1925 Jimmy Smith*
1939 Soko Richardson*
1943 Jim Morrison*
1945 Abi Wallenstein*
1945 Richard M. Jones+
1947 Gregg Allman*
1948 Pete Harris*
1954 Randy Hansen*
1958 Julia Lee+
1966 Walter Baumgartner*
1981 Big Walter Horton+
1986 Hollywood Fats+
Mandy Lemons Nikides*
Sam Kelly*
1939 Soko Richardson*
1943 Jim Morrison*
1945 Abi Wallenstein*
1945 Richard M. Jones+
1947 Gregg Allman*
1948 Pete Harris*
1954 Randy Hansen*
1958 Julia Lee+
1966 Walter Baumgartner*
1981 Big Walter Horton+
1986 Hollywood Fats+
Mandy Lemons Nikides*
Sam Kelly*
Happy Birthday
Abi Wallenstein *08.12.1945
Abi Wallenstein (* 8. Dezember 1945 in Jerusalem) ist ein deutscher Blues-Interpret (Gitarre und Gesang). Seit 1960 lebt er in Deutschland, zunächst in Nordrhein-Westfalen, seit Mitte der Sechzigerjahre in Hamburg.
Biografie
Man bezeichnet ihn als „Vater der Hamburger Blues-Szene“ und „lebende Legende des Blues“.[1][2] Charakteristisch für Abi Wallensteins Spiel ist sein Picking Style, der in der Tradition des Piedmont Blues oder texanischen Country Blues etwa eines Mance Lipscomb steht. Ebenso gehört die Slidegitarre des Delta Blues zu seinem Repertoire. Seine in Open Tuning gestimmten Gitarren weisen inspiriert von Big Joe Williams acht Saiten auf, was zusammen mit seiner authentischen Blues-Stimme seinen besonderen Klang ausmacht.
Wallenstein feierte im Jahr 2006 vierzigjähriges Bühnenjubiläum. Blues-Interpret auf der Bühne ist er seit 1966, seitdem spielte er in etlichen Bands und zusammen mit bekannten Musikern wie Joja Wendt, Vince Weber, Inga Rumpf, Axel Zwingenberger, Tom Shaka. Abi war auf etlichen Blues- und Boogie-Festivals, wie zum Beispiel dem Ascona Jazz Festival und Monoply (Italien), dem Lahnsteiner Bluesfestival sowie Festivals in Auriac, Chedigny und St. Aignan (Frankreich), Wien und Wels (Österreich), in Olstyn und Torun (Polen) zu Gast. Für Musiker wie Joe Cocker, Christie Moore, Fats Domino, Robben Ford und Johnny Winter trat er erfolgreich als Support auf.Er hat zahlreiche LPs mit namhaften Bands und mehrere CDs unter eigenem Namen veröffentlicht. Seine beiden CDs "Step in Time" und "Blues Culture" wurden mit dem Preis der Deutschen Schallplattenkritik ausgezeichnet.
Abi Wallenstein spielt bis heute aktiv in ständig wechselnden Formationen, wobei er sich auch nicht scheut, bei Stadtfesten Straßenmusik zu machen. Unter anderem spielt er heute in der Band „Blues Culture“ mit Steve Baker (Mundharmonika, Hintergrundgesang) und Martin Röttger (Cajon, Percussion). Auch mit „Prof. Washboard“ (Waschbrett, Drums und Percussion) sowie den Kieler Bluesmusikern Georg Schroeter (Piano) und Marc Breitfelder (Mundharmonika) tritt und trat er auf.
Im Dezember 2001 trat Abi Wallenstein mit zwei Freunden anlässlich einer Weihnachtsfeier in der legendären Hamburger Übernachtungsstätte Pik As in der Neustädter Straße 31a auf. Das Publikum bestand ausschließlich aus Hamburger Obdachlosen, denen Wallenstein mit dem Auftritt eine Freude machen wollte, ohne dafür eine Gage zu verlangen. Es war ein Gratisauftritt, bei dem Blues und Hip Hop Musik in sehr spezieller und kunstvoller Weise miteinander verbunden wurden, mit sehr großem Zuspruch aus dem etwa 100 Menschen umfassenden Publikum.
Im Jahr 2004 wurde ihm zusammen mit Steve Baker das Ravensburger Kupferle verliehen.
Im Jahr 2011 wurde Abi Wallenstein beim German Blues Award in der Kategorie Solo/Duo ausgezeichnet. 2012 gewann er diesen Publikumspreis sogar in zwei Kategorien (Solo/Duo und Gesang-männlich) [3].
Abi Wallenstein can be called the "living legend" of Hamburg's music scene. No German musician within the last 30 years plays the blues so authenticly. Since 1966 the "father of the Hamburg blues scene" played in several bands (Pussy, Bad News Reunion) and with some famous musicians like Vince Weber, Inga Rumpf, Axel Zwingenberger and others.
Abi had his first performing expierences during the early 60's in North-Rhine-Westphalia where he played in several rock bands. In the mid-60's he moved to Hamburg and started to play on his own with his 12-string guitar in Danny's Pan, Jazzhouse and Onkel Pö. Later he was joined by harmonica player Tiny Hagen and keyboardist Peter Urban. Soon he started to play in rhythym-and-blues bands with Gottfried Böttger and Vince Weber, to name a few.
Throughout the years Abi developed a characteristic guitar style wich combines rhythmic blues lines with chord and melody lines at the same time. His guitar playing seems to be simple but at a closer look it proves to be very complex and multi-layered. There is a swinging groove, wich makes you forget about normal rhythm sections like bass and drums.
Even though it could be an awkard cliché to label the voice of a white singer "black", Abi sings the blues naturally overdoing it. He captures the audience in no time because of his magnetic stage presence. When he's not touring he plays in the streets. "The street is his own testing ground and practica area" Uli Lemke writes in the liner notes of Abi's new CD "Blues Avenue". He is the only famous European musician who is constantly looking fot the closest contact to his audiance on toughest stage of the world.
He's played many blues festivals like Ascona Jazz Festival, Gaildorf Blues Festival, Lahnstein SWF Blues Festival, Kemptener Jazzfrühling, Lehrter Blues Festival, Unna Blues Festival, Breminale to name a few. He is also a well liked guest on TV and radio shows. He opened up very successfully for Joe Cocker, Christie Moore, Daniel Lanois, Fats Domino, Robben Ford, George Thorogood und Jonny Winter.
Gregg Allman *08.12.1947
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Gregg Allman (manchmal auch Greg Allman geschrieben, eigentlich Gregory Lenoir Allman; * 8. Dezember 1947 in Nashville, Tennessee) ist ein US-amerikanischer Rockmusiker, Sänger und Songschreiber. Bekannt wurde er vor allem als Sänger der Allman Brothers Band.
Die Brüder Gregg und Duane Allman wuchsen in Daytona Beach, Florida, auf, Sie spielten in verschiedenen Bands, darunter The Escorts und The Allman Joys, die als The Hour Glass einen Plattenvertrag in Los Angeles bekamen. Sie nahmen zwei psychedelische Bluesalben auf, waren aber mit dem Resultat nicht zufrieden. Die Gruppe löste sich auf, und Gregg Allman versuchte eine Solokarriere.Inzwischen hatte sein Bruder Duane in Jacksonville, Florida, eine Band zusammengestellt, der sich Gregg 1969 als Sänger anschloss. Er übernahm auch die Hammond-Orgel, die er zuerst spielen lernen musste. Die Allman Brothers Band ging in die Rockmusikgeschichte ein.
1973 brachte Gregg Allman das Soloalbum Laid Back heraus. In den nächsten Jahrzehnten liefen Solo- und Bandkarriere parallel. Solo wurde Allman zunächst von der Gregg Allman Band unterstützt, später trat er unter dem Namen Gregg Allman and Friends auf. Seinen größten Solohit hatte Gregg Allman 1986 mit I’m No Angel.
Seit den 1970ern hatte Gregg Allman Drogenprobleme, doch seit Mitte der 1990er ist er „clean“. In den 1970ern war er mit der Sängerin und Schauspielerin Cher verheiratet, mit der er einen Sohn hat, Elijah Blue Allman, der heute ebenfalls Musiker ist. Ein weiterer Sohn aus einer anderen Beziehung, Devon Allman, ist gleichfalls als Musiker aktiv, unter anderem bei dem Bandprojekt Royal Southern Brotherhood.
Abwechselnd ist Gregg Allman immer noch mit der Allman Brothers Band und mit Gregg Allman and Friends unterwegs. Im Januar 2014 wurde ihm zu Ehren ein Tribute-Konzert im Fox Theatre von Atlanta, Georgia, veranstaltet, bei dem neben Warren Haynes, Derek Trucks, Susan Tedeschi, Devon Allman, Sam Moore, Keb’ Mo’, Dr. John, John Hiatt, Taj Mahal, Jackson Browne u. a. auch Allman selbst auftrat und das für eine CD/DVD-Veröffentlichung mitgeschnitten wurde.
Gregory LeNoir "Gregg" Allman (born December 8, 1947) is an American rock and blues singer-songwriter, keyboardist, guitarist and a founding member of The Allman Brothers Band. He was inducted with the band into the Rock and Roll Hall of Fame in 1995. When Allman was inducted into the Georgia Music Hall of Fame on September 16, 2006 he was introduced by Georgia Governor Sonny Perdue and performed "Oncoming Traffic", "Melissa", and "Georgia on My Mind" solo and then ended with "Midnight Rider" backed by fellow inductees Bill Berry, Peter Buck, and Mike Mills from R.E.M. at the Georgia World Congress Center. His distinctive voice placed him in 70th place in the Rolling Stone list of the "100 Greatest Singers of All Time".[1]
At the beginning of the 1970s, The Allman Brothers Band enjoyed huge success: their album Live at Filmore East is widely regarded as one of the best live albums ever made, and a number of their most characteristic songs were written by Gregg Allman. While it was unusual at the time, the band was based in the Southeastern United States. "Southern Rock," a term Gregg coined for their musical genre,[2] is a fusion of rock, blues, and country.
In spite of Duane Allman's death in 1971, and a year later, that of bass guitarist Berry Oakley, both in motorcycle accidents, the band continued to perform and record. In addition, Allman developed a solo career and a band under his own name. Despite recent health issues, Allman still tours. His latest album Low Country Blues is a return to the blues. It was released in 2011 and includes "Just Another Rider" written by Allman.
