Happy New Year!
1874 Henry Thomas* 1)
1884 Jim Jackson* 1)
1885 Papa Charlie
Jackson* 1)
1890 Charley Jordan*
1885- Funny Papa
Smith*/+ 1)
1940
1895 Oscar "Buddy"
Woods* 1)
1895 Trixie Smith* 1)
1896 Arthur "Blind"
Blake* 1)
1896 Tommy Johnson*
1)
1905 Ed Bell* 1)
1906 Al Broussard*
1918 Johnny "Man"
Young*
1921 Big Jack
Reynolds* 1)
1923 Sydney Maiden* 1)
1934 Bishop
Dready Manning* 1)
1939 Bob Stroger* 1)
1941 Barry Goldberg*
1942 Mighty Mo
Rodgers* 1)
1950 Bernd Kleinow*
1)
1950 Omar Kent Dykes*
1)
1950 Henry Thomas+ 1)
1951 Hugh Holmes
(Professor Harp)* 1)
1952 Al Copley*
1953 Tampa Blue*
1954 Alex Schultz* 1)
1958 Carlos del Junco*
1)
1960 Ed Bell+ 1)
1962 Tommy McClennan+
1)
1963 Raúl Alemany* 1)
1964 Ruthie Foster* 1)
1967 Lazer Lloyd*
1980 Matt
S. Force*
1984 Alexis Korner+
1988 Frank Stokes*
2001 Al Broussard+
2014 Ernest "Rockin'
Tabby" Thomas+
2015 Jeff Golub+
Bo Weavil Jackson 1)
Buddy Boy Hawkins )
Charles Segar 1)
"Stovepipe No. 1"
Sam Jones *before 1900
Tom Freitag*
Happy Birthday/R.I.P.
Teil 1
Am 01. Januar habe ich auch all die Musiker eingefügt, bei denen mir der Geburtstag bzw. der Todestag nicht bekannt ist. Deswegen die Fülle hier.
Alex Schultz *1954
ALEX SCHULTZ
.. wurde 1954 in New York City geboren und kam schon jung intensiv mit dem Jazz-Erbe der Stadt in Berührung. Er studierte schließlich beim Jazz Gitarristen George Barnes sowie am Berklee College of Music in Boston.
Schon früh legte die Berührung mit der Musik von B.B. King, James Cotton und der Butterfield Blues Band den Keim für eine lebenslange Liebe zum Blues. Er zog 1979 nach Los Angeles und etablierte sich dort sofort als Bassist und Gitarrist in der dortigen "Roots Music” Szene indem er gleich für 2 ½ Jahre bei Rhytm & Blues-Legende Hank Ballard anheuerte. Das sorgte schon früh für ausreichend Tournee-Erfahrung und Auftritte mit Legenden wie Jerry Lee Lewis, Albert Collins und Anderen.
Ab 1986 begleitete er den örtlichen Bluesharmonika-Virtuosen William Clarke und ist auf mehreren von dessen Alben, davon 4 für das Chicagoer Label Alligator, zu hören, wovon "Blowin‘ Like Hell"(1990) sogar einen "Handy Award" abräumte. Zu dieser Zeit spielte er auch für die "Bay Area" Blues-Legende Smokey Wilson. Seine Auftritte in dieser Zeit lesen sich wie ein "Who Is Who" der "Roots" Musikszene in und um Los Angeles mit Leuten wie Coco Montoya, Debbie Davies, Finis Tasby, Steve Samuels, Rob Rio und zahlreichen Anderen.
1988 begann eine 7-jährige Zusammenarbeit mit Rod Piazza, die dabei auch 5 Alben umfasste. Die Tourneen führten ihn dabei nach Australien, Europa, Japan und Skandinavien. Während dieser Zeit fungierten die "Flyers" auch als Begleitband für Auftritte und Alben von Leuten wie Jimmy Rogers, Lowell Fulsom, Louis Myers, Pine Top Perkins, James Cotton, Robert Ward, Earl King, Snooks Eaglin, Albert Collins, Larry davis und viele andere. Während dieser Zeit betrat man auch als Vorgruppe für Legenden wie Albert King, B.B. King, Al Green, Robert Cray, Dr. John, den Neville Brothers, den Allman Brothers und Weiteren die Bühnen dieser Welt. Alex Schultz verliess die Band 1995, um mehrere andere Projekte als "freier Mitarbeiter" zu verfolgen.
Eines dieser Projekte war eine dreijährige Zusammenarbeit mit dem Blues-Rebellen und Ex-Frontmann der "Red Devils", Lester Butler, die in einem Album für Hightone ( "13 featuring Lester Butler") und 4 Europa-Tourneen mündeten. (Butler genoß seitdem in den Niederlanden so etwas wie Kultstatus.)
Etwa zur selben Zeit nahm er 2 Alben mit seinem Freund aus New Yorker Tagen, Tad Robinson, auf. Sie erschienen auf Delmark und bildeten die Grundlage für eine Zusammenarbeit, die bis heute andauert und u.A. zwischenzeitlich zu einer Grammy-Nominierung für das Album "Did You Ever Wonder" für Severn führten .(2005)
Man spielte dann auch gemeinsam vermehrt auf den Festivals in Europa und produzierte 2007 ein weiteres Album für Severn, " A New Point Of View". Nach all den Jahren hat bei Alex Schultz die "freie Mitarbeit" zu einer eindrucksvollen Anzahl von Studio- und Liveaufnahmen sowie Tour-Auftritten geführt. (Über 40 Alben--- Tendenz "weiter steigend"!) Für Kenner der Materie liest sich die Liste der so "Begünstigten" wie eine Anleitung für "Mit wem muß ich spielen, um mich Blueslegende nennen zu dürfen". Mit dabei sind u. a. die Washingtoner Blueslegende Big Joe Maher, Sax Gordon, Sugar Ray Norcia, Jimmy Morelly, Benji Porecki, Kirk "Eli" Fletcher (Fabulous Thunderbirds), Mickey Champion, Frank "Paris Slim" Goldwasser, einer der Ur-Bands der "Neo-Swing"-Bewegung, Royal Crown Revue, den italienischen Bluesgrößen Enrico Crivellaro und Egidio "Juke" Ingala, Raphael Wressnig aus Österreich und "unseren" B.B. & The Blues Shacks.
