1875 Cowboy Roy Brown* ,+unbekannt
1922 Little Willie Foster*
1929 Johnny Fuller*
1940 Calvin Leavy*
1940 Tim Drummond*
1948 Dave Peabody*
1958 Gary Primich*
1992 Johnny Shines+
2013 Artie "Blues Boy" White+
Happy Birthday
Cowboy Roy Brown *20.04.18751)
1)Todestag unbekannt
Cowboy Roy Brown was born on April 20, 1875, the son of a fiddle-playing Arkansas preacher. Brown's father taught him to play guitar and he was soon accompanying him at church services. In 1882, when Brown was seven, he moved with his father to Butler County, MO, just across the border from Arkansas on the Black River. Brown moved to Kansas City while in his twenties, and after spending a decade or so there, he moved to Marion, IL, then to Milwaukee, WI, and then to Deadwood, SD, before eventually settling in St. Louis, where he made his living as a street singer. Playing on an ancient guitar he had named "Baby" and punctuating his songs with blasts on a kazoo he called "Leon," Brown worked a versatile street repertoire of folk, blues, gospel, pop, and cowboy songs. He was recorded doing his street act in the mid-'50s (when he was in his seventies or early eighties) and the session was eventually released a half-century later by Delmark Records in 2007 under the title Street Singer. Cowboy Roy Brown was born on April 20, 1875, the son of a fiddle-playing Arkansas preacher. Brown's father taught him to play guitar and he was soon accompanying him at church services. In 1882, when Brown was seven, he moved with his father to Butler County, MO, just across the border from Arkansas on the Black River. Brown moved to Kansas City while in his twenties, and after spending a decade or so there, he moved to Marion, IL, then to Milwaukee, WI, and then to Deadwood, SD, before eventually settling in St. Louis, where he made his living as a street singer. Playing on an ancient guitar he had named "Baby" and punctuating his songs with blasts on a kazoo he called "Leon," Brown worked a versatile street repertoire of folk, blues, gospel, pop, and cowboy songs. He was recorded doing his street act in the mid-'50s (when he was in his seventies or early eighties) and the session was eventually released a half-century later by Delmark Records in 2007 under the title Street Singer.
Cowboy Roy Brown - Trouble in Mind
Gary Primich *20.04.1958
Gary Primich (* 20. April 1958 in Chicago, Illinois; † 23. September 2007 in Austin, Texas) war ein US-amerikanischer Bluesharmonika- und Gitarrespieler.
Er wurde zwar in Chicago geboren, wuchs aber in Gary, Indiana auf. Mundharmonika lernte er als Teenager auf dem Maxwell Street Market. Er erhielt dort eine erstklassige Bluesausbildung, wie sie nie in einem Klassenzimmer gelehrt werden könnte.[1][2] 1984, nachdem er an der Indiana University graduiert hatte, zog er nach Austin, Texas um. 1987 gründete er mit Jimmy Carl, dem ehemaligen Drummer der Mothers of Invention, eine Band namens The Mannish Boys, die auch ein Album aufnahmen. Nachdem Carl die Band verließ, hielt Primich sie zusammen und nahmen ein zweites Album auf. Beide Alben erregten so viel Aufmerksamkeit, dass er unter eigenem Namen ein Album aufnehmen konnte, dem noch einige andere folgten.
Durch Tourneen konnte Primich seine Fanbasis stetig erweitern. Seine Qualitäten ließen ihn auch als Sessionmusiker begehrt werden. So nahm er mit Omar & The Howlers, Tish Hinojosa, Steve James, Libbi Bosworth, Marcia Ball, Ruthie Foster, Mike Morgan and the Crawl, Nick Curran, Doyle Bramhall und Jimmie Vaughan auf.
1985 veröffentlichte er eine Doppel-CD "Blues Harmonica: The Blues and Beyond", wo er die Grundlagen des Bluesharmonikaspiels unterrichtete.[3]
Gary Primich starb, erst 49-jährig, an Heroinvergiftung in seinem Heim in Austin.
http://de.wikipedia.org/wiki/Gary_Primich
Gary Primich (April 20, 1958 – September 23, 2007)[1] was an American blues harmonica player, singer, guitarist and songwriter. He is best known for his 1995 album, Mr. Freeze.
Biography
Gary Alan Primich was born in Chicago, Illinois, but grew up in nearby Hobart, Indiana, where he attended Hobart High School. In 1984, after he graduated with a Bachelor's degree from Indiana University, Primich relocated to Austin, Texas.[2]
While working at the University of Texas, he started playing along with other musicians in local clubs. In 1987, he met Jimmy Carl Black, and they formed the Mannish Boys. Their debut album, A L'il Dab'll Do Ya was issued on the Amazing Records label, and although Black then left the band, Primich stayed with the Mannish Boys for another album, Satellite Rock. In 1991 Primich released his eponymous solo debut album, and My Pleasure followed the next year. Amazing Records then folded, and Primich was contracted to the Flying Fish Records label releasing Travelin' Mood (1994) and Mr. Freeze (1995).[2] Mr. Freeze was named as one of the twenty best blues albums of the 1990s by the Chicago newspaper, New City.[3]
Constant touring allowed Primich to expand his fan base, and by 2000, he had a recording contract with the Texas Music Group. He issued Dog House Music (2002) and then Ridin' the Darkhorse (2006).[2] Primich also recorded with Steve James, Omar & the Howlers, John "Juke" Logan, Marcia Ball, Ruthie Foster, Mike Morgan and the Crawl, Nick Curran, Doyle Bramhall and Jimmie Vaughan.[1]
In addition to his performance albums, in 1985 Primich released an instructional double CD, Blues Harmonica: The Blues And Beyond.[4] In June 1999, at the Montgomery Theater in San Jose, California, Primich undertook a performance and series of workshops with Howard Levy, Magic Dick, Gary Smith, Lee Oskar, Jerry Portnoy, and Andy Santana.[5] He was inducted in the Austin Music Hall of Fame.[1]
In September 2007, Primich died at his home in Austin, at the age of 49,[2] of acute heroin intoxication.
