Jam resumes in 2022 on Friday nights from 8:00pm - 12:00am.

JAM RESUMES IN 2022 ON FRIDAYS 8:00pm-12:00am. PLEASE COME EARLY AND BRING YOUR INSTRUMENTS. AMPS AND DRUMS ARE PROVIDED.

Ken Cohen RIP

Ken Cohen RIP

Miche Love

Miche Love

Sonny Wolf

Sonny Wolf

Sean 'Cat' Elliott Band

Sean 'Cat' Elliott Band

Lil' Bubba

Lil' Bubba

Eric and Denys

Eric and Denys

JGBP

JGBP

duelling harmonicas

duelling harmonicas

Derek Falls

Derek Falls

Pat

Pat

Steve grooving

Steve grooving

Lil' Bubba, Steve, Pierre

Lil' Bubba, Steve, Pierre

Derek and jammers

Derek and jammers

L'il Bubba and Pierre

L'il Bubba and Pierre

Hugo

Hugo

Darcy

Darcy

Pierre and Guy

Pierre and Guy

Robert

Robert

Magic Dan

Magic Dan

Deacon George

Deacon George

Guy

Guy

John

John

Nick Rahal

Nick Rahal

Sonny and Drey

Sonny and Drey

Lewis

Lewis

Denis and Drey

Denis and Drey

happy bassman

happy bassman

Pat with jam band

Pat with jam band

Leslie and friends - thanks to Leslie our official photographer

Leslie and friends - thanks to Leslie our official photographer

Kenny Dupree

Kenny Dupree

JGBP

JGBP

Rich

Rich

Phil

Phil

Andre

Andre

Derek

Derek

Gerry

Gerry

Lil' Bubba

Lil' Bubba

Pierre and John

Pierre and John

Ross

Ross

Rich

Rich

Pierre and Steve

Pierre and Steve

Jo Hell

Jo Hell

Victor bar man

Victor bar man

Jo Hell

Jo Hell

Paul Arthur and Rich James

Paul Arthur and Rich James

Pat and Texas Two

Pat and Texas Two

In memory of George Groove, one of our best loved friends and performers.

In memory of George Groove, one of our best loved friends and performers.

Drey

Drey

Duelling harmonicas

Duelling harmonicas

Paul

Paul

Lowdown Lewis

Lowdown Lewis

Pat and the Texas Two

Pat and the Texas Two

Lil' Bubba

Lil' Bubba

STATS - STATS - STATS ! ! !


For anyone who is interested in statistics, Maison du Blues blog has received 52,623 hits since its inception in June 2010.

Roughly 70% of page views came from Canada, 20% from the U.S., and 10% from China, Germany, France and Britain, as well as hits from various other places around the world.

Every month, our blog is looked at by people mainly from Canada, followed by the U.S. and Germany.
In July 2016, our blues community blog received a record 911 hits.


















enjoying the jam

enjoying the jam

Pat le Bassman

Pat le Bassman

John and George Groove

John and George Groove

Pierre the "boss man"

Pierre the "boss man"

Happy jammers

Happy jammers

Phil

Phil

Pete

Pete

Drey in to it !!

Drey in to it !!

Derek Falls

Derek Falls

Sonny Wolf

Sonny Wolf

Robert

Robert

George and Drey

George and Drey

Robert

Robert

Leo

Leo

Gerry

Gerry

Hugo

Hugo

Guy "bass cat"

Guy "bass cat"

Pierre

Pierre

John Gordon Blues Project

John Gordon Blues Project

Jules

Jules

jam band

jam band

Dance workout 1 (thanks to Dan Geneau for photo)

Dance workout 1 (thanks to Dan Geneau for photo)

Dance workout 2 (thanks to Dan Geneau for photo)

Dance workout 2 (thanks to Dan Geneau for photo)

Phil

Phil

Jules and Paul

Jules and Paul

Phil and John

Phil and John

Jean-Marc

Jean-Marc

Jean-marc Interview - thanks to Leslie

1. Name, place of birth, where living now?

I was born in Montréal (Outremont Stuart & Van Horne) Now I live in Laval

2. When and how did you first get involved with music?

I have enjoyed music for as long as I remember. I listened to my parents’ jazz album, a mix of swing tunes over and over - fascinated by the drums

3. Which instruments do you play?

Mainly drums and guitar and lately harmonicas (a work in progress)

4. Describe your first instrument.

My father gave me a guitar for Xmas when I was twelve. It was right handed one. I’m a lefty - the teacher didn’t believe in left-handed people so that was the end of that.