Nachdem er bis dahin schon über 40 Alben mit seiner Anwesenheit veredelte, konnte er schließlich im Oktober 2004 auch sein eigenes Erstlingswerk "Think About It" auf Severn veröffentlichen, mit dem er Alles gut auf einen Punkt brachte.
Alex Schulz spielte 1989 mit den Mighty Flyers und 2005 mit seiner eigenen Band in Gaildorf.
Alex was born in new york city in 1954, and at a young age became
immersed in the city’s legacy of jazz. Studied with guitarist George Barnes and at Berklee College of Music in boston. Early exposure to BB King, James Cotton and the Butterfield Blues Band planted seeds of a lifelong love of blues music.
Schultz moved to Los Angeles in 1979 and established himself as both a bass player and guitarist on the roots music scene, working for two and a half years with rock and roll/rhythm and blues pioneer Hank Ballard. This provided some early road experience, including playing Antone’s in Austin, Texas in 1986 and sharing stages with Jerry Lee Lewis, Albert Collins and many other greats.
Beginning 1986 worked with L.A. harmonica master William Clarke: recorded the W.C. Handy award winning album “Blowing Like Hell”, played and recorded with Smokey Wilson, and made appearances on all 4 of Clarke’s releases on chicago’s Alligator label.
This period saw gigs with a who’s-who of the los angeles roots music scene, including Coco Montoya, Debbie Davies, Finis Tasby, Steve Samuels, Rob Rio, and countless others.
In 1988 began a seven year, five record association with Rod Piazza & the Mighty Flyers, touring Australia, Japan, Europe and Scandinavia. Recordings included two albums on the Black Top label and “Live at BB King’s” recorded in Memphis. During this time the Flyers backed Jimmy Rogers, Lowell Fulsom, Louis Myers, Pine Top Perkins, James Cotton, Robert Ward, Earl King, Snooks Eaglin, Albert Collins, Larry Davis, etc. and supported the likes of Albert King, BB King, Al Green, Robert Cray, Dr. John, The Neville Bros., The Allman Bros. and more. Schultz left the group in ‘95 to pursue other projects as a free agent.
The first of these was a three year collaboration with blues rebel Lester Butler (ex- ‘Red Devils’ harmonica and vocals ) which resulted in the HighTone album “13 Featuring Lester Butler” and 4 european tours.
Arthur "Blind" Blake *1896
„Blind“ Blake (* 1896 in Newport News, Virginia; † 1. Dezember 1934 in Milwaukee, Wisconsin) [1], auch Blind Arthur, eigentlich Arthur Blake, war ein Blues-Sänger und -Gitarrist.
Leben
Über Blakes Leben ist sehr wenig bekannt. Sein bürgerlicher Name war "Arthur Blake", die Autorenangaben für seine Songs sind Variationen von "Blind Arthur Blake" - bis zur Entdeckung seiner Todesurkunde (2011) wurde spekuliert, dass sein richtiger Name auch "Arthur Phelps" gewesen sein könnte. Seine Plattenfirma nannte Jacksonville in Florida als seinen Geburtsort, einige Blueshistoriker halten es aber auch für möglich, dass er aus Georgia von den Sea Islands stammt, da er den dortigen Dialekt beherrschte (dokumentiert in „Southern Rag“). Lt. Todesurkunde war sein Geburtsort Newport News, Virginia. Wie sein Name schon sagt, war Blake blind. Josh White war zeitweise sein Blindenjunge.
Blake lebte als Wandermusiker und musizierte an Strassenecken, samstäglichen Veranstaltungen und Grillfesten. In den 1910er Jahren kam er nach Georgia, in den frühen 1920er Jahren zog er nach Chicago. Dort erhielt er 1926 einen Plattenvertrag bei Paramount Records und nahm auch gemeinsam mit Johnny Dodds und Charlie Spand auf. Bereits sein Debüt „Early Morning Blues/West Coast Blues“ war ein Erfolg und führte dazu, dass Blake bis 1932 rund 80 Stücke aufnehmen konnte.
Der Einbruch des Plattenmarktes aufgrund der Weltwirtschaftskrise 1929 führte wie bei vielen Bluesmusikern auch bei Blind Blake zu einem Karriereknick und er begann für George Williams Vaudeville-Show „Happy Go Lucky“ zu arbeiten, wo er bis Ende 1930, Anfang 1931 blieb. Seine letzten Aufnahmen machte Blake 1932, danach ging Paramount Records bankrott. Im selben Jahr verschwand Blake aus Chicago.
Über seinen Tod existieren zahllose Spekulationen und Theorien. So sei er entweder 1934 in New York oder auch 1941 in Atlanta bei einem Verkehrsunfall ums Leben gekommen, habe sich zu Tode getrunken oder sei ermordet worden oder in den frühen 1930ern in Joliet oder St. Louis gestorben. Kürzlich (2011) vorgenommene Recherchen haben ergeben, dass er am 1. Dezember 1934 in Milwaukee (Wisconsin) an Tuberkulose gestorben ist.
Wirkung
Neben Blind Lemon Jefferson war Blind Blake einer der erfolgreichsten männlichen Blues-Musiker der 1920er Jahre, der frühe Erfolg der beiden führte in der Folge zu einem gesteigerten Interesse der Plattenfirmen an Country Blues-Musikern. Blake wird gelegentlich als "König der Ragtime-Gitarre" ("King Of Ragtime Guitar") bezeichnet, aufgrund seines virtuosen Gitarrenspiels, das starke Einflüsse aus Ragtime und Jazz aufweist. Sein „swingender“ Stil war stilprägend für den East Coast Piedmont Blues. 1990 wurde Blind Blake in die Blues Hall of Fame aufgenommen.
