Happy New Year!
Happy Birthday/R.I.P.
Teil 3
Am 01. Januar habe ich auch all die Musiker eingefügt, bei denen mir der Geburtstag bzw. der Todestag nicht bekannt ist. Deswegen die Fülle hier.
Jim Jackson *1884
Jim Jackson (* um 1884 oder 1890 in Hernando, Mississippi; † 1937, ebenda) war ein früher US-amerikanischer Blues-Sänger und Gitarrist, der u. a. von J. B. Lenoir als Vorbild genannt wurde.
Als Kind lernte Jackson von seinem Vater das Gitarrespielen. Zu seinen Vorbildern gehörte Frank Stokes. Bereits in jungen Jahren spielte, sang und tanzte er in Medicine Shows. Später trat er in Kneipen und Juke Joints auf, oft in Begleitung von Gus Cannon und Robert Wilkins.
Wenn er nicht auf Tour war, musizierte Jackson in Memphis, wo er in Clubs mit Kollegen wie Gus Cannon, Furry Lewis und Will Shade auftrat.
1927 wurde Jackson von H.C. Speir entdeckt, der ihn jedoch an einen anderen Talentscout verkaufte. Für Vocalion machte Jackson erste Aufnahmen, darunter den Hit Kansas City Blues, der später u. a. zum Repertoire von Robert Nighthawk gehörte.
In knapp drei Jahren nahm Jim Jackson um die 50 Stücke auf. Mit der großen Depression endete seine kurze, aber erfolgreiche Karriere. Er zog zurück nach Hernando in Mississippi, wo er 1937 starb.
Jim Jackson (c.1884 - 1937) was an African American blues and hokum singer, songster and guitarist, whose recordings in the late 1920s were popular and influential on later artists.
Career
Jackson was born in Hernando, Mississippi, United States,[1] and was raised on a farm, where he learned to play guitar. Around 1905 he started working as a singer, dancer, and musician in medicine shows, playing dances and parties often with other local musicians such as Gus Cannon, Frank Stokes and Robert Wilkins.[1] He soon began travelling with the Rabbit Foot Minstrels, featuring Ma Rainey and Bessie Smith, and other minstrel shows.
He also played clubs on Beale Street in Memphis, Tennessee. His popularity and proficiency secured him a residency at Memphis's prestigious Peabody Hotel in 1919. Like Lead Belly, Jackson knew hundreds of songs including blues, ballads, vaudeville numbers, and traditional tunes, and became a popular attraction.
In 1927, talent scout H. C. Speir signed him to a recording contract with Vocalion Records. On October 10, 1927, he recorded "Jim Jackson's Kansas City Blues", which became a best-seller, and in the melody and lyrics of which can be traced the outline of many later blues and rock and roll songs, including "Rock Around The Clock" and "Kansas City". Following his hit Jackson recorded a series of 'Kansas City' follow-ups and soundalikes. It also led to other artists covering and reworking the song, including Charlie Patton, who changed it to "Gonna Move To Alabama".[2] Jackson moved to Memphis in 1928, and made a series of further recordings, including the comic medicine show song "I Heard the Voice of a Pork Chop". He also appeared in King Vidor's all-black 1929 film Hallelujah!, however it is unclear what role he played.[1]
Jackson ran the Red Rose Minstrels, a travelling medicine show which toured Mississippi, Arkansas and Alabama. As a talent scout for Brunswick Records, he discovered Rufus "Speckled Red" Perryman, gaining him his first recording session.[3] Shortly afterwards, in February 1930, Jackson recorded his own last session. He later moved back to Hernando, and continued to perform until his death in 1937.
Janis Joplin later recorded a version of "Kansas City Blues", inserting the lines "Babe, I'm leavin', yeah I'm a-leavin' this mornin' / Goin' to Kansas City to bring Jim Jackson home".
Jackson was a major influence on the Chicago bluesman J. B. Lenoir, and his "Kansas City Blues" was a regular fixture of Robert Nighthawk's concert set list.[1]
The song "Wild About My Lovin'" was covered by The Lovin' Spoonful and released on their 1967 album, The Best of The Lovin' Spoonful.
