1898 Sippie Wallace*
1917 Johnny Woods*
1924 Little Johnny Jones*
1956 Tommy Johnson+
1963 Johnny Watson (Daddy Stovepipe)+
1970 Bennie Veldman*
1986 Sippie Wallace+
Happy Birthday
Sippie Wallace *01.01.1898
Sippie Wallace (* 1. November 1898 in Houston, Texas; † 1. November 1986), eigentlich Beulah Thomas, war eine US-amerikanische Blues-Sängerin und Pianistin.
Sippie Wallace wurde in eine musikalische Familie hinein geboren; ihre Brüder waren George W. Thomas, ein Pianist, Bandleader und Komponist, und Hersal Thomas, ihre Nichte war Hociel Thomas, die Tochter von George. In jungen Jahren sang Wallace in der Kirche und spielte die Orgel. Später trat sie in Zeltshows auf.
1915 zog sie nach New Orleans und heiratete. 1923 zog sie nach Chicago, wo sie ihre ersten Aufnahmen als Sippie Wallace, die Texanische Nachtigall ("The Texas Nightingale"), machte. In den 1920ern war sie eine der populärsten Bluessängerinnen. Zwischen 1923 und 1927 nahm sie über 40 Titel auf, größtenteils von ihr selbst und ihren Brüdern geschrieben. Sie trat mit so bekannten Musikern wie Louis Armstrong, Clarence Williams und King Oliver auf.
In den 1930ern zog sie sich aus dem Musikgeschäft zurück und trat nur noch in Kirchen in Detroit auf. In den 1940ern machte sie neue Aufnahmen. 1966 brachte sie im Zuge des Blues-Revivals das Album Sippie Wallace Sings the Blues heraus und ging wieder auf Tour. Bonnie Raitt, damals Studentin, war so beeindruckt von dem Album, dass sie Wallace aufsuchte; die beiden wurden Freundinnen und nahmen 1981 zusammen das Album Sippie auf, das 1983 für einen Grammy nominiert wurde und 1984 einen Handy Award gewann.
Sippie Wallace trat bis in die 1980er hinein auf. Sie wurde in Deutschland u.a. durch ihre Zusammenarbeit mit dem Boogie Woogie-Pianisten Axel Zwingenberger bekannt. Zwingenberger widmete ihr seine Komposition "Blues for Sippie Wallace".
Sie starb 1986. 1993 wurde sie in die "Michigan Women's Hall of Fame" aufgenommen, 2003 in die Blues Hall of Fame.
Sippie Wallace wurde in eine musikalische Familie hinein geboren; ihre Brüder waren George W. Thomas, ein Pianist, Bandleader und Komponist, und Hersal Thomas, ihre Nichte war Hociel Thomas, die Tochter von George. In jungen Jahren sang Wallace in der Kirche und spielte die Orgel. Später trat sie in Zeltshows auf.
1915 zog sie nach New Orleans und heiratete. 1923 zog sie nach Chicago, wo sie ihre ersten Aufnahmen als Sippie Wallace, die Texanische Nachtigall ("The Texas Nightingale"), machte. In den 1920ern war sie eine der populärsten Bluessängerinnen. Zwischen 1923 und 1927 nahm sie über 40 Titel auf, größtenteils von ihr selbst und ihren Brüdern geschrieben. Sie trat mit so bekannten Musikern wie Louis Armstrong, Clarence Williams und King Oliver auf.
In den 1930ern zog sie sich aus dem Musikgeschäft zurück und trat nur noch in Kirchen in Detroit auf. In den 1940ern machte sie neue Aufnahmen. 1966 brachte sie im Zuge des Blues-Revivals das Album Sippie Wallace Sings the Blues heraus und ging wieder auf Tour. Bonnie Raitt, damals Studentin, war so beeindruckt von dem Album, dass sie Wallace aufsuchte; die beiden wurden Freundinnen und nahmen 1981 zusammen das Album Sippie auf, das 1983 für einen Grammy nominiert wurde und 1984 einen Handy Award gewann.
Sippie Wallace trat bis in die 1980er hinein auf. Sie wurde in Deutschland u.a. durch ihre Zusammenarbeit mit dem Boogie Woogie-Pianisten Axel Zwingenberger bekannt. Zwingenberger widmete ihr seine Komposition "Blues for Sippie Wallace".
Sie starb 1986. 1993 wurde sie in die "Michigan Women's Hall of Fame" aufgenommen, 2003 in die Blues Hall of Fame.
Sippie Wallace (born as Beulah Thomas, November 1, 1898 – November 1, 1986) was an American singer-songwriter. Her early career in local tent shows gained her the billing "The Texas Nightingale". Between 1923 and 1927, she recorded over 40 songs for Okeh Records, many written by herself or her brothers, George and Hersal Thomas.[1] Her accompanists included Louis Armstrong, Johnny Dodds, Sidney Bechet, King Oliver, and Clarence Williams. Among the top female blues vocalists of her era, Wallace ranked with Ma Rainey, Ida Cox, Alberta Hunter, and Bessie Smith.
In the 1930s, she left show business to become a church organist, singer, and choir director in Detroit, and performed secular music only sporadically until the 1960s, when she resumed her career. Wallace was nominated for a Grammy Award in 1982, and was inducted into the Michigan Women's Hall of Fame in 1993.[2]
Biography
Wallace was born in the Delta Lowlands of Plum Bayou, Arkansas, one of 13 children, and later moved with her family as a child to Houston, Texas.[3] In her youth Wallace sang and played the piano in Shiloh Baptist Church, where her father was a deacon, but in the evenings the children took to sneaking out to tent shows. By her mid-teens, they were playing in those tent shows. By performing in the various Texas shows, she built a solid following as a spirited blues singer.[citation needed]
Wallace came from a musical family: her brother George W. Thomas became a notable pianist, bandleader, composer, and music publisher; her other brother Hersal Thomas was a pianist and composer; and her niece (George's daughter) Hociel Thomas was a pianist and composer.