Arthur "Blind" Blake (1896 – December 1, 1934) was an American blues and ragtime singer and guitarist. He is known for his series of recordings for Paramount Records between 1926 and 1932 and the mystery surrounding his life.
Biography
Little is known of Blind Blake's life. Paramount Records promotional materials indicate he was born blind and give his birthplace as Jacksonville, Florida, and he appears to have lived there during various periods. He seems to have had relatives across the state line in Patterson, Georgia. Some authors have written that in one recording he slipped into a Geechee or Gullah dialect, suggesting a connection in the Sea Islands. Blind Willie McTell indicated that his real name was Arthur Phelps, but later research has shown this is unlikely to be correct.[1] In 2011 a group of researchers led by Alex van der Tuuk published various documents regarding Blake's life and death in Blues & Rhythm. One of these documents is his 1934 death certificate, which indicates he was born in 1896 in Newport News, Virginia, to Winter and Alice Blake, though his mother's name is followed by a question mark. Nothing else is known of Blake until the 1920s, when he emerged as a recording musician.[2]
Blind Blake recorded about 80 tracks for Paramount Records from 1926 to 1932.[3] He was one of the most accomplished guitarists of his genre with a diverse range of material. He is best known for his distinct guitar sound that was comparable in sound and style to a ragtime piano.[4] He appears to have lived in Jacksonville and to have gone to Chicago for his recording sessions, at one point having an apartment at 31st Street and Cottage Grove. According to van der Tuuk et al., he apparently returned to Florida during winters. By the 1930s he was reported to be playing in front of a Jacksonville hotel.[2]
Blake married Beatrice Blake, née McGee, around 1931, and the following year he made his final recording in the Paramount headquarters in Grafton, Wisconsin, just before the label went out of business. For decades nothing was known of him after this point, and he was rumored to have met a violent death; Reverend Gary Davis heard he was hit by a streetcar in 1934. The research of van der Tuuk et al. suggests that Blake stayed in Wisconsin, living in Milwaukee's Brewer's Hill neighborhood, where Paramount boarded many of its artists. He seems not to have found work as a musician. In April 1933 he was hospitalized with pneumonia, and never fully recovered. On December 1, 1934, after three weeks of decline, his wife Beatrice summoned an ambulance. Blake suffered a pulmonary hemorrhage and died on the way to the hospital. The cause of death was listed as pulmonary tuberculosis; he was buried at the Glen Oaks cemetery in Glendale, Wisconsin.[2]
Music
Blake's first recordings were made in 1926 and his records sold very well. His first solo record was "Early Morning Blues" with "West Coast Blues" on the B-side. Both are considered excellent examples of his ragtime-based guitar style and are prototypes for the burgeoning Piedmont blues. Blake made his last recordings in 1932, the end of his career aided by Paramount's bankruptcy. Stefan Grossman and Gayle Dean Wardlow think its possible that only one side of Blake's last record is actually by him.[5] "Champagne Charlie Is My Name" does not actually sound like Blake's playing or singing. His complex and intricate finger picking has inspired Reverend Gary Davis, Jorma Kaukonen, Ry Cooder, Arlen Roth, John Fahey, Ralph McTell, Leon Redbone and many others. French singer-songwriter Francis Cabrel refers to Blind Blake in the song "Cent Ans de Plus" on the 1999 album Hors-Saison.
Biography
Little is known of Blind Blake's life. Paramount Records promotional materials indicate he was born blind and give his birthplace as Jacksonville, Florida, and he appears to have lived there during various periods. He seems to have had relatives across the state line in Patterson, Georgia. Some authors have written that in one recording he slipped into a Geechee or Gullah dialect, suggesting a connection in the Sea Islands. Blind Willie McTell indicated that his real name was Arthur Phelps, but later research has shown this is unlikely to be correct.[1] In 2011 a group of researchers led by Alex van der Tuuk published various documents regarding Blake's life and death in Blues & Rhythm. One of these documents is his 1934 death certificate, which indicates he was born in 1896 in Newport News, Virginia, to Winter and Alice Blake, though his mother's name is followed by a question mark. Nothing else is known of Blake until the 1920s, when he emerged as a recording musician.[2]
Blind Blake recorded about 80 tracks for Paramount Records from 1926 to 1932.[3] He was one of the most accomplished guitarists of his genre with a diverse range of material. He is best known for his distinct guitar sound that was comparable in sound and style to a ragtime piano.[4] He appears to have lived in Jacksonville and to have gone to Chicago for his recording sessions, at one point having an apartment at 31st Street and Cottage Grove. According to van der Tuuk et al., he apparently returned to Florida during winters. By the 1930s he was reported to be playing in front of a Jacksonville hotel.[2]
Blake married Beatrice Blake, née McGee, around 1931, and the following year he made his final recording in the Paramount headquarters in Grafton, Wisconsin, just before the label went out of business. For decades nothing was known of him after this point, and he was rumored to have met a violent death; Reverend Gary Davis heard he was hit by a streetcar in 1934. The research of van der Tuuk et al. suggests that Blake stayed in Wisconsin, living in Milwaukee's Brewer's Hill neighborhood, where Paramount boarded many of its artists. He seems not to have found work as a musician. In April 1933 he was hospitalized with pneumonia, and never fully recovered. On December 1, 1934, after three weeks of decline, his wife Beatrice summoned an ambulance. Blake suffered a pulmonary hemorrhage and died on the way to the hospital. The cause of death was listed as pulmonary tuberculosis; he was buried at the Glen Oaks cemetery in Glendale, Wisconsin.[2]
Music
Blake's first recordings were made in 1926 and his records sold very well. His first solo record was "Early Morning Blues" with "West Coast Blues" on the B-side. Both are considered excellent examples of his ragtime-based guitar style and are prototypes for the burgeoning Piedmont blues. Blake made his last recordings in 1932, the end of his career aided by Paramount's bankruptcy. Stefan Grossman and Gayle Dean Wardlow think its possible that only one side of Blake's last record is actually by him.[5] "Champagne Charlie Is My Name" does not actually sound like Blake's playing or singing. His complex and intricate finger picking has inspired Reverend Gary Davis, Jorma Kaukonen, Ry Cooder, Arlen Roth, John Fahey, Ralph McTell, Leon Redbone and many others. French singer-songwriter Francis Cabrel refers to Blind Blake in the song "Cent Ans de Plus" on the 1999 album Hors-Saison.