Career
Jackson was born in Hernando, Mississippi, United States,[1] and was raised on a farm, where he learned to play guitar. Around 1905 he started working as a singer, dancer, and musician in medicine shows, playing dances and parties often with other local musicians such as Gus Cannon, Frank Stokes and Robert Wilkins.[1] He soon began travelling with the Rabbit Foot Minstrels, featuring Ma Rainey and Bessie Smith, and other minstrel shows.
He also played clubs on Beale Street in Memphis, Tennessee. His popularity and proficiency secured him a residency at Memphis's prestigious Peabody Hotel in 1919. Like Lead Belly, Jackson knew hundreds of songs including blues, ballads, vaudeville numbers, and traditional tunes, and became a popular attraction.
In 1927, talent scout H. C. Speir signed him to a recording contract with Vocalion Records. On October 10, 1927, he recorded "Jim Jackson's Kansas City Blues", which became a best-seller, and in the melody and lyrics of which can be traced the outline of many later blues and rock and roll songs, including "Rock Around The Clock" and "Kansas City". Following his hit Jackson recorded a series of 'Kansas City' follow-ups and soundalikes. It also led to other artists covering and reworking the song, including Charlie Patton, who changed it to "Gonna Move To Alabama".[2] Jackson moved to Memphis in 1928, and made a series of further recordings, including the comic medicine show song "I Heard the Voice of a Pork Chop". He also appeared in King Vidor's all-black 1929 film Hallelujah!, however it is unclear what role he played.[1]
Jackson ran the Red Rose Minstrels, a travelling medicine show which toured Mississippi, Arkansas and Alabama. As a talent scout for Brunswick Records, he discovered Rufus "Speckled Red" Perryman, gaining him his first recording session.[3] Shortly afterwards, in February 1930, Jackson recorded his own last session. He later moved back to Hernando, and continued to perform until his death in 1937.
Janis Joplin later recorded a version of "Kansas City Blues", inserting the lines "Babe, I'm leavin', yeah I'm a-leavin' this mornin' / Goin' to Kansas City to bring Jim Jackson home".
Jackson was a major influence on the Chicago bluesman J. B. Lenoir, and his "Kansas City Blues" was a regular fixture of Robert Nighthawk's concert set list.[1]
The song "Wild About My Lovin'" was covered by The Lovin' Spoonful and released on their 1967 album, The Best of The Lovin' Spoonful.
Tom Freitag *01.01.
Bandleader Tom Freitag ist seit seiner Jugend mit dem „Clapton-Virus“ infiziert. Damals verbrachte er täglich viele Stunden mit der Analyse und dem Spielen von Songs und Soli wie „White Room“, „Crossroads“ oder „Layla“. Als andere junge Gitarristen seiner Generation doch eher dem Hardrock und Heavy Metal huldigten, spielte Tom Blues und Bluesrock. Eric Clapton war bald die musikalische Leitfigur, aber auch Stevie Ray Vaughan, Robben Ford, Jimi Hendrix, Larry Carlton, B.B. King, Gary Moore und Bob Marley, um nur einige zu nennen, prägten Toms Entwicklung zum Musiker entscheidend mit.
Obgleich er in diversen Bands und musikalischen Projekten auch abseits des Bluesrock die Gitarre souverän bedient, ist es doch der Blues der ihn zutiefst berührt und ihn zu gitarristischen Höhenflügen treibt. Für seine musikalischen Qualitäten steht unter anderem die Auszeichnung der Bayerischen Musikakademie im Jahr 2000. Im Herbst 2008 gründete er mit Unterstützung von Gitarrist Ralf Stege und Stephan Heib (Bass) die Tribute-Band CLAPTONMANIA. Tom spielte mit national und international bekannten Musikern wie Blueslegende Eddie C. Campbell, Irish Blues-Rocker Eamonn McCormack, Ben Granfelt (Leningrad Cowboys, Wishbone Ash), Donny Vox oder Jamaica Papa Curvin. Dass Tom Freitag musikalisch natürlich nicht nur in "Sachen Slowhand“ unterwegs ist, hat er im Laufe seiner langjährigen Musikerkarriere.
