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Tab Benoit (pronounced ben-wah) is an American blues guitarist, musician and singer who was born on November 17, 1967 in Baton Rouge, Louisiana. His playing is a mix of blues genres, with an emphasis on delta blues. He composes his own songs and plays a Fender Telecaster Thinline electric guitar. In May 1985, Benoit graduated from Vandebilt Catholic High School in Houma, Louisiana. He founded Voice of the Wetlands in 2003 to raise awareness of the need for coastal wetland conservation.
Tab Benoit Net Worth : $ 14 Million
Let’s check out Tab Benoit Net Worth Income’s updated 2021 salary report given below:
Tab Benoit’s Salary/Income:
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Per year: $4,000,000. Month: $32,000. Per week: $8,000
Per day:
Per hour:
Per minute:
Per second:
$1140
$19
$0.3
$0.05
Tab Benoit FAQ
How d Tab Benoit become so rich? How much does Tab Benoit earn per day? Let’s Check Out Tab Benoit Wife/Husband Net Worth? How much does Tab Benoit make per day? How much fortune Tab Benoit? How does Tab Benoit get rich? How does Tab Benoit make money? What is Tab Benoit’s income? What is Tab Benoit’s salary? How old is Tab Benoit? How tall is Tab Benoit?
Who is Tab Benoit bass player?
Benoit’s longtime bass player, Corey Duplechin also plays on most of the albums.
Where is Tab Benoit now?
Tab Benoit is currently touring across 1 country and has 21 upcoming concerts. Their next tour date is at Gruene Hall in New Braunfels, after that they’ll be at Tipitina’s in New Orleans.
Is Tyron Benoit related to Tab Benoit?
Later Benoit’s son Tyron, a gifted musician like his brother, noted blues guitarist Tab, gave up touring with his band and took over the leadership at Benoit Machine, which in 2012 was purchased by a conglomerate and rechristened Benoit Premium Threading LLC.
Who is Tab Benoit drummer?
In addition to Benoit and his regular crew, bassist Carl Dufrene and drummer Darryl White, Sea Saint Sessions included guest appearances by Big Chief Monk Boudreaux, Cyril Neville, Brian Stoltz, and George Porter, Jr.
Is Tab Benoit a pilot?
Having grown up in the South Louisiana oil patch, Benoit got his pilot’s license at age seventeen and flew pipeline surveys for the oil industry while paying his musical dues in small clubs.
Who is Tab Benoit’s father?
What AMP does Tab Benoit use?
Fender ’65 Twin Reverb.
What nationality is Tab Benoit?
Tab Benoit and Tab Benoit Jr. – Night Train
Images related to the topicTab Benoit and Tab Benoit Jr. – Night Train
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Lets check out updated 2021 Tab Benoit Net Worth Income Salary report which is given below : Tab Benoit’s Salary / Income: Per Year: $ 4,00,000
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How Much Money Does Tab Benoit Make? Latest Tab Benoit Net Worth Income Salary · Tab Benoit Net Worth : $ 14 Million · Tab Benoit FAQ · Nyahera …
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How Much Money Does Tab Benoit Make … – NCERT POINT
How Much Money Does Tab Benoit Make? Latest Tab Benoit Net Worth Income Salary · Tab Benoit Net Worth : $ 14 Million · Tab Benoit FAQ · Popular …
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How Much Money Does Tab Benoit Make? Latest Tab Benoit Net …
Lets check out updated 2021 Tab Benoit Net Worth Income Salary report which is given below : Tab Benoit’s Salary / Income: Per Year: $ 4,00,000
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Featured Interview – Tab Benoit
Cover photo © 2021 Roman Sobus
Blues fans think they know Tab Benoit. For many, he is the talented musician who is very approachable to his fans. And as the so-called “Mayor of Benderville” (in Big Blues Bender), he’s known as someone who’s always ready to have a drink, smoke a cigar, and tell great stories. However, few know the extent of his far-reaching talents and interests. A painter, diesel mechanic, ex-soccer player, airplane pilot, ex-restaurant owner/chef, inventor, conservationist, co-author, carpenter, welder, amateur electrician, and record producer, Benoit really seems to fit the definition of a Renaissance man. This became even clearer when Blues Blast Magazine had the opportunity to meet Benoit during his six-day residency at the City Winery in Chicago.
Many musicians are also artists, so it probably comes as no surprise to learn that Benoit is an excellent painter. He reported that he began painting in high school, and while his art teacher recognized and encouraged his talent, she struggled with his rebellious attitude toward assignments.
“Our teacher was more of a sculptor than a painter. I wanted to paint, but she wanted us to keep working with clay, so I would never do the assignments exactly the way she wanted. She loved my work and encouraged me to approach the art the way I did, but she said, “I can’t give you an A because that would be like telling the class they can do whatever they want.” .” Even though I didn’t get an A, that was one of the first encouragements I needed to be an artist and to do what I really feel.”