Bernd Kleinow *1950
Bernd Kleinow (* 1950 in Ost-Berlin) ist ein deutscher Mundharmonikaspieler. Er zeichnet sich durch seine musikalische Vielfalt (Blues, Rock, Pop, Spirituals und Filmmusik) und einen eigenen, unverwechselbaren Harp-Stil aus. In der DDR war Kleinow ein wichtiger Vertreter der Bluesszene.
Musikalische Entwicklung
Bernd Kleinow studierte in der DDR Nachrichtentechnik und arbeitete als Diplomingenieur für Nachrichtentechnik, bevor er 1984 Berufsmusiker wurde. Er ist Autodidakt und seit 1974 als Musiker aktiv. Kleinow begann als Solist und stand zu dieser Zeit mit allen namhaften Bands der DDR-Bluesszene auf der Bühne. Von 1975 bis 1985 war er Mitglied der Stefan Diestelmann Folk Blues Band. Ab Mitte der 1980er Jahre war er an verschiedenen Studioproduktionen, unter anderen mit Günther Fischer, Hansi Biebl und Jürgen Kerth, beteiligt. Gemeinsam mit Matthias Gemeinhardt war er als Blue Spirit erfolgreich. 1990 begann seine Zusammenarbeit mit dem Westberliner Bluesgitarristen ST.
Das Capital Blues Duo wurde nach zehnjähriger Arbeit aufgelöst. Seitdem arbeitet Kleinow mit dem Blues- und Boogie-Pianisten Thomas Stelzer zusammen, gründete gemeinsam mit Lutz Kowalewski von der Feedback Blues Band das Duo Unlimited Blues und ist zeitweilig mit Hansi Biebl und Eberhard Stolle zu hören.
Kleinow war an der Produktion von 20 Langspielplatten und 17 CDs beteiligt. Zu den bekanntesten Plattenproduktionen zählen die Alben Stefan Diestelmann Folk Blues Band und Hofmusik mit Stefan Diestelmann, Komm herein und Gloriosa mit Jürgen Kerth, Das einzige Leben und Schlaraffenberg mit Karussell und Let The Good Times Roll mit Zenit. Aktuell tritt Kleinow zusammen mit Bluesrudy in der Blues Incorporated auf. 2011 erschien seine erste eigene CD The Harp.
Bo Weavil Jackson
dates and places of birth and death unknown
Bo Weavil Jackson war ein afroamerikanischer Bluessänger und -gitarrist. Er lebte in der ersten Hälfte des 20. Jahrhunderts, die Daten und Orte seiner Geburt sowie seines Todes sind unbekannt. Sein richtiger Name lautete vermutlich James Jackson.
Jackson wurde als einer der ersten Country-Bluessänger im Jahre 1926 für die Plattenlabels Paramount und Vocalion aufgenommen. Vocalion vermarktete ihn unter dem Namen Sam Butler. Seine 78-rpm-Schallplatten sind bei Sammlern begehrt, sein auf Plattenaufnahmen erhaltenes Repertoire, das neben Blues- auch Gospel-Songs enthält, wurde auf einer Vielzahl von LP und CD Samplern wiederveröffentlicht.
Bo Weavil Jackson (dates and places of birth and death unknown, real name said to be James Butler), was an African-American blues singer and guitarist. Some sources claim he was born in Birmingham, Alabama.[1]
He recorded as one of the first country bluesmen in 1926 for the Paramount and Vocalion labels, on the latter under the name of Sam Butler.[1] His 78 rpm records are highly sought by collectors and have been numerously re-released on LP and CD compilation albums.
His recordings have been published in both notation and tablature forms, which has enabled contemporary detailed study of his style and technique.
He recorded as one of the first country bluesmen in 1926 for the Paramount and Vocalion labels, on the latter under the name of Sam Butler.[1] His 78 rpm records are highly sought by collectors and have been numerously re-released on LP and CD compilation albums.
His recordings have been published in both notation and tablature forms, which has enabled contemporary detailed study of his style and technique.
Buddy Boy Hawkins
dates and places of birth and death unknown
Walter „Buddy Boy“ Hawkins war ein früher US-amerikanischer Bluesmusiker. Über sein Leben ist so gut wie nichts bekannt. Wahrscheinlich wuchs er entweder in Alabama oder dem nördlichen Mississippi-Delta auf.
Leben
1927 entdeckte der Aufnahmeleiter von Paramount Records, Harry Charles, ihn singend in den Straßen von Birmingham und ließ ihn seine ersten Stücke aufnehmen. Charles beschrieb später, daß er bei dieser Session so verschüchtert war, dass er zahlreiche Takes verdarb, in dem er immer wieder gegen das Mikrophon stieß. Charles setzte ihm darauf ein Paar Kopfhörer auf, durch die er ihm bei der geringsten Bewegung zurief „Halt still! Bleib da stehen!“. Insgesamt fiel Charles Urteil über Hawkins sehr negativ aus: „Er sah dich an wie ein Affe. Er hatte nicht einen Krümel Verstand. Er hatte nicht mal genug Gehirn, um nach der Aufnahme zurück zum Zug zu kommen.“ („He'd look up at you just like a monkey...He didn't have a speck of sense...He didn't even have brains enough to get back to the train (after recording).“ [1]) .
