Quinn DeVeaux and the Blue Beat Review
Quinn DeVeaux and the Blue Beat Review Quinn DeVeaux and The Blue Beat Review is the dance floor between the sweet old times and new hard times. It's New Orleans soul and early blues with the depth of cracked hands combined with the contagious dance rhythm you've been looking for all night. You hear the upright bass and drums lock into a rolled drop beat, then the piano licks up and around the groove, then a drip dried guitar jumps in followed by three lovely voices making harmonies round the rhythm, and then on top comes Quinn, with his sugarbush tones of joy.

This band is dance music for when you're feeling wrong and you wanna feel right. This band is dance music for when you're feeling right and you wanna feel so fine. This band will make you clutch your heart. This band will make you move your feet. This band is the new blue beat.

Quinn DeVeaux has packed houses and astounded audiences in the bay area for years with his smooth and dirty spank you voice and cool melodic songwriting. First he started an early Chicago Blues band and then a New Orleans soul and gospel band. Both groups had audiences clamoring for more. Now he has combined it all in the Blue Beat Review a self-styled crossroads of his many musical roots. Quinn harnesses the likes of Ray Charles, John Hurt, Fats Domino and Bo Diddley. His songwriting is the classic influence made fresh. With all the style and subtlety of the great soul/blues singers of the earth bound golden days, his band keeps audi- ences in a state of joy.

The engine room of Kenan Obrien on Upright Bass and Matty Mack on drums is bound to catch you grooving. Kenan has a country/western and blues background and boldly folds his fingers over the bass like no other. Matty has a jazz and swing background that mixes in with his funky blues style. The two together just meld when they start to jamming and kill it.

Chris Seibert on piano grew up in New York City and Los Angeles. In addition to founding the Red Hot Skillet Lickers with Lavay Smith in 1989, he has also played and/or recorded with Snooky Pryor, Taj Mahal, Linda Tillery and the Cultural Heritage Choir, Howard “Louie Bluie” Armstrong, Alvin “Youngblood” Hart, Little Charlie & The Night Cats, Big Bones, Los Lobos, The Turk Murphy Alumni Band, Bo Grumpus, Denise Perrier, Brenda Boykin, Ledisi and Sugar Pie DeSanto. He sweetly holds down the melodic rhythm and has folks doing that air piano while they dance.

As for the girls, Nicole Rodriguez, Amber Gougis, and Viola Voila all blend for the magic tone of the Quintets. Nicole extends the rhythm section out into the crowd with her finely shaken tambourine and her taut maracas. Amber sings the city life with a soulful voice that stops the traffic on the street. Viola dances like a butterfly and sings like a bee, high like a silk flag of justice. When the three of them get to moving and swirling and singing together, the joint crosses over, ne'er to return.