As a young teenager, Benoit also worked as a diesel mechanic in his father’s workshop. A skill that later came in handy when he needed to repair his tour bus en route.
“I used to work on my own bus until I got a driver who is a good mechanic. Now I try to keep my fingers out of this compartment if possible. But when I met Albert Collins he didn’t know I played guitar, he only knew me when I helped him fix his bus. He was playing tipitinas and I got there early and saw some feet sticking out of the engine bay of his bus, so I asked, “Do you need help?” He said, “Yeah — give me the wrench.” I did.” I know not that it was Albert Collins working on his own bus. Well, then he recognized me later when he saw me again, but he didn’t know my name, so he just called me “bus man.” I stayed the “bus man” to him because I would see all those guitar playing players popping up up with their guitars on their backs and he let them play, but he played a note and just blew them away. After letting them play, he came back to me and talked to me. So I said to myself, “I don’t want to be that guy,” and I never told him I play guitar. His widow later told me that she wished I’d let him know I was playing because she thought he liked the way I played his songs.”
After a very brief stint as a foosball player for the Louisiana State University football team, Benoit decided not to complete his studies or pursue football, despite the fact that he was close to receiving a scholarship. He had learned to fly at a very young age and decided to focus on becoming an instructor at a New Orleans flight school.
“I quit making music for a year and really tried to commit 100% to being a pilot. But I was the new instructor, so they always gave me the problem students – the ones that no other instructor wanted because they couldn’t speak English or just couldn’t fly. This one guy, Mario, was from Greece, couldn’t speak English and was very afraid of flying. I think he only took lessons because his two older brothers took lessons. I tried to teach him for a year but the last day I flew with Mario I made my decision. I thought, “I’m going to land this plane and let my boss know this is it.” It was that bad. It wasn’t an easy decision to quit because I didn’t have a follower or a band at the time, but I said to my boss, “I’m giving up my epaulettes and I’m going to make music for a living.” Gosh, the boss laughed just kicking me out because he had no idea I was making music at all and thought I was saying that I would buy a guitar and try to learn to play it. So he told me to just take a week off and relax and it would be fine. But I stopped that day. And since I’ve settled in, my former boss has shown up at my shows occasionally, and he sometimes jokes that I can have my old job back if I want it.”
Benoit, who is of Cajun, Cherokee, and Choctaw descent, also formerly owned a Cajun restaurant/music venue called the Lagniappe Music Café. He frequently cooked for the restaurant to ensure no shortcuts were taken in the preparation of the food.
“For many Cajun dishes, timing is important. It can take three or four hours to prepare, and the time it takes you to go from one cooking phase to the next is important to the outcome of the dish. In a way, cooking is like music. You always think next time will be the best gumbo you ever made because you learn from every other time, just like you always think you can play a song a little bit better than before. In both cooking and music, you have to be really passionate to be good.”
In 2019, Benoit co-authored a book on the blues and mental health that aimed to reduce the stigma surrounding mental illness and raise money for the HART Fund, a non-profit organization that helps blues musicians pay for medical/mental health expenses pay can not afford to pay. His interest in it was related to his awareness of how music can be therapeutic for people in difficult times. (Full disclosure – interviewer Anita Schlank co-authored this book!)
“It’s often a song that brings you back from a tough time when no one else can say the right thing. When I realized that sometimes I have the ability to help people through something in their lives with a song, I knew I really had to do this. I think my part of this book is really about it – helping people. Even if it’s just one person, it’s worth it.”
Benoit’s non-profit organization The Voice of the Wetlands aims to raise awareness of the Bayou region’s erosion issues. He’s been on this cause for nearly twenty years, but progress is slow, and he noted that when a group is working with the Federal Government Corp of Engineers, it can be decades before you know if you’ve made progress. Although the erosion hasn’t stopped, more and more people are talking about the existing problems, and new projects have started to address them.
Benoit is also an inventor and once used his welding skills to invent a contraption to attach garbage cans to the outside of a car to bring them to the end of a long driveway.
“I think necessity is the mother of invention when you live so far off the road. My neighbor saw me using it and said to patent it and I am listed as an inventor in the patent office. But I’m not going to make them, so I didn’t go any further with a patent.”
At home during the pandemic, Benoit also honed his skills as a carpenter, electrician and plumber. He didn’t think it was unusual for a musician to be skilled in so many fields, explaining that those who live in the bayou seem to be equally gifted in different areas.
“If you have a frame home in south Louisiana, you’re going to have rot, so I fixed everything I’d neglected touring for decades. People down where I live are very imaginative. Just as it seems everyone can play music there, it seems like they always find ways to do things. We have hurricanes and the people who live there have to get resourceful as they keep getting knocked down. A lot of musicians I know had built their own houses or their fishing camps and are also welders and electricians.”