Bis 1929 nahm er (u.a. als „Buddy Boy Hawkins & His Buddies“) insgesamt 12 Stücke auf, die deutlich sein anspruchsvolles Gitarrenspiel illustrieren; es wird angenommen, dass er während des Ersten Weltkriegs in Europa Einflüsse der Flamencogitarre in sein Spiel integriert hat. Textlich kreisen seine Stücke häufig um Eisenbahnen und das Leben als Hobo, was auf einen entsprechenden biographischen Hintergrund schließen lässt.
Zeitweise hielt Hawkins sich im Umfeld von Charley Patton auf. In seiner letzten Aufnahmesession 1929, die zugleich Charley Pattons erste war und zu der beide gemeinsam aus Jackson angereist waren, spielte er (neben drei weiteren Stücken) Pattons Stück „Shake it and break it“ als „Snatch It and Grab It“ ein, Patton selbst singt und ruft dabei betrunken im Hintergrund.
Hawkins represents one of the most fascinating lacunae in the history of the blues. It is rumoured that he was raised around Blythville, Mississippi, but what minimal research has been undertaken has never produced anything conclusive. What is certain is that he was a unique performer who used a guitar style and vocal delivery that have defied categorization. He recorded 12 tracks for Paramount between 1927 (Chicago) and 1929 (Richmond, Indiana), much prized by collectors, that featured his oddly constructed blues, rag tunes and the peculiar ‘Voice Throwing Blues’ which gave rise to speculation that he may have been a medicine show ventriloquist. Evidence from his songs certainly seems to indicate that he was a rambler or hobo.
Carlos del Junco *1958
Carlos del Junco (* 1958 in Havanna, Kuba) ist ein kanadischer Mundharmonikaspieler kubanischer Herkunft. Er spielt nicht nur Bluesharmonika, sondern ist auch in anderen Musikrichtungen ein gefragter Künstler.
Leben
Im Alter von einem Jahr emigrierte er mit seinen Eltern nach Kanada, wo er im Alter von vierzehn Jahren mit dem Mundharmonikaspielen begann. Seinen ersten Auftritt hatte er mit seinem Mathematiklehrer in einer Talentshow an seiner High School.[1] Seinen Universitätsabschluss machte er aber als Bildender Künstler (Bildhauer). Diese Ausbildung ließ ihn auch einen anderen Blick auf die Musik werfen. Er meinte, Musik sei nur ein anderer Weg, Oberflächen und Formen zu gestalten.[2]
Seine Mundharmonikatechnik erlernte del Junto in Chicago bei Howard Levy, einem Jazzmundharmonikaspieler. In den 1980er-Jahren trat er mit Gruppen verschiedener Stilrichtungen auf, darunter der Latin-/Reggae-/R&B-Band Eyelevel, der Ontario College of Art Swing Band und sechs Jahre mit der Rhythm-and-Blues-Gruppe The Buzz Upshaw Band. Für Tomson Highways mit dem Dora Award gekröntes Theaterstück Dry Lips Oughta Move To Kapuskasing komponierte und spielte er 1991 die Musik. Die Produktion tourte durch ganz Kanada und blieb sieben Wochen an Torontos Royal Alex Theatre auf dem Spielplan.[3] 1993 nahm er mit Bill Kinnar sein erstes Album Blues, eine Sammlung von Bluesklassikern, bei Big Reed Records auf. Dabei spielte Kinnar akustische Gitarre und Dobro und sang. Bei der Hohner Mundharmonika Weltmeisterschaft in Trossingen gewann er 1993 Goldmedaillen sowohl in der Rubrik diatonischer Blues als auch in der Jazz-Kategorie.[3]
Seit 1996 tritt er regelmäßig in Kanada auf, aber auch in Deutschland und den USA. 2000 spielte er auf dem Harmonica Summit 2000 in Minneapolis, wo er auch einen Workshop leitete. 2003 spielte er im Vorprogramm von Ray Charles beim Toronto Downtown Jazz Festival. In den Jahren seit seiner ersten CD wurde er oft für den Toronto Blues Society’s Maple Leaf Blues Award nominiert, den er auch in den Jahren 2004 bis 2007 gewann.
Carlos del Junco (born 1958[when?] Havana) is a Cuban-Canadian harmonica musician.
Mr. del Junco immigrated with his family when he was one year old. He started to play the harmonica at 14 years old. He graduated from college with honours at the Ontario College of Art majoring in sculpture.
He specializes in playing the ten hole diatonic harmonica. He was taught to play chromatically by using an "overblow" technique taught to him by Howard Levy, a jazz virtuoso.
In the 1980s, Mr. del Junco performed with many bands including Latin/Reggae/R&B band "Eyelevel", "Ontario College of Art Swing Band" with Bill Grove and for six years with the rhythm and blues group "The Buzz Upshaw Band".
In 1990, he formed a blues/jazz/fusion band, "The Delcomos" with Kevin Cooke. He also has recorded with Marcel Aymar, Cassandra Vassick, Oliver Schroer, and Holly Cole.
In 1993, he won two gold medals at the Hohner World Harmonica Championship held in Trossingen, Germany. He was judged world's best in both the diatonic blues category and the diatonic jazz category. In November of that year he released his first CD with Bill Kinnear (musician).
He is currently signed with Toronto's NorthernBlues Music.
Mr. del Junco immigrated with his family when he was one year old. He started to play the harmonica at 14 years old. He graduated from college with honours at the Ontario College of Art majoring in sculpture.
He specializes in playing the ten hole diatonic harmonica. He was taught to play chromatically by using an "overblow" technique taught to him by Howard Levy, a jazz virtuoso.
In the 1980s, Mr. del Junco performed with many bands including Latin/Reggae/R&B band "Eyelevel", "Ontario College of Art Swing Band" with Bill Grove and for six years with the rhythm and blues group "The Buzz Upshaw Band".
In 1990, he formed a blues/jazz/fusion band, "The Delcomos" with Kevin Cooke. He also has recorded with Marcel Aymar, Cassandra Vassick, Oliver Schroer, and Holly Cole.