Biography
Gary Alan Primich was born in Chicago, Illinois, but grew up in nearby Hobart, Indiana, where he attended Hobart High School. In 1984, after he graduated with a Bachelor's degree from Indiana University, Primich relocated to Austin, Texas.[2]
While working at the University of Texas, he started playing along with other musicians in local clubs. In 1987, he met Jimmy Carl Black, and they formed the Mannish Boys. Their debut album, A L'il Dab'll Do Ya was issued on the Amazing Records label, and although Black then left the band, Primich stayed with the Mannish Boys for another album, Satellite Rock. In 1991 Primich released his eponymous solo debut album, and My Pleasure followed the next year. Amazing Records then folded, and Primich was contracted to the Flying Fish Records label releasing Travelin' Mood (1994) and Mr. Freeze (1995).[2] Mr. Freeze was named as one of the twenty best blues albums of the 1990s by the Chicago newspaper, New City.[3]
Constant touring allowed Primich to expand his fan base, and by 2000, he had a recording contract with the Texas Music Group. He issued Dog House Music (2002) and then Ridin' the Darkhorse (2006).[2] Primich also recorded with Steve James, Omar & the Howlers, John "Juke" Logan, Marcia Ball, Ruthie Foster, Mike Morgan and the Crawl, Nick Curran, Doyle Bramhall and Jimmie Vaughan.[1]
In addition to his performance albums, in 1985 Primich released an instructional double CD, Blues Harmonica: The Blues And Beyond.[4] In June 1999, at the Montgomery Theater in San Jose, California, Primich undertook a performance and series of workshops with Howard Levy, Magic Dick, Gary Smith, Lee Oskar, Jerry Portnoy, and Andy Santana.[5] He was inducted in the Austin Music Hall of Fame.[1]
In September 2007, Primich died at his home in Austin, at the age of 49,[2] of acute heroin intoxication.
Johnny Fuller *20.04.1929
He is not to be confused with, nor was related to, the American blues musician, Jesse Fuller.
Fuller was born in Edwards, Mississippi, United States.[2] He relocated with his family in 1945 to Vallejo, California.[3][4]
His musical styling often masked his upbringing in the Deep South, but he spent the majority of his life in the San Francisco Bay Area. As such, he is usually classified as a West Coast bluesman, although he did not stick with one particular genre.[1] Fuller recorded for a number of independent record labels, sometimes those associated with Bob Geddins. These included Heritage, Hollywood, Flair, Specialty, Aladdin, Imperial and Checker Records. His debut recording was made in 1948 on the obscure Jaxyson record label, with a couple of gospel based songs. In 1954, he began a regular recording career which lasted until 1962.[4] Fuller recorded twenty sides in 1954 alone for Geddins.[3]
Fuller had local hits with his singles "All Night Long" and the original version of "Haunted House," the latter of which was written and produced by Geddins. Fuller's ability to switch styles, saw him appear in late 1950s rock and roll package tours, performing on the same bill as Paul Anka and Frankie Avalon.[1] However, this same factor lost his black audience, which left him neglected in the 1960s blues revival.[3]
In 1974, Fuller issued his debut album, Fuller's Blues which was well received,[3][5] but saw little commercial success. Fuller played at the San Francisco Blues Festival in 1973 and 1977.
He latterly worked as a mechanic in a local garage until his death from lung cancer in Oakland, California, in May 1985, at the age of 56.
Tim Drummond *20.04.1940
Timothy Lee Drummond (* 20. April 1940 in Canton, Illinois; † 10. Januar 2015 in St. Louis County, Missouri) war ein US-amerikanischer Bassist und Studiomusiker. Tim Drummond war das erste weiße Mitglied in der Band von James Brown und begleitete diesen 1968 auf dessen Tournee durch Vietnam.[1]
Tim Drummond begleitete im Laufe seiner Karriere als Bassist mehrere namhafte Musiker und überschritt dabei bestehende Genregrenzen wie Rockabilly, Rhythm and Blues, Funk und Country & Western. Zu den Musikern, die Drummond am Bass begleitete, gehören Hank Ballard, Eric Clapton, Neil Young, Crosby, Stills and Nash, Bob Dylan, Graham Nash, Ry Cooder, J. J. Cale, Miles Davis, B. B. King, Joe Cocker und Albert Collins.
Laufbahn
Während des Vietnamkrieges trat James Brown vor US-Army-Soldaten in Vietnam auf. Aus Sicherheitsgründen durfte James Brown nur eine aus sieben Personen bestehende Band mitbringen. Zu dieser Band gehörten neben Jimmy Nolen an der Gitarre und Maceo Parker am Saxophon auch Tim Drummond. Da sich Drummond in Vietnam mit Hepatitis infizierte, wurde er nach seiner Rückkehr durch Charles Sherrell ersetzt.[2]
Als Neil Young in Nashville sein Hitalbum Harvest aufnahm, gehörte Tim Drummond mit Ben Keith, Jack Nitzsche und Kenny Buttrey zur sich formierenden Begleitband The Stray Gators. Zwanzig Jahre später spielte Neil Young das Nachfolgealbum Harvest Moon ein und wieder gehörte Tim Drummond mit Kenny Buttrey zur Rhythmusgruppe.
