Every year, a major component of the Jazz Winnipeg Festival is the Roots & Blues Series at the dignified Windsor Hotel. The wild Windsor has hosted a range of artists that have set patrons on their heels with exciting, top-grade shows that are talked about for months after the event.

On the first of a two-night stand, Ottawa's flame-haired blues woman Sue Foley astonished fans with two sets of the kind of tenacious blues that usually only comes from individuals with a lot more miles on them.

The diminutive guitarist made quite an impact. Her opening acoustic set featured her skills on a gorgeous gut-string guitar along with her band on doghouse bass, box drum and some scintillating harmonica work. It was obvious from the opening notes that Foley was fully connected with her muse, one that seems to have spent a lot of time in Texas saloons and roadside barbecue palaces. She plays with a confidence and directness that surgically cuts to the soul of every song, and rocked the somewhat subdued crowd at every turn. Jazz Winnipeg should definitely consider booking her again next year.

Another two-night Roots & Blues Series stand at the Windsor was held by North Carolina-born Bill Homans (aka Watermelon Slim) along with his solid band, The Workers.

For three well-paced sets, Slim and band magically altered the Windsor into their own private showcase, delivering the kind of memorable performance that sticks with you a long, long time. Homans played amazing blues harp and frighteningly authentic dobro-style slide guitar, and gripped the audience in true old-school style. Watermelon Slim was born to do this. Featuring songs from his three fine, Northern Blues-label albums and some well-chosen covers, Slim proved he has a true blues mans' soul.

The first set was really a warm-up for the band and the rapt, though somewhat talkative crowd. (Folks, we know it's a bar, but when an estimable, hard-working cat like Mr. Slim is playing a slow-burning blues song or describing an important part of his remarkable life that birthed the tune we're about to hear, it's time for you to shut up and listen to what the man is saying.)

His tribute to blues legend Mississippi Fred McDowell, and the politically charged Blues for Howard and Blues for Burma had everyone screaming for more, and in bona fide classic blues artist fashion, he wrenched all he could out of himself, leaving the audience blown away.

More please!