5. How did you get interested in these instruments?

At the age of 14 my dad bought me my first drum kit - no cymbals. At school a friend sold me a high hat and a very low-end ride. That was enough to get me started.

6. Is your family musical?

Only listeners. My mother listened to Gilbert Bécaud, Dean Martin... My sister was more into rock n roll. Mostly they would listen to the radio and Ed Sullivan on TV.

7. What are your fondest musical memories?

In 1967 my parents took me to the universal expo at Ile Ste-Hélêne at the Bavarian beer garden and I played a song on the drums with the band - never having played on a drum set before.

8. What was the first tune you learned?

“If I Had a Hammer”.

9. Who was your first teacher?

When I was twelve I joined a group of youngsters called L'Harmonie de Terrebonne and played the snare drum. The teacher was Mr. Jean-Paul Cadieux, who taught all instruments (horns and percussion). At school I got some lessons from guys who played in a band.

10. What are your influences in the Blues?

The shuffle is my favourite of all rhythms.

11. Which famous musicians do you admire and why?

Anybody who will go to any length to learn how to play.

12. Are there local musicians that you like, that you would recommend to go and see play?

Lately I've been enjoying jam nights around town - very friendly people. Turn off that TV or PC and get out there - it's live 'n' kickin’ out there...haha !!!

13. What makes a player unique?

Listening to many different styles and being able learn and play back that stuff - even if it's hard.

14. Which famous musicians have you learned from?

The very first album I listened to was Buddy Rich – also Gene Krupa playing Bernie's tune.

15. Do you have a favourite song, record or CD that has influenced you?

I listen to so much stuff...okay - John Bonham - ''Moby Dick''.

Thanks Jean-Marc.

It was a pleasure.


John (thanks to Dan Geneau for photo)

John (thanks to Dan Geneau for photo)

Pete Webb interview - thanks to Leslie

1. Name, place of birth, where living now:

Pete Webb, born in Sherbrooke, QC; currently living in Sherbrooke, QC

2. When and how did you first get involved in music?

I started playing guitar in my teens after my parents bought me an acoustic guitar for Christmas. When we moved to Stratford, Ontario in the 1980s, I had been playing about a year when a couple of kids I met in a music store asked me to play rhythm guitar in their heavy metal band. I wasn’t very good and they kicked me out after a couple of months, but it got me started.

3. What instruments do you play?

Guitar and a bit of bass and harmonica. I’m also a lead singer.

4. Describe your first instrument. Other instruments.

I’m primarily an electric guitarist, rock and blues; mainly self-taught. I’ve sung for a long time and had formal vocal training in the early 1990s. Bass and harmonica are just instruments I’ve picked up along the way.

5. How did you get interested in these instruments?

My parents were from England and brought all the original Beatles albums with them to Canada. I grew up hearing these and pretty much idolized the Beatles, especially George Harrison. My Dad had a friend, Dave Gordon, who played guitar and loved Eric Clapton. When I was twelve, Dave gave me a few guitar lessons and took me to one of his band rehearsals at the hotel in Waterville, Quebec. Seeing a band play live for the first time got me hooked.

6. Is your family musical?

My immediate family was not musical in the sense of being musicans. But they were all huge music listeners.

7. Family members’ musical interests….

My Mum loved The Beatles, Jose Feliciano, and Glen Campbell. My Dad liked a lot of jazz and R&B, including Dave Brubeck, Isaac Hayes and Dionne Warwick. My three older sisters were into seventies rock such as Led Zeppelin, The Eagles, and Rod Stewart. The whole family also listened to classical music. So there was a lot of music around the house.

8. What are your fondest musical memories?

My parents playing records at home when I was a kid, on our quadraphonic home stereo that was state of the art at the time.

A later experience: In the early-1990s, I spent several months living and playing in Germany. On a short tour of the former East Germany, I was booked to play in a large church in a small town called Plau-am-Sea. This was very soon after the fall of the Iron Curtain and well outside the cultural centre of Berlin. There was a good deal of anticipation of having a “Western” musican come to play in Plau. The church was packed that night. It was just me and an acoustic guitar and a small P.A. After my regular set of original songs, the audience wanted more. So, starting with Elvis and Buddy Holly and moving my way forward, I played the people of Plau the history of rock ‘n roll – the first time most of these East Germans would have ever heard such a thing performed live.

9. First tune learned.

I don’t remember the actual first tune, but within my first six months or so of playing I learned things like “Hotel California” and “Smoke on the Water.”

10. Who was your first teacher? Any other teachers?

Mr. Lacroix, at the Honolulu music store in Sherbrooke, gave me several lessons, but I quit before long and was mostly self-taught after that. Much later, in Ontario, I did take voice lessons with a former professional opera singer for two years.