Allman's memoirs of his life in music, My Cross to Bear, was released on May 1, 2012.[3]
Early years
Gregg is the younger son of Willis Turner Allman and Geraldine Alice (née Robbins).[4] He was born in Nashville, Tennessee, in 1947, thirteen months after his brother Duane. His father was in the US Army and in 1949 the family relocated to Fort Story, Norfolk, Virginia. Shortly after, his father was murdered by a casual acquaintance whom he had offered a ride home from a bar [5] and Geraldine "Mama A" Allman was left to raise the boys. In order to retrain as an accountant, she sent her sons to Castle Heights Military Academy in Lebanon, Tennessee, which they both loathed.[6] Eventually, in 1957, when his mother had finished her degree, the family settled in Daytona Beach, Florida, and the boys attended Seabreeze High School.
Both Gregg and Duane became captivated by music at a young age. Gregg has revealed that he and Duane went to see Jackie Wilson, Otis Redding, Patti Labelle and B.B. King perform and that he was particularly struck by King's Hammond organ player.[7] Gregg took an interest in the guitar before Duane did, learning the very basics from his grandmother's neighbor in Nashville. However Duane would soon become the superior guitarist, giving up school in tenth grade to focus on it while Gregg practiced his vocals and keyboards, remained at school and finally graduated in 1965. Although he planned to become a dental surgeon, Gregg fell in with his brother's plans that they should become musicians, intending to go to dental school after a short while.[8]
The Escorts, The Allman Joys, The Hour Glass and 31st February
In the mid-to-late-1960s, Gregg and Duane Allman played in a series of bands including The Escorts and The Allman Joys, mostly around the Southeastern United States. According to a 2013 interview in American Blues Scene magazine, the first band the brothers played in was The House Rockers and The Untils in Daytona Beach, Florida.[9]
Toward the end of the decade, The Allman Joys relocated to Los Angeles, California, and were signed to Liberty Records, which renamed them The Hour Glass. In addition to the Allmans, The Hour Glass consisted of three other players who would later become renowned studio musicians in Muscle Shoals, Alabama: Pete Carr, Johnny Sandlin and Paul Hornsby. Strongly controlled by the label management, the group produced two psychedelic blues albums. All the players were deeply dissatisfied with the results; Duane Allman, in particular, spoke bitterly of the Hour Glass' output. The label executives were, however, impressed with Gregg Allman's abilities as a vocalist and keyboardist. The band left Los Angeles for the South and disbanded. In Florida, Gregg and Duane joined a band called 31 February with a drummer named Butch Trucks but Gregg returned to California as Hourglass still owed money to Liberty Records which believed that Gregg had potential as a solo act.[10]
Formation of The Allman Brothers Band
Duane became employed as a session musician at FAME Studios in Muscle Shoals, Alabama and began to assemble the group that would become The Allman Brothers Band: Duane and Dickey Betts on guitars, Berry Oakley on bass guitar, and Butch Trucks and Jai Johanny "Jaimoe" Johanson on drums. In the meantime, Gregg had grown unhappy with the Liberty Records arrangement so when Duane called from Jacksonville, Florida in March 1969 to say that he had assembled a band that needed a singer, he jumped at the opportunity and returned to the South.
Allman had long wanted to play the Hammond organ, and was given one immediately upon joining the band, which he had to quickly learn to play. Ever since, he has played the Hammond B-3 with a preference for a 1969-issue B3 hooked to a Leslie speaker 122RV and handled much of the lead vocals and songwriting for the band, along with occasional piano and guitar contributions.
Solo career
After the death of Duane Allman in 1971, Gregg Allman started out on a solo career. His first album, Laid Back, was released in 1973 to a positive critical reception.
It included a couple of reworked Allman Brothers songs, such as a horn-infused version of "Midnight Rider" that made it to #19 on the Billboard Hot 100 singles chart, and originals like "Queen of Hearts", that the other ABB members felt did not quite fit the Allman Brothers sound. He also covered traditional gospel song "Will the Circle Be Unbroken?" and former California roommate Jackson Browne's song "These Days."
His solo career has continued intermittently throughout the subsequent decades, sometimes touring when the Allman Brothers Band was off the road. Generally, these solo efforts - first with the Gregg Allman Band, and later with Gregg Allman & Friends - eschew lengthy guitar solos and cast Allman more in the mode of his favorite soul singers. The bands often include a horn section and are more groove-oriented, mixing original songs with reworked Allman Brothers songs and covers of blues, R&B, and soul songs.
Allman's second chart single came in 1987 with the #49 peaking "I'm No Angel", from the album of the same name. The album went on to be certified Gold for 500,000 copies sold and led to a renewed interest in Allman and to a reformation of the Allman Brothers Band less than three years later.
His solo album, Low Country Blues, was produced by T-Bone Burnett and issued in early 2011. It is a collection of eleven blues standards and one new song written by him.[11] The album was nominated as the Best Blues Album for the 2011 Grammy Awards.[12]
He has also made guest appearances on albums and concert videos of a wide variety of other artists, including a concert DVD celebrating the twenty-fifth anniversary of The Radiators, playing Midnight Rider with them.
In addition to his musical career, Allman took acting roles in the films Rush Week (1989) and Rush (1991), and in episodes of the TV series Superboy. He also had a brief speaking cameo in the Family Guy episode "Let's Go to the Hop".
Personal life
Allman currently lives in Richmond Hill, Georgia.[13]
Marriages, relationships and children
Allman's previous partners include Cher[14] and Stacey Fountain.[15]
Allman's children include: Michael Allman, Devon Allman, Elijah Blue Allman, Delialah Island Allman (Now Delialah Kurtom), and Layla Allman. All siblings are successful and in the music business with the exception of Island Allman, who is currently a Registered Nurse in Maryland. She earned her Associate of Arts in Automotive Technology at Santa Barbara City College, a Bachelor of Arts in Psychology at Dominican University of California, a Bachelor of Science in Nursing at Georgetown University, and is currently in a Master's program at Georgetown for Family Nurse Practitioner.
Liver transplant surgery
Allman was diagnosed with Hepatitis C late 2007, which he attributes to infection from a dirty tattoo needle[16]. On June 23, 2010, he underwent surgery for a liver transplant.[17] The operation was successful, and he has recovered well.
Road manager's drug trial
During the mid-1970s, there was a prominent and high-profile court case involving Allman and John C. "Scooter" Herring, Allman's road manager, and the distribution of drugs. After Herring was indicted, Allman agreed to testify at Herring's trial in exchange for a grant of immunity from prosecution.[18][19]
Autobiography and biopic
Allman's autobiography, My Cross to Bear, was published by HarperCollins under the William Morrow imprint in 2012. Craig Gillespie has announced that he will adapt it into a film, titled Midnight Rider. Production on the film was stopped in February 2014 after a fatal accident on set.
At the beginning of the 1970s, The Allman Brothers Band enjoyed huge success: their album Live at Filmore East is widely regarded as one of the best live albums ever made, and a number of their most characteristic songs were written by Gregg Allman. While it was unusual at the time, the band was based in the Southeastern United States. "Southern Rock," a term Gregg coined for their musical genre,[2] is a fusion of rock, blues, and country.
In spite of Duane Allman's death in 1971, and a year later, that of bass guitarist Berry Oakley, both in motorcycle accidents, the band continued to perform and record. In addition, Allman developed a solo career and a band under his own name. Despite recent health issues, Allman still tours. His latest album Low Country Blues is a return to the blues. It was released in 2011 and includes "Just Another Rider" written by Allman.
Allman's memoirs of his life in music, My Cross to Bear, was released on May 1, 2012.[3]
Early years
Gregg is the younger son of Willis Turner Allman and Geraldine Alice (née Robbins).[4] He was born in Nashville, Tennessee, in 1947, thirteen months after his brother Duane. His father was in the US Army and in 1949 the family relocated to Fort Story, Norfolk, Virginia. Shortly after, his father was murdered by a casual acquaintance whom he had offered a ride home from a bar [5] and Geraldine "Mama A" Allman was left to raise the boys. In order to retrain as an accountant, she sent her sons to Castle Heights Military Academy in Lebanon, Tennessee, which they both loathed.[6] Eventually, in 1957, when his mother had finished her degree, the family settled in Daytona Beach, Florida, and the boys attended Seabreeze High School.
Both Gregg and Duane became captivated by music at a young age. Gregg has revealed that he and Duane went to see Jackie Wilson, Otis Redding, Patti Labelle and B.B. King perform and that he was particularly struck by King's Hammond organ player.[7] Gregg took an interest in the guitar before Duane did, learning the very basics from his grandmother's neighbor in Nashville. However Duane would soon become the superior guitarist, giving up school in tenth grade to focus on it while Gregg practiced his vocals and keyboards, remained at school and finally graduated in 1965. Although he planned to become a dental surgeon, Gregg fell in with his brother's plans that they should become musicians, intending to go to dental school after a short while.[8]
The Escorts, The Allman Joys, The Hour Glass and 31st February
In the mid-to-late-1960s, Gregg and Duane Allman played in a series of bands including The Escorts and The Allman Joys, mostly around the Southeastern United States. According to a 2013 interview in American Blues Scene magazine, the first band the brothers played in was The House Rockers and The Untils in Daytona Beach, Florida.[9]
Toward the end of the decade, The Allman Joys relocated to Los Angeles, California, and were signed to Liberty Records, which renamed them The Hour Glass. In addition to the Allmans, The Hour Glass consisted of three other players who would later become renowned studio musicians in Muscle Shoals, Alabama: Pete Carr, Johnny Sandlin and Paul Hornsby. Strongly controlled by the label management, the group produced two psychedelic blues albums. All the players were deeply dissatisfied with the results; Duane Allman, in particular, spoke bitterly of the Hour Glass' output. The label executives were, however, impressed with Gregg Allman's abilities as a vocalist and keyboardist. The band left Los Angeles for the South and disbanded. In Florida, Gregg and Duane joined a band called 31 February with a drummer named Butch Trucks but Gregg returned to California as Hourglass still owed money to Liberty Records which believed that Gregg had potential as a solo act.[10]
Formation of The Allman Brothers Band
Duane became employed as a session musician at FAME Studios in Muscle Shoals, Alabama and began to assemble the group that would become The Allman Brothers Band: Duane and Dickey Betts on guitars, Berry Oakley on bass guitar, and Butch Trucks and Jai Johanny "Jaimoe" Johanson on drums. In the meantime, Gregg had grown unhappy with the Liberty Records arrangement so when Duane called from Jacksonville, Florida in March 1969 to say that he had assembled a band that needed a singer, he jumped at the opportunity and returned to the South.
