Michael Pickett

Artist Information

Biography

At the age of four he sang for his grandmother who tossed him nickels and dimes while she sat at the kitchen table sipping her whiskey-laced tea. His mother bought him a harmonica when he was about 13. Shortly after that he saw Sonny Terry and Brownie McGhee on tv and he was hooked for life. The soul of this timeless genre is deeply rooted in his psyche and he continues to nurture this passion.

In the 70s, 80s, and 90s he established himself as a musically ground-breaking, electrifying singer/songwriter/harmonica player, leading seminal bands Whiskey Howl, Wooden Teeth, and the Michael Pickett Band. Musically profound, they pushed the envelope for Blues and funky Roots music. He provided the direction for all three projects and surrounded himself with some of the top musicians in the country.

Whiskey Howl was signed by Warner Bros. in '72. The band toured coast to coast, from the late 60s to the early 80s, venturing into New York City to perform at The Village Gate and disbanded in '81 following their high profile reunion gig at the El Mocambo in Toronto. A recording of that night has been released on CD - 'Whiskey Howl Big Band / Live at the El Mocambo'.

Wooden Teeth ('76-'79) was a group of diverse musical talents coming together to create a raw, exciting, extremely tight progressive Blues/Funk sound covering material from Little Feat to Tower of Power as well as several excellent originals and occasionally introducing the odd Jazz/Fusion instrumental. The band was contemporary, knocking out a class of rocking, infectious Soul that was tight enough to be called professional and improvisational enough to take it to the edge. The roster turned over until the core band took root with Pickett (vocals/harp), John Tilden (guitar), Omar Tunnoch (bass), and Vito Rezza (drums). One of the highlights of this band was opening for Papa John Creach, and backing up Big Mama Thornton, and John Lee Hooker at Massey Hall. (Hooker was late to arrive, trouble with a flight or something, and Michael met him for the first time on stage that night.)

Michael Pickett Band ('81-'02) clearly documented Pickett's profound musical journey and his constant search for the 'truth' in the song, be it his own or a cover. The core band consisted of vocal/harp (Pickett), bass (Steve Chadwick), guitar (notably Shawn Kellerman), and drums (often Gary Craig). It was a rotating roster of exemplary musicians occasionally ballooning into a big band with keys, backup singers, and horns. Pickett was the one constant - the source of inspiration, imagination, and fearlessness. He worked without a net which meant no set list. He was all about establishing a groove and seeing where it would take him... and the band. Pickett often layered his harmonica into the background. As a result, his arrangements were unique and highlighted the genius in his songwriting.

1998 was a banner year when he released his long anticipated debut CD Blues Money. This all original recording was nominated for a JUNO and received the Jazz Report and Real Blues awards for ‘Blues Album of the Year’. Michael was also presented with the coveted Maple Blues ‘Blues With A Feeling Award’ in recognition of his passion and lifetime commitment to the Blues.

2000 saw the release of his second CD Conversation With The Blues which earned him another JUNO nomination and won the Canadian Indie Music Award for ‘Blues Album of the Year’. This extraordinary recording, described by Billboard as “transcend[ing] the urban Blues idiom”, is an eclectic mix of ten original compositions comprised of Blues, R&B, Soul, Jazz, Delta, and Gospel.

PICKETT RE-INVENTS HIMSELF

It’s worth mentioning here that Pickett laid down an acoustic resophonic guitar track on Blues Money... he hadn't taken his guitar out of the box for over 20 years. He laid down another one for Conversation With The Blues. His focus was still on the band but he found himself steadily being drawn back into the realm of acoustic Blues which was how it all began for him when that 13 year old discovered Sonny Terry and Brownie McGhee. In 2001, he immersed himself in the guitar and was soon practicing up to 14 hours a day. With focus and diligence, this musical transition transformed him into a formidable guitarist on the six-string, twelve-string, and National Steel-Bodied Duolian. In the fall of 2002, the metamorphosis was complete. Leaving the band behind, he re-emerged revealing yet another layer of his seemingly endless reservoir of musical talents.

With exceptional award winning rack harmonica skills and powerful vocals, he delivers charismatic, compelling, and passionate performances that are charged with electricity and filled with authenticity and a unique style. He puts his own spin on obscure tunes of legendary icons such as Robert Johnson, Bukka White, Mississippi John Hurt, Sonny Terry & Brownie McGhee and showcases his own potently eclectic material. This songwriter has evolved into a charismatic and captivating storyteller through Delta Blues, Country, Folk, and Americana, revealing a profound understanding of where this music comes from and why it stands the test of time.