Marriage
In 1915 Wallace moved to New Orleans, Louisiana with brother Hersal; two years later she married Matt Wallace, and changed her name.
Career
After following her brothers to Chicago in 1923, Wallace worked her way into the city's bustling jazz scene. Her reputation led to a recording contract with Okeh Records in 1923.[4] Wallace's first recorded songs, "Shorty George" and "Up the Country Blues", the former written with her brother George, sold well enough to make Wallace a blues star in the early 1920s.[5] Other successful recordings followed, including "Special Delivery Blues" (with Louis Armstrong), "Bedroom Blues" (written by George and Hersal Thomas), and "I'm a Mighty Tight Woman". Her younger brother Hersal died of food poisoning in 1926 at age 16.
Wallace moved to Detroit in 1929. Her husband Matt and brother George both died in 1936. Wallace for some 40 years was a singer and organ player at the Leland Baptist Church in Detroit. Mercury Records reissued "Bedroom Blues" in 1945. Aside from an occasional performance or recording date, Wallace did little in the blues until she launched a comeback in 1966 after her longtime friend Victoria Spivey coaxed her out of retirement and on the folk and blues festival circuit.
In 1966 Wallace recorded an album on Halloween night, Copenhagen, Denmark, Women Be Wise, with Roosevelt Sykes and Little Brother Montgomery sharing the piano stool.[6] Another 1966 album Sings the Blues, on the latter song, Wallace accompanied herself on piano; otherwise she is backed by either Roosevelt Sykes or Little Brother Montgomery on piano. Includes Wallace's signature song, "Women Be Wise", "Don't Advertise Your Man". The album helped inspire blues-pop singer Bonnie Raitt to take up the blues in the late 1960s.[7] In 1971 Raitt recorded a rendition of Sippie Wallace's "Women Be Wise" on her self-titled album Bonnie Raitt. Wallace toured and recorded with Raitt in the 1970s and 1980s, while continuing to perform on her own.[8] The bond between Wallace and Raitt helped bridge the gap between two generations of blues queens.
Wallace recorded on Louis Armstrong album, Louis Armstrong and the Blues Singers (1966), singing "A Jealous Woman Like Me", "Special Delivery Blues", "Jack O'Diamond Blues", "The Mail Train Blues" and "I Feel Good". Wallace also recorded an album of old blues standards with her friend Victoria Spivey, called Sippie Wallace and Victoria Spivey, which came out in 1970 on Spivey's own self-named label. In 1981, Wallace recorded an album Sippie for Atlantic Records, which earned a her a 1983 Grammy nomination,[9] and also won the 1982 W. C. Handy Award for Best Blues Album of the Year.[10] Wallace's backup group on were pianist Jim Dapogny's Chicago Jazz Band, consisting of cornetist Paul Klinger, trombonist Bob Smith and Russ Whitman and Peter Ferran on reeds.
In 1966 and 1967 she appeared at the Newport Folk Festival, toured Europe with the American Folk Blues Festival, e.g. Copenhagen, Denmark in 1966, the Chicago Blues Festival, 1967, the Ann Arbor Blues Festival, 1972, and appeared at Lincoln Center in New York, 1977. She played herself in the documentary Jammin' with the Blues Greats (1982).[11]
On July 22, 1982 at the Montreux Jazz Festival, Sippie shared the stage with the King of the Blues, B.B. King, which was filmed and later broadcast.
Then in Ann Arbor, Michigan she got together with German boogie woogie pianist Axel Zwingenberger, with whom she recorded a studio album in 1983. Wallace included many of her own groundbreaking compositions as well as other classic blues songs, on his album, And the Friends of Boogie, Vol. 1: Sippie Wallace, released in 1984. In 1984 she traveled to Germany to tour with Zwingenberger, where they also recorded the only complete live album she ever did: An Evening With Sippie Wallace for Vagabond Records.
Death
In March 1986, following a concert in Germany at Burghausen Jazz Festival, she suffered a severe stroke, was hospitalized, returned to the US, and died on her 88th birthday at Sinai Hospital in Detroit, Michigan.[12] She is buried at Trinity Cemetery, Detroit, Wayne County, Michigan.[13]
Documentary
In 1986, Rhapsody Films and producer Roberta Grossman released Sippie Wallace: Blues Singer and Song Writer, a documentary about Sippie Wallace, who is represented in this film portrait by means of concert footage, interviews, historic rare recordings and photographs.
Bonnie Raitt, Sippie Wallace on Late Night, April 27, 1982
Johnny Woods *01.11.1917
Johnny Woods (November 1, 1917 – February 1, 1990) was an American blues singer and harmonica player in the North Mississippi hill country blues style.
Woods was born in a small Mississippi town called Looxahoma, just west of Mississippi Highway 35.[2] His harmonica playing first gained notoriety in the 1960s as a duet partner with fellow blues revival discovery guitarist/singer Mississippi Fred McDowell. They recorded together first for George Mitchell in 1967, for Chris Strachwitz's Arhoolie Records (King of the Country Blues V2), Swingmaster (Blues of Johnny Woods)[3] and in 1972 for Tom Pomposello and Fred Seibert on Oblivion Records (Mississippi Harmonica).[4]
Stylistically, Woods' music sprang from the same North Mississippi Fife and drum blues band tradition as McDowell's. However, personal problems kept him rooted in the Delta, primarily working as a farm hand and sharecropper.
