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Kim Simmonds
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Key Information
Kim Maiden Simmonds (5 December 1947 – 13 December 2022) was a Welsh musician. He was the founder, guitarist, primary songwriter and sole constant member of the blues rock band Savoy Brown, which he formed in 1965. Simmonds had led Savoy Brown since its inception, appearing on every Savoy Brown release.
Career
[edit]When still a young teenager, Simmonds learned to play from listening to his brother's blues records. Considered one of the architects of British blues, he started the Savoy Brown Blues Band in October 1965,[1] who began playing gigs at the Nags Head in 1966 in London. Early gigs included performing with Cream at Klooks Kleek and accompanying John Lee Hooker.
Live performances led to Savoy Brown signing with Decca. But it was 1969 before its classic line-up gelled around Simmonds, rhythm guitarist Lonesome Dave Peverett, bassist Tony Stevens, drummer Roger Earl, and the monocle- and bowler-wearing vocalist Chris Youlden. That year's Blue Matter and A Step Further albums conjured up at least three classics heard on The Best of Savoy Brown (20th Century Masters/The Millennium Collection): "Train To Nowhere", the live show-stopper "Louisiana Blues" (a Muddy Waters number), and "I'm Tired".
Since its first US visit, Savoy Brown has criss-crossed the country, and "I'm Tired" became the group's first hit single across the ocean. The band would find a greater following in America than in its native England throughout its career.[citation needed]
1970's Raw Sienna followed, featuring "A Hard Way To Go" and "Stay While The Night Is Still Young". When Youlden then departed for a solo career, Lonesome Dave took over the lead vocals. Looking In, also in 1970, featured not only "Poor Girl" and "Money Can't Save Your Soul" but one of the era's memorable LP covers, a troglodyte-like savage staring into an eye socket of a monstrous skull. Later, Peverett, bassist Tony Stevens and drummer Roger Earl left to form the successful but decidedly rock band Foghat. Simmonds soldiered on, recruiting from blues band Chicken Shack keyboardist Paul Raymond, bassist Andy Silvester and drummer Dave Bidwell, and from the Birmingham club circuit the vocalist Dave Walker.
The new line-up was a hit. On stage in America, the group was supported by Rod Stewart and the Faces. On the album Street Corner Talking (1971) and Hellbound Train (1972) launched favourites "Tell Mama", "Street Corner Talking", a cover of the Temptations' Motown standard "I Can't Get Next To You" and the nine-minute epic "Hellbound Train" (decades later Love and Rockets adapted it as "Bound For Hell"). Walker then quit to join Fleetwood Mac, pre-Buckingham/Nicks.[2]
In 1997, Simmonds released his first solo acoustic album, entitled Solitaire. He toured worldwide with various configurations of Savoy Brown. The 2004 live set You Should Have Been There, recorded in early 2003 in Vancouver with Simmonds handling lead vocals – and also as a solo acoustic act. In 2011 he celebrated 45 years of touring with the Savoy Brown album Voodoo Moon.
In 2017, his album with Savoy Brown, Witchy Feeling, reached number one on the Billboard blues charts.
As a soloist and leader of Savoy Brown, Simmonds released over 47 albums through 2016. He was also a painter; the cover of his 2008 solo release, Out of the Blue, featured his original art. In 2008, Simmonds appeared in the documentary film American Music: Off the Record directed by Benjamin Meade, alongside Jackson Browne, Noam Chomsky, Douglas Rushkoff, Les Paul, Johnny and Edgar Winter and countless other musicians and musical acts.
Health and death
[edit]On 15 August 2022, Simmonds announced via the Savoy Brown website that he had been receiving chemotherapy for stage four colon cancer. Due to the side effects of his treatment, all scheduled Savoy Brown performances were cancelled.[3] Simmonds died of the disease on 13 December 2022 in Syracuse, New York,[4] at age 75. The news was announced via the Savoy Brown fanpage on 15 December.[5]
Discography
[edit]
With Savoy Brown
[edit]Solo
[edit]- Solitaire (1997)
- Blues Like Midnight (2001)
- Struck by Lightning (2004)
- Out of the Blue (2008)
- Jazzin' on the Blues (2015)
References
[edit]- ^ "Kim Simmonds, Savoy Brown and the Incredible Journey From London, Circa 1965". Gibson.com. 7 October 2008. Retrieved 19 January 2017.
