Sari Schorr Teases A Force Of Nature

by Martin Kielty for Team Rock

Hear a clip of Sari Schorr’s Stop In The Name Of Love cover, taken from debut album A Force Of Nature

Sari Schorr has released a clip of her cover version of Stop In The Name Of Love, which appears on debut album A Force Of Nature.

It’s set for launch on August 17 via Manhaton Records, featuring guest appearances by Walter Trout and others.

Schorr – New York Blues Hall Of Fame inductee and former Joe Louis Walker vocalist – recently said: I'll be forever grateful to have been given this extraordinary opportunity to record the music I love with artists I so deeply admire.”

She commences a UK tour with her band The Engine Room next month.

Sari Schorr & The Engine Room UK tour

Jun 04: Frome Rockabella
Jun 09: Stockton-On-Tees ARC Art Centre
Jun 11: London Nell’s Jazz & Blues
Jul 15: Oxford Haven Club
Jun 16: Evesham Iron Road
Jun 17: Birdham Blues On The Farm
Jul 18: Edinburgh TBA
Aug 26: Maidenhead Norden Farm Centre
Aug 30: Evesham Iron Road
Aug 31: Colne Great British R&B Festival
Sep 09: Darlington R&B Club
Sep 10: Marden Long Street Blues Club
Sep 11: Winchester Discovery Centre
Sep 14: Pensford Tunnels
Sep 15: Worthing Piers Southern Pavilion
Sep 16: Billericay New Crawdaddy
Sep 17: Hemel Hempstead Old Town Hall
Sep 25: Market Rasen Hope Tavern
Sep 28: Cheltenham Vonnie’s Blues Club
Oct 01: Hereford Blues Club

Sari Schorr & the Engine Room Touring Europe

Sari Schorr & the Engine Room will be touring Europe extensively this Summer and Autumn in support of Sari's 'A Force of Nature' album. An incendiary debut release produced by Mike Vernon and out on Manhaton records in September. Full tour details at

Sari Schorr Revives the Blues at the Turning Point

Review by Dan Cohen for Nyack New and Views:

The blues. So American, yet so primitive. So powerful and yet so dark. So specific, so raw, and yet the blueprint, the skeleton, the wellspring from which virtually all modern popular music has sprung, whether country, pop, jazz, or R&B. It all goes back to Robert Johnson and his magic guitar. And the line of singers and pickers — both guitar and cotton — extending back before him. The blues today, what little you hear of it, seems to have taken on the sheen of the academy, far from its sweaty, pulsing roots. We Americans seem to learn about the blues, maybe read about the blues, even respect the blues — everything but listen to the blues. Those old Johnson or Leadbelly recordings seem awfully quaint, and awfully remote, in light of the latest stream of song from Rihanna or Justin, despite — or perhaps because of — sharing the same source. Then along comes Sari Schorr, who played at the Turning Point in Piermont on Friday. And the blues, the real dirty sad funny wonderful blues, lives again!

Through her voice, and that of her excellent band, featuring the extra-special guitar stylings of Chris Bergson, we are able to tap into the extraordinarily elastic expressive light of the blues and experience its power and poetry anew. First of all, for ninety percent of the show Sari has this huge grin on her face like she’s having the time of her life, which makes it easy to join her. Second, the hair. I could spend the entire review — write an entire book, an ongoing series, even — about her raven tresses: the wonderful weight and volume of them; the way she’s able to swing her hair around and still sing with a stripe of it pasted diagonally across her face; the way it’s such a cliché and yet so freakin’ awesome. Is her power, like Samson, somehow bound up in her locks? I ask you, how can you not sing like that when you’ve got that hair?

Well, you need a voice. And at long last we come to the voice. Not Joplin nor Aretha, but some planet in that galaxy; Sari’s is her own unique blend of utter commitment and sweet ease, floating notes up over the tops of our heads and then swooping down into her meaty lower register and belting with the best of them. She’s a force of nature, a meteor, a comet, and the blues speak through her. She is merely the medium, the tool. And, in the manner of great athletes who, off the court or field, could be passed over as ordinary mortals, she has the unassuming look of a great artist. In streetclothes you’d never guess Steph Curry was an all-star basketball player. Mike Trout on a grocery line looks, well, normal. So it is with Sari. Backstage she appears fairly unassuming. She was wearing some black and white sort of sparkly shirt, and over it a draping wrap or poncho in black. Her biggest rock star affectation was her shoes,  black leather thigh-high boots that seemed like they should be platforms. All in all, she gave the impression of that cool art teacher you had in high school, or that wacky friend who could never keep a job but always had something funny to say. She’s unassuming, and yet… her eyes sparkle. And put a mic in her hand and, well, she’s a gal possessed. Baby, baby, she’s got the feeling.