Pickett performs almost exclusively as a solo acoustic artist touring throughout North America, the UK, and Europe, appearing in Blues, Folk, and Jazz clubs, coffee houses, house concerts, theatres, jazz, folk, and blues festivals and is no stranger to standing ovations.

He hosts and participates in harmonica and acoustic guitar workshops in schools as well as independently and is a professional, private instructor. His presence in songwriting circles has proven to be extremely valuable because of his authentic representation/interpretation of acoustic Roots/Blues.

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Has played with and/or shared the stage with James Cotton . Jeff Healey . Bo Diddley . Koko Taylor . Downchild Blues Band . John Hammond . Matt "Guitar" Murphy . Doug Kershaw . Willie 'Big Eyes' Smith . Snooky Pryor . Sunnyland Slim . Lazy Lester . Tom Rush . Josh White Jr . Rory Block . Matt Minglewood . T.Graham Brown . Kentucky Headhunters . Hubert Sumlin . Taj Mahal . Muddy Waters . Son Seals . Big Bill Morganfield . Robert Cray . Buddy Guy . Jon Cleary . Tea Party . Anthony Gomes . Lee Oskar. Gary Nicholson . The Players . Fortunate Sons . Colin Linden . Brian Stoltz . George Porter Jr . Watermelon Slim, Ronnie Hawkins, Dr. John, Levon Helm, Jerry Portnoy, Magic Dick, and more.
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In 1988, Michael's voice was chosen to be The Budman in an unprecedented seven year Budweiser 'Blues' campaign which aired nationwide on radio and tv. In addition to his sings and voiceovers, his distinctive harmonica sounds were also used. A healthy jingle career was born out of that campaign and Michael's voice/sings/harp were used in countless commercials across Canada and into the US.
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BOOKING CONTACT:

Mother Earth Management
P.O. Box 346
Crystal Beach, ON Canada L0S 1B0
www.michaelpickett.com
mem@michaelpickett.com
289.876.9202 office
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Instrumentation

Michael Pickett:
Vocal
Rack harmonica
Guitars: National Steel Duolian
Six-string Gibson

Discography

2010
COCO MONTOYA / I Want It All Back / Coco Montoya / Ruffhouse
*song* "As Close As I Have Come"
Gary Nicholson, Gary Nicholson Music, ASCAP
Michael Pickett, Sweetest Gal Music, SOCAN

2008
DVD:
MICHAEL PICKETT: Live at the Loft
includes interview with CBC's Laurie Brown
All new and original material.***

2006
DAVID GOGO: Bootleg Series, Volume 1 / David Gogo

2005
LIVE AT THE EL MOCAMBO '81 / Whiskey Howl / Solid Gold Records / EMI
NARROW HOUSE / Doc MacLean / Independent
THE STORY / Matt Minglewood / Norton Records
RIO / Darren Arsenault / Independent

2004
LIVE AT WINTERFOLK! / Michael Pickett / Wooden Teeth Records

2002
SOLO / Michael Pickett / Wooden Teeth Records
COLOR ME GONE / Charlie A'Court / Independent

2000
CONVERSATION WITH THE BLUES / Michael Pickett / Solid Gold Records / EMI
GET ME SOME / Jeff Healey / Forte Records

1998
BLUES MONEY / Michael Pickett / Wooden Teeth Records
RARE & BEAUTIFUL / Alan MacGregor / Independent
HARD DAYS GONE / Vito Alvaro / Saverio Records