11. What are your influences in the blues?

My favourite blues songs are probably those of Robert Johnson. From a guitarist’s point of view, Robben Ford, Duane Allman, and Rory Gallagher are among my favourites. Among vocalists, Sam Cooke, Marvin Gaye, and Van Morrison are tops.

12. Which famous musicians do you admire and why?

Robben Ford: Consummate musicianship, yet his music is always accessible and in spite of amazing guitar chops he always puts the song first/ rarely overplays. Plus, he seems like a modest and down to earth person in interviews.

Stevie Wonder: Probably the world’s greatest living all-around talent. Blind since birth, he became one of the world’s greatest singers, songwriters, and multi-instrumentalists. A true genius in my opinion.

Paul McCartney: He could have rested on his laurels decades ago and remained a legend – yet he keeps on touring and making new music, and always seems to play with enjoyment and integrity. He keeps aging but never seems “old” – and as I age myself, I find that inspiring.

13. Local musicans I like and would recommend…

Paul Arthur immediately springs to mind. I’ve known Paul about three years, have played with him on several occasions. He seems to epitomize the blues, and younger players can learn a lot from watching his commitment to the music and performing.

Ria Reece, Blues Z, Louis Janelle, George Papafylis – other local musicians people should go and see.

14. What makes a player unique?

Not worrying too much about current trends, but sticking to what feels natural. Not overtly copying other artists – turning musical tips into your own bag of tricks. Paying attention to groove and melody, not just showing off fast chops or technique for its own sake.

15. Which famous musicians have you learned from?

Warren Haynes: He has a book + CD course on slide guitar that taught me a lot about slide guitar technique.

BB King: I’ve spent many hours working through BB solos note for note, learning how economy of playing style can benefit one much more than pure speed or showing off.

16. Favourite songs, records, etc…

Among blues albums, some favourites are:

- Albert King, Born Under a Bad Sign

- Skip James, Devil Got My Woman

- Robert Johnson, King of the Delta Blues Singers

- Robben Ford, Bringing It Back Home

- Muddy Waters, Hard Again

- Allman Brothers, Live at Fillmore East

17. How would you describe the type of sound you have or would like to achieve?

I try to play fairly clean and economically, without a lot of effects pedals and so on. I’m not a flashy, over-the-top type of player. I try to play what is best for the song. I have a few guitars (Fenders, a Gibson, a Guild, etc.) that help me achieve different tones without any fancy tricks. I guess one trademark is I play a fair amount of slide guitar – so that’s one sound particular to my style.

18. Competitions and prizes.

I avoid competitions of any kind. I dislike being “competitive” in music.

19. What groups have you played with/ do you play with?

I currently play in several different bands: I’m the singer-guitarist in two blues bands, the Pete Webb Trio (based in Montreal) and the Sherby Blues Project (based in Sherbrooke). I’m the lead guitarist in an original rock band called The Fleming Sweep, based in Sherbrooke. I do a fair amount of “on call” stuff, where I play shows with anyone who needs a guitarist or singer on fairly short notice. Styles range from blues to rock to country, and I can play guitar, bass, and sing – so I’m pretty versatile.

20. Do you prefer the studio or live?

I used to do a lot of studio work back in the 1990s. I was even trained as a recording engineer at college back in the late 80s. But I much prefer the live experience to working in the studio.

21. What is your ideal gig (large or small venue)?

I’ve only played on really large stages a few times, and generally didn’t like it. I much prefer a mid-sized club with a receptive audience who is there to hear the music. Some of the best shows I’ve played over the past few years have been organized concerts in club venues for audiences of around 60-100 people, where the audience is attuned to the type of show and prepared to enjoy themselves.

22. Do you get nervous before a show?

Very rarely, actually. I’m a teacher in my daytime profession and have performed music for around 30 years, so being in front of an audience is pretty natural for me.

23. Is it more nerve-wracking to play in front of friends, other musicans, or a regular crowd?

As above, “nerve-wracking” is not something I experience very often. I’ve only had negative experiences when the gig involves playing for people who don’t care about the music – like at a couple of corporate events I’ve done in the last few months.

24. How do you handle mistakes in a performance?

Mistakes happen in nearly every performance. The main trick is not to react physically – most of the audience won’t notice. If it’s really noticeable, laugh it off or joke about it. Everyone’s human and none of this stuff is life or death.

25. How often and how long do you practice?

During “at home” time, it is probably an average of two hours per day. Although because of the number of projects I’m in, I’m at 3-hour band practices two or three nights a week.