Allman had long wanted to play the Hammond organ, and was given one immediately upon joining the band, which he had to quickly learn to play. Ever since, he has played the Hammond B-3 with a preference for a 1969-issue B3 hooked to a Leslie speaker 122RV and handled much of the lead vocals and songwriting for the band, along with occasional piano and guitar contributions.
Solo career
After the death of Duane Allman in 1971, Gregg Allman started out on a solo career. His first album, Laid Back, was released in 1973 to a positive critical reception.
It included a couple of reworked Allman Brothers songs, such as a horn-infused version of "Midnight Rider" that made it to #19 on the Billboard Hot 100 singles chart, and originals like "Queen of Hearts", that the other ABB members felt did not quite fit the Allman Brothers sound. He also covered traditional gospel song "Will the Circle Be Unbroken?" and former California roommate Jackson Browne's song "These Days."
His solo career has continued intermittently throughout the subsequent decades, sometimes touring when the Allman Brothers Band was off the road. Generally, these solo efforts - first with the Gregg Allman Band, and later with Gregg Allman & Friends - eschew lengthy guitar solos and cast Allman more in the mode of his favorite soul singers. The bands often include a horn section and are more groove-oriented, mixing original songs with reworked Allman Brothers songs and covers of blues, R&B, and soul songs.
Allman's second chart single came in 1987 with the #49 peaking "I'm No Angel", from the album of the same name. The album went on to be certified Gold for 500,000 copies sold and led to a renewed interest in Allman and to a reformation of the Allman Brothers Band less than three years later.
His solo album, Low Country Blues, was produced by T-Bone Burnett and issued in early 2011. It is a collection of eleven blues standards and one new song written by him.[11] The album was nominated as the Best Blues Album for the 2011 Grammy Awards.[12]
He has also made guest appearances on albums and concert videos of a wide variety of other artists, including a concert DVD celebrating the twenty-fifth anniversary of The Radiators, playing Midnight Rider with them.
In addition to his musical career, Allman took acting roles in the films Rush Week (1989) and Rush (1991), and in episodes of the TV series Superboy. He also had a brief speaking cameo in the Family Guy episode "Let's Go to the Hop".
Personal life
Allman currently lives in Richmond Hill, Georgia.[13]
Marriages, relationships and children
Allman's previous partners include Cher[14] and Stacey Fountain.[15]
Allman's children include: Michael Allman, Devon Allman, Elijah Blue Allman, Delialah Island Allman (Now Delialah Kurtom), and Layla Allman. All siblings are successful and in the music business with the exception of Island Allman, who is currently a Registered Nurse in Maryland. She earned her Associate of Arts in Automotive Technology at Santa Barbara City College, a Bachelor of Arts in Psychology at Dominican University of California, a Bachelor of Science in Nursing at Georgetown University, and is currently in a Master's program at Georgetown for Family Nurse Practitioner.
Liver transplant surgery
Allman was diagnosed with Hepatitis C late 2007, which he attributes to infection from a dirty tattoo needle[16]. On June 23, 2010, he underwent surgery for a liver transplant.[17] The operation was successful, and he has recovered well.
Road manager's drug trial
During the mid-1970s, there was a prominent and high-profile court case involving Allman and John C. "Scooter" Herring, Allman's road manager, and the distribution of drugs. After Herring was indicted, Allman agreed to testify at Herring's trial in exchange for a grant of immunity from prosecution.[18][19]
Autobiography and biopic
Allman's autobiography, My Cross to Bear, was published by HarperCollins under the William Morrow imprint in 2012. Craig Gillespie has announced that he will adapt it into a film, titled Midnight Rider. Production on the film was stopped in February 2014 after a fatal accident on set.
Allman Brothers Band - Jessica (Live, Gainesville FL 1982)
Jim Morrison *08.12.1943
James Douglas „Jim“ Morrison (* 8. Dezember 1943 in Melbourne, Florida; † 3. Juli 1971 in Paris) war ein US-amerikanischer Sänger, Songwriter und Lyriker. Er war der Frontmann der Rockgruppe The Doors, deren Liedtexte überwiegend von ihm stammten.
Jim Morrison gilt als Rockmusiker, der die Fantasien, Visionen, Ängste und die Selbstdestruktivität der Generation der späten 1960er Jahre artikulierte und exemplarisch auslebte.[1] Er zählt zu den charismatischsten Persönlichkeiten der Rockmusik dieser Zeit. Gemeinsam mit den Doors erweiterte er das Repertoire der Rockmusik um mehrschichtige Konzeptstücke und Formen des Rocktheaters. Morrison, von dem zu Lebzeiten drei Gedichtbände veröffentlicht wurden, nutzte die Doors-Konzerte regelmäßig für spontane Rezitationen poetischer Texte. Er produzierte einen Dokumentarfilm über die Doors sowie einen experimentellen Spielfilm.
Obwohl Morrison sich durch seinen Rock-Bariton und poetische Songtexte einen Namen gemacht hat, wurde er in späteren Jahren meist mit einem aufrührerischen und selbstzerstörerischen Lebensstil assoziiert. Der frühe Tod Morrisons, dessen nähere Umstände nicht mit Sicherheit geklärt werden konnten, trug erheblich zur Legendenbildung um seine Person bei.
weiterlesen: http://de.wikipedia.org/wiki/Jim_Morrison
James Douglas "Jim" Morrison (December 8, 1943 – July 3, 1971) was an American singer-songwriter and poet, best remembered as the lead singer of The Doors.[1]
From a young age, Morrison became infatuated with the works of Friedrich Nietzsche, Arthur Rimbaud, Jack Kerouac, and William Blake, often incorporating their work into his lyrics. In his later life, Morrison developed an alcohol dependency which led to his death at the age of 27 in Paris. He is alleged to have died of a heroin overdose, but as no autopsy was performed, the exact cause of his death is still disputed. His tomb in Paris is still today a shrine to his personality, visited daily by numerous mourners.[2]
Due to his songwriting, voice, wild personality and performances, he is regarded by critics and fans as one of the most iconic and influential frontmen in rock music history, and, due to the dramatic tinges surrounding his life and death, in the latter part of 20th century he was one of popular culture's most rebellious and oft-displayed icons, on a par with the likes of Che Guevara, representing generational gap and youth counterculture.[3] He was also well known for improvising spoken word poetry passages while the band played live. Morrison was ranked number 47 on Rolling Stone's list of the "100 Greatest Singers of All Time",[4] and number 22 on Classic Rock Magazine's "50 Greatest Singers In Rock".[5] Ray Manzarek said that Morrison "embodied hippie counterculture rebellion..."[6] Morrison was also known as the self-proclaimed "Lizard King" and "King of Orgasmic Rock".[7]
read more: http://en.wikipedia.org/wiki/Jim_Morrison
Riders on the Storm - The Doors HD
Randy Hansen *08.12.1954
Randy Hansen (* 8. Dezember 1954 in Seattle, Washington) ist ein US-amerikanischer Musiker.
Hansen ist bekannt für seine Interpretationen von Jimi Hendrix' Musik. Der Gitarrist spielte in den frühen 1980ern u. a. mit den Original-Musikern der Jimi Hendrix Experience (bis zum Tode von Noel Redding und Mitch Mitchell) und mit Buddy Miles, dem 2008 verstorbenen Schlagzeuger von Hendrix´ Band of Gypsys.
Seine Sounds und Riffs faszinierten Francis Ford Coppola so sehr, dass er sie als Soundtrack für sein Kriegs-Epos Apocalypse Now verwendete.
Hansens Line-up besteht - wenn er in Europa auftritt - aus Ufo Walter (früher zeitweise Horst Stachelhaus) am Bass, der auch als virtuoser Solokünstler weltweit bekannt ist, und Manni von Bohr am Schlagzeug. Bei Auftritten in den USA kann die Besetzung auch abweichen.
Besonders in Deutschland und Europa hat Hansen viele Fans. Seine Shows in Clubs und auf Festivals sind regelmäßig ausverkauft. Hansen verfügt über eine starke Bühnenpräsenz und fasziniert das Publikum, indem er die Gitarre, wie Jimi Hendrix, mit den Zähnen und hinter dem Rücken spielt und die Zuhörer durch Stagediving mit einbezieht.
Randy Hansen (born December 8, 1954 in Seattle, Washington) is a U.S. guitarist, best known for his "Rock Tribute Act" honoring Jimi Hendrix.[1] Hansen performs such signatures of Hendrix's style as playing a guitar with his teeth or behind his back. He composed 17 minutes of the soundtrack for the 1979 movie Apocalypse Now,[1](1980 Academy Award Winner for Best Sound). His debut album was released in 1980 on Capitol Records and was recorded at the Automatt Studios in San Francisco, CA. with Scott Rosburg on bass and vocals and Charles Tapp on drums and vocals. That group played two North American tours which included several coliseum shows with Bob Seger, Sammy Hagar, REO Speedwagon, Head East, Triumph, Poco and Blue Oyster Cult.
In 1984, Randy impersonated Jimi Hendrix in the music video for Devo's cover of "Are You Experienced?" Randy also played in Family Entertainment comedy show with the late Sam Kinison in 1991.[citation needed] Hansen's high energy guitar work has earned praise from fellow Dutch-American guitarist, Eddie Van Halen (in Guitar Player magazine), among others.[1] He also was a good friend of Stevie Ray Vaughan (writing a song about him called "Texas Twister" from his Old Dogs New Tricks CD). He has toured and played with hundreds of famous musicians and groups.[citation needed]
Hansen's Hendrix act first came to prominence with Randy Hansen's Machine Gun (1977–80), with Larry Epperly on bass guitar and Tim Kelliher on drums (Kelliher later did sessions for rock & roll band 7th Order,[2] whose session personnel also included British guitarist Martin Pugh and veteran American rock guitarist Geoff Thorpe). All three had previously been in a band called Kid Chrysler and the Cruisers. Hansen's Machine Gun performed on bills with Heart, The Kinks, Stevie Ray Vaughan, and others, and were written up by Rolling Stone and Guitar Player.[3]
After his debut album, his emphasis continued to be on original releases of the Jimi Hendrix style of composition, in addition to including large numbers of Hendrix compositions in his live shows. One of the high points of Hansen's career was when he played a short series of concerts with a band that included the original Jimi Hendrix Experience drummer, Mitch Mitchell and also with Buddy Miles from Jimi Hendrix and the Band of Gypsys. In the 1990s and into the 2000s, Since 1991 to the present year of 2010 Hansen tours the European market two times a year in the Autumn and Spring in addition to performing in the summertime at outdoor concert festivals. He headlined a July 26, 2008 bill in Mannheim, Germany, with Love Street (Doors tribute) and Buried Alive Band (Janis Joplin tribute) as openers. He continues to play locally in the Pacific Northwest as a solo artist and with former Heart members in Heart By Heart, and also around the U.S.