- ^ Berk, Dr. Nancy (17 November 2015). "Savoy Brown's Kim Simmonds Rocks the Band's 50th Year". parade.com. Retrieved 13 December 2016.
- ^ Francis, Pete (15 August 2022). "Kim Simmonds of Savoy Brown reveals stage 4 cancer battle". Blues Rock Review.
- ^ Jim Farber (20 December 2022). "Kim Simmonds, a Key Figure in the British Blues Movement, Dies at 75". The New York Times. Retrieved 21 December 2022. (subscription required)
- ^ Savoy Brown’s Kim Simmonds Dies at 75, After Battling Stage 4 Cancer. Best Classic Bands. Retrieved 17 December 2022.
External links
[edit]
Wikimedia Commons has media related to Kim Simmonds.
- Savoy Brown website
- Kim Simmonds discography at Discogs
- Kim Simmonds at IMDb
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Kim Simmonds
View on Grokipediafrom Grokipedia
Early life
Childhood in Wales
Kim Simmonds was born on December 5, 1947, in Caerphilly, Wales, to Henry Simmonds, an electrician, and Phyllis (née Davies) Simmonds, a homemaker.[6] The family resided in a working-class community in the coal-mining town of Newbridge, approximately 20 miles north of Cardiff, where many relatives, including extended family members, worked in the local mines.[7] Simmonds' older brother, Harry, played a pivotal role in his formative experiences by introducing him to music through his collection of early rock 'n' roll and blues records.[6] Harry, who later managed the early years of Savoy Brown and worked for Bill Haley's British fan club, exposed the young Kim to influential sounds from the 1950s, fostering an early fascination with the genre.[8] This sibling influence occurred amid a modest household routine, where music became a key outlet in the constrained circumstances of their working-class upbringing.[1] Simmonds' interest in music ignited around age 13 when he saved money to purchase his first guitar via mail order, assembling the acoustic instrument himself upon arrival.[9] Though initially challenged by the acoustic's limitations for the electric styles he admired, this self-taught endeavor marked the beginning of his dedication to the guitar. He left school at age 16 to pursue music professionally, transitioning from local influences toward a full-time commitment to the craft.[1]Musical beginnings
At the age of 13, Kim Simmonds acquired his first guitar through a mail-order catalog, secretly ordering a cheap, unassembled model that he put together himself upon arrival.[10] Self-taught by ear, he began practicing diligently, drawing inspiration from his older brother Harry's extensive record collection, which introduced him to early rock 'n' roll like Bill Haley and Elvis Presley before shifting toward R&B and Chicago blues artists such as Muddy Waters and Earl Hooker.[11][8] This immersion fueled Simmonds' rapid progress. By age 16, committed to a professional music career, he left school to pursue playing full-time.[1] Around age 10, Simmonds and his family relocated from Wales to London, placing him at the heart of the burgeoning British blues scene and setting the stage for his next musical endeavors.[6]Career
Formation and early years of Savoy Brown
Kim Simmonds founded the Savoy Brown Blues Band in 1965 in London at the age of 18, drawing from his early experiences playing blues in local groups. The initial lineup included vocalist Brice Portius, keyboardist Ray Chappell, drummer Leo Mannings, and bassist Trevor Jeavons, reflecting the raw enthusiasm of the emerging British blues scene. This formation positioned the band as a dedicated ensemble focused on authentic Chicago-style blues covers, amid a burgeoning revival that saw young musicians reinterpreting American roots music.[12][13] The band quickly gained traction through relentless live performances in London clubs, such as the Marquee and their own Wednesday night residency at Kilroy's in Battersea, where they honed their sound and built a loyal following. These gigs filled a void left by the departure of major acts like the Rolling Stones to international fame, allowing Savoy Brown to headline alongside up-and-coming groups and establish "blues nights" as a staple. Their energetic sets contributed to the mid-1960s British blues revival, paralleling contemporaries like Fleetwood Mac in revitalizing the genre within the UK club circuit. Live shows led to a recording contract with Decca Records, marking a pivotal step in their professional ascent.[14][15] In September 1967, Savoy Brown released their debut album Shake Down on Decca, produced by Mike Vernon and Gus Dudgeon, featuring Portius on vocals and emphasizing gritty blues tracks recorded in just three days. The album captured the band's raw energy but faced challenges from unstable lineups, including departures that tested Simmonds' leadership as the constant member. Shortly after, vocalist Chris Youlden joined in 1968, bringing a distinctive style and co-writing contributions that stabilized the group for subsequent releases. This period saw the issuance of early singles like "Train to Nowhere" b/w "Made Up My Mind" in November 1968, a Youlden-Simmonds composition that encapsulated the band's evolving blues-rock edge amid ongoing personnel shifts.[16][15][17]Evolution of Savoy Brown