In 1993, he won two gold medals at the Hohner World Harmonica Championship held in Trossingen, Germany. He was judged world's best in both the diatonic blues category and the diatonic jazz category. In November of that year he released his first CD with Bill Kinnear (musician).
He is currently signed with Toronto's NorthernBlues Music.
Carlos del Junco
Charles Segar
dates and places of birth and death unknown
Key to the Highway ist ein Bluesstandard, der erstmals 1940 von Charlie Segar für Vocalion (Vocalion 5441) aufgenommen wurde. Er ist einer von acht Songs, den Segar zwischen 1934 und 1940 für Vocalion und Decca einspielte. Nach seiner Übersiedlung nach Chicago nahm er weiter unter eigenem Namen auf, arbeitete aber auch für Memphis Minnie oder Bumble Bee Slim. [1]
Als Autoren werden für gewöhnlich Charles "Chas" Segar and William "Big Bill" Broonzy angegeben.[2] Broonzy erklärt hierzu:
„Some of the verses he [Charlie Segar] was singing it in the South the same time as I sung it in the South. And practically all of blues is just a little change from the way that they was sung when I was a kid ... You take one song and make fifty out of it ... just change it a little bit.“
[3][4]
Das Original war ein 12- taktiger Blues im mittleren Tempo. Später im Jahr 1940 nahm Jazz Gillum (mit Big Bill Broonzy an der Gitarre) den Song auf (Bluebird B 8529) und änderte ihn auf einen 8-taktigen Blues. In dieser Version wird er noch heute gespielt. 1941 nahm Big Bill Broonzy den Song auf (OKeh 6242) und schuf die bekannteste aller frühen Versionen des Lieds. Diese Version wurde 2010 in die Blues Hall of Fame aufgenommen. [5]
Little Walter nahm kurz nach dem Tod von Big Bill Broonzy 1958 seine Version des Songs (Checker 904) offensichtlich als Tribut an den Künstler auf. Die Single war die letzte in einer Reihe von großen Hits des Mundharmonikaspielers. Eine weitere bedeutende Version stammt von Eric Clapton auf Layla and Other Assorted Love Songs, hierbei handelt es sich um eine neunminütige zufällig entstandene Jamsession mit Duane Allman. [6] Clapton nahm den Song auch mit Johnnie Johnson (1991) und B. B. King auf (Riding with the King, 2000). Bei zwei Konzerten der Allman Brothers im Beacon Theatre in New York City (19. und 20. März 2009) trat er mit ihnen auf und spielte den Song. Die Rolling Stones nahmen den Titel 1964 im Chess Studio in Chicago auf, veröffentlicht wurde er erst über 20 Jahre später am Ende des Albums Dirty Work, als Erinnerung an Ian Stewart, den Pianisten der Stones, der nach Vollendung des Albums verstorben ist.
Charlie Segar was an American blues pianist and occasional singer, who is best known for the blues standard, "Key to the Highway" in 1940. Originally from Pensacola, Florida, Segar has been dubbed the "Keyboard Wizard Supreme".[1] He relocated to Chicago, where he made recordings with other blues artists, such as Bumble Bee Slim and Memphis Minnie, as well as being the featured artist.[1] "Key to the Highway" is one of eight known songs Segar recorded under his own name between 1934 and 1940 for Decca and Vocalion.
Charlie Segar's original "Key to the Highway" was done in the form of a mid-tempo twelve-bar blues. When Jazz Gillum recorded it later that year, the song became an eight-bar blues, as it is usually known (May 9, 1940 Bluebird B 8529).
Eight of Segar's song performances appear on the compilation album, Piano Blues, Vol. 2: 1927-1956.[2]
Segar's version of "Key to the Highway" appears on Chicago Blues 1940 - 1947
Ed Bell *1905, +1960
Ed Bell (* ca. 1905 in Alabama; † ca. 1960 in Alabama), war ein US-amerikanischer Blues-Musiker.
Leben
Bell war Teil der Bluesszene in Greenville (Alabama), wo er bei lokalen Festen auftrat. 1927 nahm er eine erste Session für Paramount Records auf, darunter sein Debüt und heute bekanntestes Stück, den „Mamlish Blues“. 1930 nahm er noch einmal für Columbia Records auf. Während der Depression verkaufte Bell seine Gitarre und beendete seine Laufbahn als Musiker, um 1960 starb er.
Sein Gesangsstil war deutlich von den Field Hollers beeinflusst.
Ed Bell (May 1905 – 1960, 1965 or 1966)[1][2][3] was an American Piedmont and country blues singer, guitarist and songwriter. Some of his records were released under pseudonyms, such as Sluefoot Joe, and Barefoot Bill from Alabama.[1] The same person connection between all three names has only recently been verified by historians.[1][3][4] His best remembered recording was "Mamlish Blues".[1]
Colin Larkin noted in the Encyclopedia of Popular Music that "Bell stands as the most influential Alabama artist in pre-war blues recordings."[5]
Biography
Bell was born on the Davis Plantation near Fort Deposit, Alabama, United States, but as a child moved with his family to Greenville, Alabama. An older cousin, Joe Pat Dean, took Bell to Muscle Shoals, Alabama in 1919, where the learned to play the blues. In the early 1920s, Bell mixed working in agriculture with playing the blues, often with his friend Pillie Bolling. He performed many times in Philadelphia and Ohio. His debut Paramount Records recording of the self-penned "Mamlish Blues" b/w "The Hambone Blues," was part of a four song session that Bell recorded in Chicago in 1927.[1] The word 'mamlish' was a term of somewhat unknown origin that was utilised in several blues recordings of that period.[6]
He next recorded in April 1929, cutting eight songs for QRS Records. Here he was billed on the releases as Sluefoot Joe, which were recorded with Clifford Gibson playing guitar and piano. The remainder of his recorded work took place in Atlanta, Georgia, between 1929 and 1930.[1] Billed now as Barefoot Bill from Alabama, the songs were released by Columbia Records.[7] Bell and Bolling also played together on a couple of tracks; "I Don't Like That" and "She's Got A Nice Line".[1][7][8] Bell's own songs of that time included "Squabbling Blues", recorded on April 20, 1930. The narrative depicted a situation when close to death, that should all connected to the singer be unable to agree who should have the body, then it should be thrown in the sea, so that people would "quit squabblin' over me".[9] However, the Barefoot Bill version of Bell tended to concentrate on imprisonment and voodoo, as themes for his songs.[10]
Eventually tiring of his life as a traveling blues musician, Bell became a Baptist preacher, married and settled in Montgomery, Alabama. He later became the Moderator of the Southern District.[1]
Bell died in Greenville in 1960, 1965 or 1966, possibly during a civil rights march,[1][5] although other sources suggest natural causes, murder due to his involvement in the civil rights movement, and black magic.[4]
Legacy
His influence has been noted in the 1970s work of John Lee.