Hansen has three self-released CDs of original music in print, all available online - Old Dogs New Tricks, Good Intentions and Tower of Love . He continues to live in Seattle. As of 2008, Hansen is on the roster of Gen-X Entertainment Intl. Inc., who also represent bands ranging from the Amazing Rhythm Aces to the current incarnation of Jefferson Starship.[1]
Randy with Steven Dubois at Irvine Lake's Legends of Rock Concert in September 2009.
Jimi Hendrix Tribute
Hansen has a reputation as one of the best Hendrix tribute acts in the world. He is one of the few players officially recognized by the Hendrix family. He has been successfully honoring Jimi Hendrix for years and has toured and played with Uli Jon Roth, Jack Bruce, and Paul Rodgers.
Today Hansen’s audience is worldwide, whether with The Randy Hansen Band or working with other entertainers. Steve Miller, Paul Rodgers (Free, Bad Company, The Firm, Queen), Buddy Miles, Don Wilson (The Ventures), Alan White (Yes, Plastic Ono Band, John Lennon), Sammy Hagar, Herbie Hancock, Stevie Ray Vaughan, Robert Cray, Roger Fisher (Heart), Bob Seger and Hendrix alumni Noel Redding and Mitch Mitchell, are just a few of the many musicians he’s performed with.[4]
On August 19, 2009, Randy Hansen headlined the Irvine Lakes Woodstock tribute concert. Where he played songs of Jimi Hendrix, including "Voodoo Child", "Castles Made of Sand, "Hey Joe", "Purple Haze", "The Wind Cries Mary", and "All Along the Watchtower".
Jimmy Smith *08.12.1925
Jimmy Smith [ˈdʒɪmi ˈsmɪθ] (eigentlich James Oscar Smith) (* 8. Dezember 1928 in Norristown, Pennsylvania; † 8. Februar 2005 in Phoenix, Arizona) war ein US-amerikanischer Jazzorganist.
Smith gilt als der bedeutendste Erneuerer des Orgelspiels im Modern Jazz. Den Einsatz der B-3-Hammondorgel revolutionierte er in einer Weise, die eine Einteilung der Geschichte der Orgel im Jazz in eine Periode vor Jimmy Smith und eine Periode mit und nach ihm rechtfertigt. Er machte den Hammond-Sound weltweit populär und ist Vorbild vieler späterer Organisten und Keyboarder. Sein Trio-Konzept mit der Besetzung Orgel, E-Gitarre und Schlagzeug (ohne Bass) wurde häufig kopiert und führte in den 50er und 60er Jahren zu einer wahren Flut von Kombos mit gleicher Besetzung, die in dieser Zeit sehr populär waren. Das Orgel-Trio gilt heute als klassisch.[1]
Leben und Wirken
Smith studierte in seiner Geburtsstadt nach dem Militärdienst 1948 Kontrabass an der Hamilton School und 1949/50 Piano an der Horenstein School of Music. Er war dann in regionalen Bands und von 1951 bei Bobby Edwards, Herb Scott, Johnny Sparrow und Don Gardner als R&B-Pianist tätig. Erst um 1954 wandte er sich, nachdem er Wild Bill Davis gehört hatte, der Orgel zu. Dabei zog er sich zunächst für ein Jahr in ein Lagerhaus zurück und erprobte für sich neue Sounds und Spieltechniken auf dem Instrument, das damals als „Arme-Leute-Orgel“ angesehen wurde und fast nur in Kirchen eingesetzt wurde. Nachdem er in Philadelphia gut damit ankam, gab er seinen Auftritt im Café Bohemia in New York City. Die ersten Aufnahmen als Leader machte er 1956 auf dem Blue Note-Label. Seine erste LP trug den vielsagenden Titel A New Sound, A New Star: Jimmy Smith At The Organ. Der Legende nach war der Plattenproduzent und Inhaber von Blue Note Alfred Lion von Jimmy Smiths Musik so begeistert, dass er erklärte, er wolle seinen Beruf an den Nagel hängen. Stattdessen wolle er in Zukunft mit dem Organisten auf Tour umherreisen, um ihn jeden Abend spielen hören zu können. Er machte seine Drohung jedoch nicht wahr. Von 1956 bis 1961 spielte Jimmy Smith Material für mehr als 30 LPs auf Blue Note ein. Als Höhepunkt seiner Schallplattenkarriere gelten die LPs Back At The Chicken Shack und Midnight Special von 1960. Im Jahr 1962 wechselte Jimmy Smith zum Label Verve, bei dem er zahlreiche auch kommerziell sehr erfolgreiche Platten aufnahm, darunter etliche mit Big Band-Begleitung (darunter viele mit Oliver Nelson und etlichen anderen, wie etwa Billy Byers, Claus Ogerman, Lalo Schifrin und Tom McIntosh).
Mit seiner von Blues und Gospel stark geprägten funky Spielweise gilt er als ein wichtiger Vertreter des Hard Bop und Soul Jazz. Er nahm in seiner mehr als 50 Jahre langen Karriere mehr als 150 Platten auf. Mit Hits wie Got My Mojo Workin oder Walk on the Wild Side hatte Jimmy Smith für einen Jazzmusiker außergewöhnliche Erfolge auch beim breiten Publikum. Unter seinen musikalischen Partnern waren unter anderen der Tenorsaxophonist Stanley Turrentine, die Gitarristen Kenny Burrell und Grant Green sowie die Arrangeure Oliver Nelson und Lalo Schifrin. Auch die Schlagzeuger Donald Bailey und Grady Tate sollten hier unbedingt genannt werden. Er hat auch mit Wes Montgomery aufgenommen (Jimmy & Wes - The Dynamic Duo; Further Adventures of Jimmy and Wes, 1966). Als zu Beginn der 1970er Jahre die Synthesizer die Hammond verdrängten, zog er sich nach Los Angeles zurück, wo er einen Supper Club leitete und sporadisch neue Alben veröffentlichte. Erst als mit dem Acid Jazz die Orgel einen neuen Boom erlebte, kehrte er in den 1990er Jahren auf die internationalen Bühnen zurück.
Spielweise
Smith pflegte drei grundsätzlich verschiedene Spielweisen, die er je nach dem Charakter seiner Songs einsetzte. Bei schnellen Stücken legte er die Basslinie in die linke Hand und setzte die Pedale der Orgel nur zum Erzeugen kurzer Akzente auf die Viertelnoten bzw. zum Markieren hervorzuhebender Bassgänge ein. Mit der Improvisation der rechten Hand setzte er Melodielinien dagegen, die ihre Spannung aus dem Gegensatz von lange ausgehaltenen Liegetönen und rasantem Laufwerk bezogen. Die Akkorde der Mittelstimmen wurden bei solchen Stücken vorwiegend vom Gitarristen getragen. In langsameren Stücken fiel die Basslinie komplett an das Pedal, wodurch die linke Hand zum Spielen kurzer, perkussiver Akzente mit wenigen Tönen freiwurde. Einen auf den ersten Blick verwirrenden Individualstil verwandte Smith in sehr langsamen Balladen (Laura): da vielstimmige Akkorde in der Lage der linken Hand mulmig klingen würden, verlegte Smith diese Akkorde in die rechte Hand und führte die Melodie mit seiner Linken. Andere Jazzorganisten erreichen denselben Effekt durch Überkreuzen der Hände.
Preise und Auszeichnungen
Jimmy Smith war jahrelang auf den Poll-Gewinn des Jazzmagazins Down Beat in der Kategorie Orgel abonniert, die die Zeitschrift erst 1964 extra für ihn eingeführt hatte. 2005 erhielt er die NEA Jazz Masters Fellowship.
Wirkung
Jimmy Smith lebt vor allem durch seinen Song „Root Down (And Get It)“ in der jüngeren Generation weiter. Die Beastie Boys, eine New Yorker Hip-Hop-Band, griffen Root Down 1994 wieder auf und veröffentlichten ihre Version auf dem Album Ill Communication. Auch diese neu aufgelegte Version von „Root Down“ errang bald Kultstatus, war sie doch nicht zuletzt auch mit Originalsamples aus Jimmy Smith’s Stück gespickt. Das Video zu „Root Down“ zeigt u. a. auch das Schallplattencover von Jimmy Smith’s „Root Down (And Get It)“, während Beastie Boy MCA die Zeile "Jimmy Smith is my man, I want to give him a pound" rappt.
http://de.wikipedia.org/wiki/Jimmy_Smith
James Oscar "Jimmy" Smith (December 8, 1925[1] or 1928[2] – February 8, 2005)[1][2] was an African-American jazz musician who achieved the rare distinction of releasing a series of instrumental jazz albums that often charted on Billboard. Smith helped popularize the Hammond B-3 electric organ, creating an indelible link between sixties soul and jazz improvisation.
In 2005, Smith was awarded the NEA Jazz Masters Award from the National Endowment for the Arts, the highest honor that the United States bestows upon jazz musicians.
Smith's birth year is of some confusion, with various sources citing either 1925 or 1928. Born James Oscar Smith in Norristown, Pennsylvania, at the age of six he joined his father doing a song-and-dance routine in clubs. He began teaching himself to play the piano. When he was nine, Smith won a Philadelphia radio talent contest as a boogie-woogie pianist.[5] After a stint in the navy, he began furthering his musical education in 1948, with a year at Royal Hamilton College of Music, then the Leo Ornstein School of Music in Philadelphia in 1949. He began exploring the Hammond organ in 1951. From 1951 to 1954 he played piano, then organ in Philly R&B bands like Don Gardner and the Sonotones. He switched to organ permanently in 1954 after hearing Wild Bill Davis.
