Music Maker Relief Foundation is a 501(c)3 nonprofit organization dedicated to helping the true pioneers and forgotten heroes of the Blues gain recognition and meet their day-to-day needs. Our blog is dedicated to keeping the conversation about these artists alive & thriving.

Diggin’: Lee Gates – You Gotta Love Me Baby

Lee Gates’ insistent music is always compelling. Between his shredding guitar and pleading vocals, you know he means what he’s singing. Lee is a tough guy; over six feet tall and strong as can be. “You Gotta Love Me Baby” is resolute, but also shows a glimpse of another side of Lee. His mesmerizing guitar work and the pumping rhythm make a pretty compelling case. It’s true; you gotta love Lee Gates.

— Abby

Diggin’: Harvey Dalton Arnold – Cool Driver Blues

Harvey Dalton Arnold is a true Southern rocker. A member of the Outlaws for many years, listening to the acoustic sounds on Harvey’s album Outlaw is tantalizing. How does an acoustic guitar rock SO hard? If you have ever seen Harvey perform you have surely been blown away by his screeching vocals and raunchy picking. Not only is Harvey a great musician, he is also an incredible parter to the elder musicians that we work with.


— Corn

The Struggle in Louisiana Continues

You weren’t really worried. This wasn’t a hurricane, not even a tropical storm—no roof-ripping tornado, no tower-toppling earthquake, no fire-spewing eruption—it was just rain. And it doesn’t flood around here. It never has before.


Even as the water came up higher and higher—higher than anyone ever thought it would—you, like most folks, were basically safe. You tried to salvage what you could. When the military vehicles and boats started coming through, you considered evacuating. But you talked with your family and decided to stay in your home. Gradually, the water receded and you went to work doing what needed done—tossing damaged furniture, appliances, and carpet; ripping out floors and walls. When you finally took a break from the work, you looked down the street. It was a valley between two mountains of refuse. This was a world of total devastation. And that’s when the flood—which had already become ancient history to the 24-news cycle—started to seem like a present reality for you. You’d awakened from a nightmare, only to find that the events of the dream actually happened.

Several people I talked to from the Baton Rouge-area describe something like the story above. Yet, despite the level of catastrophe, they all make a point of putting things in perspective—recognizing that it could be worse (and is for some folks), and that mostly what they lost were “only material things.” Toughness and optimism are thick in that part of the world. But while the talk of “moving on” and “counting blessings” feels absolutely heartfelt, what comes across even stronger is a sense of shock. There was no possible way to prepare for this event. No one thought it would ever happen. Even after it did happen, it still seemed impossible. It was just rain. How can rain cause this much destruction? How could rain completely derail your life?

Of course, the majority of folks hit by the August floods in Louisiana didn’t have flood insurance. They didn’t live a flood zone; there was no reason to think they’d ever need it. FEMA is providing some relief, but in most cases they’re offering people nowhere near what it’s going to take to return their homes to a livable condition. People are tough and optimistic, but they’re facing extreme setbacks.

For a lot of musicians in the Baton Rouge-area, things were not easy even before the flood. With the exception of a few big names that get steady, well-compensated work, most Baton Rouge musicians have to supplement their income with non-music gigs if they’re able, or struggle to eke out a living. Even a veteran artist like Larry Garner, with over a dozen acclaimed albums to his credit, can’t sustain himself playing in the States. His label and most of his gigs are in Europe. “I find a lot more work over there,” he told me. “Some years it’s more, some years it’s less. This year’s been pretty good. I guess the All-Knowing All-Seeing knew that I was going to need every penny I could make to get through this.” Garner’s house sustained major damages in the flood. The 64-year old, who’s had open heart surgery, paused from ripping out drywall to talk with me on the phone. His 83-year old mother’s house got it even worse. She’s had to relocate to California, where she’s staying with family for the foreseeable future. “It’s a life-changing event,” Garner says. He’s working tirelessly now, trying to restore his home as much as possible before he goes back overseas to tour France in October.


Larry Garner was able to keep his guitars out of the water, but his Fender Deluxe amp was not so lucky. Ruined equipment is a major issue for Baton Rouge’s flood-soaked music community. “Those are the tools that people make a living with,” remarks Lee Allen Zeno, a renowned bassist in the area who’s been with Buckwheat Zydeco’s band for decades. “And for most folks, insurance is not going to cover that stuff.” Zeno lost several bass amplifiers himself. Some musicians lost every bit of gear they owned. Every musician I talked to lost something.


