1931 Wayne Bennett*
1958 Lurrie Bell*
1964 Lucky Peterson*
1976 Ian Parker*
1983 Ricardo Maca*
2006 Homesick James+
2012 Eddie „Guitar“ Burns+
Happy Birthday
Lurrie Bell *13.12.1958
Lurrie Bell (* 13. Dezember 1958, Chicago, Illinois ) ist ein US-amerikanischer Bluesgitarrist und Bluessänger. Er ist der Sohn des legendären Harmonikavirtuosen Carey Bell.Leben
Im Alter von sechs Jahren begann er Gitarre zu spielen und erhielt wertvolle Tipps von Bluesgrößen wie Eddy Clearwater, Big Walter Horton und Eddie Taylor, die bei seinem Vater aus- und eingingen.
Mitte der 1970er-Jahre wurde er Gitarrist in Koko Taylors Band, bei der er vier Jahre blieb. Sein Albendebüt machte er auf Heartaches and Pain seines Vaters. Um dieselbe Zeit gründete er The Sons of Blues mit Billy Branch an der Mundharmonika. In den späten 1980er und frühen 1990er Jahren galt er als kommender Star, doch hinderten ihn persönliche Probleme am Durchbruch.
1995 begann sein Comeback mit Mercurial Son. Seither tritt er wieder regelmäßig in den Bluesklubs Chicagos auf.[1] 2007 erhielt er den Living Blues Award als bester Gitarrist. [2],2008 als bester Blueskünstler und bester Gitarrist. [3] 2009 wurde er Teil des Projekts "Chicago Blues-A Living History" gemeinsam mit Billy Branch, Billy Boy Arnold und John Primer.[4]
Für sein Album The Devil Ain't Got No Music (Aria B.G./Socadisc) erhielt er den Prix Blues 2012 der französischen Académie du Jazz.
Lurrie Bell (born Lurrie C. Bell, December 13, 1958, Chicago, Illinois, United States)[1] is an American blues guitarist and singer. His father was renowned blues harmonica player Carey Bell.
Career
Bell started playing guitar at the age of six, and in his teens he polished his skills playing with the legends of Chicago blues scene including Eddy Clearwater, Big Walter Horton and Eddie Taylor.
In the mid 1970s, he went on to join Koko Taylor's Blues Machine and he toured with the band for four years. He made his recording debut in 1977 appearing on his father's album Heartaches and Pain and also on Eddie C. Campbell's King of the Jungle.[1][2] It was around that time that he formed The Sons of Blues with musicians including Billy Branch on harmonica.[3] Three tracks of the band's recordings were featured in the Alligator Records compilation Living Chicago Blues Vol. 3 released in 1978. In 1989 he released his first solo effort, Everybody Wants To Win, on JSP Records.
Though Bell's career appeared to be headed in the right direction, drawing attention of the blues fans around the world as a young prodigy of the blues, he battled emotional problems and drug abuse for many years, which kept him away from performing on regular basis.[3]
He began a comeback in 1995 with the well-received album Mercurial Son, his first of several from the Delmark label. A series of albums followed thereafter, and he started to perform more frequently in the Chicago club and blues festival circuits.
Bell is featured on Gettin' Up – Live at Buddy Guy's Legends, Rosa's and Lurrie's Home, a 2007 CD and DVD release from Delmark, where he plays with his father Carey. Soon after this release, Carey died and this became his last recorded effort.[when?]
In 2014, Bell won a Blues Music Award for his track "Blues in my Soul", in the 'Song of the Year' category. He was nominated for a similar award in four other categories.
Carey and Lurrie Bell - Gettin' Up Live at Buddy Guy's Legends, Rosa's, and Lurrie's Home (2007)
At Rosa's Lounge (July 27, 2006)
01. What my mama told me
02. Gettin' up
03. Baby please don't go
04. Bell's rock
05. Hard to leave you alone
06. I'm a fool
At Buddy Guy's Legends (October 21, 2006)
07. One day
08. Leaving in the morning
09. Last night
10. Low down dirty shame
At Lurrie's Home (July 28, 2006)
11. Broke and hungry
12. When i get drunk
13. Short dress woman
14. Stand by me
01. What my mama told me
02. Gettin' up
03. Baby please don't go
04. Bell's rock
05. Hard to leave you alone
06. I'm a fool
At Buddy Guy's Legends (October 21, 2006)
07. One day
08. Leaving in the morning
09. Last night
10. Low down dirty shame
At Lurrie's Home (July 28, 2006)
11. Broke and hungry
12. When i get drunk
13. Short dress woman
14. Stand by me
Personnel:
- Carey Bell: vocal, harmonica
- Lurrie Bell: vocal, guitar
- Roosevelt Purifoy: piano
- Stroger: bass
- Joe Thomas: bass
- Brian "BJ" Jones: drums
- Kenny Smith: drums
- Scott Cable: guitar
Ricardo Maca *13.12.1983
Joe Marhofer ist Harpspieler und Frontmann der brasilianischen Band The Headcutters. Sie treten bei (internationalen) Blues Festivals auf und touren mit Größen wie Phil Guy, Eddie C. Campbell, Billy Branch, Kim Wilson, Billy Flynn, Lynwood Slim, Magic Slim, Mitch Kashmar, Kenny Neal, Dave Riley und vielen anderen. Mit neunzehn entdeckte Joe die Harp und gründet dann die Band The Headcutters. Er sagt, sein Stil sei durch Little Walter, Sonny Boy Williamson, Big Walter Horton und Muddy Waters beeinflußt worden.