After McDowell's death in July 1973, Woods faded away until George Mitchell paired him again with another late Mitchell Mississippi Delta discovery, R. L. Burnside, himself a McDowell disciple. Together they recorded the Swingmaster album and video, Going Down South.
Johnny Woods died in Olive Branch, Mississippi in 1990.
R.L. Burnside & Johnny Woods - Telephone Blues
Little Johnny Jones *01.11.1924
Jones wurde in eine musikalische Familie hinein geboren, seine Mutter spielte Klavier in Kirchen in Jackson und sein Vater spielte Gitarre und Harmonika. Aber sein größter Einfluss, wie bei vielen Pianisten aus Chicago, war Big Maceo Merriweather, der in unter seine Fittiche nahm und ihn auch als "Sohn" bezeichnete. [1]Jones kam 1946 aus Mississippi nach Chicago und etablierte sich bald als gesuchter Musiker. Nachdem Big Maceo Merriweather einen Schlaganfall hatte, der seine Hand lähmte, ersetzte Johnny Jones ihn in der Band von Tampa Red. Als Pianist war er auf seinen Aufnahmen von 1949 bis 1953 zu hören. Ebenso war er auf "Screamin' and Cryin'" von Muddy Waters zu hören und auf Aufnahmen von Howlin' Wolf. Von 1952 bis 1956 unterstützte er Elmore James bei seinen Aufnahmen und bildete mit ihm, dem Saxophonisten J .T. Brown und dem Drummer Odie Payne die "Broomdusters" die zahllose Aufnahmen für Meteor, Flair, Chief, Chess, Vee Jay und Fire aufnahmen.Bei "Flip, Flop & Fly" spielte er Klavier für Big Joe Turner.[1] Er spielte oft im Sylvio's, dem wichtigsten Klub in Chicagos Westside. Dort spielten drei Bands am Abend und oft saß Jones bei allen drei am Klavier. [1]
1949 nahm er seine erste Single "Big Town Playboy" für Aristocrat auf. Auf dieser Aufnahme wurde er von Muddy Waters, Jimmy Rogers, und Leroy Foster begleitet. Der Titel wurde 1955 vom Gitarristen Eddie Taylor neu aufgenommen. Neben seinen pianistischen Fähigkeiten war auch seine Stimme packend.[2] Bis 1953 nahm er selbst noch zwei Singles auf. Danach war er, bis zu seinem Tod 1964 wieder in Clubs und als Sessionmusiker tätig, unter anderen mit Howlin' Wolf, Sonny Boy Williamson, Syl Johnson, Billy Boy Arnold und Magic Sam.
Bruce Iglauer meint in den Linernotes zu "Live in Chicago with Billy Boy Arnold", dass, wenn er bis in die 1970er - Jahre gelebt hätte, sein Ruhm mit dem von Otis Spann konkurrieren hätte können.[1] Und Bill Dahl meint im All Music Guide, dass er einer der größten Pianisten war, die jemals in Chicago gelebt haben. [2] Johnny Jones starb am 19. November 1964 an Lungenkrebs.
Little Johnny Jones is a musical by George M. Cohan. The show introduced Cohan's tunes "Give My Regards to Broadway" and "The Yankee Doodle Boy." The "Yankee Doodle" character was inspired by real-life Hall of Fame jockey Tod Sloan.
Background
The show was Cohan's first full-length musical. A famous American jockey, Tod Sloan, had gone to England in 1903 to ride in the Derby for King Edward VII of England. This gave Cohan the idea for the story. The musical is patriotic in tone and contains a number of quips aimed at European targets, such as, "You think I'd marry an heiress and live off her money? What do you take me for? An Englishman?" and, "French pastry ain't worth 30¢ compared to American apple pie." In Little Johnny Jones Cohan introduced some of the dance steps and comedy features for which he would become famous.[1]
This musical is also credited as being the first American Musical, along "with The Black Crook, Evangeline, Show Boat" ... or any number of other works."[2] (The Black Crook (1866) is considered a prototype of the modern musical in that its popular songs and dances are interspersed throughout a unifying play and performed by the actors.[3])
Synopsis
A brash, patriotic American jockey, Johnny Jones, goes to England to ride his horse, Yankee Doodle, in the English Derby. Jones falls in love with Goldie Gates, a San Francisco copper heiress, who follows him to Britain, disguising herself as a man to discover if Jones really loves her. Anthony Anstey, an American who runs a Chinese gambling establishment in San Francisco, offers Jones a bribe to lose the race deliberately, but he refuses. After Jones loses, Anstey spreads rumors that he threw the race intentionally. Jones' detective, pretending to be a drunkard, searches for evidence to clear Johnny's name and finds out that it was Anstey that framed Jones. Jones tells his friends who are returning to America, "Give My Regards to Broadway," but he stays in London to try to regain his reputation. Jones returns to America with his name cleared, eager to propose marriage to Goldie, but he finds that Anstey has kidnapped her. He and his detective search for her in San Francisco's Chinatown, eventually finding her.
