Aerosmith, will finally get released this year.  Chance sings 'Crazy' on this compilation along with songs from Gary Cherrone (Van Halen, Extreme), 'The Bentmen' and many other fine Boston original bands from the nineties.

Hey &Y'all:
What a night!
Had a great crowd at the Luna Star Cafe tonight. I had Tim Adde on Bass and Kevin from SnakeChurch played harp with us most of the night.  The first set was from 'A Slack in the Key of  Integrity' CD, the second was more blues than not and even had a couple dancing between the cafe tables.  Not bad for an acoustic trio. It was cool to meet new fans that came from the NPR radio interview last Sunday with Michael Stock.  Also Karen and Mike and their friends were the life of the party!. The third set was music from 'Easy Come and Easy Go' CD and more blues originals.  The fourth set was impromptu and a total joy to play.  I got to try out all my new songs from the past 2 months here in Miami.
Gotta go, I'm off to Vegas Tommorrow.
ALOHA,
Chance

So much to tell and I'm Oh, so tired....
Went to the Master Musicians Festival this past weekend to see Honeyboy Edwards.  Honeyboy is the greatest living Delta Bluesman. Honeyboy was a contemporary of the legendary Robert Johnson and was even there giging the night Johnson was poisoned.  Honeyboy is 93 years old and still touring!!! Amen Uncle Honeyboy.  He is a great bluesmanb in his own right, being recorded by Alan Lomax in 1942 in Clarksdale, Mississippifor the Library of Congress separately but along with Muddy Waters and Son House on that same trip.  Right off the bat let me tell you Honey's all there in mind and spirit and a total delight to talk with. I'll get back to that in a minute.  Let me get you up to speed. I decided a couple weeks ago to make the pilgrimage to Somerset Kentucky for the festival (more like a 'mission from God' if you catch my drift) and meet Honeyboy and see for myself how this bluesman plays that guitar.  You see, back in the day everybody was pretty much self taught. Even though they all learned from each other there were some licks (or tricks) that were native to particular players.  I suggest you start at www.davidhoneyboyedwards.com for a lot of the history and flavor of those times.  I learned the blues from 'Earring' George Mayweather (most famous for being in JB Hutto's band out of Chicago and being the first man to be recorded blowin' a harp through an amplifier in the studio).  It was cool to know that Honeyboy had met George and remembered him from Chicago.
Anyway, he was kind enough to give me some of his time and we talked of a few things and being a guitar player I asked some obvious questions.  He mostly plays in regular tuning even with a slide where most players played in open tuning.  He said Robert Johnson played mostly in 'Spanish Tuning' or 'drop D'.  I asked him what Spanish Tuning was and he said "well I can show you if I had a guitar".  Well, who knew, I had my trusty acoustic right behind me and  I got a guitar lesson from Honeyboy. Spanish Tuning turned out to be open G . I should've known since the time I spent on Maui I already knew the history of the Hawaiians picking up the guitar from the Spaniards, then using open tunings (hence the term Slack Key meaning slacken  the srings) to be able to recreate the sounds they heard because the Spaniards wouldn't teach them how to play.  The story from Hawaiian musicians is that they would pick up the guitar when the owner was away and teach themselves, and developed their own style of playing in the process.  That was carried to the mainland US by sailors and natives alike and somehow reached the Delta where it became Mississipi Delta style 'Spanish Tuning' and helped develop that sound. Hawaiian lap steel sounds different from delta slide playing as much as they both sound different from Hillbilly steel  from back in the day.
Where was I, Oh yea.
Honeyboy was very kind to me and we talked story for a bit.  I dropped my hint to go with them to Europe next month.  Aron Burton was playing bass with him and we spent some timne talking as well.  He is quite famous in the blues scene as well.  He was a session player for Alligator records, was hand picked to be in Albert Collins's band, worked with the legendary Willie Dixon (Muddy's bass player and songwriter of many hit songs) and Ralph Bass at Chess records alongside Hubert Sumlin, Eddy Taylor, Carey Bell and Willie Mabon. Aron's first release was produced by Champion Jack Dupree, called 'Usual Dangerous Guy'.  You can hear those cuts and more on a re-release entitled "Past, Present and Future' on Earwig records.  Needless to say Aron is another great bluesman, songwriter and singer.
Wish I could tell you I had a great conversation with Pinetop Perkins but sadly we didn't have much time and he was a bit tired after playing his set.  He's 95 years old and out of respect I didn't take up his valuable time.  On the other hand Willie 'Big Eyes' Smith was very entertaining.  His big friendly smile and quick remarks made him my pal right from the start. He's been Pinetop's drummer for many a year and he's lucky to have him.
I know I'm ramblin' and I'll add more stuff soon.Check for photos on MySpace of this great journey.  Gotta get some sleep.

