1990 Amos Milburn+
1943 Bob Baldori* 1)
1960 Carl Wyatt*
1905 Charlie Spand* 1)
2000 Harmonica Fats+
Michael Osborn* 1)
1)
Genaues Datum ist dem Autor nicht bekannt
Happy Birthday
Carl Wyatt *03.01.1960
Carls Live-Auftritte sind eine leistungsstarke Mischung aus Texas, Chicago und Delta Blues. Er spielte und tourte mit Künstlern wie “Archie Lee Hooker”, “Big Bo McGee”, “Little Whitt Wells”, “TW Henderson”, “Sharon Lewis”, “Tino Gonzales” …. mit all den oben genannten Künstler lebte er und ist eng verbunden mit dem Godfather des Boogie “John Lee Hooker”. Carl hat sich auf Radio-und Fernsehsendern beidseitig des Atlantiks profiliert.
Obwohl seine wichtigsten Einflüsse Künstler wie Blitz-Slim, Johnny Winter, Muddy Waters und John Lee Hooker sind, entwickelte Carl seinen eigenen Stil im Laufe der Jahre. Seine Liebe zum Delta Blues machte ihn zu Spezialisten der Slide-Gitarre, für die er bestens bekannt ist. Seine zahlreichen Konzerte und Festivals führten ihn durch Länder wie England, Belgien, Holland, Luxemburg, Deutschland, Irland, Frankreich, Nordirland, Dänemark, Spanien, Italien, Griechenland und den USA.
Carl Wyatt has many years of playing the blues to his credit. Having grown up in a blues, jazz and gospel environment, it was natural for him to pick up playing the blues one day.
Although his main influences are artists such as Freddie King, Johnny Winter, Muddy Waters and John Lee Hooker, Carl developed his own style over the years. His love for delta blues made him study slide guitar and gave him a more traditional approche to the blues. Nevertheless, Carl is well able to let it rip and set the stage on fire as he has done on many accasions.
Carl's live performances are a powerful blend of Texas, Chicago and Delta Blues. During his career he has played and toured with artists such as "Big Bo McGee", "Little Whitt Wells", "T.W. Henderson", "Neal Black & The Healers","Sharon Lewis", "Tino Gonzales", "Archie Lee Hooker"…., recorded with all of the above mentioned artists and lived and jammed with the Godfather of the Boogie "John Lee Hooker". He also played with "Watermelon Slim", "Noel Redding" (Jimmy Hendrix Band), "Dani NeLo", "The Drifters (with the their backing band)", "Lisa Otey", "Silky Sol" and many more....
Carl's many concert and festival performances led him through countries such as UK, Belgium, USA, Netherlands, Luxembourg, Germany, Ireland, France, Northern-Ireland, Denmark, Spain, Italy and Greece.
http://www.carl-wyatt.com/
Carl Wyatt - The Blues I'm Living
Bob Baldori *1943*
* Der genaue Geburtstag ist dem Autor unbekannt
Bob Baldori (born 1943), also known as "Boogie Bob", is an American rock, blues, and boogie musician and attorney.
Baldori founded the rock band The Woolies in 1964; the group had a national hit in 1966 with Bo Diddley's "Who Do You Love?". He has also pursued a solo career, performing in venues all over the country, and recording a 1994 solo album. He started working with Chuck Berry in 1966 at Lake Lansing, Michigan and subsequently recorded two albums with Berry. He has also worked with and performed with Muddy Waters, John Lee Hooker, Tom Rush, Luther Allison, Del Shannon, John Hammond, Hubert Sumlin and Bo Diddley; most recently, he has toured and recorded with Bob Seeley.
In addition to recording and performing his own material, Baldori operates his own recording studio, and has produced and engineered over 200 albums. He wrote and starred in the rock musical Almost Famous, with productions in Chicago, Toronto and in Michigan.
As an entertainment law attorney, Baldori represents many performers including Hubert Sumlin and Chuck Berry.