Original production
The musical was first tried out at the Parsons Theatre in Hartford, Connecticut in October 1904 and then opened on Broadway at the Liberty Theatre on November 7, 1904. The original production was produced by Sam H. Harris and directed by George M. Cohan who also performed as part of the cast with the other members of The Four Cohans (Cohan, his parents and sister). Ethel Levey, Cohan's wife, co-starred.[4] Among the other performers were William Seymour and Donald Brian. The Broadway run of only 52 performances was followed by tours, during which some rewrites were made. It was revived twice in 1905 at the New York Theatre, playing successfully for over 200 performances through most of that year, and touring until the next Broadway revival in 1907 for a short run at the Academy of Music. The production was mounted with a huge cast.[5]
Subsequent adaptations and productions
Little Johnny Jones was adapted twice for the motion pictures, first as a silent film released in 1924 by Warner Bros.[6] First National followed this in 1929 with an early talkie musical version directed by Mervyn LeRoy, who played a bit part in the 1924 film. Eddie Buzzell, who co-wrote the screenplay with Adelaide Heilbron, played the title role. Only two of Cohan's original songs survived the transition to the screen ("Give My Regards To Broadway" and "Yankee Doodle Boy"). The five other tunes in the film's score were contributed by various other songwriters, mainly Herb Magidson and Michael H. Cleary.[7]
James Cagney appeared in a play-within-a-play staging of numbers and dances from Little Johnny Jones in the 1942 film, Yankee Doodle Dandy.
David Cassidy starred in a touring revival in 1981.[8] After previewing at Connecticut's Goodspeed Opera House and touring, a 1982 revival, adapted by Alfred Uhry, closed at the Alvin Theatre after only one performance. It starred Donny Osmond in the lead.
An adaptation of the show was produced by the Light Opera of Manhattan in the late 1980s, called Give My Regards to Broadway and was successful for that company.
Background
The show was Cohan's first full-length musical. A famous American jockey, Tod Sloan, had gone to England in 1903 to ride in the Derby for King Edward VII of England. This gave Cohan the idea for the story. The musical is patriotic in tone and contains a number of quips aimed at European targets, such as, "You think I'd marry an heiress and live off her money? What do you take me for? An Englishman?" and, "French pastry ain't worth 30¢ compared to American apple pie." In Little Johnny Jones Cohan introduced some of the dance steps and comedy features for which he would become famous.[1]
This musical is also credited as being the first American Musical, along "with The Black Crook, Evangeline, Show Boat" ... or any number of other works."[2] (The Black Crook (1866) is considered a prototype of the modern musical in that its popular songs and dances are interspersed throughout a unifying play and performed by the actors.[3])
Synopsis
A brash, patriotic American jockey, Johnny Jones, goes to England to ride his horse, Yankee Doodle, in the English Derby. Jones falls in love with Goldie Gates, a San Francisco copper heiress, who follows him to Britain, disguising herself as a man to discover if Jones really loves her. Anthony Anstey, an American who runs a Chinese gambling establishment in San Francisco, offers Jones a bribe to lose the race deliberately, but he refuses. After Jones loses, Anstey spreads rumors that he threw the race intentionally. Jones' detective, pretending to be a drunkard, searches for evidence to clear Johnny's name and finds out that it was Anstey that framed Jones. Jones tells his friends who are returning to America, "Give My Regards to Broadway," but he stays in London to try to regain his reputation. Jones returns to America with his name cleared, eager to propose marriage to Goldie, but he finds that Anstey has kidnapped her. He and his detective search for her in San Francisco's Chinatown, eventually finding her.
Original production
The musical was first tried out at the Parsons Theatre in Hartford, Connecticut in October 1904 and then opened on Broadway at the Liberty Theatre on November 7, 1904. The original production was produced by Sam H. Harris and directed by George M. Cohan who also performed as part of the cast with the other members of The Four Cohans (Cohan, his parents and sister). Ethel Levey, Cohan's wife, co-starred.[4] Among the other performers were William Seymour and Donald Brian. The Broadway run of only 52 performances was followed by tours, during which some rewrites were made. It was revived twice in 1905 at the New York Theatre, playing successfully for over 200 performances through most of that year, and touring until the next Broadway revival in 1907 for a short run at the Academy of Music. The production was mounted with a huge cast.[5]
Subsequent adaptations and productions
Little Johnny Jones was adapted twice for the motion pictures, first as a silent film released in 1924 by Warner Bros.[6] First National followed this in 1929 with an early talkie musical version directed by Mervyn LeRoy, who played a bit part in the 1924 film. Eddie Buzzell, who co-wrote the screenplay with Adelaide Heilbron, played the title role. Only two of Cohan's original songs survived the transition to the screen ("Give My Regards To Broadway" and "Yankee Doodle Boy"). The five other tunes in the film's score were contributed by various other songwriters, mainly Herb Magidson and Michael H. Cleary.[7]
James Cagney appeared in a play-within-a-play staging of numbers and dances from Little Johnny Jones in the 1942 film, Yankee Doodle Dandy.
David Cassidy starred in a touring revival in 1981.[8] After previewing at Connecticut's Goodspeed Opera House and touring, a 1982 revival, adapted by Alfred Uhry, closed at the Alvin Theatre after only one performance. It starred Donny Osmond in the lead.
An adaptation of the show was produced by the Light Opera of Manhattan in the late 1980s, called Give My Regards to Broadway and was successful for that company.
Bennie Veldman *01.11.1970
Im Jahr 1984 begann ich mit "klassischen" spielt Orgel.
Habe 3 Jahre ein Organ Ausbildung an der Musikschule Region Region Harderwijk.
Während dieser Ausbildung habe ich eine Reihe von Diplomen erreicht.
Seit 1986 bin ich in Bands aktiv. Von 1993 Hammond Organisten
- 1986-1990 Blue Lou. Dies war meine erste Band.
Eine Band aus Oldebroek, die wir vor allem in der eigenen Heimatstadt zusammen aufgetreten ist;-)
- 1990-1993 Sustain.
Diese Band war als ein Sänger / Gitarrist in dieser Zeit habe ich auch angefangen zu spielen Blues Harp.
- 1990-1993 Tarantella.