In the early 1970s, Savoy Brown underwent significant lineup shifts that reshaped the band under Kim Simmonds' steadfast leadership as the sole constant member. Vocalist Chris Youlden departed in 1970 after contributing to albums like Raw Sienna, prompting guitarist "Lonesome" Dave Peverett to assume lead vocals for the subsequent release Looking In (1970).[18] This change marked a pivot, but further upheaval followed in 1971 when Peverett, along with drummer Roger Earl and bassist Tony Stevens, left to form Foghat, leaving Simmonds to rebuild the group repeatedly amid over two dozen personnel changes across decades.[19] Simmonds' role as founder, primary songwriter, and guiding force ensured continuity, with the band stabilizing into a trio format by the 2010s featuring bassist Pat DeSalvo and drummer Garnet Grimm.[20] These transitions coincided with a stylistic evolution from the band's pure blues roots toward a more expansive blues-rock sound, incorporating progressive and boogie elements while retaining raw energy.[21] Simmonds drove this adaptation in response to shifting industry trends, blending traditional blues structures with rock-driven rhythms to sustain relevance amid the 1970s rock explosion.[18] Key albums from this era, such as Hellbound Train (1972), exemplified the shift, reaching the Billboard Top 40 and showcasing extended jams that appealed to American audiences.[20] Earlier works like Getting to the Point (1968) had laid groundwork for this progression, but post-1970 releases like Jack the Toad (1973) and Boogie Brothers (1974) fully embraced the blues-rock hybrid, reflecting Simmonds' vision of evolving beyond strict blues revivalism.[22] Savoy Brown's growing popularity in the United States fueled extensive touring, establishing the band as a staple on the circuit with performances at venues like Carnegie Hall and the Fillmore East.[20] The single "I'm Tired," from A Step Further (1969), peaked at No. 74 on the Billboard Hot 100, marking their first significant U.S. hit and boosting transatlantic appeal.[23] This momentum carried into the 1970s and beyond, with Simmonds relocating to the U.S. in 1980 to capitalize on the market, supporting tours for acts like ZZ Top and Kiss while releasing albums such as Rock 'n' Roll Warriors (1981).[20] By 2022, the band had amassed over 40 albums, including later triumphs like The Blues Kept Us Alive (2016) and Witchy Feelin' (2017, which topped the Billboard Blues Chart), demonstrating Simmonds' commitment to longevity and adaptation in a changing music landscape.[18][22]Solo work and other projects
Kim Simmonds released his debut solo album, Solitaire, in 1997 on Blue Wave Records, an all-acoustic effort where he performed on guitar, dobro, harp, piano, and vocals, blending traditional and original blues material.[24][25] This self-produced project marked a departure from his electric work with Savoy Brown, emphasizing intimate, stripped-down arrangements.[26] His second solo release, Blues Like Midnight (2001), continued the acoustic focus, featuring fresh interpretations of blues standards alongside originals, including a slow blues rendition of Jimmy Rogers' title track.[27][28] Simmonds handled production again, drawing on influences from artists like Gary Davis and J.J. Cale to explore the acoustic blues tradition.[29][30] In 2004, Struck by Lightning followed, recorded at Simmonds' White Cottage Studios and reflecting personal themes through a mix of electric and acoustic elements across 12 tracks.[31][32] The album showcased his songwriting depth, with songs like "Last Train Has Gone" and "My Home Is A Highway" highlighting introspective lyrics and guitar work.[33][34] Out of the Blue (2008), another acoustic outing, featured Simmonds' original artwork on the cover and delved into blues with tracks such as "Ain't Going Down" and "North Country Town," reinforcing his preference for self-production in solo endeavors.