He lives in Okemos, Michigan with his family.
http://en.wikipedia.org/wiki/Bob_Baldori
http://www.boogiebob.com/
Arthur Migliazza and Boogie Bob Baldori
Michael Osborn was John Lee Hooker’s lead guitarist for 13 years. After his stint with Mr. Hooker, one of Michael’s songs, “Spellbound”, was featured on John Lee’s 1998 Grammy Award winner for Best Traditional Blues recording, “Don’t Look Back”! Michael has also backed, recorded with, or played with such musical luminaries as Robben Ford (Michael has a song credit on Robben’s “Blue Moon” release), Willie Dixon, Mark Ford, John Hammond, Bonnie Raitt, The Charles Ford Band, Elvin Bishop, Buddy Miles, Charlie Musselwhite, James Cotton, Albert Collins, Jimmy Witherspoon, Johnnie Johnson, Brownie McGee, Duke Jethro, Garth Webber, Patrick Ford, Chris Cain, Vala Cupp, Ken Emerson, Sugar Blue, Jimmy Thackery, Gary Smith, Mark Werner, Frankie Lee, Robert Cray, Guitar Shorty, David Raitt, Marc Hansen, DK Stewart, Bruce Kaphan, Curtis Salgado, Bill Rhoades, Sista Monica, Annie Sampson and so many others. Mike presently resides in the Portland, Oregon area and has been nominated three times by the Cascade Blues Association for best blues guitarist and once for blues best recording for his CD release of “Touch Tone.” As a member of Bill Rhoades and the Party Kings, he taken home 7 awards for best traditional blues band and was inducted into the CBA Hall of Fame as a member of that band!
Michael Osborn released three recording, “Cold Hearted Girl”, “A Case For The Blues” and “A Background In The Blues” on the Blue Rock’It Records Label and two recordings, “Touch Tone” and “What Goes Around” on his own, Checkerboard Records label!
“Michael Osborn is one of the most authentic blues guitarists around today. His style goes straight to the heart of the blues and he’ll steal your show if you don’t watch out!” ~ Robben Ford.
Little Suzanne - Michael Osborn and the Drivers
Charlie Spand was an American blues and boogie-woogie pianist and singer, noted for his barrelhouse style. Spand was deemed one of the most influential piano players of the 1920s.[1] Little is known of his life outside of music, and his total recordings comprise only thirty-three (33) tracks.[2]
Biography
There is speculation about his place of birth. Allmusic stated that some claim Spand arrived in Elljay, Georgia,[3] whilst his self-penned track, "Alabama Blues," had a reference to his birth in that part of the country. Various blues historians also cited Spand's songs, "Levee Camp Man" and "Mississippi Blues," as evidence of connections there.[2]
More certain is that Spand, along with others such as William Ezell,[4] was one of those boogie-woogie pianists who, in the 1920s, performed on Brady Street and Hastings Street in Detroit, Michigan. In 1929, Spand relocated to Chicago, Illinois, where he met and began performing alongside Blind Blake. Spand recorded twenty five songs for Paramount Records between June 1929 and September 1931. The tracks were variously recorded in Richmond, Indiana, Chicago, and Grafton, Wisconsin. From the 1929 Richmond recording sessions, were seven songs which had guitar accompaniment to Spand's piano playing and singing. Most of these were directly attributed to Blake. During Spand's most notable recording, he and Blake had a small conversation during the making of "Hastings Street."[3][5] Another such duet occurred on "Moanin' the Blues."[2]
After a gap in his recording career, in June 1940 Spand recorded what turned out to be his final eight tracks, this time for Okeh Records.[3] These were made in Chicago, when Spand was backed by Little Son Joe and Big Bill Broonzy. However, after these recordings were made, no further reference to Spand can be located.[2]
In 1992, Document Records issued The Complete Paramounts (1929-1931). Yazoo Records' Dreaming the Blues: The Best of Charlie Spand (2002) had enhanced sound quality, but without the chronological track order favored by Testament.[3]
Spand's track "Back to the Woods" has been recorded by Kokomo Arnold, Joan Crane and Rory Block, while Josh White recorded his "Good Gal."