In diesem Band aktiv, mondharmonicanist war ich
- 1993-1998 Sweet Jane.
Damit tourte ich entlang der niederländischen Klub Veranstaltungsorte und wir 2x Vorprogramm von Bon-Jovi sind. Aus dieser Zeit ernsthaft als Hammond Organisten
- 1998-2004 Bruder Jake.
Dies wir regelmäßig bei Blue Festivals et al gespielt
- 2004 bis Veldman Brothers & Stripped (Gerrit und ich als Duo) präsentieren
Meine aktuelle Band mit meinem Bruder Gerrit unter anderem.
Inzwischen haben wir vier Alben veröffentlicht.
Weiterhin bleibt zu erwähnen, dass ich mit ua gespielt, Eddy "The Chief" Clearwater, Gene Taylor (einschließlich der Fabulous Thunderbirds) Shermon Robertson und Angriff funktionierte bei Flavium.
Und ich arbeitete an mehrere Alben. Siehe Link im Menü.
Im Jahr 2012 erhielt ich eine Auszeichnung 2x. "BestDutch Blues Keyboard Player 2012" und "Bester niederländischen Blues Harmonica Player 2012" @ The Dutch Blues Foundation.
The Veldman Brothers sind das lebende Beispiel für eine echte “Bluesbrüderschaft”
Die Band um die Brüder Gerrit (Slide Guitar und Vocals) und Bennie Veldman (Organ keys, Harmonica und Vocals) sind schon unendlich lange und erfolgreich in der Blueswelt unterwegs.
Begleitet werden sie von Fred van der Wende am Bass und Eric Dilisse an den Drums.
Nach zahlreichen beeindruckenden Preisen und Nominierungen im Laufe der letzten Jahre erhält die Band 2011 den „Dutch Blues Foundation Award“.
Die Band kennzeichnet eine grenzenlose Energie gepaart mit sichtbarer und fühlbarer Spielfreude und eigenem Vergnügen an ihrer Musik, die immer aus dem Bauch heraus gespielt wird.
Die vier leidenschaftlichen Musiker verfügen alle über unermessliche Erfahrung in der Szene. Eigene Vorstellungen über ihre Musik und Einflüsse durch die „Helden von früher“ wie The Vaughan Brothers, Muddy Waters, Jimi Hendrix, Elmore James, Howlin' Wolf, Jimmy Smith, the Fabulous Thunderbirds prägen ihren Musikstil.
The Veldman Brothers sind sowohl in kleinen Bars als auch auf großen Festivals zu Hause.
Ihr breites Repertoir reicht von Rhythem & Blues über Swing- und Deltablues bis zu Variationen mit einem Schuss Rock, Soul oder Funk.
Beinahe alle nennenswerten Bluesclubs und Festivals der Niederlande haben sie mit ihrer Musik auf den Kopf gestellt.
Eigene Grenzen kennen The Veldman Brothers nicht, lassen sich aber gern in nur die eine Schublade stecken: „Alles, was pur und echt ist und aus dem Herzen kommt – Blues & Roots, straight from the hart!“
Habe 3 Jahre ein Organ Ausbildung an der Musikschule Region Region Harderwijk.
Während dieser Ausbildung habe ich eine Reihe von Diplomen erreicht.
Seit 1986 bin ich in Bands aktiv. Von 1993 Hammond Organisten
- 1986-1990 Blue Lou. Dies war meine erste Band.
Eine Band aus Oldebroek, die wir vor allem in der eigenen Heimatstadt zusammen aufgetreten ist;-)
- 1990-1993 Sustain.
Diese Band war als ein Sänger / Gitarrist in dieser Zeit habe ich auch angefangen zu spielen Blues Harp.
- 1990-1993 Tarantella.
In diesem Band aktiv, mondharmonicanist war ich
- 1993-1998 Sweet Jane.
Damit tourte ich entlang der niederländischen Klub Veranstaltungsorte und wir 2x Vorprogramm von Bon-Jovi sind. Aus dieser Zeit ernsthaft als Hammond Organisten
- 1998-2004 Bruder Jake.
Dies wir regelmäßig bei Blue Festivals et al gespielt
- 2004 bis Veldman Brothers & Stripped (Gerrit und ich als Duo) präsentieren
Meine aktuelle Band mit meinem Bruder Gerrit unter anderem.
Inzwischen haben wir vier Alben veröffentlicht.
Weiterhin bleibt zu erwähnen, dass ich mit ua gespielt, Eddy "The Chief" Clearwater, Gene Taylor (einschließlich der Fabulous Thunderbirds) Shermon Robertson und Angriff funktionierte bei Flavium.
Und ich arbeitete an mehrere Alben. Siehe Link im Menü.
Im Jahr 2012 erhielt ich eine Auszeichnung 2x. "BestDutch Blues Keyboard Player 2012" und "Bester niederländischen Blues Harmonica Player 2012" @ The Dutch Blues Foundation.
The Veldman Brothers sind das lebende Beispiel für eine echte “Bluesbrüderschaft”
Die Band um die Brüder Gerrit (Slide Guitar und Vocals) und Bennie Veldman (Organ keys, Harmonica und Vocals) sind schon unendlich lange und erfolgreich in der Blueswelt unterwegs.
Begleitet werden sie von Fred van der Wende am Bass und Eric Dilisse an den Drums.
Nach zahlreichen beeindruckenden Preisen und Nominierungen im Laufe der letzten Jahre erhält die Band 2011 den „Dutch Blues Foundation Award“.
Die Band kennzeichnet eine grenzenlose Energie gepaart mit sichtbarer und fühlbarer Spielfreude und eigenem Vergnügen an ihrer Musik, die immer aus dem Bauch heraus gespielt wird.