1994
JUST GETTING STARTED / Rita Chiarelli / Stoney Plain Records
RISQUE / Terez Montcalm / BMG Records

1993
SOME OTHER TIME / Tim Thorney / Epic Records

1992
LONESOME & HURTING / Vern Cheechoo / Denon Records
SHAKE YOUR SPIRIT / Frozen Ghost / Capitol Records

1991
FIRE ME BACK / Rita Coolidge / Attic Records

1989
IN HER DREAM / Bobby Wiseman / WEA Records

1988
GROSSMAN'S LIVE 2 / Michael Pickett, Exec. Prod. / Spadina Beat Records

1987
GROSSMAN'S LIVE / Michael Pickett, Prod. / Spadina Beat Records
THE JITTERS / The Jitters / Capitol Records

1982
GHOST CULTURE / Robbie Rox / Rosehill Records

1981
FAMILY REUNION '74 / Whiskey Howl / Rosehill Records

1978
CHRIS HALL / Chriss Hall / Warner Bros.

1976
BIG BAD BO / Bo Diddley / Warner Bros.

1975
DIARY OF A SINNER / Movie Soundtrack w. Bo Diddley

1972
WHISKEY HOWL / Whiskey Howl / Warner Bros.

Official Website

http://www.michaelpickett.com

Links

• Facebook
• Twitter
• MySpace
• Official Website
• YouTube
• Daily Motion
• CDBaby

Audio

• Daddy Where You Been So Long
  Listen   Download
• Ain't Going To Be Here Long
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• As Close As I Have Come
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• Blues Is A Friend Of Mine
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• World In An Uproar
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Lyrics

• Daddy Where You Been So Long
• Ain't Going To Be Here Long
• As Close As I Have Come
• World In An Uproar
• Blues Is A Friend Of Mine

Video

'PARCHMAN FARM' / Bamboo Room / Lake Worth, FLA USA / 2007

Photo Gallery

Press

• AMAZING [+ Show ]
  

  "I had a vision that he was gonna be one of the best. In my book he is." Hubert Sumlin "One of t..."I had a vision that he was gonna be one of the best. In my book he is." Hubert Sumlin
  
  "One of the finest harmonica players of all time." Lee Oskar
  
  "An amazing artist who breathes a new life into the blues by bringing it back with original energy and charisma." Downeast (USA)
  
  "His songs transcend the urban blues idiom... " Billboard (International)
  
  "Acoustic, traditional blues at its best performed by a true bluesman!" Concerto (Austria)
  
  "He's got it folks! A real student of the blues. If it's hard to get over as a singer/songwriter, it's exponentially harder to write good blues, and he does it." Sing Out! (USA)
  
  "Pickett continues to amaze everyone with even more unexpected talents and creative dimensions. A world-class tunesmith. One of Canada's top acoustic blues artists!" Blues Revue (USA)
  
  "Gives good chase to John Hammond on guitar and leaves him behind on harp." Blues Matters! (UK)
  
  "A seasoned master on Guitar, brilliant Harp and Voice." WMPG (USA)
  
  "Quite simply, when Michael sings it, we believe it. Mr. Pickett's work has that timeless quality that says we'll still be listening a long, long time from now." Blues On Stage (USA)
  
  "How can one man sing with so much soul!?" KYNR (USA)
  

• MASSEY HALL / Live Performance Review [+ Show ]
  

  Massey Hall /April 1, 2005 "Pickett's performance at Massey Hall this night was flawless and eng...Massey Hall /April 1, 2005
  
  "Pickett's performance at Massey Hall this night was flawless and engrossing throughout his entire time on stage. He played acoustic guitar throughout, as well as blues harp (on a rack) with rousing, forceful vocals that radiated the confidence and supreme talent that only a decades-long blues performer can muster up and deliver to an audience, with ease, like a blues angel flapping its wings.
  
  Pickett kept his excitement at being Buddy Guy's opening act subdued. He said, "I haven't been on this stage since the time I backed Big Mama Thornton and John Lee Hooker 31 years ago." (with his then Canadian legendary blues band Wooden Teeth). How do I look?"
  
  Pickett's harp playing and vocals along with his rousing rhythm and lead guitar parts sounded like a full orchestra at times. His mind-blowing performance had this writer reminiscing about B.B. King's blues orchestra. Pickett sounded like a full orchestra blues show all by himself! The acoustics at Massey Hall, built as a concert hall in 1894, showed off Pickett's musical subtleties to their very best.
  
  His rousing finale "Can't Find My Way Back Home" on National Steel guitar was a masterpiece in which he played some wicked harp that only a 'disgruntled devil stubbing his toe on a rock at the crossroads' could muster up! Cheers and screams for "More!!!" were characteristic of Massey Hall's audience reaction to Pickett's's songs before and after each tune was performed. There was a decided din in the air after Pickett's incredible time on stage had ended. The audience was on its feet and they demanded an encore. Pickett politely declined out of respect for Buddy Guy who, after all, was the one they had all come to see.
  
