Having held down three top ten spots in the Australian Indie Jazz Charts,at the same time, including the number one chart topper, "Money Talks"(from the DRMS Award nominated Blues Roots C.D. Money Talks)Terry Blankley is the epitome of a fine Canadian Artist/composer.
A credit to his versatility, Terry B , is equally at home writing and performing a wide range of musical styles.
From Blues to Jazz,Cajun Funk to Country, to sizzlin' Boogie Woogie , his piano and voice sing with an honesty and soul that only years of experience can bring.
Terry has paid his dues playing in the hallowed halls of the grand Old Opry,been one of the unsung heroes in Nashville recording sessions,entertained in the hot spots of Las Vegas,and excited audiences in Ireland backing up Irish pop star Jamie Stone.
Currently you can catch Terry playing clubs ,Jazz and Blues Festivals ,and Corporate Events.Check his web site for up coming events at
All this experience ,a sincere love of music, and a "regular guy " attitude always make for a musically enjoyable Terry B experience.Whether vocally caressing the lyric of the Billie Holiday classic ,"Don't Explain" or growling out the Ray Charles Hit ,Hallelujah ,How I love her so",Terry B will grab your attention and lift your spirits.
In a world of manufactured ,packaged music,Terry Blankley is the "real deal", honest ,true and damn good.
Treat yourself ,go check him out ,I did, and if you are a booker or agent ,book him now, you will not be disappointed.
President Malcolm Gale,, The Talent Group Inc of Las Vegas Nevada.
If you were looking for it, you¹d be hard-pressed to find such a laid-back,
refreshing, original recording as this. Terry B (Blankley) is a local
war-horse a long-time keyboard player and veteran of a bar scene that pays
little to entertain loyal patrons who expect a lot. Terry plays because he
wants to, however, as evidenced on this 11-track self-release. The good news
is, his thankless dedication to craft is immediately audible from the first
regal strains of the Band-like ³Last Nations², sounding not unlike a back
porch variation of ³The Weight². With a voice that sounds like a gnarled
cross between Springsteen and Tom Waits sometimes garbled, always gruff,
Blankley is blessed with a world-weary quality that underlines his
experience. Equal parts jazz and blues, 11 original tracks include
highlights like ³I Can¹t Win² featuring killer B3, tasteful piano and some
well-placed guitar (Bobby Watson) for a blues ballad that¹s laidback without
being lounge. ³Blues is Blues² is, likewise, a high mark for its
authoritative touches, lush B3, and real-world message. ³Gig Blues² offsets
straight blues with the band¹s Steely Dan-esque jazz groove as Blankley¹s
voice assumes a hint of Ray Materick. Pity the package doesn¹t look like
much because the contents are a welcome surprise revealing an earnest road
warrior bursting with confidence and ripe with original talent.
From Canada, another album - "Money Talks" - by pianist Terry Blankley, rootetoot Records, the band is The Terry B3.
This name is completely unknown here, so I'm really pleased that Terry Blankley has sent me the new material. He did it to promote it in the "Rock-Oko" show as well as this music portal.
Let me say I was quite pleasantly surprised; I have to admit I had never heard from the band or the pianist in some time.Terry Blankley is a musician and producer of some stature in his environment. He is a great support to many still unknown musicians, and his charismatic talent is a motivation to a new band. I have to wonder what Terry and his music sound live - it must be a really special experience.
The complexity of his music requires supreme technique and inspiration. The band breaths as one, as that's the only way they can sound the way they do: each piece is well structured, strong, technically flawless, rhythmically precise, technically simple and perfectly presented.
The Terry B3 are
Terry Blankley - keyboard, vocals
John Meydam - drums
Bobby Watson - guitar
Buster Fykes - guitar, banjo
Al Matthews - solo and rhythm guitar
Mario Panacci - rhythm guitar
The band, with a little help from their guests, has recorded an album which must be of interest to each blues and jazz fan. "Money Talks" is a fusion of many musical styles, and the best pieces are the ones where they got the blend just right.
This album is for blues fans. Because of its complexity it sounds difficult at first listening but all it requires is a little concentration and attention and you are rewarded with richness of detail. Money Talks is a really refreshing collage and a harmonious whole.