Mit den Stray Gators unternahm Neil Young 1973 die Time Fades Away-Tour, wobei Tim Drummond mit dem vormaligen Schlagzeuger der Turtles, Johnny Barbata, die Rhythmusgruppe bildete. Mit Russell Kunkel am Schlagzeug begleitete er auch Crosby, Stills, Nash & Young auf der Stadion-Tournee von 1974. Hierbei traf Drummond in St. Paul auf Bob Dylan, dessen Band er später beitrat.[3]
Drummond begleitete Neil Young auch auf dessen Live-Album Unplugged (1993) und ist auch auf der dazugehörigen MTV-Aufnahme zu sehen. Er sitzt zwischen Neil Young (l.) und dem Gitarristen Nils Lofgren.
Mit dem Drummer Jim Keltner bildete Drummond die Rhythmusgruppe Tim & Jim. Tim Drummond spielte einen Fender Precision Bass.
Drummond ist auch Co-Autor mehrere Songs von den Musikern, mit denen er zusammen spielte. Dazu gehören Saved (Bob Dylan), Who's Talking (J. J. Cale), Saddle Up The Palomino (Neil Young) und Down In Hollywood (Ry Cooder).
Weggefährten über Tim Drummond
“Rest in Peace, Tim. You were a great bass player and songwriter. You had the fire, the magic. You played with James Brown, Conway Twitty and Bob Dylan. You played on many of my records too. I remember your humor, your life, your quickness, your love. Thanks man!”
„Ruhe in Frieden, Tim! Du warst ein großartiger Bassist und Songwriter. Du hattest Feuer, Magie. Du spieltest mit James Brown, Conway Twitty und Bob Dylan. Du warst auch auf vielen meiner Platten zu hören. Deinen Humor, deinen Lebensstil, deine Schnelligkeit und deine Freundschaft werde ich nie vergessen. Danke dafür!“
– Neil Young, Nachruf in der Neil Young Times[4]
“Tim was a white bass blayer I had used on some sessions in Cincinnati at King. I'd been asking him to join the band, and when he heard we were going to Vietnam he said yes. He told me he wanted to show the soldiers over there that some white and black people back home were getting along. He was a playing cat - good God a'mighty, I never could get enough of Tim.”
„Tim, der Bassist, war ein Weißer, den ich für einige Sessions bei King in Cincinnati engagiert hatte. Ich hatte ihn gebeten, in die Band zu kommen, und als er hörte, wir gingen nach Vietnam, sagte er zu. Er sagte mir, er wolle den Soldaten da drüben zeigen, dass es zu Hause immerhin einige Weiße und Schwarze gibt, die miteinander auskommen. Er konnte wirklich spielen, großer Gott, von Tim konnte ich nie genug kriegen.“
– James Brown in seiner Autobiografie
b. Timothy Lee Drummond, 20 April 1940, Bloomington, Illinois, USA. One of the leading session players in the music business, bass player Drummond began playing R&B and rock ’n’ roll when the airforce put his father on a year’s transfer to Charleston, SC. Returning to Illinois, he played guitar in a local band with ‘Wild Child Gibson’ of Little Richard fame, before turning his attention to the bass. Drummond toured with local attraction, Eddie Cash &The Cashiers, before playing with rockabilly singer Conway Twitty. When Twitty began to move into straight country, Drummond relocated to Cincinnati, Ohio where he worked the clubs with Troy Seals, Lonnie Mack and Roger Troy (Electric Flag), and played sessions for Hank Ballard and James Brown. He joined Brown’s band, touring with great players such as Jimmy Nolen and Maceo Parker in North America, Vietnam, Korea and Africa, but eventually quit. Drummond then moved to Nashville, playing sessions for blues and R&B singers including Joe Simon, Margie Hendricks, Fenton Robinson, and country artists including Ronnie Mislap, Jimmy Buffett, Doug Kershaw and Charlie Daniels. A meeting with Neil Young resulted in Drummond playing on Young’s highly successful Harvest, and touring as part of his Straygators backing group. Drummond moved to California, where he has become an in-demand session player, working with a stellar list of artists including Young, Bob Dylan (Slow Train Coming, Saved, Shot Of Love), Ry Cooder (Bop Till You Drop, The Slide Area, Borderline), J.J. Cale (Naturally, Travel Log, Anyway The Wind Blows), Crosby, Stills And Nash (CSN), Graham Nash (Wild Tales), the Beach Boys (16 Big Ones), John Mayall, Rick Danko, Don Henley (Building The Perfect Beast) and Jewel (Pieces Of You). He is currently working with blues legend Arthur ‘Big Boy’ Crudup’s sons on the Franktown Blues project, and with Essra Mohawk as the KillerGrooveBand. Texan guitar company Jackson Guitars are also manufacturing the Tim Drummond Signature ‘BlueCollar’ Bass Guitar.
J.J. Cale - Hard Times (Live In Minneapolis,USA 1991)
J.J. Cale (lead guitar)
Tim Drummond (bass)
Spooner Oldman (keys)
James Cruse (drums)
Steve Douglas (sax)
Christine Lakeland (rythm guitar)
Jim Karstein (percussion)
Label: Arriba
Recorded Live In Minneapolis,USA April 18,1991
Tim Drummond (bass)
Spooner Oldman (keys)
James Cruse (drums)
Steve Douglas (sax)
Christine Lakeland (rythm guitar)
Jim Karstein (percussion)
Label: Arriba
Recorded Live In Minneapolis,USA April 18,1991
Little Willie Foster *20.04.1922
Little Willy Foster or Little Willie Foster (April 20, 1922[nb 1] – November 25, 1987)[4] was an American Chicago blues harmonicist, singer, and songwriter.
