Willie+may

Willie May has performed in basements, barns, garages, street corners, speak-easies, house trailers, preschool, high school, colleges, radio, television, bars, county fairs, carnivals, grocery stores, a pigeon coop, concert halls, outdoor festival arenas, and inside Attica prison. Willie has taken his original blend of music to the blues clubs from The LaFayette Tap Room in Buffalo to Antones in Austin, TX, The Black Swan in Toronto, The Penny Arcade in Rochester, The Dinosaur BBQ in Syracuse, Hard Rock Cafe Niagara Falls, The Slippery Noodle in Indianapolis, Fat Fish Blue in Cleveland, Bflo Blues in Pittsburgh, and to countless other venues on thousands, yes thousands, of occasions.

Featuring some of Western New York's best musicians including Mary Ramsey of Ten Thousand Maniacs. Harmonica virtuoso Mark Hummel also visits the Haunt. Don't be afraid, come on in. Willie May has performed in basements, barns, garages, street corners, speak-easies, house trailers, preschool, high school, colleges, radio, television, bars, county fairs, carnivals, grocery stores, a pigeon coop, concert halls, outdoor festival arenas, and inside Attica prison. Willie has taken his original blend of music to the blues clubs from The LaFayette Tap Room in Buffalo to Antones in Austin, TX, The Black Swan in Toronto, The Penny Arcade in Rochester, The Dinosaur BBQ in Syracuse, Hard Rock Cafe Niagara Falls, The Slippery Noodle in Indianapolis, Fat Fish Blue in Cleveland, Bflo Blues in Pittsburgh, and to countless other venues on thousands, yes thousands, of occasions.

Legendary Western New York blues man gives another stellar roots/blues release. Willie May appears to have a deep well of inspiration as he remains one of the more prolific, productive song writers on the independent recording artist scene. Maiuke offers a dozen songs featuring the Ukulele as the primary instrument. May is known for his versatile approach, this will only further that narrative. Willie May has performed in basements, barns, garages, street corners, speak-easies, house trailers, preschool, high school, colleges, radio, television, bars, county fairs, carnivals, grocery stores, a pigeon coop, concert halls, outdoor festival arenas, and inside Attica prison.

A mix of roots, rock, reggae, Cajun, country, and blues blended into a spicy and soulful stew. Willie May has performed in basements, barns, garages, street corners, speak-easies, house trailers, preschool, high school, colleges, radio, television, bars, concert halls, outdoor festival arenas, and inside Attica prison. Willie has taken his original blend of music to the blues clubs from The LaFayette Tap Room in Buffalo to Antones in Austin, TX, The Black Swan in Toronto, The Penny Arcade in Rochester, The Dinosaur BBQ in Syracuse, The Slippery Noodle in Indianapolis, Fat Fish Blue in Cleveland, Bflo Blues in Pittsburgh, and to countless other venues on thousands, yes thousands, of occasions.

One of the more diverse and eclectic albums on the blues and roots scene. Featuring multi-Grammy nominee and harmonica wizard Mark Hummel. His new release, “Shaken Tree Blues”, opens with “Dos Teresa” a Latin tinged instrumental. The guitar and haunting muted horn interplay over a funky back beat setting the mood for things to come. “Talk is Cheap” is a straight up blues rocker that sounds like something from a bye-gone era and is sure to get your feet moving. Multi-Grammy nominee Mark Hummel makes a guest appearance in “Everybody but Me”, raising the roof with his ultra hip harmonica style. May weighs in on vocals, guitar, bass, kalimba and ocarina in “Don’t Quit Me” showing this music veteran’s ability to fuse a world music vibe with traditional blues.

Legendary Western New York blues man gives another stellar roots/blues release. Willie May appears to have a deep well of inspiration as he remains one of the more prolific, productive song writers on the independent recording artist scene. This album is recorded proof.

Buffalo Music Hall of Famer offers an array of blues from traditional to haunting heavy, slippery horn grooves to world music vibe, harmonica driven bop to guitar fueled shuffles and beyond.

Willie May's nineteenth studio album is a compilation of new and previously released material directed at fans preferring the Country/Americana side of the Blues spectrum. Willie May has performed back to back on stage with Alvin Lee, Steve Marriott, John Kay and Steppenwolf, Bachman Turner Overdrive, Johnny Winter, Edgar Winter, Otis Clay, The Climax Blues Band, Zorra Young, Jerry Portnoy, The Legendary Blues Band, Buddy Guy, Lonnie Brooks, Johnny Clyde Copeland, Sue Foley, L.A. Jones, Chris Duarte, Clarence Gatemouth Brown, Stan Szelest, Chris Beard, Rock Bottom, James Cotton, Big Jack Johnson, Dangerous Dan Toler, Derek Trucks, Freddie Salem and many more. The Willie May Band is a 5 time Buffalo Area Music Award winner voted Western New York Blues Beat Magazine's Band of the Year.

Willie Nile, The Bottom Line Archive 1980-2000, is two disc set, separated by a 20 year gap, and is a great example of Nile's long term staying power, and the loyalty that Bottom Line owner/curator, Allan Pepper (booker, or talent buyer does not suffice) extends to the artists that he really believes in. Exhibit a is this double-disc affair, highlighting two distinct eras in Nile's 35-year career. It is worth noting that one of the primary reasons we can enjoy the temporal contrasts contained in this collection is simply because, when Willie was ready to come back, Allan Pepper was just as ready to welcome him back to The Bottom Line. It was a second home for me, gushes Nile. Allan and the whole vibe of the club was so musician-friendly and warm. It was just the best place to play for that reason.

Willie Nile's style has never been monochromatic, either as a songwriter or a performer, but over the course of a recording career that was launched in 1980, two things have been consistent – the guy clearly loves rock & roll, and he sure likes guitars (Nile even released an album called House of a Thousand Guitars). So was anyone out there expecting Nile to make an entire album of contemplative, midtempo acoustic numbers built around the guy playing piano? In many respects, If I Were a River upends the average fan's expectations about a Willie Nile album (especially after 2013's decisively rockin' American Ride), although the dramatic force of Nile's songwriting and the passion of his vocals should be more than familiar to anyone who has been listening to his music over the years