Her band could not be better. And they had the sort of easy rapport with her that comes from lots of playing, years of hard work. Bergson is a brilliant guitarist and an elegant sideman, never pulling focus from Sari but relishing his opportunities to shine — and Sari gave him many. He’s got an original soloing style. He remains strictly in key; he never plays “out there,” jangling, discordant lines like Scott Henderson or Vernon Reid. No, he distinguishes himself through his acute sense of time, and his grand surprising gestures and leaps of register. He’ll play a twisted flurry of notes way up the neck and suddenly jump down two octaves and hold and bend a single note for all it’s worth. He’s a great listen. Likewise, Craig Dryer backed her up ably on keyboard, and really shined in his few tasty solos on sax. He should have played it more! Rhythm section of drummer Diego Voglino and bassist Andy Huenenburg laid down a rock-solid, unfussy groove.

So Sari didn’t do it alone, as she’ll be the first to admit. She introduced each of her colleagues by name, and not when they were playing. No, when they could take a real bow. I spoke to her before the show and she was at pains to acknowledge, as most real blues artists are, her debt to her elders, especially Buddy Guy and Walter Trout, with whom she had just played at Carnegie Hall, as well as Joe Louis Walker, with whom she has toured extensively in Europe and beyond. But Sari’s sound is her own. She cycled through a few blues styles to start the show, including a killer ballad, “Letting Go,” dedicated to the wife of Mike Vernon, her producer, before singing a gorgeous version of the old classic “In the Pines.” Near the end of her set she sang “Ordinary Life,” a wistful, evocative song from her new album (set to drop in August 2016), whose name she still hasn’t totally decided on. Decide, Sari, decide already! The world needs to hear your voice.

She played a quirky version of Leadbelly’s “Black Betty,” which I didn’t even know was a Leadbelly song. Started like a dirge, just voice and guitar, before the band kicked in and they kicked out the jams. The only odd note of the evening was when they ended with a straight cover of Jefferson Airplane’s “Go Ask Alice.” Though of course Sari sang the hell out of it, it seemed odd to end her celebratory set with this martial cautionary tale of a song. But I quibble. She’s got an amazing voice and sang with fire and grace. Go see her, and hear the living blues again, for the very first time.

Sari Schorr to Perform on the Lead Belly Fest at Carnegie Hall, Feb 4th




“No Lead Belly, no Beatles.” – George Harrison

“Lead Belly wasn’t an influence, he was the influence.” – Van Morrison

Lead Belly Fest presents its first US performance at Carnegie Hall on February 4, 2016, a multi-artist, immersive tribute featuring five-time GRAMMY Award winner Buddy Guy and Eric Burdon (the Animals), among others.

Lead Belly gave his final performance in 1949 at Carnegie Hall shortly before he died of ALS on 6th December of that year. Tom Paley of the New Lost City Ramblers performed at that 1949 concert and is the last man alive to have played with Lead Belly. Paley will return to the Stern Auditorium / Perelman Stage at Carnegie Hall February 4.

Other performers include three-time GRAMMY winner Tom Chapin; Blues Music Award nominee Nick Moss with Michael Ledbetter, who is Lead Belly’s first cousin twice removed; two-time British Blues Award winner Laurence Jones; Josh White, Jr., (son of legendary folk singer Josh White who sang at Lead Belly’s funeral); Hot 100 Singles charting artist Ali Isabella, the “high-octane” (UNCUT) Walter Trout; NYC Blues Hall of Famer Sari Schorr; NYC’s very own Dana Fuchs; and NYC folk and blues artist and Village Voice cover story subject Jerron “Blind Boy” Paxton; all playing with a house band led by Jon Cobert.