Die Headcutters leben den Blues der 40er und 50er Jahre. Bislang liegen zwei Alben <Back to the 50’s> (2009) und <Shake that Thing> (2013) vor. 2011 wurde die DVD <Sweet Home Blues> veröffentlicht. Die Band wird Ende September 2014 eine große US-Tour antreten und unter anderem beim berühmten King Biscuit Festival in Helene Arkansas spielen.
“The Headcutters”, from Itajaí – SC, is considered to be one of the most highlighted blues bands in Brazil. Using the 50s ands 60s sound and style, they follow the legendaries Blues records labels from Chicago of that time.
The band’s name serves as tribute to the Blues idols from the 50s, such as Muddy Waters, Little Walter and Jimmy Rogers, who in that period were called “The Headhunters”. Thus, THE HEADCUTTERS comes as a reference to those great masters who were clear and strong influence to the band.
Performing very charismatic, exciting and catching concerts, the band has been gathering a faithful audience in every show since it’s beginning. Featuring Joe Marhofer (harmonica and vocals), Ricardo Maca (guitar and vocals), Arthur “Catuto” Garcia (acoustic bass) and Leandro “Cavera” Barbeta (drums).
The band has just returned from a successful tour in the US with 14 shows, covering 5 states and 18 cities. They played in a several holy Blues places like Chicago, Mississippi, Arkansas and California also.
The highlight of the tour is up to the shows in the legendary Festivals: King Biscuit Blues Festival in Helena, Arkansas (Festival with over 40 years of existence) and also in Pinetop Perkins Blues Festival in Clarksdale Mississippi.
The Headcutters was the first Brazilian band to play at both festivals, made ever conducted so far by Brazilians in the US.
The band has played in several blues festivals, produced concerts and shared stage with various national and international bigshots such as : Phil Guy (Buddy Guy’s brother), Mud Morganfield (Muddy Watters’s son) Eddie C. Campbell, Kim Wilson, Billy Flinn, Gary Smith, Billy Branch, Wallace Coleman, Carlos Johnson, Joe Filisko & Eric Noden, Bob Stroger, James Wheeler, J.J. Jackson, Lynwood Slim, Mitch Kashmar, Igor Prado, Blues Etílicos and among others.
The band has two CD’s and a DVD released all of them recorded on analog equipment and tube amps always searching the sound and textures of the 50s and 60s. The first CD released “Back to 50’s” (2009) recorded for three dawn in the History Museum of Itajaí (Brazil). The DVD “Sweet Home Blues” (2011) captured with Full HD images in an environment where the band meets regularly called the “Attic Blues”. The last job released was the CD “Shake That Thing” (2013) which includes the participation of some artists like Igor Prado (BRA), Omar Coleman (USA) and Richard “Rip Lee” Pryor (USA) son of legendary harmonica player Snooky Pryor. This album has received several compliments from Blues experts worldwide and was voted the # 18 best album of Blues released worldwide in 2013 by critics of the United States.
Playing nearly on the road for 13 years, The Headcutters Band is proud to represent that irresistible sort of sound, which is worldwide enjoyed for decades through every generation.
CD Teaser - The Headcutters - Walkin' In USA
Lucky Peterson *16.12.1964
Lucky Peterson (* 13. Dezember 1964 als Judge Kenneth Peterson in Buffalo, New York) ist ein US-amerikanischer Blues-Musiker.Wirken
Peterson hat nicht nur eine Reihe von eigenen CDs vorgelegt, sondern auf über 300 Alben als Musiker mitgewirkt. Peterson reichert den Blues mit Elementen aus Gospel, Funk und Soul an und verfügt sowohl auf der Hammond-B3-Orgel als auch auf der Gitarre über virtuose Fähigkeiten.
Willie Dixon, die Blues-Legende aus Chicago, nahm den sechsjährigen Lucky Peterson unter seine Fittiche, und produzierte dessen erste Single. Dabei handelte sich um eine Cover-Version des James Brown-Hits „1-2-3-4“. Das Stück wurde ein großer Erfolg im Radio und verschaffte dem kleinen Lucky Peterson zahlreiche Fernsehauftritte.
1993 schaffte Peterson mit seinem Album „I'm Ready“ den Durchbruch. Es folgten weitere Veröffentlichungen, auf denen er den Blues in immer neuen Variationen präsentiert.