  He entertained Massey Hall in the way a Robert Johnson or Ledbelly could and did decades earlier. It was a great pleasure for this writer and I'm sure for most if not the entire audience (2500 strong) at Massey Hall this night, to witness perfection at its rootsiest and purest from a man who's style and delivery is as good as the blues ever gets!" J.Curtis
  

• THE ONE MAN BAND / Live Performance Review [+ Show ]
  

  THE LIVE MUSIC REPORT by Laila Boulos photo by Mike Colyer MICHAEL PICKETT at THE AFRIKAN MILLE...THE LIVE MUSIC REPORT
  by Laila Boulos
  photo by Mike Colyer
  
  MICHAEL PICKETT at THE AFRIKAN MILLENNIUM and CULTURAL ARTS 'FEASTIVAL' October 26, 2007
  Trane Studio
  Toronto, ON Canada
  
  Michael Pickett: The One Man Band
  
  Many years ago, I was walking down Yonge Street, late at night, on my way home, when I heard an amazing harmonica solo whooshing out of the open window of a bar. I stood there mesmerized while the band performed their (ugh!) last song of the evening. That was the first time I heard Michael Pickett. Over the years, I have been making sure my timing is better when attending his gigs.
  
  So, upon hearing that Mr. Pickett would be performing during the The Afrikan Millennium and Cultural Arts Feastival (presented by the Caliban Arts Theatre and The Trane Studio) I was elated. The Trane Studio is a wonderful intimate cozy venue with great sight lines, a tasty Caribbean-inspired menu and easy-going, accommodating staff. Owner Frank Francis has consistently put together eclectic mixes of entertainment attracting a diverse crowd to this popular venue for their many concerts and exhibits. As usual, during this 'Feastival', which runs until December 31, 2007, the lineup is impressive.
  
  Although I was originally introduced to Pickett in his harmonica player guise, that was only the tip of the iceberg. This performer is multifaceted. For this evening's gig at the Trane, he did play a screeching (Lee Oskar rack) harmonica. He also played a Gibson 6-string. He played his National Steel-bodied Duolian. He also sang. And when his hands were free he was thunderously clapping. As an aside, his foot stomping and hand clapping were so skillfully evocative of an erupting volcano that they could be relegated to a separate percussion section!
  
  Over the years, Pickett has received many awards such as: Blues With a Feeling 1999 and Harmonica Player of the Year 1999, 2000 and 2002 (both Maple Blues Awards); Album of the Year 2001 for Conversation With the Blues (Canadian Indie Music Awards); and, Blues Album of the Year 1999 for Blues Money (Jazz Report Awards). He has also been nominated for, and won, countless other awards from Junos to Real Blues Awards. He has been in a number of bands including Whiskey Howl, Wooden Teeth and the Michael Pickett Band. And yes, he did actually have other people playing with him in these bands, in case you were wondering!
  
  Although he is all about the music, Michael Pickett has a great sense of humour and his easy banter with the crowd that evening was only upstaged by his amazing musical performance. At one point he joked that this was his first road gig in Toronto. He recently moved from Toronto to Crystal Beach, Ontario and voiced his tongue-in-cheek disappointment that the crowd did not applaud his decision. This was greeted with laughter. During his performance of "Blues is a Friend of Mine", when he changed a line to sing about the Trane Studio he, once again, had the crowd laughing. Pickett wowed his audience on this evening with many of his own compositions. Definitely not a typical blues crowd, it was a testament to Pickett's expertise that he kept them listening. Throughout the evening, images of trains barreling through sleepy towns and rolling hills covered with autumn sunshine kept flitting through one's mind, compliments of the vibe created by Pickett's own pieces and the covers he chose.
  
  Watching Pickett play is akin to watching a Dr. Jekyll and Mr. Hyde performance. His full-steam-ahead playing is awe-inspiring. Visibly, his whole body is thrown into his craft. He gives his all when performing. Yet, taking the stage, he had a relaxed sitting-in-a-comfy-chair-in-the-rec.-room persona, which was more deeply etched as he eased his body more comfortably into that chair for the second set. Although the first song was a jolt to the senses resulting from the juxtaposition of the unassuming musician who just took the stage with the 'who opened the fire hydrant?' power of his actual performance, it was definitely a nice surprise.
  