Lee Allen Zeno (photo by: Timothy Duffy)

The impact of these losses extends beyond live performance, reaching facets of the music community such as education and recording as well. Not only were schools flooded, but individual teachers lost instruments, sheet music, and other necessary tools of their profession. Eric Baskin, for example, the director of jazz studies at Baton Rouge Community College, lost sheet music, keyboards, and an amplifier. Recording studios, such as the famed Dockside Studio, also flooded. Amazingly, despite having two feet of water inside, it looks like Dockside—birthplace of 11 GRAMMY-award-winning albums and a favorite studio of legends like B.B. King and Dr. John—will survive. In the midst of the flood, wheelchair-bound owner Steve Nails communicated by cell phone with his wife, Cezanne, and 16-year old son, Dylan, to coordinate an heroic rescue effort. The two stood in rising water and, with increasingly blistered hands, removed and stacked out of harm’s way 150 40-pound modules from the recording console. After the water receded, an army of volunteers—mostly musicians—showed up to get Dockside’s rebuilding underway. “We’re so fortunate,” Cezanne Nails told the Arcadian Advocate, “People are coming from everywhere. There’s an amazing outpouring of musicians. Musicians really are some of the heroes in our community. They’re always the first to volunteer.”

Nails’ assertions about musicians are echoed by a lot people in the Baton Rouge area. Self-described “gypsy singer” Dusty Lightfoot Cashio expresses deep gratitude for her “music friends” who have been helping her through this crisis. “Music people are the greatest people God ever created on this earth,” she intones. Cashio fights to stay positive, but the flood hit her hard. “I’ve been through all those things that you go through in life, and I’m usually never shook,” she declares, “But this thing really kicked my butt.” The water rose rapidly in her area. “When it started coming through the windows,” she half-laughs, “I knew we were in trouble.” Fighting with the rising water, she tried to prepare her autistic son and 7 animals for evacuation. The first military vehicle that came through claimed they could only take humans. She decided to hold out and see if she could rescue her animals. They said another vehicle would come in an hour or so. “For the first two hours,” Cashio says, “I was tough. After four hours, I was thinking that staying with my animals may not have been such a hot choice.” Eventually, into the night, another vehicle arrived. She felt the wake roll through her living room. Her son was loaded in first, then her animals, then she followed.

Born in Mississippi and raised in Louisiana, Cashio moved to L.A. as a young woman to have a go at the music business. She sang on stages large and small and brushed shoulders with giants of rock world. After her son was born, though, she felt the sounds, sights, and smells of Louisiana calling her back home. “When it comes to music, it’s the heart,” she says, “But I love everything about it. I love the Spanish moss. I love the big Oak trees. I even love the alligators.” She pauses. “But the one thing I never planned for was: we’re going to have the worst flood in history.”

A devoted music fan and side-woman for decades, Cashio had amassed a unique and irreplaceable collection of memorabilia over the years—things like a guitar that once belonged to a member of Lynyrd Skynyrd, and a speaker cabinet that once belonged to KISS. The flood took it all. It also took her 100-year old upright grand piano. “That was the last thing we took out of my house,” she says, “I made the men open it up so they could see her heart before they took her out.” The flood took Big Bertha, too—her vintage Cadillac with a custom Corvette engine that she’d driven for 20 years. “When I got back from the shelter, I opened Big Bertha’s door and a river poured out.” For days, Cashio tried to convince herself that the car was salvageable. But, eventually, she had to let it go like everything else.

Cashio’s son is a painter who lives with autism and severe hearing impairment. “The thing that hurt the most,” Cashio begins, and then fumbles for what to say next. “I saw his paintings floating in the water… And I’ve tried to do all these things to make his life safe and predictable… And he thought I could stop this flood. The look on his face. He was waiting on me to get it done. All I could say was, ‘honey, it’s an act of God.’”

As I talk to folks in Baton Rouge, I keep thinking of Zora Neale Hurston’s account of the hurricane in her famous novel Their Eyes Were Watching God. As the storm rages and floodwaters rise, Hurston’s characters sit in the dark with “their souls asking if He meant to measure their puny might against His. They seemed to be staring at the dark, but their eyes were watching God.”

What can you do when you’re put face to face with your own powerlessness; when you’re swallowed up by forces far beyond your grasp? I think the music that comes from down there in Louisiana gives us a pretty good idea of what people will do. Those gut-wrenching blues that acknowledge all the hardship in the world but never cave to it. The wild celebratory freedom in their jazz music. That propulsive, irrepressible zydeco beat. Put on Buckwheat Zydeco’s “Ma Tit Fille.” Listen to Lee Allen Zeno’s bassline—driving, repetitive, trance-inducing. Feel how it locks in with the rubboard and the drums, how the accordion playfully dances in their groove. That sound comes from a place that’s as strong as any flood.

The musicians I talked to all expressed deep gratitude for Music Maker and all the people and organizations that have jumped into help. No one is ashamed to admit that they definitely need it. But with a little help, their strength and resilience and optimism with shine through as strong as ever.