Lucky
Peterson (born Judge Kenneth Peterson, December 13, 1964, Buffalo, New
York[1]) is an American musician who plays contemporary blues, fusing
soul, R&B, gospel and rock and roll. He plays guitar and keyboards.
Music journalist Tony Russell, in his book The Blues - From Robert
Johnson to Robert Cray has said, "he may be the only blues musician to
have had national television exposure in short pants."[2]Biography
This section requires expansion with: early life. (January 2011)
Peterson's father, bluesman James Peterson, owned a nightclub in Buffalo called The Governor's Inn. The club was a regular stop for fellow bluesmen such as Willie Dixon. Dixon saw a five-year-old Lucky Peterson performing at the club and, in Peterson's words, "Took me under his wing." Months later, Peterson performed on The Tonight Show, The Ed Sullivan Show and What's My Line?. Millions of people watched Peterson sing "1-2-3-4", a cover version of "Please, Please, Please" by James Brown. At the time, Peterson said "his father wrote it". Around this time he recorded his first album, Our Future: 5 Year Old Lucky Peterson, for Today/Perception Records and appeared on the public television show, Soul!.
As a teen, Peterson studied at the Buffalo Academy for Visual and Performing Arts, where he played the French horn with the school symphony. Soon, he was playing backup guitar and keyboards for Etta James, Bobby "Blue" Bland, and Little Milton.[2]
The 1990s were a prolific period for Peterson. Two solo Bob Greenlee produced albums for the Chicago-based Alligator Records (1989's Lucky Strikes! and the following year's Triple Play) remain his finest recorded offerings.[3] He then released four more for the record label, Verve Records (I'm Ready, Beyond Cool, Lifetime and Move). While with Verve, Peterson collaborated with Mavis Staples on a tribute to gospel singer Mahalia Jackson, called Spirituals & Gospel. Peterson played electric organ behind Staples' singing.
More albums from Peterson came after 2000. He recorded two for Blue Thumb Records (Lucky Peterson and Double Dealin'), and one for Disques Dreyfus entitled, Black Midnight Sun. In 2007, he released Tete a Tete on JSP Records.
In 2013, the Blackbird Music/55 Arts Club DVD of Live At The 55 Arts Club Berlin was nominated for a Blues Music Award.[4]
Current work and lifestyle
Today, Peterson lives in Dallas, Texas, and maintains a rigorous tour schedule performing all over the world.
Peterson has four children.
Wayne Bennett *13.12.1931
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Wayne Bennett (December 13, 1931 – November 28, 1992)[1] was an American blues guitarist.
Biography
Bennett was born in Sulphur, Oklahoma, and died in New Orleans, Louisiana. He worked with blues musicians such as Bobby Bland, Boxcar Willie, Buddy Guy, John Lee Hooker, Alan Haynes and Elmore James, as well as with jazz musicians, including Cannonball Adderley, Sonny Stitt and Dexter Gordon. In 1990, he played on Willy DeVille's album Victory Mixture. Bennett also played with the Chi-Lites, the Lost Generation, The Hues Corporation;[1] among many others and cut his own record in 1968, an instrumental called "Casanova, Your Playing Days are Over" on the now defunct Brunswick label.
Bennett was a guitarist originally known for his jazz-tinged blues guitar work with Bobby "Blue" Bland. He worked with Bland for a long time, and his solo on "Stormy Monday" on Bland's album Here's The Man is still considered by many guitarists[who?] to be a classic, drawing both from T-Bone Walker and jazz influences. Another standout solo on Bland's "Wishing Well" displays a compelling virtuosity in the blues idiom that would become a model for young guitarists in England such as Eric Clapton who would become part of the British Invasion of the 1960s.
Bennett himself never liked to claim to be a blues player, preferring instead to be as versatile as he could be, and taking pride in being able to quote from a wide variety of popular music, including TV theme songs.[citation needed] In his earlier years he played a Gibson Byrdland hollow-body, but in later years he was also seen playing a custom Tom Holmes Cadillac solid-body.
At one time or another Bennett had also been a member of the house orchestra at the Apollo in New York, the Regal Theatre in Chicago, the Howard in Washington, D.C., the Uptown Theatre in Philadelphia and the Royal Theatre in Baltimore.
Some of Bennett's training included studying guitar with Harry Volpe in New York City for two years; studying harmony with Nate Griffin in Chicago for one year; studying harmony with Junior Mance in Chicago for two years; and studying harmony and ear training with Tony Hanson in Cleveland, Ohio for one year.
Bennett died from heart failure, a week before a scheduled replacement could be transplanted, at the age of 60.[1] Bennett was inducted into the Oklahoma Jazz Hall of Fame in 2001.