Biography
Foster was born in Dublin, Mississippi, United States.[2] Born to Major Foster and Rosie Brown, Willy was raised on a plantation, around ten miles south of Clarksdale. His mother died when Willy was aged five and he was raised by his father, who was a local musician. Willy worked the fields from a young age and had little by way of a formal education. His father taught him to play the family's piano, although Willy later taught himself to master both the guitar and harmonica. By 1942, Foster worked briefly in Clarksdale itself. Around 1943, Foster relocated to Chicago.[2] He played the blues round the city, originally teaming up with Floyd Jones, Lazy Bill Lucas, and the latter's cousin, Leroy Foster. Having befriended Big Walter Horton, Little Willy Foster learned to play the harmonica in Horton's Chicago blues style. From the mid 1940s, this led to periodic work for Foster on Maxwell Street, and around the city's clubs, for over a decade.[1][2] Foster also worked during this time in a band comprising himself, Homesick James, Moody Jones and Floyd Jones.[1]
In January 1955, Foster recorded two sides for Parrot. These were his own compositions, "Falling Rain Blues" and "Four Day Jump". His accompaniment included playing from Lucas, Jones and Eddie Taylor.[1][2][4] Foster reportedly incurred the displeasure of the record label owner, Al Benson, for reporting him to the American Federation of Musicians, over underpaid dues on the recordings.[5] In March 1957, Foster was back in a recording studio in Chicago, where he waxed two more of his songs, "Crying the Blues" and "Little Girl".[2] Regarding the former title, AllMusic noted that it "reflected both his emotional singing and his wailing, swooping harmonica".[1]
From this point onwards, his personal life started to degenerate. Attending a house party, Foster was accidentally shot in the head by a woman playing with a hand gun. This led to semi-paralysis for Foster and seriously affected his ability to speak.[2] Although he made a slow recovery, Foster rarely played in public thereafter.[1] In January 1974, Foster voluntarily surrendered himself to the local police after he had shot dead his room mate. Pleading self-defense, his impaired judgement due to his previous brain injury, led to a verdict of not guilty due to insanity and Foster was sent to a state hospital in 1975.[2]
In November 1987, Foster died in Chicago from cancer, aged 65.[2][3]
In 1996, an album produced by Bobby Mack, who also played guitar on the work, was released.[1]
Foster's four released tracks have variously appeared on numerous compilation albums, issued both before and after his death.[4]
Confusion
The anomaly surrounding the spelling of his first name arises from the differences used on his two single releases.[4]
He is not to be confused, although often is in both literature and record listings etc., with another blues harmonica player, Willie James Foster (September 19, 1921 – May 20, 2001).
Dave Peabody *20.04.1948
Dave Peabody (born David Peabody, 20 April 1948, Southall, Middlesex, London, England) is an English singer-songwriter, blues and folk musician, record producer and photographer, active since the late 1960s, who has appeared on more than 60 albums.[1] He is primarily known for his acoustic guitar playing, in both bottleneck and fingerpicking styles.
Career
He first recorded in 1971 as a member of a group, Polly Flosskin, who recorded an album, Sailin' on the Ocean, and then as a member of a successor group, Tight Like That, on the Village Thing label.[2] He also performed with early versions of Savoy Brown and Fleetwood Mac.[1] His first, self-titled, solo album was released in 1973. In all, he has released nine solo albums, the most recent being Side by Slide in 2005. He has also performed and recorded with a wide variety of other blues musicians, notably Charlie Musselwhite and Big Joe Duskin, as well as in a duo with Bob Hall, and has appeared at many blues festivals in the US and in Europe.[1]
In 1996, he replaced Paul King in the King Earl Boogie Band. Peabody was voted "Acoustic Blues Artist of the Year" in 1995, 2001 and 2002.
Career
He first recorded in 1971 as a member of a group, Polly Flosskin, who recorded an album, Sailin' on the Ocean, and then as a member of a successor group, Tight Like That, on the Village Thing label.[2] He also performed with early versions of Savoy Brown and Fleetwood Mac.[1] His first, self-titled, solo album was released in 1973. In all, he has released nine solo albums, the most recent being Side by Slide in 2005. He has also performed and recorded with a wide variety of other blues musicians, notably Charlie Musselwhite and Big Joe Duskin, as well as in a duo with Bob Hall, and has appeared at many blues festivals in the US and in Europe.[1]
In 1996, he replaced Paul King in the King Earl Boogie Band. Peabody was voted "Acoustic Blues Artist of the Year" in 1995, 2001 and 2002.
R.I.P.
Artie "Blues Boy" White +20.04.2013
Very few Chicago blues artists were able to pierce the R&B charts during the 1970s, when interest in the genre was rock-bottom. But smooth-voiced Artie "Blues Boy" White managed the rare feat with his 1977 single for Altee, "Leanin' Tree." Gospel was White's initial musical pursuit. He sang with a spiritual aggregation, the Harps of David, at the age of 11 prior to coming to Chicago in 1956. More church singing was in store with the Full Gospel Wonders. White claims he was lured into singing the devil's music by a well-heeled gent who drove up to an unsuspecting White in a flashy Cadillac and promised him $10,000 to record some blues songs!