Author: Mladen Loncar http://www.soundguardian.com
Terry B3 - Money Talks Review - translated from Dutch using internet software– See full review @: http://www.rootstime.be/ - Under April 2007 Reviews – Terry Blankley
In comparison with Terry’s First CD “The Blues Daddy” we see clearly an evolution in 2 areas, the pre-recordings sound smooth, clearly more studio work means the "almost live" sound is now less present. Second evolution is the song work of Terry, his voice still sounds rough, but Terry's singing is less forced and normal, whereas on the first CD his voice was more raunchy, the change results in a quiet, more relaxed CD. Blues still plays the lead role, but jazzy sounds are gaining ground which is not surprising because keyboards lend themselves well to jazzy blues arrangements. To me, the CD starts with a beautiful song "Last Nations" and this is its own song, which I can only describe as: Springsteen meets Dylan, the number has something of Dylan quality and Terry's voice sounds like Springsteen’s. "Squeegee kids", an almost spoken jazzy song is very beautiful with nice piano work by Terry. In some of the songs I hear subtle influences of Steely Dan and sometimes the Rhythm Kings. All numbers are originals written by Terry and his friends. The exception is the CD Title song "Money talks”, which was written by Terry’s friend and harp player Steven C.Barr. My favorite song on this CD is "68Pontiac where the resemblance with Bill Wyman's Rhythm Kings is striking. We also think this is a song Springsteen might have done. The CD ends with a song called "Lyna” and again we think of Springsteen. Lyna is a beautiful ballad and Terry Blankley composition. Canada proves to be a surprise in this week’s CD reviews! (RON)
If there is one thing which continually amazes me it is how much music connects back to Saskatchewan, and in particular to Yorkton and area.
That seems particularly true in the case of blues, as strange as that might seem. Big Dave McLean and Kat Danser are two performers who come to mind with connections to the area. You can now add Terry Blankley to the list.
Blankley, a roots jazzy blues man out of Ontario actually grew up in Kelvington and attended St. Joe's in the city in 1964. It was kind of cool having a note in the CD package asking about Yorkton, with a note that in his time here there was only about 10,000 people in the city. He added he even made TV here in his day appearing on a show called Profile with MC Hugh Vassis.
So musically what does Blankley bring to the table?
To start with the CD was nominated as best roots blues album by the Durham Region Music Society, and Blankley as best male vocalist. While not winning either, it shows the CD has drawn attention.
Well, I'm not sure if its the effects of growing up with Prairie winters inhaled into the old lungs, but he has a deep, growly voice that I really like. To me his sort of voice is what the blues calls for. You really get a feel for the voice on a cut like Lyna, where there is almost a Springsteen-style vocal effort.
Blankley is a man who obviously has a range of influences from jazz, through blues, as well as touches of folk Americana. It all works together since the styles are all rather closely related, with elements common to all.
It does create some wonderful sounds, there is a sort of mix of Spanish, French and jazz on La rue de skid, that is rather unique.
Blankley has his hand in writing most of cuts on this 11-song CD too, and his maturity, in age, as much as as a musician, comes through lyrically. There is a depth of life knowledge here. That isn't to say everything goes back to years long past. Some of the songs connect with the now just as easily, such as the cut Squeegee Kids.
This is a very solid effort, and with his long ago regional roots, one you really need to check out. Head to www.terryblankley.com to learn more.
-- CALVIN DANIELS Check out Calvin's other reviews here
-- Review first appeared in Yorkton This Week newspaper Oct 3, 2007 - Yorkton, SK. Canada
Posted by Calvin Daniels at 7:50 AM 0 comments
Chicago's Sept 29
The Terry B3 at Chicago's
Had to pick me the Georgia font for this one! I had the pleasure of enjoying "The Terry B3" at Chicago's Diner tonight. How often do you really get to hear an accomplished group of veteran professionals lay out an eclectic mix of jazzy bluesy tales and tunes like these cats can lay down? Not effin often enough!!! Terry Blankley has recruited one of his legendary buddies,"Uncle" Bobby Watson to be the Memphis guitar sound and voice in harmony and counterpoint to Terry's growling Dr.John-like/Tom Wait-ish whiskey vocals and N'awlins keyboards,accentuated by Chris Lingard's faultless percussion to stir up a heapin' helpin' of Jambalay-shwa with a side order of really tasty cover tunes. Do yourself a favour and don't miss them again.Meanwhile,go to http://www.terryblankley.com/ and his myspace link to get an appetizer. You may not realize what this place has to offer.Check out http://www.chicagosdiner.ca/ for their calendar of live bands.While you're at it, look into http://www.thedurhamregionmusicsociety.com/ ....See Ya!!!!