Biography
Bennett was born in Sulphur, Oklahoma, and died in New Orleans, Louisiana. He worked with blues musicians such as Bobby Bland, Boxcar Willie, Buddy Guy, John Lee Hooker, Alan Haynes and Elmore James, as well as with jazz musicians, including Cannonball Adderley, Sonny Stitt and Dexter Gordon. In 1990, he played on Willy DeVille's album Victory Mixture. Bennett also played with the Chi-Lites, the Lost Generation, The Hues Corporation;[1] among many others and cut his own record in 1968, an instrumental called "Casanova, Your Playing Days are Over" on the now defunct Brunswick label.
Bennett was a guitarist originally known for his jazz-tinged blues guitar work with Bobby "Blue" Bland. He worked with Bland for a long time, and his solo on "Stormy Monday" on Bland's album Here's The Man is still considered by many guitarists[who?] to be a classic, drawing both from T-Bone Walker and jazz influences. Another standout solo on Bland's "Wishing Well" displays a compelling virtuosity in the blues idiom that would become a model for young guitarists in England such as Eric Clapton who would become part of the British Invasion of the 1960s.
Bennett himself never liked to claim to be a blues player, preferring instead to be as versatile as he could be, and taking pride in being able to quote from a wide variety of popular music, including TV theme songs.[citation needed] In his earlier years he played a Gibson Byrdland hollow-body, but in later years he was also seen playing a custom Tom Holmes Cadillac solid-body.
At one time or another Bennett had also been a member of the house orchestra at the Apollo in New York, the Regal Theatre in Chicago, the Howard in Washington, D.C., the Uptown Theatre in Philadelphia and the Royal Theatre in Baltimore.
Some of Bennett's training included studying guitar with Harry Volpe in New York City for two years; studying harmony with Nate Griffin in Chicago for one year; studying harmony with Junior Mance in Chicago for two years; and studying harmony and ear training with Tony Hanson in Cleveland, Ohio for one year.
Bennett died from heart failure, a week before a scheduled replacement could be transplanted, at the age of 60.[1] Bennett was inducted into the Oklahoma Jazz Hall of Fame in 2001.
https://en.wikipedia.org/wiki/Wayne_Bennett_%28blues_guitarist%29
Bobby's Stormy Monday
Nashville,1962
Bobby "Blue" Bland,vocal
Wayne Bennett,gtr
Bobby "Blue" Bland,vocal
Wayne Bennett,gtr
Ian Parker *13.12.1976
In den letzten Jahren hat sich der junge britische Songwriter Ian Parker mit zahlreichen Konzerten in Großbritannien und auf europäischen Festivals einen Namen gemacht und wird als vielversprechender Newcomer gehandelt. Er trat bei Eric Clapton, Jeff Beck und Peter Green auf, in Deutschland war Ian Parker bereits beim WDR Rockpalast mit seiner Show im Fernsehen zu sehen. Er bietet für jeden etwas: Blues, Roots, Soul, Gospel, Funk und sogar ein bisschen Jazz finden sich im Schmelztiegel des Blues Roots-Performers. Experimentierfreudig, offen für Neues, ist er dennoch seinen musikalischen Wurzeln als Blues-Künstler immer nahe geblieben. Sympathisch und ehrlich kommt er herüber, weil er alles - seine starke Stimme, die dynamische Art, Gitarre zu spielen, voller Inspiration und gleichzeitiger technischer Perfektion - in die Umsetzung seiner Gefühlswelt legt und sie den Zuhörern näher bringen möchte. Auch Bluesrocker Walter Trout ist von ihm schwer begeistert: "The best band I've seen in a decade - Ian's voice, feel and guitar technique are what his contemporaries can only dream of!"
A songwriter genuinely literate, sometimes almost literary, Ian is an original craftsman. Expressed through a distinctive bitter-sweet vocal delivery, Ian's songs hold nothing back. His ability and willingness to share with his audience, naked honesty and genuine emotion, is what sets him apart.
Ian’s career took off in the summer of 2003, when he signed to Ruf Records following a personal introduction to US record producer, David Z (Prince - Purple Rain). His debut album 'INSIDE' (Ruf1094) was released in October of that year.
In March 2004, Ian appeared on Germany's top live music TV show, 'Rockpalast'. and a live DVD of his incendiary performance was released in June 2005, entitled '…WHILST THE WIND' (Ruf3007). In addition, a live album documenting Ian's performance in Hannover during his December 2004 European Tour, was also released in June 2005 under the same title (Ruf1102). Both releases met with high critical acclaim and continue to notch up impressive sales.
In September 2005, Ian wrote and recorded five songs for a Ruf Records project album, 'PILGRIMAGE' (Ruf1112) which was recorded in Clarksdale Mississippi and Memphis Tennessee, and released in January 2006. The release of ‘PILGRIMAGE’, extended Ian's touring activities throughout Europe and importantly, into the US.