[35][36] Reissued in 2019 on Panache Records, it underscored the enduring appeal of his unaccompanied style. Simmonds' fifth and final solo album, Jazzin' on the Blues (2015), consisted of 12 all-instrumental tracks merging jazz and blues influences, performed solely on acoustic guitar.[37][38] Self-produced and released on Panache, it included pieces like "Dancing on a Memory" and the title track, demonstrating his versatility in instrumental composition.[39][40] Beyond albums, Simmonds appeared in the 2008 documentary American Music: Off the Record, directed by Benjamin Meade, where he discussed blues influences alongside figures like Jackson Browne and Noam Chomsky.[41] His visual art, including abstract expressionism and musician portraits, often intersected with his music; he noted that breakthroughs in painting inspired songwriting innovations, as seen in the artwork for Out of the Blue.[42][43] While guest spots were infrequent, Simmonds occasionally collaborated in live settings, such as a 2021 interview appearance with Joe Bonamassa on Live From Nerdville.[44] No major late-career singles were issued independently.Musical style and equipment
Influences and technique
Kim Simmonds' early exposure to blues came through his older brother Harry's record collection, which featured foundational Chicago blues artists including Muddy Waters and John Lee Hooker, shaping his lifelong affinity for the genre.[8][2] These influences, discovered during his teenage years in Wales, instilled a deep reverence for authentic blues expression, which he later channeled into his own playing.[45] Simmonds' guitar technique emphasized emotive, fleet-fingered leads that favored raw feel and subtlety over mere speed or flash, drawing directly from the poetic phrasing of influences like Otis Rush and Freddie King.[46][2] His style evolved from the raw energy of the 1960s British blues revival—rooted in covers of American blues standards—into a distinctive blues-rock fusion, where he blended traditional structures with personal innovation to create dynamic, narrative-driven solos.[21][47] As Savoy Brown's founder and constant member, Simmonds dominated the band's sound through his commanding guitar work and prolific songwriting, which infused their music with blues authenticity while pushing toward harder rock edges.[2][18] In a 2020 interview, he attributed his relentless creativity to an innate drive, stating, "I was born with nervous energy and I put that to good use."[48] This "nervous energy" fueled his artistic output, ensuring Savoy Brown's evolution mirrored his own stylistic growth over decades.Guitars and amps
Throughout his career, Kim Simmonds relied on a core selection of guitars that evolved from straightforward electrics suited to the British blues scene of the 1960s to more customized instruments for expansive tours in later decades. His first professional guitar was a blond 1965 Fender Telecaster, paired initially with a Vox AC30 amplifier for club performances with early Savoy Brown lineups.[21][49] He soon incorporated a red early-1960s Gibson SG and a sunburst Gibson ES-345, favoring their resonant semi-hollow and solid-body tones for capturing raw blues expression in intimate venues.[21] By the late 1960s, Simmonds shifted toward Gibson Les Paul models, using various sunburst and goldtop Standards and Customs—often with modified pickups—to achieve a thicker, more aggressive sound on albums and stages, including a cherryburst 1973 Custom during 1988–1995 tours and recordings like Kings of Boogie.[21] For live shows, particularly from the 1970s onward, Simmonds frequently turned to Fender Stratocasters, such as a sunburst 1964 or 1965 model with a maple fretboard, valued for its clarity and versatility in cutting through band mixes during high-energy performances.[21] A notable later addition was his 1999 Roger Bacorn guitar, a custom 335-style semi-hollowbody that echoed the ES-335's design while offering personalized playability for blues-rock applications.[21] He also employed specialized instruments like a late-1960s mahogany Gibson Flying V for dynamic leads, an early-1960s cherry Gibson ES-355 with Bigsby vibrato for nuanced phrasing, and a 1980s Porter custom neck-through-body guitar with P-90 pickups and Bigsby for slide work.[21] Simmonds' amplification setups mirrored this progression, starting with compact Vox AC30 heads and Marshall stacks in the 1960s for punchy, overdriven club tones, then expanding in the mid-1970s to four linked Fender Twin Reverb amplifiers loaded with JBL speakers to deliver clean, high-volume projection in arenas.