In 1965, fans scrawled ”Clapton is God” in London’s underground stations. Today, more than four decades later, Eric Clapton remains one of the most influential and imitated guitarists in the world.
CLAPTONMANIA, the EC tribute band from Hameln in Germany, was founded in autumn 2008 by guitar player Tom Freitag with support of Ralf Stege. The intention was absolutely clear from the beginning. CLAPTONMANIA not only wanted to celebrate the music of Eric Clapton live on stage, but also wanted to involve the audience to a journey through Eric Claptons life.
It’s a long musical journey from the early years with the Yardbirds and the Bluesbreakers to the psychedelic days of Cream, the classic rock of the 70's and 80's through to the multiple Grammy awards winning Unplugged album right up to Claptons blues revival in the 90’s and the latest hits and songs of present days.
Tom Freitag played with internationally recognized artists like Chicago-Blueslegend Eddie C. Campbell, Ben Granfelt (Leningrad Cowboys, Wishbone Ash), Eamonn McCormack, Jamaica Papa Curvin and many more.
Some examples from CLAPTONMANIAS playlist:
Badge
Bad Love
Blues Power
Change The World
Crossroads
Forever Man
Got You On My Mind
I'm Tore Down
I Shot The Sheriff
Layla
My Father's Eyes
Old Love
Sunshine Of Your Love
Tears In Heaven
White Room
Wonderful Tonight
...
CLAPTONMANIA faithfully recreates the music of one of the world greatest guitar players alive - ERIC CLAPTON! You will be amazed! A wonderful night with the music of Eric Clapton is waiting of you. Watch out for CLAPTONMANIA - the real Eric Clapton tribute show!
CLAPTONMANIA, the EC tribute band from Hameln in Germany, was founded in autumn 2008 by guitar player Tom Freitag with support of Ralf Stege. The intention was absolutely clear from the beginning. CLAPTONMANIA not only wanted to celebrate the music of Eric Clapton live on stage, but also wanted to involve the audience to a journey through Eric Claptons life.
It’s a long musical journey from the early years with the Yardbirds and the Bluesbreakers to the psychedelic days of Cream, the classic rock of the 70's and 80's through to the multiple Grammy awards winning Unplugged album right up to Claptons blues revival in the 90’s and the latest hits and songs of present days.
Tom Freitag played with internationally recognized artists like Chicago-Blueslegend Eddie C. Campbell, Ben Granfelt (Leningrad Cowboys, Wishbone Ash), Eamonn McCormack, Jamaica Papa Curvin and many more.
Some examples from CLAPTONMANIAS playlist:
Badge
Bad Love
Blues Power
Change The World
Crossroads
Forever Man
Got You On My Mind
I'm Tore Down
I Shot The Sheriff
Layla
My Father's Eyes
Old Love
Sunshine Of Your Love
Tears In Heaven
White Room
Wonderful Tonight
...
CLAPTONMANIA faithfully recreates the music of one of the world greatest guitar players alive - ERIC CLAPTON! You will be amazed! A wonderful night with the music of Eric Clapton is waiting of you. Watch out for CLAPTONMANIA - the real Eric Clapton tribute show!
Tom Freitag und seine Band CLAPTONMANIA haben sich ganz dem musikalischen Werk Eric Claptons verschrieben und sich in den Jahren, seit Gründung der Band im Herbst 2008, einen festen Platz in der deutschen Blues-Rockszene erspielt. Bandleader und Gitarrist Tom Freitag, Preisträger der bayerischen Musikakademie, interpretiert die Songs von Eric Clapton mit absoluter Leidenschaft und eigener musikalischer Handschrift. Tom wurde bereits in seiner frühen Jugend von Clapton's Musik und Biografie inspiriert. Trotz oder gerade aufgrund dieser intensiven Auseinandersetzung mit Clapton als Gitarrist und Persönlichkeit entwickelte Tom seinen ihm eigenen Stil. Es geht eben nicht um das Imitieren eines einzigartigen Künstlers, sondern um die zeitgemäße, leidenschaftliche aber auch respektvolle und einfühlsame Interpretation des musikalischen Werkes von Eric Clapton. Unterstützt und komplettiert wird er dabei von einer erstklassigen Band, mit bühnenerfahrenen Musikern aus Bremen, Hannover und Hameln.