Posted by Howard Stacey at 3:06 AM 0 comments
The Blues Daddy
The Blues Daddy
(Rootetoot Records - Independent Release)
by John Taylor
Review date: December 2001
Now based in Oshawa (just outside of Toronto), Terry's been a professional musician for some fifty-odd years now, and has the stories to prove it - including the one regarding his success as a country artist (!) in the European market. Recorded in his own studios, this self-titled effort is a first under his own leadership.
Terry, who plays both keys and harmonica, is joined here by friends Doug Swain on drums, bassist Danny Sandford, Bruce Gorrie on sax, and an extensive cast of guitarists too numerous to list here. Suffice to say that instrumental support is uniformly excellent throughout, including Terry's own keyboard work. (Effective though it is, his harp work never really ventures beyond the rudimentary here).
One doesn't spend as many nights singing in smoky bars as Terry has without picking up a certain grit, a bit of sandpaper in the voice. Terry has it in spades, a natural, convincing authenticity that makes one believe every phrase he sings. Which brings us to the disc's lone problem; for whatever reason, Terry occasionally either over-sings here or has chosen to process his voice in ways that detract from his naturally laconic delivery. When he relaxes and simply goes with what comes naturally, he's damn near magnificent; witness "Jarvis Street," or the breezy "The Old Bluesman," where he sounds uncannily like Mark Knopfler, or the harder-edged "Mississippi Love Machine," where he growls and shouts with the kind of authority one wouldn't dream of questioning. But elsewhere one gets the impression he was just a little too eager to try out some new studio trickery, and rather than enhance it merely obscures his talent. Next time he'd do well to stick with the simple and straighforward; he doesn't need any help, and the less there is between that voice and the listener the better.
Terry's originals here are spiced here with a few well-chosen covers, placing him in much the same musical territory as Charlie Rich; like the Silver Fox, his is a borderless blend of country, blues, and R&B melded into a seamless whole. Nice stuff for the end of the evening, when you're all alone and the blues are the best company you're likely to find.Rootetoot Records
690 Simcoe Street North,
Oshawa, Ontario, Canada L1G 4V7
The Blues Daddy
Terry B. sounds like he's just walked out of the bayou and has a huge toad stuck in his throat. The voice is thick and muddy with a raw edge. The style falls somewhere between the old southern bluesmen and David Clayton Thomas with an agonizing sore throat. There's an authenticity to this voice that cannot be denied. The writing is like that too, with a ragged and real sound that belongs to the blues and shouts out to be heard.
There's nothing slick or commercial about the music on this release. The performance is gritty, aggressive music from half-lit, blue-aired rooms filled with the smell of smoke and alcohol. This is the music that creeps under the doors of side-street bars and into the street outside, taking hold of passers-by and drawing them in to the dark room behind the door. This is good rock and roll. This is good blues.
A studio recording, the music on The Blues Daddy sounds live. It has the sound of a too old sound system pushed to its limits so the music can push through the crowd and be heard. It's music best heard over a brew or a shot in a crowded smoke-filled room, but this set brings the bar room home. All you have to do is dim the lights, pour a drink, and relax. These blues will bring you back to where you want to be.
It doesn't hurt that Terry B. is supported by nine excellent blues musicians and three solid backup vocalists. The sound is full and driving, the sort of music that may let you sit in one place but won't let you doze off. Even the slow songs are driven by a groove that's made to get people up and dancing.
All but two of these songs were written by Terry Blankley a.k.a. Terry B. His understanding of the blues and respect for the tradition behind the blues is apparent in every song. Most have the feel of acoustic blues or of the sort of electro-acoustic sound we often heard in the Fifties. All sound authentic enough to have come out of that long-ago era.
Many of these songs sound like the blues-driven rock and roll of a half century ago. "Wind Me Up and Turn Me On" is pure Carl Perkins, with a rocking country beat, blues guitar riffs, and a tongue-in-cheek hillbilly lyric. Slipping into the world of rhythm and blues, the slow-walking "Ports of Call" ends with a brief tip of the hat to the The Drifters' late-Fifties hit, "Ruby Baby."
Other songs take on a jazzier style, bringing jazz and the blues together in a comfortable marriage. The very B.B. King sounding "Will Love Come Callin'" and the quieter, groovier "Lenny" are two examples of this transition into the world of jazz.
"The Old Bluesman" stands out as the song that departs furthest from what many will consider the blues tradition. This song shuffles along on a backing of Louisiana reggae, not as schlock as Jimmy Buffet's songs and more varied and interesting. This song gives the listener a nice break at the middle of the set. It's like when the band walks off the stage and throws on the jukebox for twenty minutes while the musicians grab a smoke.