[21] By the 2000s, his rig centered on a 60-watt Fender DeVille combo featuring four 10-inch speakers, run clean to preserve dynamic blues nuances, often paired with a 1970s Marshall combo for added warmth and sustain during tours.[50][21] Effects remained minimal to maintain purity, typically limited to a Tube Screamer pedal for subtle overdrive and boost, and an occasional wah-wah pedal like a Cry Baby for expressive swells.[50][21] In the 2010s, he integrated a DBZ guitar by Dean Zelinsky into his setup, appreciating its enhanced resonance for instrumental explorations.[49] This evolution from modest 1960s club gear to robust, tone-focused configurations in the 2000s underscored Simmonds' commitment to clean, articulate amplification that amplified his blues phrasing without overwhelming it.[21][50]Personal life
Family
Kim Simmonds was married to Debbie Lyons Simmonds for 31 years until his death in 2022.[51] The couple shared a close partnership, with Simmonds often crediting his wife for providing essential emotional support throughout his extensive touring schedule with Savoy Brown.[47] Together with Debbie, Simmonds had one daughter, Eve Simmonds, who resided with them in Oswego, New York.[51] From a previous marriage, he was also the father of son Justin Simmonds, based in Mansfield, Ohio, and daughter Tabatha Simmonds, who lived in Mansfield, Ohio.[51] Simmonds maintained strong familial bonds with all three children, who survived him following his passing.[6] In 1992, Simmonds relocated from the United Kingdom to Oswego County, near Syracuse, New York, where he established a family home that served as a stable base amid his international music career.[52] This move allowed the family to build a life in the United States, with Debbie and Eve providing consistent support during periods of prolonged absence due to tours.[7]Interests outside music
In the later years of his life, Kim Simmonds developed a significant interest in visual art, emerging as an accomplished painter whose work often drew inspiration from blues and musical motifs. Beginning around the early 2000s, he explored various mediums including acrylics, oils, and watercolors, employing techniques such as palette knife application and spontaneous improvisation to create pieces characterized by vibrant colors, texture, and emotional depth.[43][42] His subjects frequently included abstract representations of guitars, still-life arrangements evoking blues instrumentation, and monochrome portraits of musicians rendered in shades of blue, as seen in works like Blues in C Major (ca. 2018) and Musician in Blue.[53][54] Simmonds viewed painting as a vital creative outlet parallel to his musical pursuits, using it to channel and expend his abundant creative energy on a near-daily basis. He described the process as akin to improvising a guitar solo, emphasizing spontaneity and freedom from conventional rules to achieve artistic breakthroughs.[55][43] This practice provided personal solace and helped maintain his artistic vitality, with exhibitions of his work gaining recognition in galleries such as ARDT Gallery, where his paintings were praised for their excitement and spontaneity.[56] Simmonds integrated his painting directly into his musical career, notably by creating original artwork for album covers, including a watercolor for his 2008 solo release Out of the Blue and Musician in Blue for Jazzin' on the Blues (2017). These efforts blurred the boundaries between his visual and auditory expressions, allowing blues themes to manifest across mediums as a unified form of personal creativity.[42][54] In early 2022, Simmonds was diagnosed with stage 4 signet ring cell colon cancer (SCCC), a rare form accounting for less than 1% of colon cancers.[4] He publicly announced the diagnosis on August 15, 2022, via the Savoy Brown Facebook page, revealing he had been battling the disease for nearly a year while undergoing chemotherapy and canceling the band's remaining 2022 performances, though he expressed hope for a 2023 return.[57] Simmonds continued working on music during his illness, including the album Blues All Around, recorded while recuperating from treatments.[58] He died from the cancer on December 13, 2022, at his home in Oswego, New York, at the age of 75.[6] Simmonds was survived by his wife, Debbie, to whom he had been married for 31 years, as well as his children; he was predeceased by his parents and brother.[1]Legacy
