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Website: https://blackcatzydecomusic.com/

Dwight Carrier popularly known as, “The Black Cat” has become one of the most exciting Zydeco Accor-dionist of this era. He is deeply rooted in the “Carrier” family tradition, where music has always been a pas-sion and implemented into much of their families past time. He embraces both his family tradition as-well as his Cajun Creole Culture. Dwight has always had a unique style that infuses his zydeco, blues, country and R&B influences.

Growing up in the small town of Church Point, La in a time where rap music was gaining momentum, Dwight’s friends would laugh when he and his brother Joseph chose not to take that route. Initially, Joseph played the accordion while Dwight played the drums. It was after many relentless hours of practicing with his brother that Dwight grew restless. He yearned to play the accordion. It was with much practice, passion and determination that Dwight not only learned to play the accordion but was he able to play it well. He and Joseph switched instruments and it Dwight Carrier & the Zydeco Rockers was created.

In 1988, at the age of 14, Dwight recorded his ‑R&B 45 LP entitled “My Baby Left Me”, earning him local status, playing frequently on the zydeco circuit at trailrides and dance halls in and around the state of Lou-isiana. He realized that his friends were no longer laughing, but instead, were asking him to teach them to play.

In 1991, Dwight Carrier was asked to become a member of the Creole Zydeco Snap Band headed by Creole & Blues musician Warren Ceaser. He accepted the opportunity and became the groups’ accordionist. Dwight traveled with the band extensively around the world and for several years making appearances at the New Orleans Jazz & Heritage Festival. On the 1995 CD entitled “The Crowd Pleaser”, Dwight released two more recordings, “Zydeco Coteau (Going Down South)” and “Zydeco Shuffle”.

After taking an extended absence from music, Dwight was able to work his way back into his music, play-ing with his uncle Zydeco Legend, Roy Carrier & the Night Rockers. He is has also had the privilege of playing with cousin Troy “Dikki Du” Carrier & the Zydeco Crew, Andre Thierry & Zydeco Magic, Hugh Robertson & Zydematics, Tony Trahan & Blue Krewe just to name a few while still being the front man for the Ro Doggs. Dwight “Black Cat” Carrier and The Ro’Doggs released their debut full length CD titled “It Ain’t My Fault” in early spring of 2009.

Dwight is one of the few Zydeco musicians with the ability to travel to a city, pick up a band of local musi-cians and produce a sound equivalent to that of artist working together for years. The ability to do this, al-lows him the ­flexibility to perform in places that may otherwise, not be economically feasible and still able to share traditional zydeco along with treating people to a great time. Dwight is a party band leader and his shows have been rated high energy fun. “The Black Cat”, is not the typical zydeco artist as, he draws from a wide variety of influences bringing it all home to the most exciting danceable night you’ll ever experi-ence! He looks forward to playing that “Old Thyme Zydeco”, with just an accordion and a rubboard.

Dwight has been able to share his musical talents all over the world including places such as; Italy, Sicily, Paris France, Central America and many parts of Canada. His influences include everyone from Clifton Chenier to James Brown with a little old time Zydeco and R&B for good measure. The “Black Cat” has recently returned from a nationwide tour with 2013 Grammy Nominated Artist, Andre Thierry. He has also performed with; “The Red Rocker” (Sammy Hagar), former bass/guitarist for James Brown “Robert Wat-son” and world class musician, Bobbie (Spider) Webb to name a few.

Website:  CrystalThomasBlues.com

Crystal Thomas is big and she’s bluesy, and she’s raw. She can grind a note and use it any way she wants to. After all, she grew up listening to Muddy and Jimmy Reed and Johnnie Taylor and rapped a little, too. Raw and gritty music is in her blood.

And she loves her musical life. Crystal sang before she talked. She sings in her car at red lights. And she belts it out in church, in juke joints, and around the world in Japan, Spain and Hong Kong wowing the crowds. This woman’s voice makes you glad you are alive even if your girlfriend dumped you.

Ask Crystal about where she came from. She’ll lean back and smile and tell you about growing up in Mansfield, Louisiana in the deep country. She remembers her favorite hog turned into supper. Mostly, she remembers playing DJ while her family played cards and learning the trombone in fifth grade because her brother had given up on it and her mom didn’t want to pay for another instrument.