  "Linin' Track", a work song, was powerfully and hauntingly sung by Pickett with only his thunderous clapping as stark accompaniment. And, Woody Guthrie's "Deportee" was a beautiful version in Pickett's competent hands. On many pieces, the howling of the harmonica contrasted hypnotically with his soulful strumming on the Duolian. On others, his plaintive, raw voice shone above the cradle-rock rhythms of his acoustic guitar. Pickett expertly traveled through many different styles during this concert. From pieces evocative of everyone from John Lee Hooker to Colin James, this talented musician provided many impressive guitar riffs and harmonica solos during the evening. Yet, along the way, he effectively created a gentle ebb and flow that was easy on the audience with nothing too irritating to the senses. He introduced himself and his dizzying musicianship to a number of unsuspecting fans on this evening.

• PICKETT'S CHARGE: Blues man finds satisfaction in acoustic roots / Interview [+ Show ]
  

  February 1, 2008 The Daily Times TN/USA Michael Pickett Pickett's charge: Blues man finds sati...February 1, 2008
  The Daily Times
  TN/USA
  
  Michael Pickett
  Pickett's charge: Blues man finds satisfaction in acoustic roots
  
  By Steve Wildsmith
  
  Michael Pickett is living proof that you can teach an old dog new tricks.
  
  To be fair, the “old dog” — Pickett, who was 51 at the time — taught himself a new trick. And it wasn’t so much a new trick as it was a refresher course in how he first started playing the blues.
  
  It took a while, but what emerged was a complete reinvention of Pickett’s style, a full-circle return from the full-band sound he’s been a part of since the 1970s. And it all started when he sat down to play the blues on an acoustic guitar all by his lonesome.
  
  “I had grown up listening to that stuff, and I sat down one afternoon to produce a tune where the guitar is strong throughout, the harmonica on the rack is strong, the singing is strong,” Pickett told The Daily Times this week. “At that point in my life, I was 51 years old, and I’d had a guitar kicking around in my house collecting dust forever. So I sat down to do it — and it sounded awful. I knew what it was supposed to sound like, and I wasn’t getting it.
  
  “I played at it for about an hour and then took a break, because the concentration, the focus, was way too much. It takes a lot of focus to present a song as a solo player. But the next day, I did it again. And the next day, again. Pretty soon, I was practicing 10, 12 hours a day. And I just stayed at it, like a bulldog. At that point in my life, I had been on hundreds of recordings and played all kinds of tunes on stage — I knew how it was all put together.
  
  “I thought, I should be able to do this — to just sit in my chair, play my guitar and sing a song,” he added. “I should be able to do that, shouldn’t I? It turned out that the answer was no.”
  
  It had been a while since Pickett, who’s made quite a name for himself in the blues over the years, faced such a steep learning curve. As a kid, he started singing for his grandmother when he was 4; at 13, his mother bought him his first harmonica. Not long after, watching legends Sonny Terry and Brownie McGhee on TV hooked him on the blues for the rest of his life.
  
  Starting in the 1970s, he began to cut a swath through the genre with his monster chops on the harmonica. First with Whiskey Howl, he was the co-front man with the late John Witmer, one of Canada’s most revered R&B singers. The band signed to Warner Bros. in 1972 and toured across the country before Pickett moved on to Wooden Teeth, a new band, in 1976. His new project built on a foundation of blues and funk that covered everything from Little Feat to Tower of Power, with an occasional jazz-fusion number thrown in for good measure and an incomparable ability to improvise on stage. One of the band’s highlights was opening for Big Mama Thornton and John Lee Hooker.
  
  In 1981, after a brief reunion with Whiskey Howl, Pickett put together the Michael Pickett Band, which included a rotating roster of musicians over the years (most notably Shawn Kellerman on guitar). Although his harmonica was strong enough to steal the show, he was content to layer his work in with the rest of the band, creating a crackerjack unit that never used a setlist.
  
  In 1998, he released his debut album, “Blues Money,” which was nominated for a Juno (the Canadian equivalent of the Grammys) as well as several other awards. In 2000, he put out his second album, “Conversation With the Blues,” earning himself another Juno nomination and a Canadian Indie Music Award for Blues Album of the Year. It was during that time period that he felt the call of the acoustic blues once again.
  