White's '70s singles for PM and Gamma stiffed, but with the advent of "Leanin' Tree," he was able to command a nice asking price on the Chicago circuit. For a while, White tried his hand at running a blues club, Bootsy's Lounge. But performing and recording won out; White waxed a terrific debut LP in 1985 for Shreveport-based Ronn Records called Blues Boy. He signed with Ichiban in 1987 and waxed six fine sets in the soul-blues vein (enough to merit a best-of CD in 1991), utilizing Chicago songwriter Bob Jones (the composer of "Leanin' Tree") and labelmate Travis Haddix as chief sources of material. On 1989's Thangs Got to Change, White enjoyed the presence of Little Milton Campbell, one of his prime influences, on lead guitar. A move to the Waldoxy label resulted in 1994's Different Shades of Blue, 1997's Back Home to Clarksdale: A Tribute to Muddy Waters, and 1999's Can We Get Together. 2002 found White still going strong with a new record, Can't Get Enough, and a new label, Gold Circle.
http://www.allmusic.com/artist/artie-blues-boy-white-mn0000607522/biography
Artie was born in Vicksburg, Mississippi. His first public musical experience was singing gospel with the ‘Harps of David.’ Moving to Chicago in 1956, White continued to sing gospel with the Full Gospel Wonders.
White switched over to blues in the early 1960's. Over the next two decades, he recorded a number of singles with independent labels such as P&M, Gamma, and Al Tee. He briefly reached the R & B charts with "You Are My Leanin' Tree" on the Al Tee Label in 1977. His hit sold over 100,000 copies. In 1984, singles "Jimmy" and "I need Someone"’ on the Jewel Record Label became classics and "BLUES BOY" became his signature recording name.
White signed a recording contract with Stan Lewis's Ronn/Jewel/Paula consortium in 1985. In 1987, White moved on to John Abbey's Ichiban label where he recorded, arranged and produced his next 7 albums. He was a fixture there until he signed with Malaco’s Waldoxy Label in 1994. His first CD on this label, “Different Shades Of Blue” featured the hit ‘Marry my Mother-In-Law’. White's version of "Your Man Is Home Tonight" signaled that Waldoxy had moved decidedly into the same territory of soul blues that Malaco had been mining since Z. Z. Hill first signed with the company in 1980. White was nominated for the Jackson Blues Award for this landmark release. His current CD “Can We Get Together” received top reviews. Artie was a headliner at the Chicago Blues Festival in June of 2000. His overseas concerts keep him in demand for return performances.
Artie received the “Award of Honor” for his contribution to music at the 2002 Chicago Music Awards. He released “I Can’t Get Enough” on the “ACHILLTOWN” Label on November 1, 2001.
Artie has performed with greats such as B.B. King, KoKo Taylor, Aretha Franklin, Bobby Bland, James Brown, Little Richard, Chuck Berry, McKinley Mitchell, The Dells, Chi-Lites, Little Milton, Bobby Rush, The late Johnnie Taylor, Latimore, Shirley Brown, Denise LaSalle, Tyrone Davis, Otis Clay, Sugar Hill Gang, and many others.
White switched over to blues in the early 1960's. Over the next two decades, he recorded a number of singles with independent labels such as P&M, Gamma, and Al Tee. He briefly reached the R & B charts with "You Are My Leanin' Tree" on the Al Tee Label in 1977. His hit sold over 100,000 copies. In 1984, singles "Jimmy" and "I need Someone"’ on the Jewel Record Label became classics and "BLUES BOY" became his signature recording name.
White signed a recording contract with Stan Lewis's Ronn/Jewel/Paula consortium in 1985. In 1987, White moved on to John Abbey's Ichiban label where he recorded, arranged and produced his next 7 albums. He was a fixture there until he signed with Malaco’s Waldoxy Label in 1994. His first CD on this label, “Different Shades Of Blue” featured the hit ‘Marry my Mother-In-Law’. White's version of "Your Man Is Home Tonight" signaled that Waldoxy had moved decidedly into the same territory of soul blues that Malaco had been mining since Z. Z. Hill first signed with the company in 1980. White was nominated for the Jackson Blues Award for this landmark release. His current CD “Can We Get Together” received top reviews. Artie was a headliner at the Chicago Blues Festival in June of 2000. His overseas concerts keep him in demand for return performances.
Artie received the “Award of Honor” for his contribution to music at the 2002 Chicago Music Awards. He released “I Can’t Get Enough” on the “ACHILLTOWN” Label on November 1, 2001.
Artie has performed with greats such as B.B. King, KoKo Taylor, Aretha Franklin, Bobby Bland, James Brown, Little Richard, Chuck Berry, McKinley Mitchell, The Dells, Chi-Lites, Little Milton, Bobby Rush, The late Johnnie Taylor, Latimore, Shirley Brown, Denise LaSalle, Tyrone Davis, Otis Clay, Sugar Hill Gang, and many others.
Johnny Shines +20.04.1992
Johnny Shines (eigentlich John Ned Shines; * 26. April 1915 in Frayser, Memphis, Tennessee; † 20. April 1992 in Tuscaloosa, Alabama) war ein US-amerikanischer Blues-Sänger und -Gitarrist.Seine Jugend verbrachte Johnny Shines größtenteils in Memphis, wo er bereits sehr früh als Straßenmusiker mit seiner Slide-Gitarre Geld verdiente. Seine ersten musikalischen Vorbilder waren Blind Lemon Jefferson und Howlin’ Wolf, das Gitarrespielen hatte er jedoch von seiner Mutter gelernt.
1932 ging Shines nach Hughes in Arkansas, um sich als Farmarbeiter zu verdingen. Hier traf er Robert Johnson, sein größtes Vorbild, der Shines zur Musik zurückbrachte. Ab 1935 traten die beiden zusammen auf. Auf ihren Reisen kamen sie bis hinauf nach Ontario. 1937, ein Jahr vor Johnsons Tod, gingen sie wieder verschiedene Wege.