Bei zahlreichen Konzerten im Bundesgebiet und dem benachbarten Ausland konnten Tom Freitag & CLAPTONMANIA nachhaltig bei Publikum, Veranstaltern und Fachpresse punkten. Nicht nur Blues- und Bluesrock-Fans sind begeistert von der Performance. Rock, Pop-Rock und Akustik-Balladen – alle Stilrichtungen werden emotional, authentisch und professionell bedient. Natürlich dürfen bei einem CLAPTONMANIA-Konzert, alte Klassiker aber auch Titel neueren Datums aus dem nahezu unerschöpflichen Backkatalog von EC, wie Sunshine Of Your Love, Crossroads, White Room, Layla, After Midnight, I Shot The Sheriff, Cocaine, Wonderful Tonight, Bad Love, Tears in Heaven, My Father’s Eyes, Change The World oder She's Gone, nicht auf der Setlist fehlen. Elektrisch verstärkt, wie auch akustisch / „unplugged“, überzeugen Tom Freitag und CLAPTONMANIA stilsicher ihr Publikum. Ein Konzert von CLAPTONMANIA entführt Zuschauer und Zuhörer auf eine einzigartige, unterhaltsame und spannende musikalische Zeitreise durch alle Schaffensperioden von Mr. Slowhand!
Dass Tom Freitag musikalisch natürlich nicht nur in „Sachen Slowhand“ unterwegs ist, hat er im Laufe seiner Musikerkarriere unter Beweis gestellt. Hierzu gehören auch Veröffentlichungen eigener Kompositionen – Songs zwischen Bluesrock und Rock, inklusive Ausflüge in die Popmusik.
Tom Freitag und seine Bandmitglieder spielen und spielten mit national und international an-erkannten Künstlern, wie Johnny Rieger, Donny Vox, Leo’s Den, Jamaica Papa Curvin, Ben Granfelt (Leningrad Cowboys, Wishbone Ash), Eamonn McCormack (Rory Gallagher, Nils Lofgren), Chicago-Blueslegende Eddie C. Campbell, Johnny Lima, Jutta Weinhold (Zed Yago), Michael van Merwyck, Jane u.v.a.
Tom Freitag & Claptonmania - Cocaine
Tampa Blue *01.01.1953
Tampa Blue's music is based on the blues and spirituals he heard growing up outside of Birmingham, Alabama. He established himself as a blues artist in Florida during the 1980s where he was that state's first Master Artist of the Blues for the NEA's apprenticeship program in 1991. He was also the Pioneer Florida Old-Time Music Champion for Finger-Pick Guitar in 1990.
When asked what kind of music he plays Blue once replied, “Traditional, acoustic, Delta, slide, Piedmont, finger-style, Southern rural, pre-war, country, pre-electric with a touch of spirituals, hollers, rags and American finger-style guitar seasoning.”
Over the past 25 years, Blue has played from St Louis to Miami, Jackson to New York and sold his independently produced tapes from Hong Kong to Prague.
If you like acoustic blues and finger-style guitar you will love the bite in Tampa Blue’s style!
Tampa Blue @ Someting's Brewing Coffee Shop
Henry Thomas *1874 Datum unbekannt, +1950 Datum unbekannt
http://mattizwoo.blogspot.de/2013/06/thomas-henry.html
Henry Thomas (* vermutlich 1874; Sterbedatum unbekannt), auch bekannt als Ragtime Texas, war ein früher US-amerikanischer Blues-Gitarrist. Er gilt als der älteste afro-amerikanische Musiker, der eine beachtenswerte Anzahl von Aufnahmen hinterließ.