Having Crystal step out front with a super-star band that includes Lucky Peterson on keys, he allows her to lean into the mic and sing with abandon. Lucky has played with everyone. Otis Rush, Etta James, Bobby Bland. Brothers Johnny and Jason Moeller offer up guitar and drums – Johnny finding time between tours with the Thunderbirds and Jason with the cred that comes from backing artists from the Thunderbirds to Jewel Brown and Little Joe Washington. Bass player extraordinaire, Chuck Rainey, starts the list with Aretha, Fats Domino, Barbara Streisand, and quite literally hundreds more. Crystal takes full advantage of the grooves they lay down and even plays a little trombone here. Something she did working with Johnnie Taylor just before he passed on. Johnnie didn’t know she sang until near the end. He’d decided to take her to Malaco to record but ran out of time. Thankfully, Dialtone finally made that record. Hallelujah!

Scott M. Bock
Living Blues Magazine

Heralded as “a living landmark” (Berkeley Express), “a national treasure” (Guitar Extra), and “one of the greatest living acoustic blues artists” (Blues Revue), Rory Block has committed her life and her career to preserving the Delta blues tradition and bringing it to life for 21st century audiences around the world. A traditionalist and an innovator at the same time, she wields a fiery and haunting guitar and vocal style that redefines the boundaries of acoustic blues and folk. The New York Times declared: “Her playing is perfect, her singing otherworldly as she wrestles with ghosts, shadows and legends.”

Born in Princeton, NJ, Aurora “Rory” Block grew up in Manhattan a family with Bohemian leanings. Her father owned a Greenwich Village sandal shop, where musicians like Bob Dylan, Maria Muldaur and John Sebastian all made occasional appearances. The rich and diverse Village scene was a constant influence on her cultural sensibilities. She was playing guitar by age ten, and by her early teens she was sitting in on the Sunday jam sessions in Washington Square Park.

During these years, her life was touched – and profoundly changed – by personal encounters with some of the earliest and most influential Delta blues masters of the 20th century. She made frequent visits to the Bronx, where she learned her first lessons in blues and gospel music from the Reverend Gary Davis. She swapped stories and guitar licks with seminal bluesman Son House, Robert Johnson’s mentor (“He kept asking, ‘Where did she learn to play like this?’”). She visited Skip James in the hospital after his cancer surgery. She traveled to Washington, DC, to visit with Mississippi John Hurt and absorb first-hand his technique and his creativity.

“This period seemed to last forever,” Block Recalls nearly forty years later.” I now realize how lucky I was to be there, in the right place at the right time. I thought everyone knew these incredible men, these blues geniuses who wrote the book. I later realized how fleeting it was, and how even more precious.”

By the time she was in high school, her family had splintered in different directions. With nothing holding her down, she left home at 15 with her guitar and a few friends – heading for California on a trip marked by numerous detours and stops in small towns. Along he way, she picked her way through a vast catalog of country blues songs and took her first steps in developing a fingerpicking and slide guitar style that would eventually be her trademark.

She recorded an instructional record called How To Play Blues Guitar in the mid-60s (she was billed as Sunshine Kate on the original recording), but then took a decade off from music to start a family. In the mid- and late ‘70s, she made a few records that ran counter to her inherent blues instincts, and the result was frustration. “Eventually disgusted with trying to accommodate a business which never seemed to accept me or be satisfied with my efforts,” she says, “I gave up totally and went back to the blues.” The result was a record deal with the Boston-based Rounder label, which released her High Heeled Blues in 1981. Rolling Stone referred to the album as “some of the most singular and affecting country blues anyone – man or woman, black or white, old or young – has cut in recent years.”

Back in a groove that felt comfortable and fulfilling, Block threw herself headlong into an ambitious touring schedule that helped hone her technical and vocal skills to a razor’s edge, and at the same time nurture a distinctive voice as a songwriter. She stayed with Rounder for the next two decades, making records that simultaneously indulged her affinity for traditional country blues and served as a platform for her own formidable songwriting talents.

The world finally started taking notice in the early 1990s, and Block scored numerous awards throughout the decade. Her visibility overseas increased dramatically when Best Blues and Originals, fueled by the single “Lovin’ Whiskey,” went gold in parts of Europe. She brought home Blues Music Awards four years in a row – two for Traditional Blues Female Artist of the Year, and two for Best Acoustic Blues Album of the Year. Then in 1997, she won the Blues Music Award for The Lady and Mr. Johnson, a tribute to Robert Johnson, taking home Acoustic Album of the Year.

Today, after more than twenty highly acclaimed releases and five Blues Music Awards, Block is at the absolute height of her creative powers, bringing a world full of life lessons to bear on what she calls “a total celebration of my beloved instrument and best friend, the guitar.” Her newest project, titled “The Mentor Series,” is a growing collection of tribute albums to the blues masters she knew in person. Her recent release “Blues Walkin’ Like A Man/A Tribute to Son House,” will be followed by “Shake Em On Down/A Tribute to Mississippi Fred McDowell,” due out in early 2011 on the Stony Plain label.