NOW AVAILABLE! - MUMEA Early Electric Blues with Special Guests

NOW AVAILABLE!
MUMEA Early Electric Blues - Solo and Duo Home Recordings - CD - 
with Special Guests Mark Bukich on Harp, Jerry Careaga on Bass, and a Bonus Track Featuring Johnny Dyer.   Solo and Duo recordings in the spirit of the small label recordings of the late 40's/early 50's Early Electric Blues. 
 
19 Songs / 3 Johnny Dyer Talking Snippets
1. Prison Bound
2. Stockyard Blues
3. Tough Times
4. Mumea Boogie
5. Going Away Baby
6. Take A Walk with me
7. Johnny Dyer - Natural Born Lover 
8. Don't Have to Hunt no more
9. Mean Red Spider
10. Shake Dancer
11. Bad Acting Woman
12. That's All Right
13. Johnny Dyer - Everything’s Gonna Be Alright
14. Juke
15. Can't Hold Out Much Longer
16. Why Should I Worry
17. My Head Can't Rest no More
18. Johnny Dyer - “Baby Face” Leroy
19. Red Headed Woman
20. Blue Midnight
21. Bonus Track - Sad, Sad Day  with Johnny Dyer
22. Ludella
 
Mark Mumea – vocals, guitar, foot board
Mark Bukich – harmonica
Jerry Careaga - Upright Bass
Johnny Dyer - Vocals
 
YouTube Link to hear some samples and the back story involving Johnny Dyer:
https://youtu.be/5NlJBm03oes?si=E6QoZ-w3SbZLpPQF
 
This session was recorded at my home in Seal Beach, CA on a laptop and a very simple and inexpensive USB Mic.  I'm a firm believer that this music is at it's best in a low volume, stripped down, no gimmicks nor studio engineered setting. All tracks were recorded live without overdubs. Raw, pure, truthful recordings of myself and friends playing in a relaxed environment using some of our favorite vintage and new equipment. Done in the spirit of the pioneers of Early Electric Blues styles ranging from '37-'53, primarily focused on what was happening around KFFA (Helena, AR), Maxwell St (Chicago), Memphis and Hastings St (Detroit). A raw electric sound emerged, steeped in country blues, small ensemble combos, using small amplifiers, simple and effective archtop guitars, a simple recording process, sometimes even a portable machine, using few mics, done by small labels such as Trumpet, Ora Nelle, Tempo-Tone, Parkway, JOB, Chance, Marvel etc., with the attitude and perspective as "unprofessional" musicians as the Maxwell Street performers were sometimes later referred to in the 50's when the Union banned non union performances.  As these guys and many more made their way North, out of the deep South, to get away from heavy racism and social injustices, seeking a better life, music was their vehicle, the usual route often involved Helena, West Memphis, Memphis, St. Louis and eventually Chicago or Detroit, many often cut their teeth performing on the streets or in small clubs to survive, in hopes of one day becoming a recording artist or a club working musician. Some made very successful careers, others worked locally with limited success. With the new found hope, a exciting large city atmosphere, and amplification, Early Electric Blues had the sound of all these things, every note played with every ounce of their soul. This is the template and perspective that is everything I stand for musically and has driven me to study this music for 30 years and to create this debut release.  
 
For those unfamiliar, Johnny Dyer, was born and raised in Mississippi, and grew up on the Stovall Plantation - the same legendary place where Muddy Waters grew up some years earlier.  I met Johnny Dyer in the late 90's when I introduced myself at one of his local shows.  I was formally introduced to him around 2002 by Brad Karow and Mark Bukich, who played harmonica with Johnny in the late 70's, as a member of Johnny's band at the time, The LA Jukes. Bukich was just 19 years old at the time he met and joined forces with Dyer.  Johnny WAS the blues, and is featured on the bonus track "Sad, Sad Day". Recorded 10/24/04 in Vista, CA. this is a glimpse into a rare and impromptu home recording we did in the late hours directly following an afternoon gig.  This session features Johnny Dyer - vocals, Mark Bukich – harp, Mark Mumea – guitar.  This is the type of blues J.D. loved to do most, and to my knowledge is the only, or at least one of the very few sessions that captures J.D. in an “Acoustic” or stripped down setting.  J.D. was 100% Muddy, Jimmy Rogers, Little Walter, Rice Miller etc. at heart.  He often spoke about how the blues is to be “spoken”, not screamed or yelled.  J.D. was never fond of the later string bending guitar styles, he referred to (as many of his generation did) “choking” the strings or “stinging guitar”.  He also talked frequently about playing simple and not “cancelling yourself out” by playing too many notes and failing to leave space.  When we finished this recording using a simple 4 track cassette recorder (used only 2 channels), a very cheap old plastic mic for vocals, one small amp shared for vocals and harp, and a small amp for guitar; we listened back to this single recording for probably 5 hrs straight.  J.D. would not let me turn the machine off… ”One More Time”, he would say over and over as the song came to a close.  I believe it was about 4-5am before we finally shut it down, and at least 100 times through the recording. J.D. kept saying "this is the best recording I've ever done".  Probably a gross over-statement, but the fact that Johnny could not put this recording down for hours and hours, is very telling.  Like never before on a recording I've heard of his, He could completely relax and not have to compete with a loud and pumped up band, something I believe Johnny would like to have seen a lot more of in his career, and thus was clinging on to the moment.  Many a nights after doing shows with Johnny, he and I would sit in the cab of my truck listening to guys like Muddy, Walter, Brim, Nighthawk, Sonny Boy, John Lee Williamson etc.  We would sit there for hours as he would demonstrate the phrasing of all these different vocal styles and many more.  He could nail them all!  He would do things at such a low volume that were NEVER captured on recordings… so effortless and natural.  I’d grab my guitar, still in the cab of the truck, he would go into a Jimmy Rogers tune or Muddy etc…he would blow some harp, sing and point out different things to me in each tune.  These memories are invaluable to me.  J.D. was incredible person, a true master of blues and always a great friend. He would often invite me to family gatherings, fishing at the lake, or to simply to come over to in his place in San Dimas, CA to talk music. The recording of Sad Sad Day, which is featured on the session, will always be what I remember him by most, and the recording that showed me a different way, a different path, my path - More with Less!  R.I.P. JD.  
 
Dedicated to: Johnny Dyer (12/7/38 – 11/11/14), my dad Larry Mumea (9/14/47-12/29/05)