On return from America in September 2005, Ian began a lengthy artistic process based around his rediscovery of the roots artists who had inspired him as a teenager. The resulting album, 'WHERE I BELONG' (Ruf1120), was released in January 2007 and produced by Matt Butler, whose extensive CV includes none other than Sir Paul McCartney. The ensuing promotional tour culminated with the recording of ‘THE OFFICIAL BOOTLEG’ (MT006) which captures the highlights of the final UK leg of a gruelling eighteen month long tour of Europe and the UK.
Ian spent much of 2008 writing new material, and at the beginning of 2009, under the management of Ralph Baker of Equator Music, sessions began in Bath's famous Riverside Studios. The resulting five track EP, 'DEMONS AND DOUBTERS' (Equator), was recorded under the guidance and supervision of Clive Deamer (Robert Plant, Portishead, Massive Attack), and Jon Jacobs of Sir George Martin's Air Studios fame.
With these songs, Ian began an exciting new chapter in his career. Much of his live work over the last couple of years has been solo acoustic, and following tours on both sides of the Atlantic in this format, 'THE BARE BONES' (MT007) live album was released in April 2011. Back in the studio with other musicians again, Ian is currently working on a new album which is expected to be released soon.
Ian Parker The making of "Politik Blues" album
R.I.P.
Eddie „Guitar“ Burns +13.12.2012
Eddie „Guitar“ Burns (* 8. Februar 1928 in Belzoni, Mississippi; † 13. Dezember 2012[1]) war ein US-amerikanischer Gitarrist, Mundharmonikaspieler, Sänger und Songwriter des Detroit Blues.
Leben und Werk
Burns kam als Kind eines Landpächters (Sharecropper) zur Welt und wuchs hauptsächlich bei seinen Großeltern auf. Er brachte sich selbst das Mundharmonikaspiel bei und baute auch seine erste Gitarre selbst.
Beeinflusst von Sonny Boy Williamson I. und Big Bill Broonzy[2] übersiedelte Burns 1948 nach Detroit, das in den Nachkriegsjahren eine blühende Blues-Szene hatte, die von John Lee Hooker angeführt wurde. Seine erste Single Notoriety Woman zeigte seine Beherrschung der Mundharmonika, doch wandte er sich in den nächsten Jahren dem Gitarrespiel zu, auch bei Aufnahmen mit John Lee Hooker.[2] Zu dieser Zeit trat er regelmäßig als „Big Daddy“, „Little Eddie“ oder „Big Ed“ in Detroiter Nachtclubs auf; da er aber davon nicht leben konnte, arbeitete er als Mechaniker. Mitte der 1950er-Jahre nahm er für Checker Records und Chess Records zwei Singles auf, die sich aber nicht gut verkauften.[3] Im Laufe der 1960er-Jahre nahm er verschiedene Singles auf, nun unter seinem Namen Eddie „Guitar“ Burns. Auch auf Hookers Album The Real Folk Blues von 1966 ist er als Gitarrist zu hören.
Während einer Europatournee 1972 nahm er in London sein erstes Album, Bottle Up & Go, auf. 1994 wurde er mit dem Michigan Heritage Award ausgezeichnet.[3] Sein jüngerer Bruder Jimmy Burns ist ein erfolgreicher Soulblues-Sänger und -Gitarrist. Auf dem Album Snake Eyes begleitete er Eddie Burns als Gitarrist. Sein letztes Album nahm Burns 2005 im Alter von 77 Jahren auf. Seinen letzten Auftritt hatte Burns mit Little Sonny auf dem Motor City Blues and Boogie Woogie festival 2008.[4]
Eddie "Guitar" Burns (February 8, 1928 – December 12, 2012)[3] was an American Detroit blues guitarist, harmonica player, singer and songwriter.[2] His career spanned seven decades, and in terms of Detroit bluesmen, Burns was deemed second only in stature to John Lee Hooker.[2][4]
Biography
Burns was born in Belzoni, Mississippi, United States.[1] His father was a sharecropper who performed as a singer in medicine shows, although Burns was mainly raised by his grandparents. He was self-taught in the harmonica and made his first guitar.[4]
Initially influenced by exposure to the music of Sonny Boy Williamson I and Big Bill Broonzy, Burns relocated from the Mississippi delta via Waterloo, Iowa to Detroit in 1948.[4] Originally Burns excelled playing the harmonica, and his debut single, "Notoriety Woman" (1948), featured this ability accompanied by the guitar playing of John T. Smith. Burns tells how he met John Lee Hooker here: "Well see, John T. and me was playing at a house party this particular Saturday night. We was in Detroit Black Bottom...so Hooker was on his way home from somewhere – I guess he was at some other party, house parties used to be real plentiful here. Hooker heard it, knocked at the door, and they let him in. He introduced himself and he sat down and played some with us. And then, he liked the way I was blowing harmonica...he had a session coming up on Tuesday, this was on a Saturday. And so then, he wanted to know if I wanted to do this session with him on Tuesday. And I told him, yes, naturally. So that's how John T. and me went down to cut for Hooker. When we got through the man wanted to know what I had. I had one song, "Notoriety Woman." And so he said I'd need two, and I sat there and made up "Papa's Boogie."" [5] However, by the following year Burns was playing guitar accompaniment on recordings by John Lee Hooker.[2]
Billed at times as Big Daddy, Little Eddie, or Big Ed, Burns performed regularly in Detroit nightclubs, but had to supplement his earnings by working as a mechanic.[4] In those early years Burns's own recording was not prolific with just a handful of tracks released on several labels. His output veered from Detroit blues to R&B as the 1960s progressed, when he issued a number of singles in that decade on Harvey Fuqua's Harvey Records label.[2] Now permanently billed as Eddie "Guitar" Burns, he appeared on Hooker's album The Real Folk Blues (1966).[4]
In 1972, Burns undertook a European tour and recorded his debut album, Bottle Up & Go in London, England.[4][6] This was followed by an appearance at the Ann Arbor Blues and Jazz Festival in 1973. Two years later Burns toured Europe again, this time as part of the billing of 'American Blues Legends', organised by Jim Simpson of Big Bear Records, who was the first to insert the epithet "guitar" into his name.[4] Burns self penned track, "Orange Driver", was recorded by The J. Geils Band (Hotline, 1975).[7] In August 1976, Burns performed his song "Bottle Up & Go" live on the British television program, So It Goes.