Über das Leben von Henry Thomas ist wenig bekannt. Zwischen 1927 und 1929 nahm er 23 Songs auf, darunter 8 Blues-Titel. Neben der Gitarre spielte er die Panflöte. Die Gitarre spielte er eher wie ein Banjo.
Zu seinen bekanntesten Stücken gehört der Bull Doze Blues, der später von der Band Canned Heat zu Going Up The Country umgearbeitet wurde. Don't Ease Me In wurde von Grateful Dead aufgenommen.
Liste aller Songs
Fishing Blues
Old Country Stomp
Charmin' Betsy
Lovin' Babe
Railroadin' Some
Don't Leave Me Here
The Little Red Caboose
Bob McKinney
Honey, Won't You Allow Me One More Chance
Run, Mollie, Run
Shanty Blues
Woodhouse Blues
John Henry
Cottonfield Blues
Arkansas
The Fox And The Hounds
Red River Blues
Jonah In The Wilderness
When The Train Comes Along
Bull Doze Blues
Don't Ease Me In
Texas Easy Street
Texas Worried Blues
CD: Henry Thomas - Texas Worried Blues: Complete Recorded Works 1927-1929, bei Yazoo (1989)
Henry Thomas (1874 – 1930) was an American country blues singer, songster and musician, who enjoyed a brief but notable recording career in the late 1920s.[1][2] Often billed as "Ragtime Texas", Thomas' style was the basis for what later became known as Texas blues guitar.[3][4]
Life and career
Thomas was born into a family of freed slaves in Big Sandy, Texas in 1874[3] He began traveling the Texas rail lines as a hobo after leaving home in his teens. He eventually earned his way as an itinerant songster, entertaining local populaces as well as railway employees.[1]
Although the circumstances are not known, Thomas recorded twenty-three sides for Vocalion Records between 1927 and 1929.[3] The repertoire on these cuts includes a combination of reels, gospels, minstrel pieces, ragtime numbers and blues.[4] Besides guitar, Thomas accompanied himself on quills, a folk instrument fabricated from cane reeds whose sound is similar to the zampona played by musicians in Peru and Bolivia. His style of playing guitar was probably derived from banjo-picking styles.[5]
Legacy
Thomas's legacy has been sustained by his songs, which were revived by musicians beginning in the folk music revival of the early 1960s. Among the first of these was "Honey Won't You Allow Me One More Chance", which was re-interpreted by Bob Dylan on The Freewheelin' Bob Dylan in 1963 under the title "Honey, Just Allow Me One More Chance". Dylan probably first heard of the blues musician through Harry Smith's Anthology of American Folk Music, which ended with one of Thomas's best-known tunes, "Fishin' Blues". Although Dylan re-worked the melody and almost totally re-wrote the lyrics, he credited Thomas as co-writer on the Freewheelin' release.[6]
Thomas's song "Fishin' Blues" was recorded by the US folk-rock group Lovin' Spoonful in 1965, appearing on their hit debut album Do You Believe in Magic.[7] The song was recorded three years later, in 1968, by blues musician Taj Mahal for one of his first albums, De Old Folks at Home and has since been released on many of Taj Mahal's greatest hits compilations.[8][9] The Nitty Gritty Dirt Band also covered the song on their album Will the Circle Be Unbroken, Volume III in 2002.[10] Mike McCollum on his CD, "Simple and Clear," does an updated version titled, "New Fishin' Blues" on the Mitchikambo label based on Henry Ragtime Thomas's work. [11]
"Bull Doze Blues", another of Thomas's Vocalion recordings, was reworked by pianist Johnny Miller in 1927 who re-wrote the words and gave it to Wingy Manone who recorded two versions titled "Up the Country" in December 1927 on Columbia and September 1930 on Champion Records.[12][13] Except for in jazz circles, it remained an obscure blues number until it was picked up by the blues-rock group Canned Heat, as the basis for the song "Going Up the Country". Though re-arranged, the Canned Heat song is musically the same, down to a faithful rendition of Thomas's quill solos by Jim Horn. Fellow band member Alan "Blind Owl" Wilson re-wrote the lyrics entirely and received credit on the song's original release in 1968 on Canned Heat's third album, Living the Blues. The next year, the group played at the Woodstock Festival. Their live performance of "Going Up the Country" was featured in the motion picture Woodstock and appeared as the second cut on the soundtrack album.
