Sigma Alpha Iota

PAN PIPES SUMMER 2015 SAI-NATIONAL.ORG 14 MEMPHIS MUSIC W e oen hear about musicians around the world gathering in major cities for competitions celebrating the works of Mozart or Tchaikovsky or music lovers meeting at numerous outdoor music festivals when the weather turns warm. is year, I was introduced to a competition at which musicians from around the world gather in the middle of the U.S. in the heart of winter to compete in celebration of the roots of American music. For the past 31 years, the International Blues Challenge (IBC) has drawn blues musicians and their fans from around the world to Memphis, TN, to hear the best of the blues. I was introduced to the local version of the IBC several years ago when a friend in the band Kingdom Brothers competed in the regional competition held by the St. Louis Blues Society. is year they won in the band category and earned the right to compete in Memphis. Like fans of many of the bands competing in the IBC, I decided to attend to cheer them on and hear some incredible blues. Each affiliated blues society is allowed to send one band, one solo/duo, and one youth band. is year, 249 groups from the U.S. and 19 other countries participated in the IBC. e youth bands don't compete but perform for experience and name recognition. e other 219 bands and solo/duo musicians competed in quarter-finals for different judges for two nights. ey could be seen on 20 stages in the clubs and restaurants along Beale Street. From the quarter-finals, 48 bands and 32 soloists/duos were chosen to move to the semi- finals, performing on 12 different stages. From the semi-finals, one band and two soloist/duo musicians (for a total of eight each) were chosen from each venue for the finals at the historic Orpheum eater. From those 16, three place winners were chosen from the bands and two from the solo/duo category, as well as the best guitarist from each grouping and the best overall harmonica player. ere is also a separate prize for the best self-produced CD. Musicians competing in the IBC are scored on a 1-10 scale for vocal skills, instrumental skills, originality, stage presence, and blues content. A score of 1-3 would indicate a score for a beginning blues band, and a score of 10 would indicate a score for a band ready to take the main stage at a major festival. e scores for the band in each of these areas are then combined and weighted for an overall score. e level of professionalism among the bands competing at the IBC has increased so much that 1 or 2 points can make a difference in whether or not musicians will advance. Because of this, penalty points for such actions as going over the appointed time limit or even failing to turn in a complete application on time are strongly avoided. While reasons for some of the penalty points can seem strange, they are a reflection of the type of professionalism a festival organizer might look for when having to choose from two equally talented acts. e International Blues Challenge is set up much like a conference; you don't have to be in the competition or even be a musician to enjoy the activities. If you happen to be down on Beale Street Tuesday through Friday evening and want to hear music at a particular venue, you can get in for just the cost of the cover charge. But for little more than a good seat at many concerts or performance venues, a general pass gets you into all the venues and performances, Nothin' Sad About Lots of Blues The Women in Blues Showcase during the International Blues Challenge in Memphis.

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