 Will Boone holds a PhD from the University of North Carolina at Chapel Hill in Musicology. He is currently teaching a wide array of music history classes at NC State University and freelance writing. 

Hoppin’ John Fiddlers Convention and Musical Communities


There is no singular event that brings people together around music like fiddler’s conventions. All across the South, every summer and fall, people gather at state parks and fairgrounds to share their love of traditional music.  Ten years ago the folks at Grassroots (Shakori Hills Festival of Music & Dance) had an idea to start their own fiddler’s convention on a gorgeous 72-acre farm in Silk Hope, NC – The Hoppin’ John Fiddler’s Convention. The convention, like many others, features a competition for bands and individual instruments. What sets Hoppin’ John apart is the cooking competition that for none other than the famous Southern dish – Hoppin’ John. The food and music creates a type of family that only meets a couple times a year, like distant cousins that are drawn together over their love and music. Music Maker is proud to sponsor the Hoppin’ John Fiddlers Convention, it’s part of our mission to cultivate these musical communities, from the Blues scenes at the drink houses in East Winston-Salem to the banjo twanging and fiddle playing at the Hoppin’ John Fiddlers Convention.


Diggin’: Ironing Board Sam – Maced Me In the Face


A couple years ago Music Maker had two French interns that helped out at the office for 9 months. They lived right next door to Ironing Board Sam and began to jam out after work. Eventually Raphael & Simon (French Interns) made it into the studio with Sam to create this incredible album. If you have ever been lucky enough to meet Sam you may have heard the story behind this tune – Maced Me In the Face. It’s based on a true story and actually occurred, as the song suggests, on Christmas day. A disgruntled lover of Sam’s got so upset with him that she actually maced him in the face. Sam laughs hysterically when telling the story – that is the Blues though, right?

We Are the Music Makers! at the Birthplace of Country Music



The Music Maker Relief Foundation works tirelessly to ensure that traditional music lives on, helping to reinforce our country’s musical heritage for future generations. We could not accomplish this mission alone without supportive and dedicated partners that believe in the importance of this work.

One partner in particular is the Birthplace of Country Music Museum. If you are unfamiliar with them, they are a highly active institution that works to educate, engage, and preserve traditional music, specifically bluegrass, country, and other genres rooted in Appalachia. Our photo exhibit, We Are the Music Makers!, that tells the stories of Music Maker artists over the past 20 years, will be on display at the museum until January 6th, 2017.

Learn more about the exhibit – here

The Birthplace of Country Music Museum has been an incredible partner of ours over the past couple of years, hosting Music Maker artists at their Rhythm & Roots Reunion Festival and creating a slew of pop-up exhibits in preparation for this fall. In fact, this year Pura Fe and Ulali will be performing live at the Rhythm and Roots Reunion festival while We Are the Music Makers! is on display.


Yesterday, we were lucky enough to attend the opening reception of We Are the Music Makers! in the first floor gallery of the museum. The installation looked absolutely stunning, and all of the panels looked fantastic in the space. James Herald Jennings’ painted discs were hung up and spun around the ceiling, Captain Luke’s Folk Art Cars were on display in cases, and even the Dixie Frogs were in attendance, propped up by the entrance welcoming folks into the gallery.

If you’re in and around Bristol, definitely stop by and see the exhibit for yourself – you won’t regret it!

— Berk

10 Years at Roots N Blues N BBQ!

music_maker_groupOn Sunday, October 2nd at 1:00pm the Music Maker Blues Revue will take the stage at the Roots N Blues N BBQ Festival in Columbia, MO. Music Maker has been playing Roots N Blues N BBQ since their very first festival, and this October will mark the 10th year that the Blues Revue has played this amazing event in Columbia. The festival always boasts a most impressive lineup with this years festival headliners being: The Avett Brothers, Grace Potter, Jason Isbell and Nathaniel Rateliff & the Night Sweats. This year’s Music Maker Blues Revue will feature Robert Finley, Alabama Slim, and Robert Lee Coleman with Albert White (rhythm guitar), Lil’ Joe Burton (trombone), Tim Duffy (guitar), Nashid Abdul-Khaaliq (bass) and Ardie Dean (drums) as the backing band. In addition to performing at the festival Music Maker partner with Roots N Blues N BBQ’s Blues In the Schools program. Music Maker artists put on concerts at local schools around Columbia to educate youngster about Traditional American music.

SamRBB-1 copy

Diggin’: Clyde Langford – Tore Up


Clyde Langford hails from town in Texas as Lightnin’ Hopkins and about an hour from where guitar legend Mance Lipscomb is from. While Clyde grew up around these sounds he developed his thing. Clyde’s droning guitar style and subtle voice make for a sound that is raw and more folky than most blues from the region. Tore Up is about being so broken that you don’t know where you are headed, something that we can all relate to at some point in our lives. Over the past couple years Clyde has fallen ill so Music Maker has kept him on our Sustenance Program to help out.