Career
He purchased his first Hammond organ, rented a warehouse to practice in and emerged after little more than a year. Upon hearing him playing in a Philadelphia club, Blue Note's Alfred Lion immediately signed him to the label and his second album, The Champ, quickly established Smith as a new star on the jazz scene. He was a prolific recording artist and, as a leader, dubbed The Incredible Jimmy Smith, he recorded around forty sessions for Blue Note in just eight years beginning in 1956. Albums from this period include The Sermon!, House Party, Home Cookin', Midnight Special, Back at the Chicken Shack and Prayer Meetin'.
Smith signed to the Verve label in 1962. His first album, Bashin', sold well and for the first time set Smith with a big band, led by Oliver Nelson. Further big band collaborations followed, most successfully with Lalo Schifrin for The Cat and guitarist Wes Montgomery, with whom he recorded two albums: The Dynamic Duo and Further Adventures Of Jimmy and Wes. Other notable albums from this period include Blue Bash and Organ Grinder Swing with Kenny Burrell, The Boss with George Benson, Who's Afraid of Virginia Woolf?, Got My Mojo Working, and Root Down.
During the 1950s and 1960s, Smith recorded with some of the great jazz musicians of the day such as Kenny Burrell, George Benson, Grant Green, Stanley Turrentine, Lee Morgan, Lou Donaldson, Tina Brooks, Jackie McLean, Grady Tate and Donald Bailey.
The Jimmy Smith Trio performed "When Johnny Comes Marching Home" and "The Sermon" in the 1964 film Get Yourself a College Girl.
In the 1970s, Smith opened his own supper club in Los Angeles, California, and played there regularly with guitarist Paul C Saenz, Kenny Dixon on drums, Herman Riley and John F. Phillips on saxophone; also included in the band was harmonica/flute player Stanley Behrens. The 1972 album Root Down, considered a seminal influence on later generations of funk and hip-hop musicians, was recorded live at the club, albeit with a different group of backing musicians.
Later career
Holle Thee Maxwell, then known as Holly Maxwell, was Smith's vocalist for two years in the late 1970s. During a South African tour, they recorded the album, Jimmy Plays for the People in 1978.[8]
Smith had a career revival in the 1980s and 1990s, again recording for Blue Note and Verve, and for Milestone and Elektra. Smith also recorded with other artists including Quincy Jones/Frank Sinatra, Michael Jackson (he plays on the title track of the Bad album), Dee Dee Bridgewater and Joey DeFrancesco.
His last major album, Dot Com Blues (Blue Thumb, 2000), featured many special guests such as Dr. John, B. B. King and Etta James.
Smith and his wife Lola moved to Scottsdale, Arizona, in 2004, but Lola died of cancer a few months later.[9] Smith later recorded an album, Legacy, with Joey DeFrancesco, and the two began preparation to go on tour.[10] However, before this could happen, Smith was found dead on February 8, 2005, at his Scottsdale home by his manager, Robert Clayton.[9] He was deemed to have died in his sleep of natural causes. Smith is survived by two sisters, Janet Taylor and Anita Jones; and three children, Jia, Connie and Jimmy, Jr. & step son Michael Ward .
While the electric organ had been used in jazz by Fats Waller, Count Basie, Wild Bill Davis and others, Smith's virtuoso improvisation technique on the Hammond helped to popularize the electric organ as a jazz and blues instrument. The B3 and companion Leslie speaker produce a distinctive sound, including percussive "clicks" with each key stroke. Smith's style on fast tempo pieces combined bluesy "licks" with bebop-based single note runs. For ballads, he played walking bass lines on the bass pedals. For uptempo tunes, he would play the bass line on the lower manual and use the pedals for emphasis on the attack of certain notes, which helped to emulate the attack and sound of a string bass.
Smith influenced a constellation of jazz organists, including Jimmy McGriff, Brother Jack McDuff, Richard "Groove" Holmes, Joey DeFrancesco and Larry Goldings, as well as rock keyboardists such as Jon Lord, Brian Auger and Keith Emerson. More recently, Smith influenced bands such as the Beastie Boys, who sampled the bassline from "Root Down (and Get It)" from Root Down—and saluted Smith in the lyrics—for their own hit "Root Down," Medeski, Martin & Wood, and the Hayden-Eckert Ensemble. Often called the father of acid jazz, Smith lived to see that movement come to reflect Smith's organ style. In the 1990s, Smith went to Nashville, taking a break from his ongoing gigs at his Sacramento restaurant which he owned and, in Music City, Nashville, he produced, with the help of a webmaster, Dot Com Blues, his last Verve album. In 1999, Smith guested on two tracks of a live album, Incredible!, the hit from the 1960s, with his protégé, Joey DeFrancesco, a then 28-year-old organist. Smith and DeFrancesco's collaborative album Legacy was released in 2005 shortly after Smith's death.
http://en.wikipedia.org/wiki/Jimmy_Smith_%28musician%29
◄ Jimmy Smith ☼ Watermelon Man Live in Germany 2004 ♫ youtube original
THE JUMPIN'BLUES (Jimmy Smith,Stanley Turrentine,Kenny Burrell & Grady Tate)
Mandy Lemons Nikides *08.12.
Mandy singt den Blues mit einer kräftigen aufgeladenen Stimme, in der sich der Southern Soul mit nördlicher Attitüde paart. Ihr Partner, Gitarrist und Produzent Sturgis Nikides, war früher Sideman des berühmten John Cale (Velvet Underground). Mandy und Sturgis haben aus ihrer gemeinsamen Liebe zum Texas- und Delta-Blues sowie Memphis Rock 'n‘Soul, gemischt mit einer gesunden Dosis New Yorker Grossstadt Coolness, ihre ganz eigene musikalische Handschrift entwickelt.
Mit Mandys Powerstimme und Sturgis heisser Slidegitarre bahnen sie sich ihren Weg durch die musikalische Karte des Südens. Mit ihrem letzten Album „You Can't Keep A Good Woman Down“ haben sie Kritiker und Bluesfans gleichermassen beeindruckt.
Eine Kollektion von Originalsongs, denen sie ihren ganz eigenen Stempel aufdrücken, neues Leben einhauchen, und die doch immer in der Tradition verwurzelt bleiben.
Ein Journalist des renommierten Magazins „Blues in Britain“ beschreibt ihren Sound so: „ihre Musik ist eine überzeugende Mischung aus Blues und Rock'n'Roll, erinnert an eine Mischung von Elmore James und Hound Dog Taylor, untermauert mit Mandy Lemons‘ Koko Taylor infisziertem Gesang“.
In den letzten Jahren haben sie mit ihrem „Neo Delta“ Roots- und Bluessound in hunderten Konzerten, in Clubs, Juke Joints und Festivals, auf ausgiebigen Touren gespielt und von New York bis Osteuropa und quer durch die Staaten Bluesfans begeistert. Sicherlich für viele eine der Überraschungen am Lucerne Blues Festival.
Mandy Lemons sings the blues with an astonishing powerhouse voice which mixes original southern fried soul and northern attitude. She hails from one of the blues ‘capitals’ of the world, Houston Texas, home of the late great Lightnin’ Hopkins. Her mother exposed her to Billie Holiday at an early age, which made a lasting impression. You will be astonished to hear so much power coming out of such a small figure, and you can clearly hear the influences of Koko Taylor, Etta James, Bessie Smith, and of course Janis Joplin. Her performances are visually and emotionally dramatic, approaching legendary status. Hans Werksman of the music blog ‘Here Comes The Flood’ says "seriously lacking in stage fright, Miss Lemons is able to scare the shit out of Joss Stone". Mandy "escaped" Houston in 2003 and headed to New York City. Five years later fate intervened and a mutual friend introduced her to Sturgis. They immediately began writing and recording and played their first show together in 2008. Among their hundreds (and counting) of shows, notable Low Society appearances include Mississippi's Juke Joint Festival for three consecutive years (2011/2012/2013), the BluesAlive Festival 2012 in Sumperk & Zlin, Czech Republic and Chorzow Poland, and NYC's Howl Festival for three consecutive years (2009/2010/2011).
https://www.youtube.com/watch?v=8tDBXjIinlE
Pete Harris *08.12.1948
Pete Harris has been active on the South Coast Blues scene for over 30 years. With the Bob Pearce Blues Band he gigged extensively in the UK and Europe, recording an album on the prestigious Blue Horizon label. He has subsequently led various incarnations of the Pete Harris Blues Band, recognised as one of the leading Blues bands on the South Coast of England. Pete has performed onstage with many American Blues artistes, notably Phil Guy (brother of Buddy Guy), Lowell Fulson, Tabby Thomas, Gene ” Mighty Flea” Connors, Mojo Buford (ex Muddy Waters Band), Byther Smith, Carrie and Lurrie Bell, Jerry McCain and Lazy Lester. He has appeared on BBC television, Southampton TV, Portsmouth TV and many times on national and local radio. Pete has performed in the UK, France, Belgium, Holland, Switzerland and New Zealand, where he headlined at several festivals. He was also known on the Folk scene as musical partner of acclaimed singer/songwriter Mick Ryan.
WHAT THEY SAY:
“To find a better Blues guitarist than Pete Harris you would probably have to go to Chicago” (Southampton Jazz Society)
“Pete… is a lead guitar player of deceptive skill and emotional depth. His playing appeals to the head and to the feet.” (Blueprint magazine)
“Pete Harris is a baaaad man! (Mojo Buford)
THE PETE HARRIS BLUES BAND The band features the dynamic playing of Poole-based harp ace Hugh Budden, the powerful and soulful vocals of exciting young vocalist Jeradine Hume, and the rock-solid, swinging rhythm section of Bob Manley (bass) and Steve Groves (drums). Together they produce an irresistible blend of swing, funk and down-home Blues. (When Hugh is not available his place is taken by Bristol-based harp maestro Jon Vaughan and when Steve is not available his place is taken by Brian Wright).
“…a band very difficult to outclass on the South Coast and definitely one to be recommended.”
(Blues in the South)
THE PETE HARRIS R&B ALL STARS Whereas the Blues Band specialize in gritty Chicago-style Blues, the All Stars perform a blend of Uptown Blues ( BB King style) and old-school R&B, with a hint of Soul and Rock and Roll. In this lineup Pete, Jeradine, Bob and Steve are joined by keyboard wizard Ray Drury and saxophone ace Paul Tasker.