Lead Belly Fest sold out Royal Albert Hall this past June in a concert headlined by Van Morrison and received rave reviews:

“The stars came out to pay tribute in an incredible ensemble of talent. ‘Lead Belly Fest’ was, more than just a concert – it was a happening: without doubt one of the most diverse and authentic productions that this venerable hall has witnessed in many a year…”

- The London Times

A commemorative plaque to celebrate the Rock & Roll Hall of Famer’s longtime residence at 414 E. 10th Street, which became a hub of the folk revival, will be unveiled by a special guest at a ceremony to be announced in January.

Inspired by Lead Belly’s love of children, proceeds from the concert will go to NYC’s Association to Benefit Children (ABC). The Association to Benefit Children (ABC) is dedicated to bringing joy and warmth to disadvantaged children and their families through compassionate, sustainable, comprehensive and integrated services, designed to permanently break the cycles of abuse, neglect, sickness and homelessness.

ABC’s humane and innovative programs today include early childhood education for infants, toddlers and preschoolers, educational advocacy, housing assistance, mental health services, family support and preservation, crisis intervention, therapeutic out-of-school and summer day camp programs, youth leadership development and mentoring.

Project A.L.S. was founded in 1998, as a non-profit 501(c)3, when Jenifer Estess, a 35-year-old New York theater and film producer, was diagnosed with ALS. Told at the time of diagnosis to “max out her credit cards and eat junk food,” Jenifer instead committed her efforts to making a difference for people with ALS—and producing treatments and a cure.

Project A.L.S. identifies and funds the most promising scientific research that will lead to the first effective treatments and a cure for ALS. The new paradigm for brain disease research, Project A.L.S. recruits the world’s best scientists and doctors to work together rationally and aggressively toward a better understanding of the ALS disease process and, in parallel, better therapeutic strategies.

Tickets go on sale today and start at $40 at, CarnegieCharge 212-247-7800, Box Office at 57th and Seventh.

Blues Magazine feature on Producer and British Blues Pioneer Mike Vernon

Mike Vernon talks to The Blues Magazine about his new artist - Sari Schorr in an in-depth four-part feature. Here's the highlight:

As if that wasn’t enough to be getting on with, his most immediate concern is explosive American blues singer Sari Schorr. Vernon met her at an awards bash in Memphis earlier this year, when she sidled over to introduce herself and ask if he’d produce her new album. “It turned out she’d just finished a year-long tour with Joe Louis Walker as his Tina Turner-type singer,” Vernon recalls. “She looked exactly like the way I remember Martha Veléz did in 1972: jet-black hair parted in the middle and very exotic-looking. We got on like a house on fire, but it was only when I heard the demos that I realised what I was dealing with – she’s the most extraordinary singer, a big-voiced blues rocker.”

Perhaps more than any of Vernon’s other recent projects, the Sari Schorr album serves as a sharp reminder of his past. Aforementioned US singer Veléz, whom he produced for Blue Horizon back in 1969, is due to make a guest appearance. And more importantly, Vernon has rediscovered his enthusiasm for nurturing vital new talent.

“For the first time since the days of Blue Horizon, I broke my golden rule never to invest my own money in a project,” he says. “Sari did actually make an album in the early 90s, but her record company had their doors closed on them and it never came out. She then turned to being a songwriter. So this will be her debut album proper.”

Basic tracking was done in Spain, with Vernon bringing in members of top local combo Q & The Moonstones. Oli Brown has overdubbed some guitar too. “Guitarist Innes Sibun is putting together a band for Sari and the plan is for her to come and work in Europe next year. I’m really excited about the project – it’s sounding wonderful.”

And with praise like that coming from the man who broke the Bluesbreakers, Focus and Fleetwood Mac, who are we to argue?

Innes Sibun in the Studio!

Innes Sibun recording guitar overdubs on Sari's new album. Today the remarkable Innes Sibun is back in the studio recording more heart pounding, foot stomping, swamp sliding guitars for the new album. Go ahead and peek...

Innes Sibun guitar overdubs..Today the remarkable Innes Sibun is back in the studio recording more heart pounding, foot stomping, swamp sliding guitars for the new album. Go ahead and peek... Posted by Sari on Monday, October 12, 2015