26. What do you practice?

I mostly just practice songs and work out different ideas for soloing. From time to time, I’ll learn a particular solo or series of licks from a recording… something that pushes me to the limits of my ability so that I learn something new. I practice scales and finger exercises sometimes to keep my improvisational skills up to par.

27. Is playing a job, sheer pleasure, or both?

Sheer pleasure.

28. What is your next project?

I’d like to start a rhythm and blues band to play classic Motown/ Soul/ R&B. I love that type of music but have only dabbled in it over the years. I know a few musicians I may call upon to get such a project going.

29. What do you think of jam sessions, and how often do you attend them?

In general, jams are a great way to meet new musicians and make friends. A lot of my current musical activities and connections stem from people I met at jams. Because I’m quite busy gigging and keeping up a full-time teaching career, I rarely attend jams unless I am hired to host. Though I do enjoy it when I get the chance.

30. What makes a good jam session? Likes or dislikes?

If people listen to each other, play to the song instead of their ego, and don’t show off or try to upstage others, it’s a good jam. Unfortunately, many times people don’t adhere to these simple principles. There are regular jams I avoid/ have avoided in the past, simply because I can’t stand the attitudes to be found there.

31. What advice would you give to an aspiring player?

Don’t be a musical snob. Listen to all styles and types of artists and learn what you can from each of them. Don’t obsess over gear/ not owning the “right” guitar or amp, etc. Don’t let your ego get the better of you. Be gracious and personable: if people don’t like you they won’t want to work with you. At the same time, you are not obligated to take crap from anyone. Stand up for yourself if the going gets rough.

32. Do you teach or have ever taught music?

I’m a college and university professor by profession. I’ve taught several courses in popular music and popular culture. So, yes, teaching is a pretty big part of my life as well as performing.

33. How do you balance your music with other obligations: mate, children, job?

I’m lucky to have a wife who plays piano and is very into music herself (classical mostly). We have a piano and violins at home and my two children are learning. My daughter (age 6) has performed in several community concerts and passed her Grade 2 conservatory exam in piano. So, you could say I am blessed to be a member of a musical household where we all support and encourage each other.


Pierre, Rich, Guy (thanks to Dan Geneau for the photo)

Pierre, Rich, Guy (thanks to Dan Geneau for the photo)

5IEME ANNIVERSAIRE DE MAISON DU BLUES

5IEME ANNIVERSAIRE DE MAISON DU BLUES

5th Anniversary

5th Anniversary

Acoustic Jam

Acoustic Jam

Derek Trucks - Jammin'

Hey,
We can all use some advice from time to time.
Here are some tips about jamming’ from Derek Trucks, of the Allman Brothers.
1. Just listen.
Make sure that when you're on stage with others, you are paying attention to what's going on and not getting self-involved in your own world.
2. Respect everyone else's musical space.
The easiest way to kill a vibe is by jumping in and adding your two cents too soon, while someone else is still trying to build something. Just let things happen.
3. Make you sure you are telling a story.
Never just be playing scales, filling space or going through the motions. Sometimes people resort to such tactics just to fill space but it's always a
mistake. Longer solos aren't always better solos. Always have something to say.
4. Try to play an emotion.
Always be aware of what emotion you want to convey and try to tap into it.
You can often hear what a great soloist is going through. It doesn't take words to express a thought; you can definitely spell out emotions musically
and should always strive to do so.
5. Never use the bandstand to practice.
Don't waste time working through things. It's great to take chances but not to try things you are completely unsure of. Save your practice time for off stage.
6. Treat the stage as your church.
Respect what you are doing. If you want people to respect what you're doing and think it means something, you have to act like it does. All great
artists treat the stage like it is sanctified.
7. Make sure your intentions are right.
Don't be up there to boost your ego or career. Mean what you're doing and appreciate it. You won't get anywhere musically if you are just on stage to
impress people.
8. Always make the band sound better.
Don't just highlight what you do; serve the group and the music. Playing rhythm behind someone or even sitting out at the right moment is just as
important as soloing. Some people sound great when they're doing their thing but just get in the way when they're not.
9. Educate with your music.
Always move forward and turn your audience on to new things instead of relying on the same old tricks. A core audience gets stuck listening to one group and think that's it, but you're around so much music and should always be inspired by new things. It's important to pass that along, and it keeps you out of ruts.
10. Make sure you mean what you're doing.
Do what you want and love. If you're playing with somebody, you might as well do it right. No matter what the gig, dig in and go to town.
Well, thanks Derek, and now to the important job of jammin’. See you Thursday.