Shines spielte zunächst im Süden der Staaten. 1941 brach er nach Kanada auf, blieb aber in Chicago hängen. 1946 machte er seine ersten Aufnahmen, die jedoch nicht veröffentlicht wurden. Anfang der 50er Jahre entstanden Aufnahmen für das Chicagoer Label J.O.B.. Nach weiteren Misserfolgen gab Shines Anfang der 1950er die Musik gänzlich auf.
1966 wurde Johnny Shines wiederentdeckt. Er ging mit den Chicago All Stars auf Tour, zusammen mit Lee Jackson, Big Walter Horton und Willie Dixon. Er trat auch mit Robert Lockwood Jr. auf, einem weiteren Schüler Robert Johnsons.
1980 erlitt Shines einen Schlaganfall. Er starb 1992 in Alabama und wurde im gleichen Jahr in die Blues Hall of Fame aufgenommen.
http://de.wikipedia.org/wiki/Johnny_Shines
John Ned "Johnny" Shines (April 26, 1915 – April 20, 1992)[1] was an American blues singer and guitarist.
Biography
Shines was born in Frayser, Memphis, United States.[1] He spent most of his childhood in Memphis, Tennessee playing slide guitar at an early age in local “jukes” and on the street.[1] He was taught to play the guitar by his mother.[1] Shines moved to Hughes, Arkansas in 1932 and worked on farms for three years putting his musical career on hold.[2] It was a chance meeting with Robert Johnson, his greatest influence, that gave him the inspiration to return to music.[1] In 1935, Shines began traveling with Johnson, touring in the United States and Canada.[1] The two went their separate ways in 1937, one year before Johnson's death.[2]
Shines played throughout the southern United States until 1941 when he settled in Chicago.[3] There Shines found work in the construction industry but continued to play in local bars.[1]
He made his first recording in 1946 for Columbia Records, but the takes were never released.[3] He recorded for Chess in 1950, and was once again denied release.[3] He kept playing with local blues musicians in the Chicago area for several more years. In 1952, Shines recorded what is considered his best work for the J.O.B. Records label.[1] The recordings were a commercial failure and Shines, frustrated with the music industry, sold his equipment and returned to construction.[1]
In 1966, Vanguard Records found Shines taking photographs in a Chicago blues club and had him record tracks for the third installment of Chicago/The Blues/Today![1] The album has since become a blues classic and it brought Shines into the mainstream music scene.[1]
Shines toured with the Chicago All Stars alongside Lee Jackson, Big Walter Horton and Willie Dixon.[1]
Shines moved to Holt, Alabama, in Tuscaloosa County, in 1969. When a University of Alabama student, Natalie Mattson, learned that he was living in the area, she invited him to play at a coffee house, known as the "Down Under," that she ran on campus. Shines played on several occasions, and also brought his friend, blues artist Mississippi Fred McDowell to appear with him at Down Under. These were some of his earliest appearances in Alabama after his move there. He continued to play the international blues circuit while living in Holt, Alabama.[4]
In the late 1960s and 1970s, Shines toured with Robert Johnson's stepson, Robert Lockwood, Jr. as the last remaining original delta blues musicians.[3] In 1980, Shines' music was brought to a standstill when he suffered a stroke.[3] He would later appear, and play, in the 1991 documentary The Search for Robert Johnson. His final album, Back To The Country, won a W.C. Handy Award.[1] It featured playing from Snooky Prior and Johnny Nicholas.[3]
In 1989, Shines met Kent DuChaine, and the two of them toured for the next several years until Shines' death.[5]
Shines died on April 20, 1992, in Tuscaloosa, Alabama.[1][6] He was inducted into the Blues Hall of Fame later the same year.
According to the music journalist Tony Russell,
"Shines was that rare being, a blues artist who overcame age and rustiness to make music that stood up beside the work of his youth. When Shines came back to the blues in 1965 he was 50, yet his voice had the leonine power of a dozen years before, when he made records his reputation was based on".
Biography
Shines was born in Frayser, Memphis, United States.[1] He spent most of his childhood in Memphis, Tennessee playing slide guitar at an early age in local “jukes” and on the street.[1] He was taught to play the guitar by his mother.[1] Shines moved to Hughes, Arkansas in 1932 and worked on farms for three years putting his musical career on hold.[2] It was a chance meeting with Robert Johnson, his greatest influence, that gave him the inspiration to return to music.[1] In 1935, Shines began traveling with Johnson, touring in the United States and Canada.[1] The two went their separate ways in 1937, one year before Johnson's death.[2]
Shines played throughout the southern United States until 1941 when he settled in Chicago.[3] There Shines found work in the construction industry but continued to play in local bars.[1]
He made his first recording in 1946 for Columbia Records, but the takes were never released.[3] He recorded for Chess in 1950, and was once again denied release.[3] He kept playing with local blues musicians in the Chicago area for several more years. In 1952, Shines recorded what is considered his best work for the J.O.B. Records label.[1] The recordings were a commercial failure and Shines, frustrated with the music industry, sold his equipment and returned to construction.[1]
In 1966, Vanguard Records found Shines taking photographs in a Chicago blues club and had him record tracks for the third installment of Chicago/The Blues/Today![1] The album has since become a blues classic and it brought Shines into the mainstream music scene.[1]
Shines toured with the Chicago All Stars alongside Lee Jackson, Big Walter Horton and Willie Dixon.[1]
Shines moved to Holt, Alabama, in Tuscaloosa County, in 1969. When a University of Alabama student, Natalie Mattson, learned that he was living in the area, she invited him to play at a coffee house, known as the "Down Under," that she ran on campus. Shines played on several occasions, and also brought his friend, blues artist Mississippi Fred McDowell to appear with him at Down Under. These were some of his earliest appearances in Alabama after his move there. He continued to play the international blues circuit while living in Holt, Alabama.[4]
In the late 1960s and 1970s, Shines toured with Robert Johnson's stepson, Robert Lockwood, Jr. as the last remaining original delta blues musicians.[3] In 1980, Shines' music was brought to a standstill when he suffered a stroke.[3] He would later appear, and play, in the 1991 documentary The Search for Robert Johnson. His final album, Back To The Country, won a W.C. Handy Award.[1] It featured playing from Snooky Prior and Johnny Nicholas.[3]
In 1989, Shines met Kent DuChaine, and the two of them toured for the next several years until Shines' death.[5]
Shines died on April 20, 1992, in Tuscaloosa, Alabama.[1][6] He was inducted into the Blues Hall of Fame later the same year.