“The smash hits of the Swanage Blues Festival” (Steve Darrington, festival organiser)
http://www.peteharrisblues.com/?page_id=218
The Pete Harris Blues Band Live at the Fat Fox
R.I.P.
Big Walter Horton +8.12.1981
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Big Walter Horton (* 6. April 1918 in Horn Lake, Mississippi; † 8. Dezember 1981 in Chicago, Illinois) war ein US-amerikanischer Blues-Musiker, ein Virtuose auf der Mundharmonika, bekannt als Mitglied der Band von Muddy Waters. Besondere Bedeutung hatte er auch für die Entwicklung der elektrisch verstärkten Harmonika.Obwohl er die gleiche Bedeutung für die Bluesmusik gehabt hat wie zum Beispiel Little Walter, ist er doch nicht so bekannt wie seine Zeitgenossen. Es ist darauf zurückzuführen, dass er als scheuer, schüchterner Mensch nie das Bedürfnis hatte eine eigene Band zu haben sondern es lieber hatte, wenn er als Mitspieler einen Beitrag zu einer Aufnahme leisten konnte[1] Willie Dixon nannte ihn einmal "den besten Harmonikaspieler, den ich jemals gehört habe."[2]
Leben
Bereits mit fünf Jahren konnte Horton Mundharmonika spielen, die er sich selbst beibrachte nachdem er eine Harmonika von seinem Vater geschenkt bekommen hatte. Bald gewann er einen lokalen Talentewettbewerb.[3][4] Als Jugendlicher lebte er in Memphis, Tennessee, wo er Mitglied der Memphis Jug Band war, an deren Aufnahmen er möglicherweise beteiligt war. Hier lernte er auch neue Tricks für die Harmonika, was im von Will Shade, dem Harmonikaspieler der Jug Band, beigebracht wurde. Danach zog er durch die Lande und spielte mit seiner Musik gerade genug zum Überleben ein. In den Zeiten der Großen Depression spielte er mit Robert Johnson, Honeyboy Edwards und anderen.
Anfang der 1940ern ging er nach Chicago und machte dort seine ersten eigenen Aufnahmen, meistens begleitet von einem Gitarristen. Nach eigenen Aussagen begann er um diese Zeit auch mit verstärkter Mundharmonika zu experimentieren. Er soll Little Walter und Sonny Boy Williamson einige Mundharmonikakniffe beigebracht haben, das ist jedoch nicht bestätigt.
Aus gesundheitlichen Gründen zog Horton sich mehr oder weniger von der Musikszene zurück und nahm andere Jobs an. Gelegentlich kam er nach Memphis zurück und machte auch verschiedene Aufnahmen, darunter auch mit dem jungen B. B. King. [5] Später in den 1950ern schloss er sich in Chicago der Band von Muddy Waters an. In den 1950er-Jahren spielte er auch als Studiomusiker für Chess Records. In dieser Zeit nahm er, mit Willie Dixon als Produzenten, einige Singles für Chess auf.
Horton, dessen Spitzname wegen seiner Kopfbewegungen beim Spielen „Shakey“ war, wurde fester Bestandteil der Chicagoer Blues-Szene und genoss während des Folk-Revivals große Popularität. Erst 1964 nahm er seine erste eigene LP für Chess Records (The Soul of Blues Harmonica) auf. In den 1970ern tourte er in den Staaten und in Europa, oft mit Willie Dixon und seinen „Chicago Blues All-Stars“. Er spielte mit Bluesrock-Größen wie Fleetwood Mac und Johnny Winter. Zu empfehlen ist sein bei Alligator Records veröffentlichtes Album Big Walter Horton with Carey Bell, das auch als CD erschienen ist. Bei den Aufnahmen wirken neben Big Walter Horton auch Carey Bell und Eddie Taylor mit. Im Film The Blues Brothers trat er als Begleiter von John Lee Hooker in der Maxwell Street Szene auf. [6]
Big Walter Horton war ein ruhiger, unscheinbarer Mann, der als einer der begabtesten Bluesharmonika-Spieler in der Geschichte des Blues betrachtet wird. Er starb 1981 in Chicago und wurde in Alsip, Illinois, beigesetzt. 1982 erhielt er einen Platz in der Blues Hall of Fame.
Walter Horton, better known as Big Walter Horton or Walter "Shakey" Horton, (April 6, 1918 – December 8, 1981[1])[2] was an American blues harmonica player. A quiet, unassuming and essentially shy man, Horton is remembered as one of the premier harmonica players in the history of blues.[1] Willie Dixon once called Horton "the best harmonica player I ever heard."[1]
Born Walter Horton in Horn Lake, Mississippi, he was playing a harmonica by the time he was five years old.[1] In his early teens, he lived in Memphis, Tennessee and claimed that his earliest recordings were done there in the late 1920s with the Memphis Jug Band,[1] although there is no documentation of it, and some blues researchers have stated that this story was most likely fabricated by Horton. (He also claimed to have taught some harmonica to Little Walter and the original Sonny Boy Williamson, although these claims are unsubstantiated, and in the case of the older Williamson, somewhat suspect).
As with many of his peers, he spent much of his career existing on a meager income and living with constant discrimination in a segregated United States of America. In the 1930s he played with various blues performers across the Mississippi delta region. It is generally accepted that his first recordings were made in Memphis backing guitarist Little Buddy Doyle on Doyle's recordings for the Okeh and Vocalion labels in 1939.[1][3] These recordings were in the acoustic duo format popularized by Sleepy John Estes with his harmonicist Hammie Nixon, among others. On these recordings, Horton's style is not yet fully realized, but there are clear hints of what is to come. He eventually stopped playing the harp for a living due to poor health, and worked mainly outside of the music industry in the 1940s.[1] By the early 1950s, he was playing music again, and was among the first to record for Sam Phillips at Sun Records in Memphis, who would later record Elvis Presley, Carl Perkins, and Johnny Cash. The early Big Walter recordings from Sun include performances from a young Phineas Newborn, Jr. on piano, who later gained fame as a jazz pianist. His instrumental track recorded around this time, "Easy", was based on Ivory Joe Hunter's "I Almost Lost My Mind".[4][5]
During the early 1950s he first appeared on the Chicago blues scene, where he frequently played with fellow Memphis and Delta musicians who had also moved north, including guitarists Eddie Taylor and Johnny Shines.[1] When Junior Wells left the Muddy Waters band at the end of 1952, Horton replaced him for long enough to play on one session with Waters in January 1953.[1]
Also known as "Mumbles" and "Shakey" because of his head motion while playing the harmonica, Horton was active on the Chicago blues scene during the 1960s as blues music gained popularity with white audiences. From the early 1960s onward, he recorded and appeared frequently as a sideman with Eddie Taylor, Johnny Shines, Johnny Young, Sunnyland Slim, Willie Dixon and many others.[1] He toured extensively, usually as a backing musician, and in the 1970s he performed at blues and folk music festivals in the U.S. and Europe, frequently with Willie Dixon's Chicago Blues All-Stars.[4] He has also appeared as a guest on recordings by blues and rock stars such as Fleetwood Mac and Johnny Winter.[5]
In October 1968, while touring the United Kingdom, he recorded the album Southern Comfort with the former Savoy Brown and future Mighty Baby guitarist Martin Stone.[5] In the late 1970s he toured the U.S. with Homesick James Williamson, Guido Sinclair, Eddie Taylor, Richard Molina, Bradley Pierce Smith and Paul Nebenzahl, and appeared on National Public Radio broadcasts. Two of the best compilation albums of his own work are Mouth-Harp Maestro and Fine Cuts. Also notable is the Big Walter Horton and Carey Bell album, released by Alligator Records in 1972.[1]
He worked at blues festivals, and was often seen giving free shows at the Maxwell Street market inChicago.[1] In 1977, he worked on the Muddy Waters album I'm Ready, produced by Johnny Winter. He also recorded for Blind Pig Records during this period.[1] Horton accompanied John Lee Hooker in the 1980 film The Blues Brothers.[1] His final recordings were made in 1980.[5]
Horton died from heart failure in Chicago in 1981 at the age of 60,[1][6] and was buried in Restvale Cemetery in Alsip, Illinois.
He was posthumously inducted into the Blues Hall of Fame in 1982.[1]
Born Walter Horton in Horn Lake, Mississippi, he was playing a harmonica by the time he was five years old.[1] In his early teens, he lived in Memphis, Tennessee and claimed that his earliest recordings were done there in the late 1920s with the Memphis Jug Band,[1] although there is no documentation of it, and some blues researchers have stated that this story was most likely fabricated by Horton. (He also claimed to have taught some harmonica to Little Walter and the original Sonny Boy Williamson, although these claims are unsubstantiated, and in the case of the older Williamson, somewhat suspect).