The Cast

The Cast

Paul and jam band

Paul and jam band

Phil

Phil

Tino and Benny

Tino and Benny

History of the Blues

Jam - July 17, 2014

Jam - July 17, 2014
Gerry and Rich

Blues Extravaganza

Blues Extravaganza

Roger Guetta

Roger Guetta

Acoustic night

Acoustic night

10th year of blues at the Unik

10th year of blues at the Unik

Monday, July 26, 2010

"Jam Sessions" by Rich James














Rich James on Jam Sessions 25th July 2010

Reading through the Musician Profiles and Interviews on Maison de Blues website has been a rewarding experience for me. Every time I read someone’s comments about their own personal likes and dislikes, or the equipment they use, or whether they like, or don’t like jam sessions, I reflect on myself and see a lot of everyone else in me, and me in everyone else.

Who has not had the experience of turning up at a jam session, not knowing how you are going to be received, or at what time you are being called on to play?

It can be quite nerve-wracking to go to a new jam, even though we may feel secure in knowing the people in charge are musicians just like ourselves. Some of the inner thoughts and feelings can be, what songs are going to be chosen, am I tuned up, which amp am I going to use? Is the bass player going to be friendly or not?

It can be quite intimidating at a jam. Often, we are the stranger in the midst of others. We look around to find a friendly or familiar face. You can’t hide or slink away; everyone saw you bring your guitar case in. You have to just sit there and wait. Do you put your name on a list, or do you just ask the lead singer when you can get up?

Most times, your are in a bar. But be careful, don’t drink too much – it won’t help the playing. But how do you pass the time? Sure, you can listen to the house band and other jammers, but you want to be fresh and focused when you go up. Too many extra sounds can spoil one’s own concentration.

Keep your ears open for the magic call, when your name is bellowed out the speakers – “next on the list we have Rich; are you tuned up?” You sure better be tuned up before you go on stage; it’s no good fiddling with the pegs when the band is about to start. At least you are up there – now you can relax; your name was called and you have the stage for the next little while. Things went smoothly this time. There was a list.

Sometimes, there is no list. The host band’s friends may be playing a lot more than others in cases like this. Not all jams are run democratically. In this case, one has to ease oneself into the limelight enough to get noticed and hope for the best. Sidle up to the lead singer and let them know you are there to jam. They may not have a list – ah, this is where things get complicated. Keep reminding him you are there to play.This part can get hard after the 2nd set and the band has gone outside for a prolonged break!

How long do we get to play as jammers? A majority of jams I’ve been to only let the player on stage for 2 or 3 songs at the most. If you are very accomplished, you may stay up longer.

What about equipment? Some players bring their own amps to jam. Others use the house equipment; but there you are taking a chance – another unknown quality to be reckoned with in a jam! Can I get the sound I’m looking for with another person’s amp?

The most often complaint I’ve heard about Jams is that they are too loud. The worst case is when the House Band starts off too loud. You can be sure, friends, as the evening wears on, it going to get even louder!

Hosting a jam can be difficult. You are dealing with all kinds of players - and personalities too! There are the impatient ones, who constantly ask when they are going to get up. Some are jealous and say “ I was here before him or her, but they went up before me!” The host has to try to balance all these things.

One interesting suggestion I heard from Guillaume Boux, of the Black Hats, was that the host should discuss what songs people want to play before they get up there. There are obvious advantages to that – musicians can be more prepared and the music will probably be better.

What about the focus of a Jam? Well, here I think thorny and dark the path is. Sometimes the house band sees it as a mild inconvenience to allow other players up, but suffers them because it’s jam night.

Other house bands enjoy the diversity of players and see it as a chance to meet and interact with other players. Some of the best evenings I have been to have been jams.

So, with all this in mind, how can we, as jammers, and those who are hosts, approach the “dreaded” jam night.

My take on it is this. Hosts, be friendly and welcome the jammer. Get his or her name on a list as soon as they present themselves. Tell them when they can expect to play. Keep the person(s) informed, and DON’T skulk off for a prolonged break without warning, leaving people uninformed. After all, the jammers are your bread and butter that night. Treat them with respect – you’ll make a new friend and ally, or bring an old friend closer to you.

Jammers, be patient and appreciate the difficulties of running a jam. Be prepared when it’s time to play – no tuning up on stage. As a jammer, I usually prepare a note of 5-6 tunes with the key written in, so that when I’m up there, if I’m called on to do one, it’s ready.

There are probably many more tips one could add to being a good host or jammer. I hope some of us will write our own and share them on this site. A Jam Session is a great way of bringing musicians together and also paying the rent. The bottom line is: we are there for each other.