Biography
There is speculation about his place of birth. Allmusic stated that some claim Spand arrived in Elljay, Georgia,[3] whilst his self-penned track, "Alabama Blues," had a reference to his birth in that part of the country. Various blues historians also cited Spand's songs, "Levee Camp Man" and "Mississippi Blues," as evidence of connections there.[2]
More certain is that Spand, along with others such as William Ezell,[4] was one of those boogie-woogie pianists who, in the 1920s, performed on Brady Street and Hastings Street in Detroit, Michigan. In 1929, Spand relocated to Chicago, Illinois, where he met and began performing alongside Blind Blake. Spand recorded twenty five songs for Paramount Records between June 1929 and September 1931. The tracks were variously recorded in Richmond, Indiana, Chicago, and Grafton, Wisconsin. From the 1929 Richmond recording sessions, were seven songs which had guitar accompaniment to Spand's piano playing and singing. Most of these were directly attributed to Blake. During Spand's most notable recording, he and Blake had a small conversation during the making of "Hastings Street."[3][5] Another such duet occurred on "Moanin' the Blues."[2]
After a gap in his recording career, in June 1940 Spand recorded what turned out to be his final eight tracks, this time for Okeh Records.[3] These were made in Chicago, when Spand was backed by Little Son Joe and Big Bill Broonzy. However, after these recordings were made, no further reference to Spand can be located.[2]
In 1992, Document Records issued The Complete Paramounts (1929-1931). Yazoo Records' Dreaming the Blues: The Best of Charlie Spand (2002) had enhanced sound quality, but without the chronological track order favored by Testament.[3]
Spand's track "Back to the Woods" has been recorded by Kokomo Arnold, Joan Crane and Rory Block, while Josh White recorded his "Good Gal."
R.I.P.
Amos Milburn +03.01.1980
Amos Milburn (* 1. April 1927 in Houston, Texas; † 3. Januar 1980 ebenda) war ein US-amerikanischer Boogie-Pianist und Sänger, der vor allem um 1950 herum erfolgreich war. Er gilt als Wegbereiter des Rock'n'Roll und beeinflusste zahlreiche Musiker, allen voran Fats Domino.
Biografie
Geboren in Houston als eines von 13 Geschwistern, spielte Milburn bereits mit 5 Jahren auf dem Klavier. Nach seinem Militärdienst während des Zweiten Weltkriegs, zu dem er sich mit 15 gemeldet hatte, trat er in Houston mit einer 16-köpfigen Band auf. 1946 machte er in Los Angeles seine ersten Aufnahmen. 1949 wurden "Hold Me Baby" und "Chicken Shack Boogie" seine ersten größeren Hits.
Milburn wurde einer der angesagtesten Musiker in Los Angeles. Zu seinen größten Erfolgen zählen u. a. "One Scotch, One Bourbon, One Beer", "Bad, Bad, Whiskey", "Thinking and Drinking" und "Trouble in Mind". Er ging auf Tour, zunächst mit seiner Band, später solo. Zeitweise begleitete er den Bluesmusiker Charles Brown.
1956 kehte Milburn nach Houston zurück, doch der Erfolg ließ nach. Dennoch blieb er weiterhin im Musikgeschäft aktiv. 1960 brachte er das swingende Weihnachtsalbum "Christmas (Comes but Once a Year)" heraus. 1962 erschienen Neuaufnahmen seiner alten Hits, bei denen auch Stevie Wonder mitwirkte.
