Origin of the Blues Messengers

The call came some time after the acoustic blues jam at The Mermaid Inn had ended with a spirited version of "I Got My Mojo Working." It had felt to Larry, Mike, and Dave that Muddy Waters himself had been there, channeled by a mysterious blues imperative to deliver a message. Was it the Irish whiskey they had been drinking, or was it real? No one knows for sure, but at the mention of Muddy's name, McKinley Morganfield, the wall painting of the Mermaid in the Sea began to vibrate, the sea waves began to heave, and a great wind from the painting began to shake the bottles on the bar. The Mermaid blew her conch shell. A great calm fell over the ocean, and a gentle zephyr carried the morning sea mist into the bar room. Incredibly, the mist began to take the form of a dapper blues man in a sharp grey suit, with a chromatic harmonica cupped in his hands, playing a breezy riff with fantastic dynamics. It was the spirit of Little Walter Jacobs, who spoke to them. "It is up to you now," he said. "We don't mind. Follow me. There's someone you need to meet." He then blew a slow and mournful refrain, and disappeared into the notes themselves, which faded into the morning fog.

Mike and Dave returned to their homes, but Larry, the poet-harp player, on his way home fell into a trance and began to walk the early morning streets toward Center City, guided somehow, by the distant sound of a saxophone. It reminded him of Coltrane, of his youth, of his ideals, of the spirit of change. At Broad and Walnut, he met a man named Byard, and asked him if he had any interest in playing his saxophone with a blues band. "Yes," said Byard. "Little Walter said you would come. I will help you. The Blues is the root. The world needs the blues. But first I must go to France."

When Larry awoke from what seemed like a dream, he called Mike. "That was Philly Sax Byard Lancaster, Pennsylvania's first jazz lobbyist," Mike said, "He played with Johnny Copeland. He's amazing. That's who Little Walter was talking about." Inspired, Mike called on his friends Pete and Tom, of Kitty Kelly's Philadelphia Ceili Band for a rhythm section. The first three gigs were in Ludwigs, a Center City German restaurant named for the mad Bavarian king, and run by Paul Olivier, a Belgian whose father had toured Europe with Bill Haley. Back from France, Byard raised the roof on the second gig. On the third gig the didjereedoo guru, Harold E. Smith, joined the band saying "The didjereedoo, goes with anything." The Blues had joined forces with the primal and the avant garde. From this we learned that there are no boundaries to music. That is why we count as our influences, Coltrane, Parker, Elmore James, John Lee Hooker, Debussey, Ornette Coleman, Puccini, Sun Ra, Elvis, Jimi Hendrix, Beethoven, Sinatra, Billie Holiday, Hank Williams, Paul Butterfield, Tina Turner, and so many others. The rest is Blues Messenger History. Byard introduced us to his many friends: Rufus Harley (RIP), the jazz bagpiper; Ginetta, NYC Jazz Queen; Odean Pope, the Professor of Jazz (locked and loaded); Lisa Chavous, the Queen of Philly Soul; Reverend Joe Craddock; Mogauwane, and his South African drums of truth; Elliott Levin, stalwart soldier of Philly jazz. We thank Byard for showing the way. We give thanks to each other, and all of you, and especially to our spouses and significant others, happy to see us at 3 in the morning after spreading the message.

One race – human. One people, one world, one blues.

The Blues Messengers

THE PHILADELPHIA BLUES MESSENGERS

The Philadelphia Blues Messengers believe that not only is a great cry for peace in order for our world, but also a great cry for re-thinking the notion of the inevitability of progress and a global economy. The internet has made communication possible at speeds that are too dizzying for the human mind. Right now the foundations of what is true with respect to the world wide web are being formed. But it is a closed system. If you search the net, you will only find what is in it. Blues people worldwide must employ this power to refocus human energy towards restoring the earth's natural balance.

Musicians have always been tuned in to the rhythms and vibrations of the physical and natural world. We have learned from the birds and animals, the rivers, the trees, even the mountains and the rocks. We have told the stories of our respective peoples. We have provided the foundation for dance and the beginning of language. Music is a direct connection to basic life energy. The bards of Ireland and the griots of Africa have always been there to reconnect people to the cosmic truth, as political and military powers have come and gone.

What must be done? The Philadelphia Blues Messengers are only a part of the worldwide consciousness of musicians. Blues Messengers—traditional musicians-- from all continents are hearing the call to take action to heal the planet—to slow the frenetic pace that the "progress" of "developed" nations have foisted upon the "undeveloped," indigenous peoples.

There are geologic centers of power that our ancestors knew. There are old ways, nearly lost now, which must be rediscovered. People are hearing this cry from Mother Earth. The Philadelphia Blues Messengers are foretelling the day when musicians from every continent will assemble in these places of power and make a great cry, a joyful noise, and a new covenant to restore the balance of feminine and masculine energy. The call goes out to all people: scientists, poets, dancers, artists, healers, religious, workers, mothers, fathers, daughters, and sons. Chief among these must be the shamans who still mediate between the earth and the people who still venerate the earth. These lands and these peoples must be respected. A sustained groove and song of life and healing for all people and all life is needed for our planet. We must breathe where we live and live where we breathe.

So we speak. To see the truth you must speak it clearly.
Let's start here in the Mother City.