"Don't Ease Me In" was covered by the Grateful Dead on their album Go to Heaven; and Thomas's vintage recording of "Don't Ease Me In" is included on the compilation album The Music Never Stopped: Roots of the Grateful Dead. The Lovin' Spoonful recorded an original song entitled "Henry Thomas" on their 1966 album Hums of the Lovin' Spoonful. In 1993 the band Deacon Blue released a song entitled "Last Night I Dreamed Of Henry Thomas" on their Whatever You Say, Say Nothing album. In addition, his arrangement for "Cottonfield Blues" was performed by early Delta blues musicians Garfield Akers and Mississippi Joe Callicott in 1929.
Death
The whereabouts of Thomas after his last recording in 1929 have not been chronicled. While one report places him in Texas in the 1950s,[4] most biographers indicate he died in 1930 when he would have been in his mid-50s.[1][6]
Life and career
Thomas was born into a family of freed slaves in Big Sandy, Texas in 1874[3] He began traveling the Texas rail lines as a hobo after leaving home in his teens. He eventually earned his way as an itinerant songster, entertaining local populaces as well as railway employees.[1]
Although the circumstances are not known, Thomas recorded twenty-three sides for Vocalion Records between 1927 and 1929.[3] The repertoire on these cuts includes a combination of reels, gospels, minstrel pieces, ragtime numbers and blues.[4] Besides guitar, Thomas accompanied himself on quills, a folk instrument fabricated from cane reeds whose sound is similar to the zampona played by musicians in Peru and Bolivia. His style of playing guitar was probably derived from banjo-picking styles.[5]
Legacy
Thomas's legacy has been sustained by his songs, which were revived by musicians beginning in the folk music revival of the early 1960s. Among the first of these was "Honey Won't You Allow Me One More Chance", which was re-interpreted by Bob Dylan on The Freewheelin' Bob Dylan in 1963 under the title "Honey, Just Allow Me One More Chance". Dylan probably first heard of the blues musician through Harry Smith's Anthology of American Folk Music, which ended with one of Thomas's best-known tunes, "Fishin' Blues". Although Dylan re-worked the melody and almost totally re-wrote the lyrics, he credited Thomas as co-writer on the Freewheelin' release.[6]
Thomas's song "Fishin' Blues" was recorded by the US folk-rock group Lovin' Spoonful in 1965, appearing on their hit debut album Do You Believe in Magic.[7] The song was recorded three years later, in 1968, by blues musician Taj Mahal for one of his first albums, De Old Folks at Home and has since been released on many of Taj Mahal's greatest hits compilations.[8][9] The Nitty Gritty Dirt Band also covered the song on their album Will the Circle Be Unbroken, Volume III in 2002.[10] Mike McCollum on his CD, "Simple and Clear," does an updated version titled, "New Fishin' Blues" on the Mitchikambo label based on Henry Ragtime Thomas's work. [11]
"Bull Doze Blues", another of Thomas's Vocalion recordings, was reworked by pianist Johnny Miller in 1927 who re-wrote the words and gave it to Wingy Manone who recorded two versions titled "Up the Country" in December 1927 on Columbia and September 1930 on Champion Records.[12][13] Except for in jazz circles, it remained an obscure blues number until it was picked up by the blues-rock group Canned Heat, as the basis for the song "Going Up the Country". Though re-arranged, the Canned Heat song is musically the same, down to a faithful rendition of Thomas's quill solos by Jim Horn. Fellow band member Alan "Blind Owl" Wilson re-wrote the lyrics entirely and received credit on the song's original release in 1968 on Canned Heat's third album, Living the Blues. The next year, the group played at the Woodstock Festival. Their live performance of "Going Up the Country" was featured in the motion picture Woodstock and appeared as the second cut on the soundtrack album.