As with many of his peers, he spent much of his career existing on a meager income and living with constant discrimination in a segregated United States of America. In the 1930s he played with various blues performers across the Mississippi delta region. It is generally accepted that his first recordings were made in Memphis backing guitarist Little Buddy Doyle on Doyle's recordings for the Okeh and Vocalion labels in 1939.[1][3] These recordings were in the acoustic duo format popularized by Sleepy John Estes with his harmonicist Hammie Nixon, among others. On these recordings, Horton's style is not yet fully realized, but there are clear hints of what is to come. He eventually stopped playing the harp for a living due to poor health, and worked mainly outside of the music industry in the 1940s.[1] By the early 1950s, he was playing music again, and was among the first to record for Sam Phillips at Sun Records in Memphis, who would later record Elvis Presley, Carl Perkins, and Johnny Cash. The early Big Walter recordings from Sun include performances from a young Phineas Newborn, Jr. on piano, who later gained fame as a jazz pianist. His instrumental track recorded around this time, "Easy", was based on Ivory Joe Hunter's "I Almost Lost My Mind".[4][5]
During the early 1950s he first appeared on the Chicago blues scene, where he frequently played with fellow Memphis and Delta musicians who had also moved north, including guitarists Eddie Taylor and Johnny Shines.[1] When Junior Wells left the Muddy Waters band at the end of 1952, Horton replaced him for long enough to play on one session with Waters in January 1953.[1]
Also known as "Mumbles" and "Shakey" because of his head motion while playing the harmonica, Horton was active on the Chicago blues scene during the 1960s as blues music gained popularity with white audiences. From the early 1960s onward, he recorded and appeared frequently as a sideman with Eddie Taylor, Johnny Shines, Johnny Young, Sunnyland Slim, Willie Dixon and many others.[1] He toured extensively, usually as a backing musician, and in the 1970s he performed at blues and folk music festivals in the U.S. and Europe, frequently with Willie Dixon's Chicago Blues All-Stars.[4] He has also appeared as a guest on recordings by blues and rock stars such as Fleetwood Mac and Johnny Winter.[5]
In October 1968, while touring the United Kingdom, he recorded the album Southern Comfort with the former Savoy Brown and future Mighty Baby guitarist Martin Stone.[5] In the late 1970s he toured the U.S. with Homesick James Williamson, Guido Sinclair, Eddie Taylor, Richard Molina, Bradley Pierce Smith and Paul Nebenzahl, and appeared on National Public Radio broadcasts. Two of the best compilation albums of his own work are Mouth-Harp Maestro and Fine Cuts. Also notable is the Big Walter Horton and Carey Bell album, released by Alligator Records in 1972.[1]
He worked at blues festivals, and was often seen giving free shows at the Maxwell Street market inChicago.[1] In 1977, he worked on the Muddy Waters album I'm Ready, produced by Johnny Winter. He also recorded for Blind Pig Records during this period.[1] Horton accompanied John Lee Hooker in the 1980 film The Blues Brothers.[1] His final recordings were made in 1980.[5]
Horton died from heart failure in Chicago in 1981 at the age of 60,[1][6] and was buried in Restvale Cemetery in Alsip, Illinois.
He was posthumously inducted into the Blues Hall of Fame in 1982.[1]
American folk blues festival 1970 Copenhagen
Hollywood Fats +08.12.1986
Hollywood Fats (* 17. Mai 1954, Los Angeles, Kalifornien, als Michael Leonard Mann; † 8. Dezember 1986) war ein US-amerikanischer Bluesgitarrist.
Er begann im Alter von zehn Jahren mit dem Gitarrespiel. Nachdem er als Teenager den Blues entdeckt hatte, fuhr ihn seine Mutter in verschiedene Bluesclubs in South Central Los Angeles, wo er verschiedene Größen der Bluesmusik hörte und mit ihnen spielte. [1] Er trat mit Shakey Jake Harris, Magic Sam, Buddy Guy und Junior Wells auf. Nachdem er in den 1970ern mit dem Mundharmonikaspieler James Harman gearbeitet hatte und kurze Zeit bei Canned Heat spielte (Tondokument:Canned Heat in Concert)[2], gründete er mit dem Mundharmonikaspieler Al Blake, dem Pianisten Fred Kaplan, dem Schlagzeuger Richard Innes und dem Bassisten Larry Taylor die Hollywood Fats Band. 1979 veröffentlichte die Band ihr einziges Album. Nicht lange danach löste sich die Band auf, Mann spielte danach wieder mit James Harman und einer Band namens Dino´s Revenge, mit der er auch live spielte.
1986 trafen sich die Mitglieder der Hollywood Fats Band und spielten einen Gig, bei dem sie sich entschlossen, wieder gemeinsam aufzutreten. Nach der anschließenden Feier mit Freunden starb Hollywood Fats aber an einer Überdosis Heroin.[3]
Hollywood Fats (March 17, 1954 – December 8, 1986)[1] was an American blues guitarist, active in Los Angeles, California.
Biography
Hollywood Fats was born Michael Leonard Mann in Los Angeles, and started playing guitar at the age of 10. While in his teens, his mother would drive him to various clubs in South Central Los Angeles to jam with well-known blues musicians when they came to town. Hollywood Fats' father was a doctor and his siblings went on to become doctors and lawyers. He met Buddy Guy and Junior Wells who gave him the nickname.[2] Hollywood Fats toured with James Harman, Jimmy Witherspoon, J. B. Hutto, John Lee Hooker, Muddy Waters, and Albert King.
During the 1970s and 1980s he worked with the blues harmonica player and singer James Harman. He played on a number of his records including Extra Napkin's, Mo' Na'Kins, Please, Those Dangerous Gentlemans and Live in '85. Other guitarists with whom he played included Junior Watson, Kid Ramos and Dave Alvin.
Hollywood Fats was invited to be a sideman to Muddy Waters and later met the harmonica player Al Blake. Blake had just moved to Los Angeles from Oklahoma. In 1974, Hollywood Fats and Blake formed a band consisting of pianist Fred Kaplan, Richard Innes on drums and Canned Heat bassist Larry Taylor called the Hollywood Fats Band.[3]
For a King Biscuit Flower Hour concert on September 7, 1979, which was later to be released on record, Hollywood Fats played the lead guitar in Canned Heat.
The Hollywood Fats Band released a self-titled album in 1979, the only album under their name. The band broke up not long after and Hollywood Fats continued to play with Harman's band, and The Blasters in 1986 replacing Dave Alvin.
Hollywood Fats also played with a non-blues band called Dino's Revenge from 1985 through 1986. He recorded three songs with Dino's Revenge as well as playing several live performances.[4] The band consisted of Marshall Rohner of T.S.O.L. as well as Kevan Hill, Butch Azevedo and Steven Ameche all of The Twisters.[5]
Hollywood Fats died of a heroin overdose in 1986 in Los Angeles at the age of 32. At the time of his death, he was playing with the James Harman Band, the Blasters and Dino's Revenge.
The band reunion
Around 2002, the remaining original members of the Hollywood Fats Band were reunited with young Kirk Fletcher on guitar, and recorded some new material. The first of the recordings came out on Al Blake's solo album Dr. Blakes Magic Soul Elixir released in 2002. This new version of the band started calling themselves the Hollywood Blue Flames. They released two albums under their name from Delta Groove Productions. The second album Road To Rio came with a CD titled Larger Than Life which consisted of previously unreleased live recordings of the original Hollywood Fats Band.
Biography
Hollywood Fats was born Michael Leonard Mann in Los Angeles, and started playing guitar at the age of 10. While in his teens, his mother would drive him to various clubs in South Central Los Angeles to jam with well-known blues musicians when they came to town. Hollywood Fats' father was a doctor and his siblings went on to become doctors and lawyers. He met Buddy Guy and Junior Wells who gave him the nickname.[2] Hollywood Fats toured with James Harman, Jimmy Witherspoon, J. B. Hutto, John Lee Hooker, Muddy Waters, and Albert King.
During the 1970s and 1980s he worked with the blues harmonica player and singer James Harman. He played on a number of his records including Extra Napkin's, Mo' Na'Kins, Please, Those Dangerous Gentlemans and Live in '85. Other guitarists with whom he played included Junior Watson, Kid Ramos and Dave Alvin.
Hollywood Fats was invited to be a sideman to Muddy Waters and later met the harmonica player Al Blake. Blake had just moved to Los Angeles from Oklahoma. In 1974, Hollywood Fats and Blake formed a band consisting of pianist Fred Kaplan, Richard Innes on drums and Canned Heat bassist Larry Taylor called the Hollywood Fats Band.[3]
For a King Biscuit Flower Hour concert on September 7, 1979, which was later to be released on record, Hollywood Fats played the lead guitar in Canned Heat.
The Hollywood Fats Band released a self-titled album in 1979, the only album under their name. The band broke up not long after and Hollywood Fats continued to play with Harman's band, and The Blasters in 1986 replacing Dave Alvin.
Hollywood Fats also played with a non-blues band called Dino's Revenge from 1985 through 1986. He recorded three songs with Dino's Revenge as well as playing several live performances.[4] The band consisted of Marshall Rohner of T.S.O.L. as well as Kevan Hill, Butch Azevedo and Steven Ameche all of The Twisters.[5]
Hollywood Fats died of a heroin overdose in 1986 in Los Angeles at the age of 32. At the time of his death, he was playing with the James Harman Band, the Blasters and Dino's Revenge.
The band reunion
Around 2002, the remaining original members of the Hollywood Fats Band were reunited with young Kirk Fletcher on guitar, and recorded some new material. The first of the recordings came out on Al Blake's solo album Dr. Blakes Magic Soul Elixir released in 2002. This new version of the band started calling themselves the Hollywood Blue Flames. They released two albums under their name from Delta Groove Productions. The second album Road To Rio came with a CD titled Larger Than Life which consisted of previously unreleased live recordings of the original Hollywood Fats Band.
Julia Lee +08.12.1958
Lee war in Kansas City aufgewachsen und hatte schon als Kind zusammen mit einem Saiteninstrument-Trio ihres Vaters sowie bei Veranstaltungen ihrer Kirchengemeinde, aber auch auf Hauspartys Musik gemacht. Ihr Bruder war der Bandleader George E. Lee. Als Pianistin und Sängerin hauptberuflich tätig wurde sie 1917, zunächst im Ragtime-Stil als Kinopianistin, die Stummfilme begleitete, aber auch in den Clubs entlang der 12th Street. Dort wurde sie durch den Vortrag von Bluesnummern mit doppeldeutigen Texten bekannt.
Anschließend spielte sie seit der Gründung als Pianistin im Orchester ihres Bruders George E. Lee, einer sogenannten Territory Band der Region, die um 1920 gegründet wurde und McKinney’s Cotton Pickers Konkurrenz machte, aber auch als stärkster Konkurrent des Orchesters von Bennie Moten Orchestra galt. In den 20er Jahren scheint Lee's Band nicht zuletzt dank seines und seiner Schwester Gesang mit ulkigen Texten in Kansas City bekannter und attraktiver gewesen zu sein. Mary Lou Williams erinnert sich an Julia Lee aber auch als neben Margaret Johnson wichtigster Pianistin der Stadt. Julia arbeitete 15 Jahre lang im Orchester ihres Bruders, bevor sie - nach ersten Aufnahmen für das Merritt-Label (1927) - 1935 ihre Solokarriere startete.