1972 machte Milburn mit Johnny Otis seine letzte Aufnahme. Da er nach einem Schlaganfall linksseitig gelähmt war, musste Otis für ihn die linke Hand auf dem Klavier spielen. Nach einem zweiten Schlaganfall wurde ihm ein Bein amputiert. Wenig später starb Amos Milburn 1980 nach einem dritten Schlaganfall im Alter von 52 Jahren.
2010 wurde er in die Blues Hall of Fame der Blues Foundation aufgenommen.
Joseph Amos Milburn, Jr. (April 1, 1927 – January 3, 1980) was an African-American rhythm and blues singer and pianist,[1] popular during the 1940s and 1950s. He was born and died in Houston, Texas.
One commentator noted, "Milburn excelled at good-natured, upbeat romps about booze and partying, imbued with a vibrant sense of humour and double entendre, as well as vivid, down-home imagery in his lyrics."[1]
Life and career
Born in Houston, one of thirteen children, by the age of five years Milburn was playing tunes by piano. He enlisted in the United States Navy when he was fifteen and earned thirteen battle stars in the Philippines, before returning to Houston and organizing a sixteen-piece band playing in Houston clubs and was Managed by William & Geneva Church. Milburn participated with the Houston jazz and blues musicians. He was a polished pianist and performer and during 1946 attracted the attention of a woman who arranged a recording session with Aladdin Records in Los Angeles. Milburn's relationship with Aladdin lasted eight years during which he produced more than 75 sides. His cover version of "Down the Road a Piece" (1946) was a blues song with a Texas boogie beat that was similar in many respects to rock music.[2] However, none became popular until 1949 when seven of his singles got the attention of the R&B audience. "Hold Me Baby" and "Chicken Shack Boogie" landed numbers eight and nine on Billboard's survey of 1949's R&B Bestsellers.[3] He became one of the main performers associated with the Central Avenue music scene in Los Angeles. He was also a popular touring artist, and won awards from both Down Beat magazine (Best Blues and Jazz Star) and Billboard magazine (Top R&B Artist).[4] Among his best-known songs was "One Scotch, One Bourbon, One Beer". During 1950 Milburn's "Bad, Bad, Whiskey" scored the top of the R&B record chart and began a series of drinking songs (none written by Milburn, but several composed by Rudy Toombs). However, there is not any evidence that Milburn had an alcohol problem.[5]
Milburn continued his successful drinking songs through 1952 ("Thinking and Drinking", "Trouble in Mind") and was by now touring the country playing clubs. While touring the Midwest that summer, he announced that he would disband his combo team and continue as a solo act and that autumn he joined Charles Brown for a Southern concert tour. For the next few years each of his tours was composed of a series of one-nighters. After three years of solo performing he returned to Houston during 1956 to reform his band. During 1957 Milburn's releases with Aladdin Records did not sell well, and the record label, having its own problems, terminated. He tried to regain commercial success with a few more releases with Ace Records but his time had passed. Radio airplay was emphasizing on the teenage market.[6]
Milburn contributed to the R&B Yuletide canon twice. The first was in 1949, with "Let's Make Christmas Merry, Baby", on Aladdin Records, and then again during 1960 with "Christmas (Comes but Once a Year)" for King Records. The song appeared as the b-side of Brown's holiday classic "Please Come Home for Christmas".[4][7]
Milburn's final recording was for an album by Johnny Otis. This was during 1972 after he had been incapacitated by a stroke, so much so that Otis had to play the left-hand piano parts for his enfeebled old friend.[5] His second stroke resulted in amputation of a leg because of circulatory problems. He died soon after at the age of 52 years from a third stroke.[7]
Legacy
The Texan boogie-woogie pianist and singer was an important performer of blues music during the years immediately after World War II.[8] Milburn was one of the first performers to switch from sophisticated jazz arrangements to a louder "jump" blues. He began to emphasize rhythm and technical qualities of voice and instrumentation second.[9] His energetic songs, about getting "high", were admired by fellow musicians, such as Little Willie Littlefield, Floyd Dixon and his prime disciple, Fats Domino.[5]
He was a commercial success for eleven years and influenced many performers. Fats Domino credited Milburn consistently as an influence on his music.