Sam Frazier, Jr. Inducted Into the Birmingham Record Collectors Hall of Fame & Honored By His Church

_RJS9601Roger Stephenson

Two years ago Music Maker received a letter in the mail after a piece about the Foundation aired on CBS Evening News. The letter was from Sam Frazier, Jr.’s daughter-in-law telling us about Sam and his musical career. We immediately reached out and started a partnership with Sam. We released an album, started booking gigs and working on getting secure housing for Sam. Last week, we received word that the Birmingham Record Collectors were inducting Sam into their Hall of Fame! On top of that, Sam also received honors from his church for his loyalty and service. Congrats Sam!


_RJS9645Roger Stephenson

Music Maker Steps Up for Louisiana Artists


Receding floodwaters in Louisiana have revealed the utter devastation left in their wake. News sources are calling the flooding as the worst natural disaster since Superstorm Sandy in 2012. Even more tragically, 7 out of 8 affected households do not have flood insurance. One of those homes belonged to legendary Blues musician, Henry Gray, whose Baton Rouge home is currently under 3 feet of water.

In his career, Henry has played with the Rolling Stones, Howlin’ Wolf and Muddy Waters, among many others. He has travelled the world playing the blues, and at age 91 still tours both solo and with his band Henry Gray and the Cats.

Music Maker has been in touch with Henry and learned that he is safe and staying with family, but has a great deal of need. We are responding with immediate emergency relief and are adding him to our Musician Sustenance Program while he gets back on his feet.

The Deep South is the birthplace of the Blues, and no doubt there will be other artists who will be in need of emergency relief. Music Maker will be working to provide as much support as possible.

With your help, we can continue to provide emergency relief and sustenance to artists in unexpected times of need. Please give today.


Donate Here!

Diggin’: Cora Mae Bryant – McTell, Moss & Weaver

Cora Mae adorns herself with brightly colored clothes and jewelry. She shined like a bright light in the heart of the Deep South. Her music tells a personal story, the type of story that most would dream to be able to tell, let alone sing. Cora is from Newton County and the daughter of GA guitar legend Curly Weaver. Her subtle guitar and low voice make for the perfect pairing.

Traveling with the Blues Revue to LA

MM Blues Revue LA-3

When we boarded the plane, early in the morning, the flight attendant came on the PA to tell us that the weather in Los Angeles was 62 with 0% humidity. Everyone sighed with relief. The Revue was coming from all over the Southeast: New Orleans, Macon, GA, Bernice, LA and Atlanta. As you can imagine it has been a scorcher this summer in the South and the Revue was ready to bring the heat to LA for their performance at the Skirball Cultural Center. The night before the show we were winding down in Albert White and Lil’ Joe’s room when Robert Finley called to see what we were up to. Finley showed up and the guys started jamming – a great time was had by all.

Robert Lee Coleman

Robert Lee Coleman

The next day everyone headed to the Skirball and we quickly realized what a magical evening this would be.  The venue is absolutely gorgeous and the staff at the Skirball treated the artists like royalty. This was the Revue’s LA debut and the band came to tear it down. The sun began to set and the show kicked off with an introduction by Lil’ Joe and  a song from Albert White. Former James Brown and Percy Sledge guitarist Robert Lee Coleman took the stage next and he came out rippin’! Coleman laid down the law with solos straight from the heart of Macon, GA. The audience was on their feet when the next artist came out. Alabama Slim slowed the show down with his deep Nola grooves putting everyone in a musical trance.

The last musician to come out was Music Maker’s newest partner artist Robert Finley. Finley has been losing his vision due to glaucoma and let the audience know as soon as he stepped on stage. “I may be going blind, but I can feel y’all all over my body – come on!”, Finley exclaimed, and the crowd quickly rose to their feet. It was suddenly a rock and roll show with Finley playing songs from his upcoming debut album – Age Don’t Mean A Thing. The grand finale was played by the whole band and when the last tune finished the audience began chanting – ENCORE! ENCORE! The band came back on stage and gave them one more – to much appreciation. The Revue had a plane to catch the next morning to head to Belgium for another show. Lil’ Joe ended the show, “We gotta go to Belgium – see you there”!

MM Blues Revue LA-8

Lil’ Joe Burton & Alabama Slim

The best part of this show was that West Coast Music Maker supporters got to come and see the Blues Revue. Almost all of them had never seen a live Music Maker show before and they were beyond thrilled. Thanks so much to all of our supporters for making sure these important artists are heard and seen all around the world.


— Corn

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