Jessie Jo Pss

The rock era saw a few white female singers, like Janis Joplin, show they could sing the blues. But one who could outshine them all - Jo Ann Kelly - seemed to slip through the cracks, mostly because she favored the acoustic, Delta style rather than rocking out with a heavy band behind her. But with a huge voice, and a strong guitar style influenced by Memphis Minnie and Charley Patton, she was the queen. Her debut studio album was released in 1969.

The Jo Ann Kelly archive has been very poorly treated over the years, with only Indigo's occasional forays during the late 1990s truly spotlighting one of Britain's most underrated, but highly-treasured, blues vocalists. Into this sorry state of affairs weighs Blues Matters!, the label wing of the magazine of the same name, with a collection that totally lives up to its title. Sixteen tracks, recorded between 1967-1984, are bundled up within, and capture Kelly ranging across the stylistic spectrum. The set kicks off with four numbers taken from a rare Harlequin blues EP compilation, recorded with Tony McPhee in 1965. This was not Kelly's first session, she'd done an earlier one for Mike Vernon's Purdah label, but that remains unreleased, and thus this was the music with which Kelly was introduced to the world…

Le toréador, ou L'accord parfait (The Toreador, or The Perfect Agreement) is an opéra comique in two acts by the French composer Adolphe Adam with a libretto by Thomas-Marie-François Sauvage. It was first performed at the Opéra-Comique, Paris on May 18, 1849. It was a huge success and the work regularly appeared in the repertoire of the Opéra-Comique until 1869.

The Jo Ann Kelly archive has been very poorly treated over the years, with only Indigo's occasional forays during the late 1990s truly spotlighting one of Britain's most underrated, but highly-treasured, blues vocalists. Into this sorry state of affairs weighs Blues Matters!, the label wing of the magazine of the same name, with a collection that totally lives up to its title. Sixteen tracks, recorded between 1967-1984, are bundled up within, and capture Kelly ranging across the stylistic spectrum. The set kicks off with four numbers taken from a rare Harlequin blues EP compilation, recorded with Tony McPhee in 1965. This was not Kelly's first session, she'd done an earlier one for Mike Vernon's Purdah label, but that remains unreleased, and thus this was the music with which Kelly was introduced to the world…