Simmonds is recognized as a foundational figure in British blues rock, founding Savoy Brown in 1965 and steering it through over 50 years of evolution, with more than 40 albums that preserved and advanced the genre's traditions.[1] His guitar style, emphasizing authentic blues expression, bridged Chicago blues influences with rock, helping sustain the 1960s blues revival into subsequent decades.[2] He received multiple honors for his contributions, including induction into the New York Blues Hall of Fame in 2014, the Canadian Blues Hall of Fame in 2009, and the Ontario Blues Hall of Fame. Simmonds' handprints were also enshrined at the Hollywood RockWalk.[1][59][60] Simmonds' influence extended to other musicians; former Savoy Brown members Dave Peverett, Roger Earl, and Tony Stevens formed Foghat, carrying forward elements of his blues-rock approach.[2] Following his death, the band released Blues All Around in 2023, featuring his final studio recordings, which peaked at #16 on Blues Rock Review's Top 20 Albums of 2023.[61]Discography
With Savoy Brown
Kim Simmonds founded Savoy Brown in 1965 as its lead guitarist, primary songwriter, and frequent producer, serving as the band's sole constant member across more than three decades of recordings until his death in 2022.[62][22] His contributions shaped the band's blues rock sound, blending British blues traditions with American influences, and he penned or co-wrote the majority of original material on their albums.[63]Studio Albums
The following is a chronological list of Savoy Brown's studio albums, with Simmonds performing lead guitar and contributing songwriting on all; he also produced several later releases.| Year | Album | Label | Notes |
|---|---|---|---|
| 1967 | Shake Down | Decca | Debut album featuring blues covers; Simmonds' early guitar work established the band's raw sound.[62][22] |
| 1968 | Getting to the Point | Decca | Early exploration of original compositions by Simmonds.[62] |
| 1969 | Blue Matter | Decca | Peaked at No. 182 on US Billboard 200; Simmonds' songwriting highlights include "Louisiana Blues."[62] |
| 1969 | A Step Further | Decca | Featured extended jams showcasing Simmonds' guitar solos.[62] |
| 1970 | Raw Sienna | Decca | Simmonds-led shift toward boogie rock.[62] |
| 1970 | Looking In | Decca | Peaked at No. 39 on US Billboard 200; includes Simmonds' "Leaning on an Old Lamp Post."[62][64] |
| 1971 | Street Corner Talking | Decca/Parrot | Key release blending R&B and blues; Simmonds produced and wrote "Street Corner Talking."[62][22] |
| 1972 | Hellbound Train | Decca/Parrot | Seminal album critically acclaimed for its intensity; Simmonds' title track became a band staple.[62][22] |
| 1972 | Lion’s Share | Decca | Focused on Simmonds' songwriting with tracks like "The Saddest Thoughts."[62] |
| 1973 | Jack the Toad | Decca | Live-influenced studio set; Simmonds' boogie elements prominent.[62] |
| 1974 | Boogie Brothers | Decca | Emphasized uptempo grooves co-written by Simmonds.[62] |
| 1975 | Wire Fire | London | Billed as Savoy Brown Featuring Kim Simmonds; he handled guitar and production.[62][22] |
| 1976 | Skin ’n’ Bone | London | Simmonds' raw blues focus.[62] |
| 1978 | Savage Return | London | Return to form with Simmonds' originals.[62] |
| 1981 | Rock ’n’ Roll Warriors | Town House/Accord | Simmonds revived the band; includes "Run to Me."[62] |
| 1988 | Make Me Sweat | GNP Crescendo | Simmonds as producer and lead songwriter.[62] |
| 1989 | Kings of Boogie | GNP Crescendo | Boogie-heavy set penned by Simmonds.[62] |
| 1992 | Let It Ride | Roadhouse/SPV | Simmonds' guitar-driven tracks.[62] |
| 1994 | Bring It Home | Viceroy | Return to blues roots; Simmonds produced.[62] |
| 1999 | The Blues Keep Me Holding On | Mystic | Compilation-style studio effort by Simmonds.[62] |
| 2003 | Strange Dreams | Blind Pig | Simmonds' introspective songwriting.[62] |
| 2005 | Blues, Balls & Boogie | Blind Pig | Energetic mix co-written by Simmonds.[62] |
| 2007 | Steel | Panache | Simmonds-produced rail-themed blues.[62] |
| 2011 | Voodoo Moon | Ruf | Mystical themes from Simmonds' pen.[62] |
| 2014 | Goin' to the Delta | Ruf | Billed with Simmonds; acoustic blues focus.[62] |
| 2015 | The Devil to Pay | Ruf | Simmonds as co-lead; high-energy rockers.[62] |
| 2017 | Witchy Feelin’ | Ruf | Simmonds' swampy blues production.[62][22] |
| 2019 | City in the Sky | Quarto Valley | Urban blues by Simmonds.[62] |
| 2020 | Ain’t Done Yet | Quarto Valley | Defiant late-career statement from Simmonds.[62] |
| 2023 | Blues All Around | Quarto Valley | Posthumous release; final Simmonds recordings, produced by him.[62][65] |