In 1989 Burns released an album titled Detroit on Blue Suit Records, where his ability on both guitar and harmonica were displayed.[2] In February 1992, Burns appeared alongside Jack Owens, Bud Spires, and Lonnie Pitchford at the seventh annual New York Winter Blues Festival.[8] By 1994, Burns had been granted the Michigan Heritage Award.[4]
In 1998, the Detroit Blues Society presented Burns with its Lifetime Achievement Award.
His brother, Jimmy Burns, is a soul blues musician, who lives in Chicago, and played guitar on Burns 2002 album Snake Eyes.[2][4] Burns final recorded offering was Second Degree Burns, released when he was 77 years of age.[9]
In 2008, Little Sonny performed with Burns on the latter's final live performance at the Motor City Blues & Boogie Woogie Festival.[3]
Burns died of heart failure aged 84 in December 2012.
Biography
Burns was born in Belzoni, Mississippi, United States.[1] His father was a sharecropper who performed as a singer in medicine shows, although Burns was mainly raised by his grandparents. He was self-taught in the harmonica and made his first guitar.[4]
Initially influenced by exposure to the music of Sonny Boy Williamson I and Big Bill Broonzy, Burns relocated from the Mississippi delta via Waterloo, Iowa to Detroit in 1948.[4] Originally Burns excelled playing the harmonica, and his debut single, "Notoriety Woman" (1948), featured this ability accompanied by the guitar playing of John T. Smith. Burns tells how he met John Lee Hooker here: "Well see, John T. and me was playing at a house party this particular Saturday night. We was in Detroit Black Bottom...so Hooker was on his way home from somewhere – I guess he was at some other party, house parties used to be real plentiful here. Hooker heard it, knocked at the door, and they let him in. He introduced himself and he sat down and played some with us. And then, he liked the way I was blowing harmonica...he had a session coming up on Tuesday, this was on a Saturday. And so then, he wanted to know if I wanted to do this session with him on Tuesday. And I told him, yes, naturally. So that's how John T. and me went down to cut for Hooker. When we got through the man wanted to know what I had. I had one song, "Notoriety Woman." And so he said I'd need two, and I sat there and made up "Papa's Boogie."" [5] However, by the following year Burns was playing guitar accompaniment on recordings by John Lee Hooker.[2]
Billed at times as Big Daddy, Little Eddie, or Big Ed, Burns performed regularly in Detroit nightclubs, but had to supplement his earnings by working as a mechanic.[4] In those early years Burns's own recording was not prolific with just a handful of tracks released on several labels. His output veered from Detroit blues to R&B as the 1960s progressed, when he issued a number of singles in that decade on Harvey Fuqua's Harvey Records label.[2] Now permanently billed as Eddie "Guitar" Burns, he appeared on Hooker's album The Real Folk Blues (1966).[4]
In 1972, Burns undertook a European tour and recorded his debut album, Bottle Up & Go in London, England.[4][6] This was followed by an appearance at the Ann Arbor Blues and Jazz Festival in 1973. Two years later Burns toured Europe again, this time as part of the billing of 'American Blues Legends', organised by Jim Simpson of Big Bear Records, who was the first to insert the epithet "guitar" into his name.[4] Burns self penned track, "Orange Driver", was recorded by The J. Geils Band (Hotline, 1975).[7] In August 1976, Burns performed his song "Bottle Up & Go" live on the British television program, So It Goes.
In 1989 Burns released an album titled Detroit on Blue Suit Records, where his ability on both guitar and harmonica were displayed.[2] In February 1992, Burns appeared alongside Jack Owens, Bud Spires, and Lonnie Pitchford at the seventh annual New York Winter Blues Festival.[8] By 1994, Burns had been granted the Michigan Heritage Award.[4]
In 1998, the Detroit Blues Society presented Burns with its Lifetime Achievement Award.