Hey just a quick blurb.  I'm on a mission from God to meet Honeyboy Edwards.  Out of the blue I ran into his name surfing the net and realized he is still touring at 92 years of age.  That is awesome.  Anyway I had just finished reading the liner notes to Robert Johnson's box set that my friend Dan had lent me ao I immediately recognized Honeyboy's name as the last living bluesman that knew Robert Johnson and was there that fateful night that he got poisoned.  I checked out his tour scheduled and am bound for Somerset, Kentucky to meet him at the Master Musician's Festival this weekend. 
I mentioned it to Zip, my favorite harp player (he's also an excellent singer/guitar player) at our gig at the Luna Star this past Thursday and he said "well, you know I'm from Kentucky.  I've been going to the festival for nine years" and offered me his hospitality there and an introduction to Mr. Edwards.  The Lord does work in sometimes not so misterious ways.
So I'm driving up Wednesday and will probably be back the next Wed. I'll let you know how it turned out.  Wow what a fantastic opportunity.
ALOHA Y'all
Chance Gardner

ALOHA Y'all:
Just wanted to publish a big thank you to John Brown's open mic every Sunday at John Martin's pub in Coral Gables.  John Brown is an accomplished performer and runs the open mic properly.  I should know after running numerous Blues Jams for many years.  My longest run was at Harper's Ferry in Boston, Mass for three years.  John runs it right, putting performers in slots that make sense according to their strengths and the crowd that night. Most folks run a jam or open mic on a follow the list basis; meaning if you signed up third, you play third, that does not necessarily keep the mojo flowing for a nights entertainment.  We all play for the audience not for each other (at least pro's do).  Anyway on top of all that Dave, the sound engineer, keeps it clean and records your performance.  If it comes out a good mix, etc. he will present you with a copy next time you show up.  It doesn't get better than that--What at guy!!!
It helps me out because I seem to be the king of  writing songs and performing them there first.  Usually they're written  a few days or a week before but I topped it tonight when I wrote it at 7PM and  showcased it at 10PM.  What a thrill  (well, after  I got Mr. Brown to get used to me bringing paper up on the stage).  I debu'd "If Wishes Were Horses" tonight and the crowd loved it.  I even got a famous local artist that wants to cover it -- how's that for instant gratification?  Check out their band it's called Kingsley (I found themn on MySpace tonight and their rad!!  Vic Kingsley and his guitar player played before me tonight and totally stole the show.  They're great, no really check them out, and modern and hip without the hop. 
In conclusion I want to say KUDO's for John Brown's open mic and to John Martin's Pub for hosting it.  Well Done Y'all.

Need some feedback here--time to start a movement.
Y'all remember the Musician's Union?  There was a reason, it began in   the 1890's:
'In April 1893 orchestral players in Manchester received an anonymous circular. "You are requested to attend a meeting in Manchester on 7th May 1893 to discuss forming a Union for Orchestral Players", it read, "The Union that we require is a protection Union. One that will protect us from Amateurs, protect us from unscrupulous employers, and protect us from ourselves." Joe Williams, a 21 year old clarinettist at the Comedy Theatre, was the author of the letter.

At least 20 musicians turned up to the May meeting, and Joe revealed his identity and his intentions. By November he announced the formal launch of the Amalgamated Musicians' Union with over 1,000 members. '
from:musicainsunion.org

OK, let's get on the pulpit here.  The part I like best is "One that will protect us from Amateurs, protect us from unscrupulous employers, and protect us from ourselves."
Let's take it one at a time.
1. "Protection from amateurs"= Hobbyists who think they are pros that drive down the pay scale because they have full time jobs, careers or own their own business.  In the late 70's pay for run of the mill clubs was about $100/man (or woman).  Here in Miami/South Florida it's still the same rate.  Y'all tell me why.

2. "protect us from unscrupulous employers"= I found one place that is busy all the time and their top pay is $225 for the whole band! That doesn't even cover gas, etc.  I learned from Luther "Guitar Jr." Johnson to get paid at the beginning of the night.  I've re-learned that a few times in my career, the one that comes to mind right now was on Maui at the World Cafe (of course it closed down).  I was managing a very successful band called 'Soulflower' who always packed wherever they played.  End of the night the manager gives me a song and dance about not selling enough booze.  The place had close to 300 people there, the bartenders were working hard and I later learned the manager was blowin' the profits up his nose.  I told him he should recount his books and by my tally (clicker at the door) there were 288 fans in the bar and that it's time to pay.  The clown comes back with 2 bouncers and wants to pay me half, I firmly said no and reached for my back pocket ever so slowly (no I wasn't packing but he didn't know).  Amazingly enough the rest of the money quickly appeared in my hand.  Nuff said? Tell me your story.

3. "protect us from ourselves"= I take that to mean other players stealing your gig, badmouthing, theft, etc.  You tell me.