"Don't Ease Me In" was covered by the Grateful Dead on their album Go to Heaven; and Thomas's vintage recording of "Don't Ease Me In" is included on the compilation album The Music Never Stopped: Roots of the Grateful Dead. The Lovin' Spoonful recorded an original song entitled "Henry Thomas" on their 1966 album Hums of the Lovin' Spoonful. In 1993 the band Deacon Blue released a song entitled "Last Night I Dreamed Of Henry Thomas" on their Whatever You Say, Say Nothing album. In addition, his arrangement for "Cottonfield Blues" was performed by early Delta blues musicians Garfield Akers and Mississippi Joe Callicott in 1929.
Death
The whereabouts of Thomas after his last recording in 1929 have not been chronicled. While one report places him in Texas in the 1950s,[4] most biographers indicate he died in 1930 when he would have been in his mid-50s.[1][6]
Bull Doze Blues
One of Henry Thomas' most renowned recording which was covered to great acclaim in the 1960's by Blues Rock band Canned Heat. Henry Thomas was more a Songster than a Blues musician who played his own reworks of traditionals and standards alike with the unique touch of the Quills which he plays along with the Guitar in a style which appears to be completely individual for Thomas as a Musician.
Lyrics from Weeniepedia
Bull Doze Blues - Henry Thomas
I'm going away, babe, and it won't be long
I'm going away and it won't be long
I'm going away and it won't be long
Just as sure as that train leaves out of that Mobile yard
Just as sure as that train leaves out of that Mobile yard
Just as sure as that train leaves out of that Mobile yard
Come shake your hand, tell your papa goodbye
Come shake your hand, tell your papa goodbye
Come shake your hand, tell your papa goodbye
I'm going back to Tennessee
I'm going back to Memphis, Tennessee
I'm going back, Memphis, Tennessee
I'm going where I never get bulldozed
I'm going where I never get the bulldoze
I'm going where I never get bulldozed
If you don't believe I'm sinking, look what a hole I'm in
If you don't believe I'm sinking, look what a hole I'm in
If you don't believe I'm sinking, look what a fool I've been.
Oh, my babe, take me back. How in the world, Lord, take me back
Lyrics from Weeniepedia
Bull Doze Blues - Henry Thomas
I'm going away, babe, and it won't be long
I'm going away and it won't be long
I'm going away and it won't be long
Just as sure as that train leaves out of that Mobile yard
Just as sure as that train leaves out of that Mobile yard
Just as sure as that train leaves out of that Mobile yard
Come shake your hand, tell your papa goodbye
Come shake your hand, tell your papa goodbye
Come shake your hand, tell your papa goodbye
I'm going back to Tennessee
I'm going back to Memphis, Tennessee
I'm going back, Memphis, Tennessee
I'm going where I never get bulldozed
I'm going where I never get the bulldoze
I'm going where I never get bulldozed
If you don't believe I'm sinking, look what a hole I'm in
If you don't believe I'm sinking, look what a hole I'm in
If you don't believe I'm sinking, look what a fool I've been.
Oh, my babe, take me back. How in the world, Lord, take me back
Alexis Korner +01.01.1984
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Alexis Korner (* 19. April 1928 in Paris als Alexis Andrew Nicholas Koerner; † 1. Januar 1984 in London) war ein englischer Blues-Musiker. Er gilt als Schlüsselfigur der britischen Bluesrockszene der 1960er Jahre.[1][2][3] In seiner Band Blues Incorporated spielten viele spätere britische Berühmtheiten, wie z. B. Mick Jagger, Ginger Baker, Dick Heckstall-Smith, Charlie Watts, Cyril Davis, Jack Bruce, Brian Jones, Duffy Power u.v.m. In den 1970ern war er mit einer Big Band unterwegs und beschäftigte sich immer auch mit anderen Dingen, blieb aber dem Blues ein Leben lang treu. Auch die deutsche Bluesszene hat er erheblich mitgeprägt, so arbeitete er z. B. mit Klaus Doldinger und der Frankfurt City Blues Band zusammen. Aber auch andere europäische Länder, wie z. B. Dänemark, wo er mit Peter Thorup, Young Flowers und anderen arbeitete, haben durch Alexis Korner einen Bluesboom erfahren.Leben und Wirken
1928–1948: Kindheit und Jugend
Korner wuchs multikulturell auf: Sein Vater war österreichischer Kavallerieoffizier, seine Mutter türkisch-griechischer Herkunft. Die Familie lebte in der Schweiz, in Frankreich und Nordafrika und floh zu Beginn des Zweiten Weltkrieges mit einem der letzten Schiffe nach England, wo Korner ab Mitte der 1940er Jahre als Amateur bei Chris Barbers Band Banjo spielte.