Although best known as a guitarist, Benoit’s first instrument was drums, and once he’s sung a song, fans often have little tolerance for others attempting the same song. When asked how his voice seems to improve with age, while other singers tend to lose strength and range, Benoit explained that he believes it’s because he’s still learning.
“When I first started singing I didn’t have a lot of experience so there’s only one way from there, but I think you find yourself using the instrument a little bit better each time you use it. I’m learning how to use air and control the flow of air through the vocal cords. It’s like playing an instrument that you can’t see or touch with your hands. For me it is the most difficult instrument to play – which makes it even more challenging. I’m always working on how to get more emotion out of the song for the audience to feel.”
The project that has taken up most of Benoit’s time in recent years is his record label Whiskey Bayou Records, owned by his manager Rueben Williams. Benoit frequently contributes to the album with songwriting, playing drums, rhythm guitar and providing backing vocals. Benoit’s longtime bassist Corey Duplechin also plays on most of the albums. Whiskey Bayou Records has released albums by Eric Johanson, Eric McFadden, JP Soars, Damon Fowler, Alastair Greene and most recently Big Chief Monk Boudreaux. It may seem like an odd time for some to start a record label given the availability of online music streaming services, album sales have dropped dramatically and songwriters and independent music labels are now earning a fraction of what they used to earn .
“Well, the label wasn’t really about making money, it was about taking money out of the picture. It’s about making records when it’s not pressed for time because it costs money to rent a studio or you have a record label exec after a deadline. In my opinion, when you make art, you should never think about money. It puts unnecessary pressure on the artist to come up with magic. It should be about doing what you feel and taking your time to get it. The funny thing is, when we do that, it’s actually faster.”
Benoit has often expressed his dislike of recent trends in the music business to correct bands’ sound through the use of autotuning. He insists that the bands playing on the Whiskey Bayou label record live so the album is more authentic and sounds like the band would sound at a concert.
“It’s the hardest thing to listen to yourself. It’s like looking in the mirror and you can try really hard and excuse yourself from releasing these tracks. I had to learn to listen to myself more objectively when I started making my own records and usually the first time you play is the best. Maybe it wasn’t exactly how you want to play it, but it was honest. We play how we feel and let the honest attitude be what gets on the record. It’s a conversation with the audience, so let it be. The industry doesn’t always want to hear that. They want to put out a polished, finished piece that people will want to buy. But I think the music that we put out that the average music fan can listen to and say it’s honest music for honest, real people. You can tell the artist really meant what they said and felt what they played.”
Benoit also has a different approach than most when it comes to songwriting. While many songwriters talk about writing constantly and jotting down ideas for songs every day, Benoit believes in taking just the skeleton or just an idea for a song to the recording session and finishing it there. He has co-written several songs for the artists who have recorded on his label.
“I tell them not to write everything down. They should record it as they experiment with their feelings and let it happen. If you write down the songs in advance, you might overthink things. It’s important that your head doesn’t get in the way of your art. The way we write, sometimes we think about how to finish a song, but then we move on to something else. A lot of time is spent just talking and hanging out and telling stories and then something for the song is sparked from that. It happens of course. It always seems like the best songs on the album are the ones written right there. For example, Alastair played around with a few chords and the word “heroes” came to mind because the sounds created an image and that’s what I heard. So, boom – here comes the whole song. That’s what happens when it’s organic and natural. There was no overthinking and it makes the songs better.”
Alastair Greene confirmed that his recording experience fitted that description exactly. He described the atmosphere at Whiskey Bayou Records as “really relaxed and comfortable. We laughed the whole time and got along really well. I had an absolute blast in his studio. We had so much fun and really recorded what I think is my most honest album yet.”
All previous artists on the Whiskey Bayou label are guitarists, but the latest release seems like a departure from the norm. The album features singer Big Chief Monk Boudreaux and only half of the songs on the album are blues and the other half are reggae songs. Boudreaux recorded the reggae songs during a trip to Jamaica, accompanied by Damon Fowler playing on several tracks. Also, Benoit not only contributed guitar work on this album, but also played the organ. Benoit described how he felt compelled to include Boudreaux, noting that he believes Louisiana and Jamaica influenced each other, leading to a natural connection between the two.
“Monk is a legend of Louisiana music and the oldest living chief of the Mardis Gras Indians. He’s also been a part of the Voice of the Wetlands from the start. His songwriting style suited my style well because he tells people to start playing and then he starts making up the lyrics on the spot. He doesn’t even write the lyrics in a notebook. It’s easy to work with, but we had to find a way to pull that story together into one album and make it cohesive – to make it sound like it was part of the same album even though it was recorded in two different recording studios. Even though I’m not really good on the keyboards, I think the organ is very rhythmic, almost like a percussion instrument. So since I had a B-3 in my studio, I used it just like that.”