His brother, Jimmy Burns, is a soul blues musician, who lives in Chicago, and played guitar on Burns 2002 album Snake Eyes.[2][4] Burns final recorded offering was Second Degree Burns, released when he was 77 years of age.[9]
In 2008, Little Sonny performed with Burns on the latter's final live performance at the Motor City Blues & Boogie Woogie Festival.[3]
Burns died of heart failure aged 84 in December 2012.
Homesick James +13.12.2006
Homesick James (* James A. Williamson, 30. April 1910 in Somerville, Tennessee; † 13. Dezember 2006 in Springfield (Missouri)) war ein US-amerikanischer Blues-Musiker.
Bereits im Kindesalter begann er Gitarre zu spielen und entwickelte seinen Stil in den weit verbreiteten, kleinen, armseligen Lokalen für die Schwarzen des Südens, in denen er seit seinem 14. Lebensjahr auftrat. In den folgenden Jahren spielte er u.a. mit Sleepy John Estes, Sonny Boy Williamson II., Snooky Pryor, Muddy Waters, Honeyboy Edwards, Blind Boy Fuller (der für Homesick zum „Mentor“ und wichtigen Förderer wurde). Auch mit Robert Johnson trat er auf, ebenso wie mit Son House, für den er große Verehrung empfand.
In seiner eigenen Band, den „Dusters“, die er in den 1930er Jahren führte, spielte unter anderem Albert King eine Zeitlang Schlagzeug. Gegen Ende des Jahrzehnts begann Homesick James seine Karriere im Studio und nahm erste Platten für RCA und Vocalion auf. In den 1940er Jahren zog er nach Memphis (Tennessee), wo er regelmäßig mit Big Walter Horton auftrat, einem der bedeutendsten Harmonikaspieler des Blues überhaupt. Anfang der 1950er Jahre zog er weiter nach Norden und ließ sich in Chicago nieder.
Hier wurde er zu einem festen Bestandteil der Blues-Szene und prägte den damaligen Sound der Maxwell Street entscheidend mit. Er trat mit Memphis Minnie (Homesicks langjähriger Freundin), Big Bill Broonzy, Lonnie Johnson, Tampa Red, Yank Rachell, Robert Lockwood Jr., Junior Wells, Sunnyland Slim, Little Walter und Elmore James auf. Zwischen ihm und Elmore James, den Homesick Jahrzehnte als seinen Cousin bezeichnete, entwickelte sich eine besonders enge Freundschaft. Homesick soll Elmore dessen erste Gitarre geschenkt haben und er hat ihm das Slide-Spiel beigebracht. Er spielte in Elmores Band von 1955 bis zum Tod von Elmore James 1963 und wirkte an zahlreichen Elmore-James-Hits wie etwa The Sky Is Crying, Dust My Broom oder Roll and Tumble mit. Elmore James verstarb 1963 in Anwesenheit von Homesick in dessen Wohnung in Chicago.
Nach dem Tod von Elmore James arbeitete Homesick hauptsächlich unter eigenem Namen und nahm zahlreiche Alben für Delmark, Prestige/Fantasy, Bluesville, Appaloosa, Stanhope, Trix, Black and Blue, Earwig und Icehouse auf. Er trat bei praktisch allen größeren Blues-Festivals auf und war alljährlich Gast der wohl bedeutendsten Blues-Festivals überhaupt (Chicago Blues Festival, San Francisco Blues Festival und dem St. Louis Blues Festival).
Das Living Blues Magazine sah in ihm „eine der wunderbarsten Erscheinungen des Blues überhaupt“; das Musik-Magazin Option stellte fest, ihn zu hören sei „ebenso fesselnd wie Aufnahmen von Robert Johnson zum ersten Mal zu entdecken“ und weiter, es sei „als fände man die Wurzeln aller Blues-Gitarristen, gebündelt in einer einzigen Quelle“. Der Chicago Reader attestierte Homesick, dass er „Jähzorn zu einer Kunstform erhoben hat. Er wirft Schnipsel von Blues-Standards aus jüngster Zeit ebenso wie aus den Anfängen des Blues zusammen, zieht und reißt die Saiten seiner Gitarre mit anarchischer Wildheit, um im nächsten Moment in einen weichen Slide-Lauf zu wechseln. Seinen expressiven Gesang durchsetzt er mit Anekdoten und Aphorismen aus seinem langen Leben als ständiger Reisender.“
Williamson nahm im Jahr 2004 seine letzte Platte auf. Homesick James verstarb am 13. Dezember 2006 und ist in Covington, Tennessee, begraben.
