Electric House Music !

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Indie CD single recently released by Electric House Music, a company formed by the members of this veteran group of bluesrock jammers. The band’s intent is that this single will attract the attention of electric blues fans everywhere. Any label interest would be greatly appreciated.

"A side" Acid Blues Is The White Man’s Burden – Recorded 2005. Although the title may appear to be a bold statement, it is, in fact, a question. The listener is free to decide for themselves what is the question, and what is the answer to that question.

"B side" Death Letter 2001 – Recorded 2001. This particular arrangement is a tribute to the late great Jerry Wood, a legendary Wichita bluesman for whom JPT served as backup band during 1975 and 1976. The tune appeared on his album, Crazed Hipsters, with former partner, Mike Finnigan. Death Letter 2001 written by Son House, Arrangement © 2006 Electric House Music, B.M.I., Performance h2006 Electric House Music, B.M.I.

The JPT Electric Blues Band is a heavy psych blues band that has been together for many many years. Still together, with the original lineup intact. Still making meaningful music in the 21^st century, this veteran group of jammers is also proud of their vast legacy of classic material recorded in the 1970s under the name, JPT Scare Band.

“JPT had no official beginning. The kind hand of fate brought Jeff, Paul and I together in the Fall of 1973 and left us to sort it out. We moved to a house and set up our gear in the basement. As we jammed away the days and nights, an odd organic process was set in motion. Jeff, Paul and I discovered that we could make a mighty noise. Rather than question this remarkable development, the three of us simply accepted it as fact. We rarely discussed chords or arrangements; those things were beside the point. All that concerned us was combining our energy and using it to create a habitable musical world. Once we made that happen, our travels began.”

The Night Albert King Came To The Electric House

Back in the early 1970s, the great blues guitar player and singer, Albert King, used to come through Kansas City quite often. We heard about a gig he was going to play at a venue called the Town Hall Ballroom on Troost Avenue, which was just a few blocks from the Electric House. Cool old place that was a former movie theatre where they had taken all the seats out and set up tables and chairs. You could bring booze and wine in there, kick back, watch the show and have a good time. We knew a guy who worked security and he told us that if we showed up, he could get us back stage to meet Albert King. We bought our tickets and our friend took us back stage before the show. I will mention that we were the only white people in the joint, but it was a cool scene and we felt very comfortable and relaxed at the Town Hall Ballroom.

Albert King was sitting in this plain little dressing room, smoking his pipe and he was very gracious and friendly to the three skinny young white dudes who were introduced to him. However, it was obvious to us that he was not a happy man (in fact, he looked like a man who truly had the blues) and we asked him what was wrong. He explained that he had taken this gig kind of at the last minute and had driven over from St. Louis without his normal equipment. All he had brought with him was Lucy, his 1958 Gibson Flying V electric guitar. The promoter was supplying him with an amp, a Fender Dual Showman. He usually played through an Acoustic 270 amp, a now extinct solid state monster that was very powerful and very very loud. He explained to us that the Dual Showman was OK, but just didn’t have the power and sound that he was used to.

We told him that we were in a band and that we had a basement full of amps just a few blocks away. We offered to bring some over and set them up. He accepted and we brought over a couple of Fenders (both a Twin and Super Reverb), a Standel Twin Twelve and a blue sparkle rolled and pleated Kustom PA amp head with two 4x10 cabs. We hooked them all up together along with the Dual Showman to create a crazy wall of amps and Mr. King was at least able to play loudly and powerfully.

It was a great show and we were proud to have been able to help a living legend. We were treated to many of our favorite Albert King tunes, such as “Crosscut Saw,” “I’ll Play The Blues For You,” and “Born Under A Bad Sign.” After the gig, Mr. King thanked us and told us that he would have his keyboard player haul our amps back to the Electric House. We gave them directions, then walked home and waited outside. As per usual for Saturday night at 2:00 a.m., a major party was in progress.

Suddenly, a huge white Chrysler Imperial materializes out of the dark, rolls up and parks in front of the Electric House. At that moment, our friend Joey (one hell of a good guitar player himself) comes staggering down off the front porch in a state of extreme psychedelic expanded consciousness. The door of the car opens and out steps Albert King himself. Up close and personal, Albert King was a really big, tall dude and he walks right up to Joey, sticks out his hand and says, “Hi, I’m Albert King.”

Joey just stares at him for a moment, not sure if this vision is really there or just a figment of his twisted imagination. Finally, he shakes the hand of the man himself and we all burst out laughing.

We unloaded the amps from the cavernous trunk of the Chrysler and invited Mr. King down to the basement to jam with us. He gave a sideways glance at the chaotic scene in the house, politely declined, got back into the Imperial and disappeared into the night. We all stood there on the sidewalk for a minute in complete silence. Suddenly, Joey broke out with an exclamation that he had just shaken hands with Albert King and he was never ever going to wash that hand for the rest of his life. A classic moment in time and one that I shall never forget.