  “I sat down to write a third album under my own name, and it was all coming out solo acoustic,” he said. “I would come up with something and think, ‘This is a cool tune; it sounds like Lightnin’ Hopkins would play a tune like this, sitting there by himself. A lot of the songs that I wrote for the band actually came up out of that genre of music. But I would put bass and drums on them, even though it was essentially a tune I could play solo.”
  
  When he attempted to stick strictly to acoustic blues, however, he learned his lesson. Undeterred, however, he put aside his ego and forced himself to go back to school. He went back and found the old acoustic blues he’d fallen in love with in the 1960s on CD. He went searching for contemporary acoustic blues players. He bought stacks of CDs, returning the ones he didn’t care for, and simply stayed with it.
  
  “I was probably three years into it, maybe even more, before I actually sat down and played along with a record,” he said. “I’m one of those guys who will listen to a record and then go have something to eat before I pick up a guitar and play. That way, I might be trying to imitate what’s on the record, but I’ll end up coming up with a tune of my own. I’m not a guy who studies tunes and replicates them; mostly, I just make noise.”
  
  In those early years, he was still playing with the full Michael Pickett Band. He would show up for rehearsals or to a gig with his guitar, even though his role was that of the band’s vocalist and harmonica player. Gradually, with his bandmates’ encouragement, he took the guitar out of the case and eventually worked it into the show — opening up the second set with a few of his own acoustic songs.
  
  “If I was comfortable with the sound, I would play three or four tunes; if the sound was really (bad), I would play one tune and say, ‘Enough of this,’” he said.
  
  Even doing that was an adjustment — used to playing plugged in, Pickett couldn’t quite get the acoustic blues sound just right if he used a PA or an amplifier. Eventually, he took a cue from guys like McGhee and Son House and did away with amplification altogether.
  
  “Those guys, back in the 1960s, would walk on stage with no guitar tuners, one or two microphones on stage and they wouldn’t plug their guitars in,” Pickett said. “That’s unheard of today, and occasionally, I’ll run into a sound guy who tells me I can’t do it that way. Well, why not? If you can put a microphone in front of it and turn it up to a level where it can be heard, there’s something wrong technically.
  
  “I’m completely unplugged; I won’t plug my guitars in. It’s all a mindset, I really believe. I’ve played on huge stages, for 3,000 or 4,000 people, and it just sounds like a million bucks. I’m sure it would make everybody’s life simpler if I plugged the guitars in, but it changes the sound, and I just don’t want to go there.”
  
  Sometimes, he added, he runs into the occasional club owner, sound man or fellow musician who scratches his head at Pickett’s set-up. For some, it seems limiting; if he’s learned anything from the reinvention, however, it’s this — the sky is the limit when it comes to acoustic blues.
  
  “If you think you know how to play this stuff, then you’re a real arrogant fool,” he said. “Something I heard years ago — if you want to learn to play guitar, sit down and play 12-bar blues, and just keep playing it, and if you think it’s all the same, you’re completely wrong.
  
  "There are a million ways to play that same riff, that same turn-around, that same groove. If you’re not growing and learning, you’re standing still, and if that happens, you’re dead in the water.”
  

• AS GOOD AS IT GETS / Live Performance Review [+ Show ]
  

  “As good as it gets,” is how Gary Topp introduced the quintessential Toronto bluesman Michael Picket...“As good as it gets,” is how Gary Topp introduced the quintessential Toronto bluesman Michael Pickett to open the second show of a spectacular doubleheader with U.K. soul sensation James Hunter; in front of two packed and hugely enthusiastic crowds at Lula Lounge. That said it all, both in terms of the individual artists and musical pairing. The delta blues and soul/R&B double was a journey right through the heart of American roots music, from their early days to their modern meaning.
  I was struck immediately by Pickett’s uncanny resemblance to Democratic political strategist James Carville. Tonight he was cast perfectly in the role of the sage, right down to his road-worn and incredibly resonant hollow-body guitar. Sure enough, he took notice of my presence with a notebook at the table in front and said “We have a member of the press here,” which in front of such a busy room was cause for crimson turning. “Write that down,” he continued in his thunderous and gravelly voice. “The great thing about the press is that they’ll print whatever you say.” Or in this case, play.
  It was the perfect thematic and metaphoric segue into his first song which rang out, “The President’s up in the White House / bombs dropping down like showers / CNN’s got that covered / no matter what I do, that image burnin’ in my mind.” Nothing captures the outrage of these wag-the-dog times like slow burning Delta blues.
  The next offering had an Eric Clapton Tears in Heaven guitar sound, with a spoken-word rhythm to the lyrics. It was then time for the troubadour to play a song about a murder, with the chorus “Frankie Johnson needs killin’, I’m wearin’ a wicked grin.” Pickett completed the effect by clutching his guitar as though it were a weapon at the end of the tune. The blues stream of consciousness continued with the following tune’s hook “If you lose your money, please don’t lose your mind” which he sang with harmonica only.
  His music moves effortlessly between guitar, harmonica, and song. He engaged the audience in a call-and-response, the crowd easing into a rhythmic clap along with Pickett’s harp and vocals that to me represented an entirely new sound of blues beat boxing.
  The song was, I believe, entitled “Can’t Find My Way Home”. It featured the timeless line “All I got’s this ol’ guitar and a real good pair of walkin’ shoes.” One gets the feeling that’s more than enough for Michael Pickett.