Homesick James (April 30, 1910[1] - December 13, 2006)[2] was an American blues musician known for his mastery of slide guitar. He recorded covers of "Stones In My Passway" and "Homesick". James worked with his cousin, Elmore James, and Sonny Boy Williamson II.[3]
Biography
He was born in Somerville, Tennessee, United States, the son of Cordellia Henderson and Plez Williamson Rivers, who were both musicians.[4] His year of birth is uncertain. He has stated that he was born in 1905,[2] 1910 or 1914,[5] while his union records give 1924.[2] He developed a self-taught style of slide guitar through playing at local dances in his teens. Little is known about his early life.[6] He claimed to have played with Yank Rachell, Sleepy John Estes, Blind Boy Fuller and Big Joe Williams, among others, and to have been acquainted with Robert Johnson. He also claimed to be the older cousin of Elmore James,[6] to have bought James his first guitar, and to have taught him how to play slide. However, some of these claims are unconfirmed.
By the mid-1930s he was based in Chicago, and working with Horace Henderson's band at the Circle Inn, and with pianist Jimmy Walker at the Square Deal Club.[7] He may have first recorded for RCA Victor in 1937, but this is also unconfirmed, and by 1938 may have begun playing electric guitar. His first known recordings were in 1952 for Chance Records, recording the tracks "Lonesome Ole Train" and "Homesick" which gave him his stage name.[6] During the late 1940s and 1950s he worked with both Sonny Boy Williamson II (Rice Miller), and with Elmore James, and in the early 1950s he worked in bands including Baby Face Leroy Foster, Snooky Pryor, Floyd Jones, and Lazy Bill Lucas.[8] He was a longtime member of Elmore James' band from 1955 to 1963, contributing to such tracks as "Dust My Broom," "The Sky Is Crying," and "Roll and Tumble." Elmore James is said to have died on Homesick's couch, while the latter frantically searched for the former's heart pills.[9]
As a solo performer, he recorded for the Colt and USA labels in 1962, including a cover version of Robert Johnson's "Crossroads". Homesick James's slide guitar style, not as refined as Elmore James', traces back to Johnson's. He also recorded a 1964 album for Prestige Records, Blues On the South Side (Prestige OBCCD 529-2), including another of his best-known covers, "Stones In My Passway", and some tracks for Vanguard that are available on the compilation album Chicago: The Blues Today.[10] One of his own songs, "Gotta Move" (also on Blues On the South Side) was covered (as "Got To Move") both by Elmore James and Fleetwood Mac.[citation needed] He is referenced by name in the 1989 song 'Fergus Sings The Blues' by Scottish band Deacon Blue with the line "Homesick James, my biggest influence".
Biography
He was born in Somerville, Tennessee, United States, the son of Cordellia Henderson and Plez Williamson Rivers, who were both musicians.[4] His year of birth is uncertain. He has stated that he was born in 1905,[2] 1910 or 1914,[5] while his union records give 1924.[2] He developed a self-taught style of slide guitar through playing at local dances in his teens. Little is known about his early life.[6] He claimed to have played with Yank Rachell, Sleepy John Estes, Blind Boy Fuller and Big Joe Williams, among others, and to have been acquainted with Robert Johnson. He also claimed to be the older cousin of Elmore James,[6] to have bought James his first guitar, and to have taught him how to play slide. However, some of these claims are unconfirmed.
By the mid-1930s he was based in Chicago, and working with Horace Henderson's band at the Circle Inn, and with pianist Jimmy Walker at the Square Deal Club.[7] He may have first recorded for RCA Victor in 1937, but this is also unconfirmed, and by 1938 may have begun playing electric guitar. His first known recordings were in 1952 for Chance Records, recording the tracks "Lonesome Ole Train" and "Homesick" which gave him his stage name.[6] During the late 1940s and 1950s he worked with both Sonny Boy Williamson II (Rice Miller), and with Elmore James, and in the early 1950s he worked in bands including Baby Face Leroy Foster, Snooky Pryor, Floyd Jones, and Lazy Bill Lucas.[8] He was a longtime member of Elmore James' band from 1955 to 1963, contributing to such tracks as "Dust My Broom," "The Sky Is Crying," and "Roll and Tumble." Elmore James is said to have died on Homesick's couch, while the latter frantically searched for the former's heart pills.[9]
As a solo performer, he recorded for the Colt and USA labels in 1962, including a cover version of Robert Johnson's "Crossroads". Homesick James's slide guitar style, not as refined as Elmore James', traces back to Johnson's. He also recorded a 1964 album for Prestige Records, Blues On the South Side (Prestige OBCCD 529-2), including another of his best-known covers, "Stones In My Passway", and some tracks for Vanguard that are available on the compilation album Chicago: The Blues Today.[10] One of his own songs, "Gotta Move" (also on Blues On the South Side) was covered (as "Got To Move") both by Elmore James and Fleetwood Mac.[citation needed] He is referenced by name in the 1989 song 'Fergus Sings The Blues' by Scottish band Deacon Blue with the line "Homesick James, my biggest influence".
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