Colin Larkin noted in the Encyclopedia of Popular Music that "Bell stands as the most influential Alabama artist in pre-war blues recordings."[5]
Biography
Bell was born on the Davis Plantation near Fort Deposit, Alabama, United States, but as a child moved with his family to Greenville, Alabama. An older cousin, Joe Pat Dean, took Bell to Muscle Shoals, Alabama in 1919, where the learned to play the blues. In the early 1920s, Bell mixed working in agriculture with playing the blues, often with his friend Pillie Bolling. He performed many times in Philadelphia and Ohio. His debut Paramount Records recording of the self-penned "Mamlish Blues" b/w "The Hambone Blues," was part of a four song session that Bell recorded in Chicago in 1927.[1] The word 'mamlish' was a term of somewhat unknown origin that was utilised in several blues recordings of that period.[6]
He next recorded in April 1929, cutting eight songs for QRS Records. Here he was billed on the releases as Sluefoot Joe, which were recorded with Clifford Gibson playing guitar and piano. The remainder of his recorded work took place in Atlanta, Georgia, between 1929 and 1930.[1] Billed now as Barefoot Bill from Alabama, the songs were released by Columbia Records.[7] Bell and Bolling also played together on a couple of tracks; "I Don't Like That" and "She's Got A Nice Line".[1][7][8] Bell's own songs of that time included "Squabbling Blues", recorded on April 20, 1930. The narrative depicted a situation when close to death, that should all connected to the singer be unable to agree who should have the body, then it should be thrown in the sea, so that people would "quit squabblin' over me".[9] However, the Barefoot Bill version of Bell tended to concentrate on imprisonment and voodoo, as themes for his songs.[10]
Eventually tiring of his life as a traveling blues musician, Bell became a Baptist preacher, married and settled in Montgomery, Alabama. He later became the Moderator of the Southern District.[1]
Bell died in Greenville in 1960, 1965 or 1966, possibly during a civil rights march,[1][5] although other sources suggest natural causes, murder due to his involvement in the civil rights movement, and black magic.[4]
Legacy
His influence has been noted in the 1970s work of John Lee.
Frank Stokes Geb. 01.01.1888
Frank Stokes (* 1. Januar 1888 in Whitehaven, Tennessee; † 12. September 1955 in Memphis, Tennessee) war ein US-amerikanischer Blues-Gitarrist.
Geboren in Tennessee, wuchs Stokes nach dem Tod seiner Eltern in Tutwiler in Mississippi auf. Hier lernte er das Gitarrespielen. Später lebte er als Hufschmied in Hernando, ebenfalls in Mississippi. An den Wochenenden ging er nach Memphis, um dort Musik zu machen.
Zur Zeit des Ersten Weltkrieges zog Stokes gemeinsam mit Garfield Akers mit einer Medizinshow umher. Danach blieb er in Oakville, Tennessee, wo er wieder seine Tätigkeit als Hufschmied aufnahm.
1927 formierte er gemeinsam mit Dan Sane das Duo Beale Street Sheiks, mit denen er in Memphis auftrat und erste Aufnahmen machte. 1928 nahm er für Victor Records in vier Sitzungen als Solist auf. 1929 endete mit den letzten Einspielungen als Beale Street Sheiks seine kurze Aufnahmekarriere, doch trat er weiterhin erfolgreich auf.
In den 1940ern zog Stokes nach Clarksdale in Mississippi und spielte gelegentlich mit Bukka White. Frank Stokes starb 1955 in Memphis.