• SOLO / CD Review [+ Show ]
  

  Michael Pickett must be one of Canada's top acoustic blues artists. The well-recorded SOLO (Wooden ...Michael Pickett must be one of Canada's top acoustic blues artists.
  The well-recorded SOLO (Wooden Teeth 003) proves him to be a convincing singer, delivering standards by Robert Johnson and Sticks and Brownie McGhee between excellent originals. Harmonica flourishes dot the brooding, Skip James-derived "The 'hood," one of several harrowing, minor-key blues, but Pickett's guitar work, both fretted and bottleneck, is at the set's heart. In addition to deep Delta rhythms, Pickett hints at a more rolling, melodic style on the Brownie McGhee numbers and his own "Bill's Song," and he livens up the hip, heavily syncopated "Cecil & Spadina" with string-snapping and slaps to the face of his guitar. A keen sense of time and strong personality add to Pickett's effectiveness.
  

• SOLO CD review [+ Show ]
  

  On Solo (Wooden Teeth Records), Pickett plays as passionate and intense as the emotion-laden cover p...On Solo (Wooden Teeth Records), Pickett plays as passionate and intense as the emotion-laden cover photo. The 11 tracks on this 40 minute disc were co-produced by Pickett and Alec Fraser. Michael handles vocals, guitar (Gibson 6-string, 12-string, 1931 National Steel Duolian, and Yanuziello resophonic) and rack harmonica (Lee Oskar). There is a pretty even split amongst songs featuring the guitar only versus tunes with guitar/harp. "Louise" is an autobiographical reflection upon the meeting of his wife and the deep love that he has for her. How appropriate to emanate this via a deep Delta blues tune. We are talking as thick as the mud in the Mississippi River here. "Blues Is A Friend Of Mine" is foot-stompin,’ brown-jug country blues. This is as up-tempo as acoustic blues can get and should get. His wandering harp notes shriek and his vocals get a workout on "Steady Rollin’ Man." "The ‘Hood" has an accompanying video which aired as part of Bravo’s Talkin’ Blues TV series. Here, the vocals briefly sound like Long John Baldry and Howlin’ Wolf. The tune’s attractive melody contrasts with its words about the desperate human condition along skid row. "Cecil & Spadina" reappears from the Conversation disc and is considered a bonus track. The song’s basic melody is established over a few notes; still, the riff created is memorable. Obviously, Pickett learned plenty at this landmark Toronto street corner where a live music club exists.
  This CD clearly showcases Michael’s diversity as a performing artist and songwriter. The seven original songs mesh so tightly with the covers, many will think all the tunes are originals.
  

• Conversation With The Blues review [+ Show ]
  

  On this follow-up to Pickett’s acclaimed 1998 CD, Blues Money (which was nominated for a Juno award... On this follow-up to Pickett’s acclaimed 1998 CD, Blues Money (which was nominated for a Juno award), one senses the spirit of a man for whom the blues is a lifelong passion. Penning ten of the CD’s 12 songs himself, Pickett draws from a broad range of sub-genres, including horn-fueled funk (Big Train), gospel-tinged R&B (When I Lay My Burden Down), and Delta-flavored balladry (Cecil & Spadina).
  