One of two songs on this release not written by Blankley, his interpretation of "Trouble in Mind" takes me back to several great recordings of this song released in the Fifties and Sixties. This is a soulful, authentic presentation of a powerful song. Terry B. wails on this number like he's lived with sorrow all his life.
An independent release, The Blues Daddy brings live music to the car stereo and the living room with a level of authenticity that's rare in studio-produced blues records. This release should be added to any collection of contemporary Canadian blues.
Who's your blues daddy? Well it just might be Terry B. (Terry Blankley) from Oshawa, Ontario. This captivating disc recorded on his own label, Rootetoot Records, oozes a British blues sound much like that of the Aynsley Dunbar Retaliation from the late sixties. For those not familiar with that group, Dunbar did blues-jazz solo work after stints as the drummer for John Mayall and on Jeff Beck's "Truth" album.
Terry B. is the keyboardist and vocalist on all tracks. All songs, except two cover songs, are well written originals covering a broad range of subjects and styles. Most are blues based, but there is a healthy dose of different jazz influences. He also has a forced deepness to his voice that actually fits the music styles and lowdown subject matter.
The disc starts off with a slow piano and electric guitar driven song titled Nothin' But the Blues, that let's you know the blues is his only need in life. It moves into a track with distorted singing called Will Love Come Callin', which has a brilliantly crafted sound that features a shaker which gives it a real "down on the street" gritty feel. This is the song that really reminds me of the Aynsley Dunbar connection.
A beatnik sound pervades Jarvis St. which is a fast moving swampy jazz ditty that describes a vixens' lifestyle on the infamous Toronto street. The Ports of Call, is a slow piano driven swing done almost in a fifties do-wop kinda style.
Now there are several songs titled and written about a Hurricane, but his is the best one I have heard. It starts off with a nice bass line riff and some crisp piano banging, and is followed up by an electric guitar which rips off some damn moving notes. Mississippi Love Machine, is a barrel house piano boogie with some raw growled out slow vocals and forced pronouncing of each word. I was out of breath just listening to it.
Things speed up with the rocking Wind Me Up Turn Me On, which cranks the listener up into high gear. Lenny, is a slow "cool cat" jazz groove with effective use of the saxophone and sultry female backing vocals.
The album ends with the cover of Trouble in Mind, which showcases the talent of Terry B. on solo piano and vocals.
The presentation of the cover sleeve comes off as amateurish and there are some pretty major typos, but really it's about the music anyways, and that entertains.
Copyright 2002. Review by Warren Dallin.
Maple Blues John Valentyne
Steven C. Barr Black Cat Bone Rootetoot/Indie
Terry B. the blues daddy Rootetoot/Indie
Local veteran, cat lover and now Oshawa resident Barr has been blowing harp for many years now and has put out this second CD with the assistance of fellow Oshawan Terry Blankely, who as Terry B., sent along his own CD as well. As you might guess, this is mostly straight-ahead Chicago blues with always interesting lyrics.
Steven C. has chosen a rather mannered recording voice, which mars the proceedings as does the fact that aurally each song is a surprise, although the sound is usually serviceable. Steven is an avid 78rpm collector and some of this may be intentional.
Terry B., the blues daddy, sounds a bit like the late Waylon Jennings and is a very good keyboard player - his contribution on piano to Black Cat Bone is a consistent highlight. His own CD, however, is mostly country, with indulgent, FX-laden vocals and it lacks the focus of Steven C.'s work.
B'man's Blues Report
New Release from: Terry Blankley - Cold Weather Blues - Review
I just received a copy of Terry Blankley's Cold Weather Blues. The recording is made up of 10 (8 original tracks penned by Blankley or cowritten with Michael Wainwright)tracks. Blankley has assembled a tight group of musicians for this recording. At it's calmest it has the swing of Diana Krall with Blankley's "Tom Wait's" like voice and it does get up and stomp a few times! Blankley handles Keys and vocals, Michael Wainright on sax, Doug Swain on Drums and a list of other notable musicians like Frank Woodcock, John Meydam, Al Matthews, Al Lerman, Albert MacDonald, Bobby Watson and Johnny V contribute as session musicians. Although sometimes not a typical "blues" recording in that some of it is more dixieland piano in nature, it is a bluesy recording and a pleasure to listen to. There are a number of stand out instrumental sections throughout and aside from Blankley's own piano style which I like, Johnny V is unmistakable on slide.
If you want a change up from what everyone else is doing you ought to give this a spin. I've listened to it a number of times and I'll be listening to it again soon!