Bottom line is between DJ's undercutting each other (don't get me started on DJ's, I'll be recording my unpopular song "A Monkjey could do it just push play") and bands and yes, booking agents undercutting each other there are no more pieces of the pie. Sorry about the DJ rant, it's not about the persons themselves evrybody needs a job-I just cant believe people are stupid enough to think that changing a songs tempo is some kinda of miraculous hard-to-learn majic trick.  And also that whole sampling or using someones 10,000 dollar production for free is fair.  And do club owners know that if someone blows the whistle on them they have to pay ASCAP, BMI, etc. same as juke box?

OOP'S  I'm digressing again.  Yes, Bottom line is until we gain big national status we're just whores and treated as such.  Also in this part of the country original music is unheard of but top40 or classic rock bands are king (of the tiny piece of ther pie)-All these hits were written and performed by bands that were at one time unknown (all the club owners say the same thing "The people want to hear familiar songs" Really? When those DJ's back in the day debu'd songs (days b4 dance radio, etc.) they became rock stars.

Truth be told it's time for a Union that deals with this issue including all of us working together to ensure that clubs that hold over 75 persons are held liable to their responsibility-Of course they will probably opt to have a full time jukebox.
GIVE ME SOME FEED BACK NOW!!!
Sincerely yours,
Chance Gardner

Yeah, I love the blues.  The real blues: Muddy, Willie (Dixon), John Lee, Lightnin, Howlin'...and tonight's blues jam finally had some.  At the Titanic Wednesday night Chris Cosner  has hosted a blues jam for nine years.  I've been hittin it for about six weeks.  Thank God that tonight we got some mojo.  Finally a great drummer on the stage (and yes I had suchy a good ti8me I didn't get his name-things were happenin' fast.   Pitbull on the harp and then guitar and his rhythm section made the night worthwile. I started the set with 2 songs then Pitbull 2 and the bass player (sorry I didn't get his name but I will) 2 with Sonny sittin in on guitar on the last 2.  Pitbull is fixin to hit the road with Albert Castiglia for a couple o months and yes that's the only real bonafide bluesman I've found in the Miami, South FLA area except for Matt "Guitar" Murphy.  Albert reminds me of Luther "Guita Jr." Johnson in his delivery.  Anyway thank the Lord for the BLues. 

ALOHA Y'all:
Rumors is a new club (restaurant and bar) in Cutler Bay.  We're already lined up to play there every Thursday starting the 19th, and now just received an invitation to play Friday the 13th!!!  That's one of my favorite days and of course all Horror movies wish they were debuting (did I spell it right?--is that a word?) on Friday the 13th.
Catch Chance's new Blues band's debut at:
Rumores Restaurant and Bar (don't let the restaurant part fool ya, It's got a big professional stage and lighting and DANCE FLOOR.)
20537 Old Cutler Rd. (in the Old Cutler Towne Center). Cutler Bay, FL 33189
See Ya There!
Chance

Aloha Y'all:
I had a great time at the Luna Star tonight except for the blond lady that wanted me to play Harry Chapin music.  She didn 't understand (although I did explain it to her) that Harry wrote his music and Chance writes his own songs.  I told her I dont do requests so, of course, later she asks me to play Arlo Guthrie.  I played a short instrumental 'ALice's Restaurant' and did explain that although I really like that song and Arlo, I was here to play Chance's songs instead.  ANyway I ended up playing 'Comin into Los Angeles (I actually remembered the lyric!)' while she was in the bathroom and also Paul Simon's 'Duncan'.  Come to think of it she did spend a long time in the bathroom...Hmnn?
Big thanks to Oliver who drove down from Ft. Lauderdale to see me.  Also Russell and Tony came a long way.  That was cool.
Oh yeah and the paramedics did show because some poor soul was violently ill in the mens room in the middle of my second set and actually all the way to the end of the set.  No he didnt eat at the Luna, he ate at Olive Gardner (oops Garden) before coming to the show.  So the big joke the rest of the night was:  Is that part of a Chance Gardner Show?  No, really no it's not, but funny how I was thinking about Joe Ely just before all that happened.  I saw Joe at an acoustic gig in Boston years ago where he was turning green onstage and finally said "excuse me I'll be right back" so he could hurl.  Joe is quite the trooper he was back onstage very shortly after and gave a great performance.  I haven't seen Joe in years I should look him up.  I';m digressing again...Anyway everyone but 2 people had a great time and actually the Olive Garden guy had a great time the first set, he couldn't help gettin sick.  Kevin played harp for me on 'Easy Come Easy GO' and Tim Adde from the JD Danner Band came by and played bass with me on the third set (the tribute to John Lee Hooker).  That was a lotta fun.
Gotta get some sleep.
Aloha