Die vier leidenschaftlichen Musiker verfügen alle über unermessliche Erfahrung in der Szene. Eigene Vorstellungen über ihre Musik und Einflüsse durch die „Helden von früher“ wie The Vaughan Brothers, Muddy Waters, Jimi Hendrix, Elmore James, Howlin' Wolf, Jimmy Smith, the Fabulous Thunderbirds prägen ihren Musikstil.
The Veldman Brothers sind sowohl in kleinen Bars als auch auf großen Festivals zu Hause.
Ihr breites Repertoir reicht von Rhythem & Blues über Swing- und Deltablues bis zu Variationen mit einem Schuss Rock, Soul oder Funk.
Beinahe alle nennenswerten Bluesclubs und Festivals der Niederlande haben sie mit ihrer Musik auf den Kopf gestellt.
Eigene Grenzen kennen The Veldman Brothers nicht, lassen sich aber gern in nur die eine Schublade stecken: „Alles, was pur und echt ist und aus dem Herzen kommt – Blues & Roots, straight from the hart!“
The Veldman Brothers are the ultimate example of the Brotherhood of the Blues.
The band is centered around two brothers: Gerrit on (slide) guitar and Bennie on Organ, keys, harmonica and vocals, and they have been playing the Blues circuit for some time now and with considerable success -- in 2011 they received the award for Best Band from The Dutch Blues Foundation and that is only one of many awards and nominations that have come their way during the years.
Unbridled energy combined with clear enthusiasm in their playing results in a tangible synergy that is pure Blues straight from the heart.
Passionate musicians with a wealth of experience influenced both by themselves and by the 'Greats of the Past' : The Vaughan Brothers, Muddy Waters, Jimi Hendrix, Elmore James, Howlin' Wolf, Jimmy Smith, the Fabulous Thunderbirds and many more.
The Veldman Brothers follow these Giants with extreme respect playing both covers as well as their own original material all of which are performed to perfection in their very own characteristic 'sound'.
The Brothers are at home whether it's a large Festival or at small venues and have knocked the socks off/given killer shows* at most of the well known Blues-clubs and larger venues.
Blues. Rhythm & Blues, Swing Blues, Delta Blues, Blues with just a touch of Rock, Soul or Funk: The Veldman Brothers recognise no labels except " Pure and straight from the Heart".
The band is centered around two brothers: Gerrit on (slide) guitar and Bennie on Organ, keys, harmonica and vocals, and they have been playing the Blues circuit for some time now and with considerable success -- in 2011 they received the award for Best Band from The Dutch Blues Foundation and that is only one of many awards and nominations that have come their way during the years.
Unbridled energy combined with clear enthusiasm in their playing results in a tangible synergy that is pure Blues straight from the heart.
Passionate musicians with a wealth of experience influenced both by themselves and by the 'Greats of the Past' : The Vaughan Brothers, Muddy Waters, Jimi Hendrix, Elmore James, Howlin' Wolf, Jimmy Smith, the Fabulous Thunderbirds and many more.
The Veldman Brothers follow these Giants with extreme respect playing both covers as well as their own original material all of which are performed to perfection in their very own characteristic 'sound'.
The Brothers are at home whether it's a large Festival or at small venues and have knocked the socks off/given killer shows* at most of the well known Blues-clubs and larger venues.
Blues. Rhythm & Blues, Swing Blues, Delta Blues, Blues with just a touch of Rock, Soul or Funk: The Veldman Brothers recognise no labels except " Pure and straight from the Heart".
The Veldman Brothers - Bluescafe Apeldoorn - 19-12-2014 Vid by Peter Vroon - Vroonphotomotion
R.I.P.
Sippie Wallace +01.01.1986
Siehe oben, da Sippie an ihrem Geburtstag verstarb
See above, since sippie died on her birthday
See above, since sippie died on her birthday
Tommy Johnson +01.11.1956
Tommy Johnson (* 1896 in Terry, Mississippi; † 1. November 1956 in Crystal Springs, Mississippi) war ein einflussreicher US-amerikanischer Blues-Gitarrist und Sänger. Zusammen mit Son House und Charley Patton war er einer der führenden Musiker des Delta Blues vor Robert Johnson.
Johnson kam aus einer kinderreichen Familie von Farmern und begann 1910/1911 Gitarre zu spielen. Um 1912/1913 verließ er den Süden Mississippis mit seiner Lebensgefährtin (die gut doppelt so alt war wie er) und ließ sich in Cleveland, Mississippi, nahe der Dockery Plantation, nieder. Dort traf er auf Charley Patton und Willie Brown; beeinflusst von diesen, lernte er hier den Blues zu spielen. Um 1915 kehrte er als geübter Musiker wieder in seine Heimatgegend zurück, wo er den neuen Musikstil verbreitete und seinen eigenen Stil zunehmend verfeinerte. 1916 heiratete er und das Paar ging, gemeinsam mit Tommys Bruder LeDell, wieder zurück ins „Delta“,[Anm. 1] wo Johnson als Sharecropper arbeitete.
Zum Mythos Tommy Johnson gehört nicht nur seine Musik, sondern auch seine akrobatischen Auftritte, seine unzähligen Affären, sein schwerer Alkoholkonsum und nicht zuletzt durch die von ihm selbst in die Welt gesetzte Legende, dass er dem Teufel seine Seele verkauft habe, um den Blues richtig spielen zu können. Diese Legende ging später durch Son House auf Robert Johnson über.