Frank Stokes (January 1, 1888 – September 12, 1955)[1] was an American blues musician, songster, and blackface minstrel, who is considered by many musicologists to be the father of the Memphis blues guitar style.[2]
Biography
Stokes was born in Shelby County, Tennessee, in the largest southern vicinity Whitehaven, located two miles north of the Mississippi line.[2] He was raised by his stepfather in Tutwiler, Mississippi, after the death of his parents.[3] Stokes learned to play guitar as a youth in Tutwiler, and, after 1895, in Hernando, Mississippi, which was home to such African American guitarists as Jim Jackson, Dan Sane, Elijah Avery (of Cannon's Jug Stompers), and Robert Wilkins.[4] By the turn of the century, at the age of 12, Stokes worked as a blacksmith, traveling the 25 miles to Memphis on the weekends to sing and play guitar with Sane, with whom he developed a long-term musical partnership. Together, they busked on the streets and in Church's Park (now W. C. Handy Park) on Memphis' Beale Street.[4]
In the mid 1910s, Stokes joined forces with fellow Mississippian Garfield Akers as a blackface songster, comedian, and buck dancer in the Doc Watts Medicine Show, a tent show that toured the South. During this period of touring, Stokes developed a sense of show business professionalism that set him apart from many of the more rural, less polished blues musicians of that time and place. It is said that his performances on the southern minstrel and vaudeville circuit around this time influenced Jimmie Rodgers, who played the same circuit. Rodgers borrowed songs and song fragments from Stokes and was influenced stylistically as well.[5]
Around 1920, Stokes settled in Oakville, Tennessee, where he went back to work as a blacksmith.[2] Stokes teamed up again with Sane and went to work playing dances, picnics, fish fries, saloons, and parties in his free time. Stokes and Sane joined Jack Kelly's Jug Busters to play white country clubs, parties and dances, and to play Beale Street together as the Beale Street Sheiks, first recording under that name for Paramount Records in August 1927.[2] All told, Stokes was to cut 38 sides for Paramount and Victor Records. "The fluid guitar interplay between Stokes and Sane, combined with a propulsive beat, witty lyrics, and Stokes's stentorian voice, make their recordings irresistible."[6] Their duet style influenced the young Memphis Minnie in her duets with husband Kansas Joe McCoy.[4]
The Sheiks next recorded at a session for Victor Records where Furry Lewis also recorded.[4] At this session, in February 1928, the emphasis was on blues, rather than the older songs that were also part of Stokes' repertoire. Stokes recorded again for Victor that August, playing "I Got Mine", one of a body of pre-blues songs about gambling, stealing and living high. He also recorded the more modern "Nehi Mamma Blues", which puns on the Nehi soft drink and the "knee-high" skirts that were fashionable at the time. Sane rejoined Stokes for the second day of the August 1928 session, and they produced a two-part version of "Tain't Nobody's Business If I Do", a song well known in later versions by Bessie Smith and Jimmy Witherspoon, but whose origin lies somewhere in the pre-blues era.[7] The Sheiks also continued to busk the streets, and play informally at parties.[4]
In 1929, Stokes and Sane recorded again for Paramount, resuming their 'Beale Street Sheiks' billing for a few cuts. In September, Stokes was back on Victor to make what were to be his last recordings, this time without Sane, but with Will Batts on fiddle.[2] Stokes and Batts were a team as evidenced by these records, which are both traditional and wildly original, but their style had fallen out of favor with the blues record buying public. Stokes was still a popular live performer, however, appearing in medicine shows, the Ringling Brothers Circus, and other tent shows and similar venues during the 1930s and 1940s. During the 1940s, Stokes moved to Clarksdale, and occasionally worked with Bukka White in local juke joints.[2]
Stokes died of a stroke in Memphis on September 12, 1955.[1][4] He is buried there in Hollywood Cemetery.
Biography
Stokes was born in Shelby County, Tennessee, in the largest southern vicinity Whitehaven, located two miles north of the Mississippi line.[2] He was raised by his stepfather in Tutwiler, Mississippi, after the death of his parents.[3] Stokes learned to play guitar as a youth in Tutwiler, and, after 1895, in Hernando, Mississippi, which was home to such African American guitarists as Jim Jackson, Dan Sane, Elijah Avery (of Cannon's Jug Stompers), and Robert Wilkins.[4] By the turn of the century, at the age of 12, Stokes worked as a blacksmith, traveling the 25 miles to Memphis on the weekends to sing and play guitar with Sane, with whom he developed a long-term musical partnership. Together, they busked on the streets and in Church's Park (now W. C. Handy Park) on Memphis' Beale Street.[4]
In the mid 1910s, Stokes joined forces with fellow Mississippian Garfield Akers as a blackface songster, comedian, and buck dancer in the Doc Watts Medicine Show, a tent show that toured the South. During this period of touring, Stokes developed a sense of show business professionalism that set him apart from many of the more rural, less polished blues musicians of that time and place. It is said that his performances on the southern minstrel and vaudeville circuit around this time influenced Jimmie Rodgers, who played the same circuit. Rodgers borrowed songs and song fragments from Stokes and was influenced stylistically as well.[5]
Around 1920, Stokes settled in Oakville, Tennessee, where he went back to work as a blacksmith.[2] Stokes teamed up again with Sane and went to work playing dances, picnics, fish fries, saloons, and parties in his free time. Stokes and Sane joined Jack Kelly's Jug Busters to play white country clubs, parties and dances, and to play Beale Street together as the Beale Street Sheiks, first recording under that name for Paramount Records in August 1927.[2] All told, Stokes was to cut 38 sides for Paramount and Victor Records. "The fluid guitar interplay between Stokes and Sane, combined with a propulsive beat, witty lyrics, and Stokes's stentorian voice, make their recordings irresistible."[6] Their duet style influenced the young Memphis Minnie in her duets with husband Kansas Joe McCoy.[4]
The Sheiks next recorded at a session for Victor Records where Furry Lewis also recorded.[4] At this session, in February 1928, the emphasis was on blues, rather than the older songs that were also part of Stokes' repertoire. Stokes recorded again for Victor that August, playing "I Got Mine", one of a body of pre-blues songs about gambling, stealing and living high. He also recorded the more modern "Nehi Mamma Blues", which puns on the Nehi soft drink and the "knee-high" skirts that were fashionable at the time. Sane rejoined Stokes for the second day of the August 1928 session, and they produced a two-part version of "Tain't Nobody's Business If I Do", a song well known in later versions by Bessie Smith and Jimmy Witherspoon, but whose origin lies somewhere in the pre-blues era.[7] The Sheiks also continued to busk the streets, and play informally at parties.[4]
In 1929, Stokes and Sane recorded again for Paramount, resuming their 'Beale Street Sheiks' billing for a few cuts. In September, Stokes was back on Victor to make what were to be his last recordings, this time without Sane, but with Will Batts on fiddle.[2] Stokes and Batts were a team as evidenced by these records, which are both traditional and wildly original, but their style had fallen out of favor with the blues record buying public. Stokes was still a popular live performer, however, appearing in medicine shows, the Ringling Brothers Circus, and other tent shows and similar venues during the 1930s and 1940s. During the 1940s, Stokes moved to Clarksdale, and occasionally worked with Bukka White in local juke joints.[2]
Stokes died of a stroke in Memphis on September 12, 1955.[1][4] He is buried there in Hollywood Cemetery.
Frank Stokes - Downtown Blues
Keine Kommentare:
Kommentar veröffentlichen