  Instrument-wise, Conversation With The Blues boasts an ace band that includes Shawn Kellerman (guitar), Steve Chadwick (bass), and Gary Craig (drums), as well as guest turns from some of Toronto’s most formidable players. Occupying center stage, however, is Pickett himself, whose talents on harmonica (which he treats as an ensemble, rather than a solo instrument) and resophonic guitar shine throughout. Perhaps most importantly, Pickett’s soulful voice (think a mix of John Hammond and John Hiatt) serves as the perfect vehicle with which to convey his roots-oriented musings.

• Conversation With The Blues review [+ Show ]
  

  If one is searching for some tight, well presented Blues music by an artist who has experience and t...If one is searching for some tight, well presented Blues music by an artist who has experience and talent, Michael Pickett's "Conversation With The Blues" is the album to pick up. Pickett presents Blues music with the finesse and charisma which comes from years of study and soulful admiration of what the genre is all about. Blues music is a genre of music which contains a small percentage of composition and a large portion of emotional improvisational expression. Michael Pickett pours himself, body and soul, into each tune on the album, sending the listener on a unique refreshing journey within his conversation with the Blues. Each tune on the album, with the exception of one which is a solo effort from Pickett, finds Pickett's expressive and melodic vocals and mind-blowing harmonica complimented by Shawn Kellerman's extensive Blues guitar work. "Junk Thang", a Blues instrumental done in the key of E, is sure to hook many a Blues fan to Pickett's magnetic harmonica playing. Shawn Kellerman and Teddy Leonard shine on "Junk Thang" with some exhilarating electric lead guitar jamming. "Look Out At The Weather", gives one the impression that Pickett has experienced the Blues with the same force felt by Stevie Ray Vaughan and others who have gained the respect of Blues fans world wide.
  
  Michael Pickett is a talented musician and an amazing artist who breathes a new life into the Blues by bringing it back with original energy and charisma. His style is very much his own, but one can hear and feel early influences in his music lending the comfortable quality and familiarity so often associated with true Blues at it's finest. So if in search for a real Blues sound, call on Michael Pickett and have a conversation with the Blues as never before.

• Blues Money review [+ Show ]
  

  I'd call Blues Money a work of art, a life statement, if you will, of a man who's been around long ... I'd call Blues Money a work of art, a life statement, if you will, of a man who's been around long enough to dismiss frills and frippery, who's learned from hard experience what matters, and who has the skill and experience to translate that into music that's honest and true. Yes, it's that good. Michael's a very fine guitarist, but he's known primarily as a harp player. And play he does, but with a restraint that could serve as a lesson in good taste. Sure, he's got the killer tone that most harp players (myself included) would give their right (insert body part) for, and when he feels like it, he can absolutely dazzle with his dexterity. But for all his skill, there's never an extraneous note to be found -- his solos serve the songs, not the other way around.
  
  And ah, the songs! Michael wrote or co-wrote every tune on the disc, and while it would be easy just to call 'em all blues songs (they are!), one could just as well put them into a looser "roots" category. Better yet, if categorization is required -- there's Chicago blues, there's jump blues and Texas blues, etc . . . and now there's Pickett blues.
  
  Anyone who's lasted as long as Michael has made a few friends over the years, and the guest list on this disc reads like a veritable who's who of Toronto's blues elite. But again, it's not about star turns or the prestige of having so-and-so make an appearance. One gets the sense that every contribution was carefully considered, and the guests were brought in precisely because of what they could bring to the song in question. The sound, too, is excellent. Like everything else about the disc, care and craft are evident at every turn. It may be an indie release, but there's nothing low-budget about the production values -- to my ears, it's the aural equivalent of any 'big label' release. My guess is that Michael would settle for nothing less than perfection. And that's just what he got, all the way 'round. This is one for the ages!
  

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Setlist

Typically 2 x 50 minute sets but has enough material to play all night long!

*original

Daddy Where You Been*
Ammo In The Icebox*
What Do You Think About That*
Bill's Song*
World In An Uproar*
Deportee
Ain't Going To Be Here Long*
Parchman Farm
Blues Is A Friend of Mine*
I Got Fooled
Louise*
Cherry Hill*
Wang Dang Doodle
As Close As I Have Come*
Statesboro Blues
Shake That Thing*
Lining Track
Terraplane Blues
When Rita Leaves
Wicked Grin*
Rollin' On*
Rosalie*
If You Lose Your Money
What'd I Come Here For*
Lowcountry Cooking*
Can't Find My Way Back Home*

Basic Requirements

PDF Rider

STAGE PLOT AND RIDER

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