1928 und 1930 nahm Tommy Johnson zwei Serien von Stücken auf. Einige seiner bekanntesten Songs sind der Cool Drink Of Water Blues (den Howlin' Wolf zu I Asked For Water (She Brought Me Gasoline) verarbeitete) und Maggie Campbell (basierend auf Charley Pattons „Screamin' and Hollerin' the Blues“ und später von Robert Nighthawk adaptiert).
In seinen späteren Jahren machte sich sein langjähriger schwerer Alkoholismus negativ bemerkbar. Johnson hatte stets schwer getrunken. Dabei hatte er nicht einmal vor geliertem Brennspiritus zurückgescheut, der unter dem Markennamen „Sterno Canned Heat“ in Blechdosen ausgeliefert wird und den er – mit Wasser verdünnt – als billigen Schnapsersatz verwandte. Diesem „Getränk“ setzte Johnson in seinem Canned Heat Blues ein „Denkmal“.
Tommy Johnson starb 1956 durch einen Herzinfarkt bei einem Auftritt. 1986 wurde er in die Blues Hall of Fame aufgenommen.
Rezeption
Zu den Blues-Größen, die von Tommy Johnson beeinflusst wurden, zählen Howlin’ Wolf, Robert Nighthawk, Otis Spann und zahllose andere. Besonders stark war sein Einfluss auf die Band Canned Heat, die sich nach einem seiner Stücke benannte und dessen Sänger Johnsons typischen Falsettgesang adaptierte. Auch das bekannteste Stück der Band, On The Road Again, basiert auf Johnsons Big Road Blues.
Tommy Johnson (1896 – November 1, 1956) was an influential American delta blues musician, who recorded in the late 1920s, and was known for his eerie falsetto voice and intricate guitar playing.[1]
Early life
Johnson was born near Terry, Mississippi, and moved around 1910 to Crystal Springs where he lived for most of his life.[2] He learned to play the guitar and, by 1914, was supplementing his income by playing at local parties with his brothers Major and LeDell. In 1916 he married and moved to Webb Jennings' Plantation near Drew, Mississippi, close to the Dockery Plantation. There he met other musicians including Charlie Patton and Willie Brown.[3]
Career
By 1920 he had become an alcoholic and itinerant musician, based in Crystal Springs but traveling widely around the South, sometimes accompanied by Papa Charlie McCoy. In 1928 he made his first recordings with McCoy for Victor Records.[2] The recordings included "Canned Heat Blues", in which he sang of drinking methanol from the cooking fuel Sterno.[2] The song features the refrain "canned heat, mama, sure, Lord, killing me." The blues group Canned Heat took their name from this song.[2] Johnson's "Big Road Blues" inspired Canned Heat's song, "On the Road Again". A significantly different version of the song appears as "Canned Heat" on the Big Road Blues album by K. C. Douglas.
He recorded two further sessions, in August 1928, and for Paramount Records in December 1929. He did not record again, mistakenly believing that he had signed away his right to record. Some suggest he had been intentionally given this misimpression by some people at Paramount Records. This resulted in a legal settlement with The Mississippi Sheiks who had used Johnson's "Big Road Blues" melody in their successful "Stop and Listen". Johnson was party to the copyright settlement, but was too drunk at the time to understand what he had signed to.[4]
Johnson's recordings established him as the premier Delta blues vocalist of his day, with a powerful voice that could go from a growl to a falsetto. He was also an accomplished guitarist. His style influenced later blues singers such as Robert Nighthawk and Howlin' Wolf (whose song "I Asked for Water [She Brought Me Gasoline]" was based on Johnson's "Cool Water Blues"),[2] as well as country singer Hank Williams.[3] He was a talented composer, blending fragments of folk poetry and personalized lyrics into set guitar accompaniments to craft striking blues compositions such as "Maggie Campbell".[5]
To enhance his fame, Johnson cultivated a sinister persona. According to his brother LeDell, he claimed to have sold his soul to the devil at a crossroads in exchange for his mastery of the guitar.[3][6]
This story was later also associated with Robert Johnson, to whom Tommy Johnson was unrelated. Tommy Johnson also played tricks with his guitar, playing it between his legs and behind his head, and throwing it in the air while playing.[2]
Johnson remained a popular performer in the Jackson area through the 1930s and 1940s, sometimes performing with Ishman Bracey.[2] He was highly influential on other performers, partly because he was willing to teach his style and his repertoire. Tommy Johnson's influence on local traditions is discussed by David Evans in Tommy Johnson and ''Big Road Blues. Tradition & Creativity in the Folk Blues.[7]
Death
He died of a heart attack after playing at a party in 1956.[2] He is buried in the Warm Springs Methodist Church Cemetery outside of Crystal Springs, Mississippi.[2] In 2001 a headstone was commissioned through the Mt. Zion Memorial Fund, a Mississippi non-profit corporation, by the family of Tommy Johnson and paid for by musician Bonnie Raitt. The large, granite memorial engraved with Johnson's portrait was not placed on Johnson's grave for several years afterward, however, due to an ongoing dispute between Tommy Johnson's family (led by his niece, Vera Johnson Collins), the owners of farm property encircling the cemetery, and the Copiah County Board of Supervisors in regard to a deteriorated road preventing access to the burial site. This issue was resolved in October 2012, when it was announced that the headstone would reach its final destination on October 26.[8] The headstone had been on public display in the Crystal Springs, Mississippi Public Library since being unveiled on October 20, 2001. On the night of Saturday, February 2, 2013, the headstone was desecrated, apparently smashed by a sledge hammer or some similar device.[9]
An annual Tommy Johnson Blues Festival is now held in Crystal Springs, on every third weekend in October. The inaugural edition was held in Jackson and Crystal Springs in 2006.[10]
In fiction
In the film O Brother, Where Art Thou? (2000), a character named Tommy Johnson is played by Chris Thomas King. This character describes selling his soul to the devil to play guitar. In the film, Tommy Johnson plays a number of songs originally recorded by blues musician Skip James, and also accompanies the Soggy Bottom Boys, a band consisting of the film's three main protagonists plus Johnson, on "Man of Constant Sorrow". The story of Tommy Johnson selling his soul to the devil was first told by Tommy Johnson's brother, LaDell Johnson, and reported by David Evans in his 1971 biography of Johnson.[6] This legend was subsequently transferred to the blues musician Robert Johnson.
