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BREAKING NEWS! I'm very pleased to announce I'm working with Peter Holmstedt and the publicity firm Hemifrån. They will be doing publicity in continental Europe for the album That's Where It's At! Let's hope for a European tour in 2020!

A new Michael Jerome Browne album (That’s Where It’s At!) came out in February 2019 on the Borealis label. It is a soul/blues collection, a lot of it stripped down, just me and my guitar. My old friend and collaborator John McColgan plays drums on some tracks, and there are a few wonderful vocal guests: Harrison Kennedy, Roxanne Potvin, Eric Bibb.

That's Where It's At! has been No. 1 on the Roots Music Report Soul Blues chart for 9 straight weeks since the week of April 6! Prior to that, it was in the No. 1 or No. 2 spot for 7 weeks... 

OLDER NEWS: Eric Bibb's album, Migration Blues, was nominated for a Grammy Award, in the Traditional Blues category. I helped produce this album with Eric and J.J. Milteau, played a bunch of instruments on it, and even contributed a couple of songs that B.A. Markus and I wrote. The album was recorded at Larry O'Malley's Audio Bec studios in Sherbrooke, Québec. Congratulations to everyone involved! Very exciting! I'm trying to figure out how I can go to the ceremony, which is in New York on January 28th. We're up against the Rolling Stones...

UPDATE: The Stones won. Oh well.

"CAN'T KEEP A GOOD MAN DOWN" (Borealis Records) has been available since November, 2016, and launched in Montreal on the 25th. It is a compilation of traditional blues, in the spirit of "SLIDING DELTA," taken from various albums going back to 1998. There are five original songs in the style, including one brand new recording from 2016, the topical "FOUR YEARS, NO RAIN." Blues classics from the past include songs by Tampa Red, Jesse Fuller, Frankie Lee Sims, Mississippi John Hurst, Reverend Gary Davis, and Frank Stokes. Although mostly solo, there are a few guests: John McColgan, Jordan Officer, Michael Ball, Jody Benjamin, Steve Marriner, Stephen Barry, and the late Vann "Piano Man" Walls.

"SLIDING DELTA" has been out, courtesy of Borealis Records, since January, 2015. A collection of the 1920s-1930s rural blues that inspired me to start playing in my youth- Mississippi John Hurt, Fred McDowell, Skip James, Memphis Minnie, Charley Patton, Blind Willie McTell, Blind Lemon Jefferson, Barbecue Bob... You can stream a few of these songs right now on the Music page.

Blues, Old Time, Cajun, Country, Soul and Swing.  Roots music is the music I play on guitars, banjos, fiddle, mandolin and harmonica. It is also the music I sing. A wide repertoire of all variety of songs. Songs that are traditional, original and interpreted.
For over thirty years now, I have studied, composed, and recorded many kinds of roots music, and performed on many continents.
If you, like me, are nourished and inspired by this kind of music, I invite you to explore my site. With any luck, I'll be playing somewhere near your town sometime soon. If not, I have many recordings to choose from, and you can listen to some of them here. (You can click below, and for more, check out the Music page).


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2 Old-Time Banjo Workshops: Advanced Beginner, & Intermediate

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Dusty Strings, 3406 Fremont N, Seattle, WA

Basics and beyond (advanced beginner @ 12:15); African-American styles (intermediate @ 2:45). $40 each.


Blues Guitar Workshop- Open D and Dm

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Montreal, QC

ANOTHER BLUES GUITAR WORKSHOP! ATELIER À MONTRÉAL! 18 mars/March 18 Acoustic Fingerstyle Blues in Open D ("Vastopol") and Open D Minor ("Cross-Note") tunings Blues acoustique “fingerstyle” accordé en ré ouvert ("Vastopol") et en ré mineur ouvert ("Cross-Note"). (EN FRANÇAIS PLUS BAS)

From the riff-based North Mississippi style of Fred McDowell, to the banjo-like qualities of Blind Willie Johnson's non-slide playing, to the Georgia/Piedmont bounce of Tampa Red and Blind Boy Fuller, Vastopol tuning (DADF#AD) has a lot to offer.

This workshop is aimed at intermediate players, but if you’re advanced you’ll get lots out of it. A rudimentary knowledge of alternating-bass fingerpicking would help, but is not a prerequisite. No flatpicks (plectrums) will be allowed. Some songs will feature a small amount of simple slide playing. It is definitely not the focus of the workshop, but please bring a slide with you if you have one.

Our primary goal will be to establish a groove in this tuning, using thumb and forefinger. The groove is the most important thing. There are also many interesting simple chord shapes used in Vastopol tuning.

As an added bonus, we will explore Open Dm ("Cross-Note") tuning (DADFAD), made famous by Skip James. This tuning is useful for for getting a darker sound than Vastopol, without necessarily going into minor keys, and was also used by Arthur "Big Boy" Crudup, Henry Townsend, Rosa Lee Hill, Booker White, and even Albert Collins...

We will NOT use tablature, but recording devices (audio and video) WILL be permitted and even encouraged.

Time: Sunday, March 18, 10 AM-1 PMPlace: Mile End, not far from Outremont Parc-Ex and Mile-Ex (I will PM the exact address) Price: $45, to be paid in advance Space is limited, (15 places), so message me if interested and reserve your spot!

Le tuning "Vastopol" (ré-la-ré-fa#-la-ré) a beaucoup à offrir: le style très rhythmique à base de "riffs" qui vient du Nord du Mississippi (Fred McDowell), l'imitation d'un banjo (Blind Willie Johnson, lorsqu'il n'utilise pas de slide), l'approche plus "ragtime" de la Georgie/Caroline (Tampa Red et Blind Boy Fuller).

L’atelier s’addresse aux guitaristes intermédiaires, mais si vous êtes avancé(e)s il y aura du boulot pour vous. Une connaissance rudimentaire du “fingerpicking” à basse alternante serait une bonne chose, mais ce n’est pas un prérequis. Les plectrums (flatpicks) seront interdits. Quelgues chansons utiliseront un peu de slide (ou "bottleneck") très simple. Ce n'est pas le focus de l'atelier, mais SVP amenez un slide si vous en avez un.

Le but premier sera d’établir un “groove” accordé en ré, en utilisant le pouce et l’index en partant. Le “groove,” c’est ce qu’il y a de plus important. Il y a aussi plusieurs positions d’accord simples accordé en Vastopol.

BONUS: nous allons explorer le ré mineur ouvert ("Cross-note": ré-la-ré-fa-la-ré), popularisé par Skip James. Le Cross-note sert à obtenir un son plus "dark" que le Vastopol, sans nécéssairement entrer dans des tonalités mineures, et a aussi été utilisé par Arthur "Big Boy" Crudup, Henry Townsend, Rosa Lee Hill, Booker White, et même Albert Collins...

Nous n’utiliserons pas de tablature, mais j'encourage l'enregistrement de l'atelier (audio ou vidéo).

Quand? Dimanche 18 mars, 10h à 13h. Où? Mile-End, près d'Outremont, Parc-ex et Mile-ex (j'enverrai l'adresse exacte par message privé) Prix: $45, payable à l'avance Il n'y a que quelques places (15 maximum), envoyez-moi un message et réservez votre place!