1944 wurde sie im Rahmen der „History of Jazz“-Reihe von Capitol Records aufgenommen; sie sang nun vor den Bands von Jay McShann und Tommy Douglas. Später trat sie vor allem in einer kleinen Besetzung als Julia Lee and her Boy Friends auf. Zu den Boyfriends gehörten Musiker wie Benny Carter, Vic Dickenson, Ernie Royal, Red Norvo, Red Nichols, Nappy Lamare und Tommy Douglas. Nachdem sie mit „Come On Over To My House Baby“ einen regelrechten Hit in den Jukeboxen und im Radio hatte landen können, erhielt sie 1946 einen festen Vertrag. 1947 stand sie mit „Snatch It And Grab It“ zwölf Wochen lang auf Platz 1 der Rhythm and Blues Charts. Die Platte hatte eine damals beachtliche halbe Million Käufer gefunden. Weitere Hits schlossen sich an. Zwei Jahre später hielt sie neun Wochen lang den ersten Platz der Hitparade mit „King Size Papa“. 1949 spielte Julia Lee auf Einladung des aus Missouri stammenden US-Präsident Harry S. Truman im Weißen Haus. In den 1950ern produzierte sie weiterhin, war jedoch nur noch mäßig erfolgreich. Ein Jahr vor ihrem Tod spielte sie eine kleine Rolle in Robert Altmans in Kansas City gedrehten Film „The Delinquence“.
Lee steht mit ihrer Musik für einen frühen Übergang vom Kansas City Jazz zum Rhythm & Blues. Laut einer Liste der US-Musikzeitschrift Billboard stand sie auf Platz 12 der im Zeitraum von 1942 bis 1949 in Hinblick auf die Plattenverkäufe erfolgreichsten Rhythm & Blues-Künstler – und damit vor Dinah Washington, Billy Eckstine, Wynonie Harris, Charles Brown oder Roy Milton.
Julia Lee (October 31, 1902 – December 8, 1958)[2] was an American blues and dirty blues musician.[1]
Born in Boonville, Missouri, United States, Lee was raised in Kansas City, and began her musical career around 1920, singing and playing piano in her brother George Lee's band, which for a time also included Charlie Parker. She first recorded on the Merritt record label in 1927 with Jesse Stone as pianist and arranger, and launched a solo career in 1935.
In 1944 she secured a recording contract with Capitol Records,[1] and a string of R&B hits followed, including "Gotta Gimme Whatcha Got" (#3 R&B, 1946), "Snatch and Grab It" (#1 R&B for 12 weeks, 1947, selling over 500,000 copies), "King Size Papa" (#1 R&B for 9 weeks, 1948), "I Didn't Like It The First Time (The Spinach Song)" (#4 R&B, 1949), and "My Man Stands Out".
As these titles suggest, she became best known for her trademark double entendre songs,[1] or, as she once said, "the songs my mother taught me not to sing". The records were credited to 'Julia Lee and Her Boy Friends', her session musicians including Jay McShann, Vic Dickenson, Benny Carter, Red Norvo, Nappy Lamare, and Red Nichols.[1][2]
She was married to Frank Duncan, a star catcher and manager of the Negro National League's Kansas City Monarchs. He, like Julia, was a native of Kansas City.
Although her hits dried up after 1949, she continued as one of the most popular performers in Kansas City until her death in San Diego, California, at the age of 56, from a heart attack.[1][2]
Born in Boonville, Missouri, United States, Lee was raised in Kansas City, and began her musical career around 1920, singing and playing piano in her brother George Lee's band, which for a time also included Charlie Parker. She first recorded on the Merritt record label in 1927 with Jesse Stone as pianist and arranger, and launched a solo career in 1935.
In 1944 she secured a recording contract with Capitol Records,[1] and a string of R&B hits followed, including "Gotta Gimme Whatcha Got" (#3 R&B, 1946), "Snatch and Grab It" (#1 R&B for 12 weeks, 1947, selling over 500,000 copies), "King Size Papa" (#1 R&B for 9 weeks, 1948), "I Didn't Like It The First Time (The Spinach Song)" (#4 R&B, 1949), and "My Man Stands Out".
As these titles suggest, she became best known for her trademark double entendre songs,[1] or, as she once said, "the songs my mother taught me not to sing". The records were credited to 'Julia Lee and Her Boy Friends', her session musicians including Jay McShann, Vic Dickenson, Benny Carter, Red Norvo, Nappy Lamare, and Red Nichols.[1][2]
She was married to Frank Duncan, a star catcher and manager of the Negro National League's Kansas City Monarchs. He, like Julia, was a native of Kansas City.
Although her hits dried up after 1949, she continued as one of the most popular performers in Kansas City until her death in San Diego, California, at the age of 56, from a heart attack.[1][2]
Richard M. Jones +08.12.1945
Richard
Marigny Jones (* 13. Juni 1889 oder 1892 in Donaldville (Louisiana)[1];
† 8. Dezember 1945 in Chicago) war ein US-amerikanischer Blues und
Jazzpianist, Arrangeur, Komponist, Bandleader und Musikproduzent.
Richard
M. Jones wuchs in New Orleans auf und lernte in seinem Elternhaus
verschiedene Instrumente kennen; auf Grund einer Kniebehinderung erhielt
er von Kollegen den Spitznamen „Richard My Knee Jones“. In seiner
Jugend spielte er Althorn in Brassbands wie der Eureka Brass Band, bis
sein Hauptinstrument das Piano wurde. Um 1908 spielte er in den Clubs
und Cabarets des Storyville-Bezirks, wie auch Lulu Whites Josie
Arlington's. Später leitete er 1912/13 ein kleines Ensemble, dem auch
King Oliver angehörte. Jones spielte auch in den Bands von John
Robichaux, Armand J. Piron und 1918 bei Papa Celestins Tuxedo Brass
Band. 1915 begann er erste Songs zu komponieren, darunter „Lonesome
Nobody Cares“, der dann von Sophie Tucker interpretiert wurde.
1918
zog Jones nach Chicago, um für den Musikverleger Clarence Williams zu
arbeiten. Ab 1923 entstanden erste Aufnahmen von ihm als Solisten
(1923), im Trio mit Albert Nicholas und Johnny St. Cyr, sowie als
Begleiter von Blues-Vokalisten wie Bertha „Chippie“ Hill (1925-27),
außerdem mit seinen Bands The Jazz Wizards (denen auch Albert Nicholas,
Shirley Clay, Stomp Evans, Preston Jackson, Roy Palmer oder Omer Simeon
angehörten) und The Chicago Cosmopolitans. Er nahm in den 1920er Jahren
für Gennett (unter dem Pseudonym Wally Coulter, 1927), OKeh, Victor und
Paramount Records auf, für letzteres mit einem Trio aus Kornett,
Klarinette und Piano;[2] außerdem arbeitete er für OKeh Records als
A&R des Race-Programms, der afroamerikanischen Schallplatten dieser
Dekade. Von 1930 bis 1934 leitete er erneut eine Band in New Orleans; ab
1834 arbeitete er als A&R für Decca, wo er u.a. bei Aufnahmen von
Lee Collins, Herschel Evans und Louis Metcalf mitwirkte. Daneben war er
als Songwriter aktiv. Bis zu seinem Tode im Jahr 1945 war er für Mercury
Records als Arrangeur und Talentscout tätig. In den 40ern wirkte er
noch bei Aufnahmen von Jimmie Noone (1940), Johnny Dodds und Punch
Miller (1945) mit. 1944 leitete er wieder eine eigene Formation, zu der
u.a. Preston Jackson, Baby Dodds und Darnell Howard gehörten („Canal
Street Blues“) und mit der im März '44 Aufnahmen für Session Records
entstanden.
Als Komponist war er für zahlreiche Songs
verantwortlich, darunter „Caldonia“, „Jazzin’ Baby Blues“ (auch Tin Roof
Blues genannt), „29th and Dearborn“, „Red Wagon“, „Riverside Blues“ und
„Trouble in Mind“, den er 1926 mit „Chippie“ Hill (Gesang) und Louis
Armstrong (Kornett) einspielte.
Jones wirkte in seiner Karriere
außerdem bei Aufnahmen von Willy Hightowers Night Hawks (1923), Blanche
Calloway (1925), Louis Armstrongs Hot Five (1925/26), King Oliver
(1926), Lillie Delk Christian (1927) und Louis Powell (1938) mit.
Richard M. Jones, born Richard Marigny Jones, (13 June 1892 – 8 December 1945) was a jazz pianist, composer, band leader, and record producer. Numerous songs bear his name as author, including "Trouble in Mind".
Jones grew up in New Orleans, Louisiana. Jones suffered from a stiff leg and walked with a limp; fellow musicians gave him the nickname "Richard My Knee Jones" as a pun on his middle name. In his youth he played alto horn in brass bands. His main instrument, however, became the piano. By 1908 he was playing in Storyville, the red-light district of New Orleans. A few years later, he often led a small band which sometimes included Joe Oliver. Jones also worked in the bands of John Robichaux, Armand J. Piron, and Papa Celestin.
In 1918 Jones moved to Chicago. He worked as Chicago manager for publisher Clarence Williams. Jones began recording in 1923, making gramophone records as a piano soloist, accompanist to vocalists, and with his bands The Jazz Wizards and The Chicago Cosmopolitans. He recorded for Gennett, OKeh, Victor, and Paramount Records in the 1920s. He also worked for OKeh Records as Chicago supervisor of the company's "Race" (African-American) Records for most of the decade. In the 1930s he played a similar role for Decca.
Richard M. Jones worked for Mercury Records until his death.
Jones grew up in New Orleans, Louisiana. Jones suffered from a stiff leg and walked with a limp; fellow musicians gave him the nickname "Richard My Knee Jones" as a pun on his middle name. In his youth he played alto horn in brass bands. His main instrument, however, became the piano. By 1908 he was playing in Storyville, the red-light district of New Orleans. A few years later, he often led a small band which sometimes included Joe Oliver. Jones also worked in the bands of John Robichaux, Armand J. Piron, and Papa Celestin.
In 1918 Jones moved to Chicago. He worked as Chicago manager for publisher Clarence Williams. Jones began recording in 1923, making gramophone records as a piano soloist, accompanist to vocalists, and with his bands The Jazz Wizards and The Chicago Cosmopolitans. He recorded for Gennett, OKeh, Victor, and Paramount Records in the 1920s. He also worked for OKeh Records as Chicago supervisor of the company's "Race" (African-American) Records for most of the decade. In the 1930s he played a similar role for Decca.
Richard M. Jones worked for Mercury Records until his death.
Blue Reefer Blues - Richard M. Jones & his Jazz wizards - 1935
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