Johnny Watson (Daddy Stovepipe) +01.11.1963
Johnny
Watson (April 12, 1867 – November 1, 1963)[1] was an African American
blues singer, guitarist and harmonica player, best known for his
recordings under the name Daddy Stovepipe. Watson also recorded as Jimmy
Watson, Sunny Jim and Rev. Alfred Pitts. He may have been the
earliest-born blues performer to record.
Many of his recordings were jug band duets with his wife, Sarah Watson, who was usually credited as Mississippi Sarah.
Life
Watson was born in Mobile, Alabama.[1] His career began before 1900 in Mexico as a twelve-string guitarist in early mariachi bands. He then established himself as an entertainer with the Rabbit's Foot Minstrels touring around the southern states.[2][3]
By the 1920s, he was working as a one-man band on Maxwell Street in Chicago, where he acquired the name "Daddy Stovepipe" from the characteristic top hat he wore.[4] He first recorded in 1924, in Richmond, Indiana, recording "Sundown Blues" which is regarded as one of the most primitive blues on record.[5] In 1927 he made more recordings, this time in Birmingham, Alabama for Gennett Records, as one half of the duo "Sunny Jim and Whistlin' Joe".[2][3]
He made more recordings back in Chicago in 1931 for the Vocalion label with his wife, "Mississippi Sarah", a singer and jug player. The couple's humorous banter made their recordings unique.[5] They recorded together again in 1935 for Bluebird Records, by which time they were living in Greenville, Mississippi, but Sarah's death in 1937 sent her husband back out on the road.[2] He then worked for a while around Texas, playing in cajun bands and, again, with Mexican mariachi bands.[5]
By 1948 he had returned to work as a street musician in Chicago, and was recorded in 1960, aged 93, with his repertoire having widened to include traditional popular music tunes such as "The Tennessee Waltz".[5] He died in Chicago in 1963, from bronchial pneumonia[1] after a gall bladder operation, aged 96.
On May 5, 2012 the fifth annual White Lake Blues Festival took place at the Howmet Playhouse Theater in Whitehall, Michigan. The event was organized by Steve Salter of the nonprofit organization Killer Blues to raise monies to honor Watson's unmarked grave with a headstone. The concert was a success, and a headstone was placed in July, 2012.
Similarly named musicians
Daddy Stovepipe should not be confused with two other musicians:
Stovepipe No.1 – (real name Sam Jones), who also first recorded as a one-man band in 1924.[6] Daddy Stovepipe and Stovepipe No.1 were deemed to be the first blues one-man bands ever to be recorded on disc.[7]
Sweet Papa Stovepipe – (real name McKinley Peebles) who recorded "All Birds Look Like Chicken to Me," and "Mama's Angel Child" (both circa 1926).
Many of his recordings were jug band duets with his wife, Sarah Watson, who was usually credited as Mississippi Sarah.
Life
Watson was born in Mobile, Alabama.[1] His career began before 1900 in Mexico as a twelve-string guitarist in early mariachi bands. He then established himself as an entertainer with the Rabbit's Foot Minstrels touring around the southern states.[2][3]
By the 1920s, he was working as a one-man band on Maxwell Street in Chicago, where he acquired the name "Daddy Stovepipe" from the characteristic top hat he wore.[4] He first recorded in 1924, in Richmond, Indiana, recording "Sundown Blues" which is regarded as one of the most primitive blues on record.[5] In 1927 he made more recordings, this time in Birmingham, Alabama for Gennett Records, as one half of the duo "Sunny Jim and Whistlin' Joe".[2][3]
He made more recordings back in Chicago in 1931 for the Vocalion label with his wife, "Mississippi Sarah", a singer and jug player. The couple's humorous banter made their recordings unique.[5] They recorded together again in 1935 for Bluebird Records, by which time they were living in Greenville, Mississippi, but Sarah's death in 1937 sent her husband back out on the road.[2] He then worked for a while around Texas, playing in cajun bands and, again, with Mexican mariachi bands.[5]
By 1948 he had returned to work as a street musician in Chicago, and was recorded in 1960, aged 93, with his repertoire having widened to include traditional popular music tunes such as "The Tennessee Waltz".[5] He died in Chicago in 1963, from bronchial pneumonia[1] after a gall bladder operation, aged 96.
On May 5, 2012 the fifth annual White Lake Blues Festival took place at the Howmet Playhouse Theater in Whitehall, Michigan. The event was organized by Steve Salter of the nonprofit organization Killer Blues to raise monies to honor Watson's unmarked grave with a headstone. The concert was a success, and a headstone was placed in July, 2012.
Similarly named musicians
Daddy Stovepipe should not be confused with two other musicians:
Stovepipe No.1 – (real name Sam Jones), who also first recorded as a one-man band in 1924.[6] Daddy Stovepipe and Stovepipe No.1 were deemed to be the first blues one-man bands ever to be recorded on disc.[7]
Sweet Papa Stovepipe – (real name McKinley Peebles) who recorded "All Birds Look Like Chicken to Me," and "Mama's Angel Child" (both circa 1926).
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