The result is a very unique and powerful album, as will be attested to by Damon Fowler and Johnny Sansone, who both worked on the recording. Sansone remarked, “Just to be in the presence of a man with such a deep heart and soul is very moving. But seeing Big Chief Monk Boudreaux in the recording studio and working with him was a reassuring realization of just how passionate he is about his past and future when creating his music.” Fowler said simply, “To go to Jamaica and be a part being on Monk’s recording is something I will always carry in my heart – a week I will never forget.”
While all Whiskey Bayou Records seem to be doing pretty well, fans are lamenting that Benoit hasn’t released an album with himself in many years. They keep reminding him of their hope to buy a new Tab Benoit album soon. But given his wide-ranging interests, it’s difficult to say what kind of unique project might require his attention next, and Benoit has certainly not been idle in the years since Medicine was published. He has supported and helped develop the careers of several younger up-and-coming artists, and was also one of the first bands to return to tour as the pandemic began to fade. Unlike other musicians, he did not participate in live streaming from home during this period.
“We really need people in the space. We need people to join us and feel the vibes – we all feel it together. You don’t get that playing to a point on a computer screen, and you get these little clapping hand emojis in response. I can’t feel any of this. When I hear the audience clapping, I feel it and it’s music to my ears.”
To learn more about Tab Benoit, visit his website at www.tabbenoit.com.
Tab Benoit Full Tour Schedule 2022 & 2023, Tour Dates & Concerts – Songkick
Another amazing Tab Benoit show to add to the other Tab Benoit shows we’ve seen and leave with another remarkable reminder of his incredible talent as a guitar shreddin, singer, songwriter, producer, musician with left a bad $# @ bassist and rock solid drummer ending the three hour show after Tab saw Tab 1 play drums for 1 1/2 hours to support Eric Johanson’s Screamin Guitar Licks, with Corey Stompin on bass guitar for the three hour show!!! !
A must see event, over and over again!!!
Looking forward to the next time he rolls through town!!!!
Thanks guys for another amazing show!!! Until next time !!
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Evelyn Benoit proving doubters wrong one win at a time The Racing Biz
It was a challenging time and Benoit found solace in the horses.
“That’s why Star Guitar was so important to me and the family,” she said. “It was so uplifting to see him run and win and took our mind off everything, even if it was only for a short time.”
Later, Benoit’s son Tyron, a gifted musician like his brother, well-known blues guitarist Tab, gave up touring with his band and took over as head of Benoit Machine, which was bought by a conglomerate in 2012 and renamed Benoit Premium Threading LLC.
Brittlyn’s trainer Jose Camejo visited Delaware Park at the urging of new race secretary Tom Creel and spoke to his owner about racing here this season. Benoit says she has a lot of respect for the Camejo’s opinion and has agreed to send a string to the East Coast for the first time. It was a decision she says she’s glad she made.
“I’m very impressed with our time here (at Delaware Park),” said the owner-breeder. “When I first visited and entered the paddock and walking ring I was blown away. It’s so natural, full of trees and greenery and it’s so horse friendly like they belong there. We sent more horses to Jose and I think Delaware Park will be a big part of our racing program from now on.”
Benoit also had words of praise for Camejo and the ex-driver’s work ethic.
“I’ve always said I’ve never seen anyone work as hard as my husband and that’s still true, but Jose comes close,” Benoit admitted. “He is totally committed to the horses, he always thinks of them first and I know I can count on him to do what is right for the horse. I now only have two coaches, Jose and Steve Asmussen, and they are both doing an excellent job.”
Since Star Guitar retired as a runner, Benoit has worked hard to make him a sire. That includes buying high-end mares to send him, even though it’s only $7,500. It’s a strategy that many in the game would doubt, but it seems to be working.
July 24th was a milestone for Brittlyn Stables and for Star Guitar. That’s when Minit to Stardom wired a strong field going 20-1 in the $200,000 Grade 2 Honorable Miss Handicap in Saratoga to give Star Guitar its first Graded Stakes winner.
“It was a very special day for all of us,” said the woman, dubbed the “First Lady of Louisiana Racing.”
She added: “You know I don’t have a p.r. Company to promote Star Guitar I do not send out flyers or press releases. I’m a one-woman operation, but he’s found increasing success since he’s a sire, and it was nice to show those who said he’d never sire a Graded Stakes winner wrong. ”
It’s, she said, a familiar refrain that she’s happy to prove wrong.
“When I watched the race I could see Alex (Cintron) was just saving her and checking the competition in the corner and I was like, ‘I think we have a chance here,'” she recalled. “He drove such a great race and she ran tremendously. I know nobody gave her a big chance in the race but I’m used to that. I’ve heard people say things like that all my life.
“I love hearing that,” she added wryly. “It only makes it sweeter if we prove them wrong.”
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