According to the music journalist Tony Russell,
"Shines was that rare being, a blues artist who overcame age and rustiness to make music that stood up beside the work of his youth. When Shines came back to the blues in 1965 he was 50, yet his voice had the leonine power of a dozen years before, when he made records his reputation was based on".
Johnny Shines - Sweet Home Chicago; Kindhearted Woman; Crossroads (Live 1973 France)
John Henry „Perry“ Bradford +20.04.1970
John
Henry „Perry“ Bradford (* 14. Februar 1893 in Montgomery, Alabama; †
20. April 1970 in New York City) war ein US-amerikanischer Pianist,
Sänger, Komponist und Bandleader sowie Aufnahmeleiter von Okeh Records.
Leben und Wirken
Bradford wuchs in Atlanta auf, wohin seine Familie im Jahr 1902 zog. Sie wohnten in der Nähe des örtlichen Gefängnisses, wo der junge Perry den Gesang der Insassen hörte und so erstmals mit dem Blues in Berührung kam. 1907 wurde er Mitglied der Formation „Allen’s New Orleans Minstrels“; in dieser umherreisenden Minstrel-Truppe trat er als Sänger und Tänzer auf. Schließlich verließ er die Truppe und arbeitete als Solopianist, u.a. in Chicago. 1910 kam er nach New York, wo er in den 1920er Jahren Leiter des Aufnahmestudios der Plattenfirma Okeh Records wurde. Er arrangierte zahlreiche Plattenaufnahmen mit bekannten Jazzmusikern wie Louis Armstrong, James P. Johnson, Clarence Williams, Don Redman und Fats Waller sowie Blues-Sängerinnen wie Mamie Smith, die seine Komposition „Crazy Blues“ aufnahm, sowie Edith Wilson und Alberta Perkins. Um 1925 betrieb er die Gründung der Formation „The Jazz Phools“ mit Armstrong, die Titel wie Lucy Long, I Ain't Gonna Play No Second Fiddle (1925) und The Jazzhounds (1927) aufnahm. Unter eigenem Namen entstanden in den 1920er Jahren weitere Aufnahmen unter den Bandbezeichnungen Perry Bradford and his Gang oder Bradford's Jazz Phools, Mitwirkende waren u. a. Louis Armstrong, Buster Bailey, James P. Johnson, Fats Waller und Don Redman. 1923 musst er eine Gefängnisstrafe wegen Verletzung von Urheberrechten verbüßen.
Sein Gesangsstil hatte auch Auswirkungen auf den Rock ’n’ Roll; Little Richard nennt ihn als wichtigen Einfluss. Er hatte 1957 einen Hit mit dem Bradford-Titel „Keep A Knockin’“. Im Jahr 1965 erschien seine Autobiographie „Born with the Blues“. Er war auch Komponist der Titel „Evil Blues“, „You Can't Keep a Good Man Down“, und „That Thing Called Love“.
Leben und Wirken
Bradford wuchs in Atlanta auf, wohin seine Familie im Jahr 1902 zog. Sie wohnten in der Nähe des örtlichen Gefängnisses, wo der junge Perry den Gesang der Insassen hörte und so erstmals mit dem Blues in Berührung kam. 1907 wurde er Mitglied der Formation „Allen’s New Orleans Minstrels“; in dieser umherreisenden Minstrel-Truppe trat er als Sänger und Tänzer auf. Schließlich verließ er die Truppe und arbeitete als Solopianist, u.a. in Chicago. 1910 kam er nach New York, wo er in den 1920er Jahren Leiter des Aufnahmestudios der Plattenfirma Okeh Records wurde. Er arrangierte zahlreiche Plattenaufnahmen mit bekannten Jazzmusikern wie Louis Armstrong, James P. Johnson, Clarence Williams, Don Redman und Fats Waller sowie Blues-Sängerinnen wie Mamie Smith, die seine Komposition „Crazy Blues“ aufnahm, sowie Edith Wilson und Alberta Perkins. Um 1925 betrieb er die Gründung der Formation „The Jazz Phools“ mit Armstrong, die Titel wie Lucy Long, I Ain't Gonna Play No Second Fiddle (1925) und The Jazzhounds (1927) aufnahm. Unter eigenem Namen entstanden in den 1920er Jahren weitere Aufnahmen unter den Bandbezeichnungen Perry Bradford and his Gang oder Bradford's Jazz Phools, Mitwirkende waren u. a. Louis Armstrong, Buster Bailey, James P. Johnson, Fats Waller und Don Redman. 1923 musst er eine Gefängnisstrafe wegen Verletzung von Urheberrechten verbüßen.
Sein Gesangsstil hatte auch Auswirkungen auf den Rock ’n’ Roll; Little Richard nennt ihn als wichtigen Einfluss. Er hatte 1957 einen Hit mit dem Bradford-Titel „Keep A Knockin’“. Im Jahr 1965 erschien seine Autobiographie „Born with the Blues“. Er war auch Komponist der Titel „Evil Blues“, „You Can't Keep a Good Man Down“, und „That Thing Called Love“.
