Blues roots run deep in Michael’s consciousness. His father played bass with harmonica legend Sonny Boy Williamson II, and his grandfather was a Delta-style bluesman from Camden, Arkanasas. At age 5, Michael was playing along with his father and he spent his childhood playing along with his father’s massive blues music collection.
In the 70s, Michael’s father moved the family to Arkansas, opening up the Bradley Ferry Country Club, a 300-seat juke joint. Michael was hired as the leader of the house band, backing legions of blues and R&B legends that were booked at the club. After the club closed, Michael fell onto hard times and had to take a job with Lockheed Martin, playing clubs at night.
In 1997, Michael released his first album, From Inside Out, quit his day job, and hit the road as a full time touring artist. The album received rave reviews from several established blues publications. In 2001, Michael signed with Alligator Records and released Make It Rain. By then, Michael was wowing fans at musical festivals and clubs nationwide. In 2003, Michael released his 2nd Alligator recording, I Smell Smoke, which moved Michael further up the ladder of blues greatness. Michael’s two Alligator albums received multiple W.C. Handy Awards nominations (now called The Blues Award).
On tour, Michael travels with his longtime band members–a gang of gypsy groove merchants, including “Wild Man” Wayne Sharp on Hammond B3 and vocals, Don Garrett on bass, and Chuck “Popcorn” Lowden on drums. Make no mistake, Michael drives this train with stunning artistry on his collection of Guild guitars, though for most of the night, he was playing his custom Les Paul.
As a trademark style, Michael opens his songs with blistering intros, and midway into the song he takes intricately improvised solos that showcase his advanced chops. He’s a big man with a big voice and hulking stage presence. He cuts an image of the quintessential bluesman, with a large vocabulary of innovative ideas and improvisations. His voice booms over the mix with convincing authority.
Michael plays almost all original songs with a few classics thrown into the set. His rendition of Hendrix’s “Little Wing” is the most improvised version of all the tribute artists I’ve heard cover that song. In other words, he doesn’t play it as a note-for-note cover of Hendrix’s version. He’s made it his own by personalizing the song with brilliant improvisation that doesn’t lose the thread of the melody. Had he lived, I think Hendrix would have approved of Michael’s version.
Live, Michael is the master of the intro solo preceding his vocals. On ‘Texas Flood,’ Michael opens with a soulful solo that shows off his bull chops. Then he launches into his powerful vocals, akin to B.B. King, but with Michael’s original inflections. At Mojo Kitchen, he struggled at first to get his groove on, but after a couple of songs, his groove kicked in and I could see him flash a smile. By the end of his set, Michael was just getting warmed up with his trademark solos and the band’s taut-as-wit accompaniment. Wild Man Sharp was cooking on B3 (a little too much at first, as it was blowing away Michael), Don Garrett’s bass playing was right in the groove pocket, and Popcorn was thrashing away on the drums like a rhythm demon. Man, Michael Burks stages one of the best, if not the best, live show in all of blues. At Mojo Kitchen I enjoyed the boom-boom shrimp and chicken strips and experienced a mind meld with Michael’s playing. For that night, I had found nirvana.
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EU Critic’s Choice Awards