Harmonica Fats +03.01.2000
Harmonica Fats was actually Harvey Blackston, a former Louisianan who learned the blues growing up on his grandfather's farm; his longtime partner, Bernie Pearl, a native Angeleno, learned the blues from the musicians who frequented the fabled Ash Grove (a folk and blues club run by Pearl's brother Ed), including Lightnin' Hopkins and Mance Lipscomb.
In the early '50s, Fats took up harmonica as self-prescribed therapy while recuperating from an auto accident. Once confident, he formed a band, playing clubs around Los Angeles, and was known then as "Heavy Juice." Just as carefully, he perfected his songwriting, scoring on the R&B charts in 1961 with the self-penned single "Tore Up." After changing his name to Harmonica Fats, this success led to work as a studio musician, playing dates with performers as diverse as Bill Cosby, Ringo Starr, and Lou Rawls. He even did a stint as a traveling solo musician, seeking gigs as he drove in a station wagon around the country.
Pearl, through the Ash Grove, backed artists Big Mama Thornton, Bukka White, Mississippi Fred McDowell, Freddie King, and more. In the late '60s,'80s, and early '90s, he was a blues DJ, not only entertaining but educating with the knowledge he acquired during the Ash Grove days. Perhaps his best-known accomplishment was founding one of the West Coast's top blues events, the Long Beach Blues Festival, and he was also the promoter of the Big Time Blues Festival, also held in Long Beach.
I Had to Get Nasty
The Bernie Pearl Blues Band originated in 1984, with Robert Lucas on harmonica. Fats replaced Lucas in 1986. Fats' witty songs and on-stage magnetism is captured on Live at Cafe Lido, an album originally intended as a demo. The high demand for that album led Fats and Pearl to form Bee Bump Records, with its first release being I Had to Get Nasty. Pearl convinced Fats to work as an acoustic duo, releasing Two Heads Are Better in 1995. The following year, they released Blow, Fat Daddy, Blow!, dedicated to the memory of Fats' wife and civil rights activist Johnnie Tillman.
In the early '50s, Fats took up harmonica as self-prescribed therapy while recuperating from an auto accident. Once confident, he formed a band, playing clubs around Los Angeles, and was known then as "Heavy Juice." Just as carefully, he perfected his songwriting, scoring on the R&B charts in 1961 with the self-penned single "Tore Up." After changing his name to Harmonica Fats, this success led to work as a studio musician, playing dates with performers as diverse as Bill Cosby, Ringo Starr, and Lou Rawls. He even did a stint as a traveling solo musician, seeking gigs as he drove in a station wagon around the country.
Pearl, through the Ash Grove, backed artists Big Mama Thornton, Bukka White, Mississippi Fred McDowell, Freddie King, and more. In the late '60s,'80s, and early '90s, he was a blues DJ, not only entertaining but educating with the knowledge he acquired during the Ash Grove days. Perhaps his best-known accomplishment was founding one of the West Coast's top blues events, the Long Beach Blues Festival, and he was also the promoter of the Big Time Blues Festival, also held in Long Beach.
I Had to Get Nasty
The Bernie Pearl Blues Band originated in 1984, with Robert Lucas on harmonica. Fats replaced Lucas in 1986. Fats' witty songs and on-stage magnetism is captured on Live at Cafe Lido, an album originally intended as a demo. The high demand for that album led Fats and Pearl to form Bee Bump Records, with its first release being I Had to Get Nasty. Pearl convinced Fats to work as an acoustic duo, releasing Two Heads Are Better in 1995. The following year, they released Blow, Fat Daddy, Blow!, dedicated to the memory of Fats' wife and civil rights activist Johnnie Tillman.
Keine Kommentare:
Kommentar veröffentlichen