Perry
Bradford (14 February 1893, Montgomery, Alabama – 20 April 1970, New
York City) was an African-American composer, songwriter, and vaudeville
performer.
Biography
Perry Bradford grew up in Atlanta, where his family moved when he was six, and in 1906 started working with minstrel shows. He played in Chicago as a solo pianist as early as 1909 and visited New York City the following year.
Through extensive experience with traveling minstrel shows and theatre companies, Bradford obtained huge exposure and experience to African American folksongs. A huge feat of Bradford’s was severing the walls of racial prejudice that kept African-American singers from recording. He is, too often, unrecognized for this accomplishment. Prior to Bradford’s influence, African-American artists recorded in a style that was closely similar to those of white dance orchestras. There was little to no trace of African-American musical characteristics present in their recordings. Bradford persevered in getting the recording industry to value recordings of African-American artists recording in the style of their own subculture.[1]
As a pianist, singer, dancer and composer, Bradford worked in theatre circuits throughout the South and into the North for the next decade (1908–1919) in a song and dance act billed as "Bradford and Jeanette".,[2] While in New York City, Bradford convinced Fred Hager, of Okeh Records, to record Mamie Smith and became her musical director. Smith starred in Bradford's show Made in Harlem (1918). Bradford was also responsible for Smith being the first African-American blues singer to appear on record (singing his "Crazy Blues") in 1920. Bradford claimed that his revue, Made in Harlem, was the first stage production that offered blues matter to the large, northern audience in Harlem. Bradford was able to organize the first recording session, “That Thing Called Love,” that highlighted an African-American artist, accompanied by a white studio band, performing material specific to the African-American culture. [1]
He had offices in the Gaiety Theatre office building in Times Square.[3] Bradford toured and recorded with Smith, worked with Alberta Hunter and also headed seven recording sessions of his own during 1923–1927. Among Bradford's sidemen were Johnny Dunn, Bubber Miley, Garvin Bushell, Louis Armstrong (on two numbers in 1925), Buster Bailey, and James P. Johnson.
Bradford continued to promote blues and jazz recordings by publishing and managing. Bradford’s influence in the recording industry was negatively affected by the crash of the stock market, as well as by changes in the character of jazz and African-American songs. He was an irregular participant after the 1940s. [1] With the rise of the Great Depression, Bradford slipped away into obscurity. In later years, he appeared to exaggerate his role in early blues, possibly a reaction to his being nearly forgotten. In 1957, Little Richard had a hit with Bradford's "Keep A-Knockin'". In 1965, Bradford's autobiography Born With the Blues was published (New York: Oak Publications) with a foreword by Noble Sissle. Bradford's best-known songs were "Crazy Blues", "That Thing Called Love", and "You Can't Keep a Good Man Down".
Biography
Perry Bradford grew up in Atlanta, where his family moved when he was six, and in 1906 started working with minstrel shows. He played in Chicago as a solo pianist as early as 1909 and visited New York City the following year.
Through extensive experience with traveling minstrel shows and theatre companies, Bradford obtained huge exposure and experience to African American folksongs. A huge feat of Bradford’s was severing the walls of racial prejudice that kept African-American singers from recording. He is, too often, unrecognized for this accomplishment. Prior to Bradford’s influence, African-American artists recorded in a style that was closely similar to those of white dance orchestras. There was little to no trace of African-American musical characteristics present in their recordings. Bradford persevered in getting the recording industry to value recordings of African-American artists recording in the style of their own subculture.[1]
As a pianist, singer, dancer and composer, Bradford worked in theatre circuits throughout the South and into the North for the next decade (1908–1919) in a song and dance act billed as "Bradford and Jeanette".,[2] While in New York City, Bradford convinced Fred Hager, of Okeh Records, to record Mamie Smith and became her musical director. Smith starred in Bradford's show Made in Harlem (1918). Bradford was also responsible for Smith being the first African-American blues singer to appear on record (singing his "Crazy Blues") in 1920. Bradford claimed that his revue, Made in Harlem, was the first stage production that offered blues matter to the large, northern audience in Harlem. Bradford was able to organize the first recording session, “That Thing Called Love,” that highlighted an African-American artist, accompanied by a white studio band, performing material specific to the African-American culture. [1]
He had offices in the Gaiety Theatre office building in Times Square.[3] Bradford toured and recorded with Smith, worked with Alberta Hunter and also headed seven recording sessions of his own during 1923–1927. Among Bradford's sidemen were Johnny Dunn, Bubber Miley, Garvin Bushell, Louis Armstrong (on two numbers in 1925), Buster Bailey, and James P. Johnson.
Bradford continued to promote blues and jazz recordings by publishing and managing. Bradford’s influence in the recording industry was negatively affected by the crash of the stock market, as well as by changes in the character of jazz and African-American songs. He was an irregular participant after the 1940s. [1] With the rise of the Great Depression, Bradford slipped away into obscurity. In later years, he appeared to exaggerate his role in early blues, possibly a reaction to his being nearly forgotten. In 1957, Little Richard had a hit with Bradford's "Keep A-Knockin'". In 1965, Bradford's autobiography Born With the Blues was published (New York: Oak Publications) with a foreword by Noble Sissle. Bradford's best-known songs were "Crazy Blues", "That Thing Called Love", and "You Can't Keep a Good Man Down".
Crazy Blues by Perry Bradford on Piano
PERRY BRADFORD AND HIS GANG Kansas City Blues
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