1948–1961: Als Soldat in Deutschland & Skiffle Boom
Alexis Korner gilt als einer der wichtigsten Vertreter des Blues-Revival Anfang der 1960er Jahre. Der Melody Maker bezeichnete ihn auch als „Vater des britischen Blues“.[4] Zudem wurde er, wie auch John Mayall „Vater des weißen Blues“ genannt. 1947/48 war er als Soldat Alec Korner in Hamburg stationiert. Dort betreute er das Schallplattenarchiv des BFN[5] und moderierte Musiksendungen für den BFN; auch spielte er in Jazzlokalen in Hamburg.[6]. Außerdem moderierte er von Mitte 1948 bis Ende 1948 die Sendung Jazz Studio beim NWDR, die aber wegen Zuschauerprotesten eingestellt wurde (der Einbezug des Bebop missfiel einigen Hörern)[7]. Ende der 1940er Jahre spielte Korner als halbprofessioneller Musiker in der Jazzband von Chris Barber. Anfang der 1950er Jahre spielte er in diversen Londoner Skiffle Bands. 1954 entstanden erste Aufnahmen mit ihm bei Ken Colyer, 1958 entstanden Aufnahmen mit seiner Skiffle-Band für Tempo (Blues from the Roadhouse). Bei Barber lernte er den Bluesfan und Mundharmonikaspieler Cyril Davies kennen.
1961–1967: Blues Incorporated
Mit Cyril Davies zusammen gründete er die von 1961 bis 1967 bestehende Gruppe Blues Incorporated. In ihr spielten und sangen Persönlichkeiten wie Brian Jones, Mick Jagger, Charlie Watts, Danny Thompson, Jack Bruce, Ginger Baker, Eric Burdon, Graham Bond, Dick Heckstall-Smith, die zu Keimzellen von Gruppen wie den Rolling Stones, Cream, den Animals, Manfred Mann’s Earth Band oder Colosseum wurden. Blues Inc. traten oft in der BBC auf und waren mit Cyril Davies' R&B All-Stars zusammen die erste europäische Bluesband, die elektrisch verstärkt spielte. 1963 verließ Davies die Band um sich mehr dem Blues zu widmen, da Korner einen Bläsersatz in die Band geholt hatte und die Musik für Davies zu jazzig geworden war.
1967–1969: Free At Last & New Church
Anschließend rief Korner mit Cliff Barton, Victor Brox, Gerry Conway, Marsha Hunt, Hughie Flint und Binky McKenzie die Gruppe Free At Last ins Leben, die nur wenige Monate lang existierte. Danach trat er mit Brox im Duett auf – und mit Robert Plant und Pianist Steve Miller im Trio. 1968 folgte mit dem dänischen Sänger Peter Thorup und dessen Band „Beefeaters“ eine Skandinavien-Tour. Nach der Rückkehr nach England realisierte Korner mit seiner Tochter Sappho, Thorup, Nick South, Ray Warleigh, Annette Brox, Per Frost und Colin Hodgkinson die New Church, die 1969 das legendäre Konzert der Rolling Stones (zu Ehren des verstorbenen Brian Jones) im Londoner Hyde Park eröffnete.
1970–1973: C.C.S. & Snape
1970 gründeten Korner, Thorup, Produzent Mickie Most und Songschreiber John Cameron die CCS: Vom Blues inspirierter Big Band-Sound traf auf Rockmusik. Mit CCS erhielt Korner zumindest für kurze Zeit sogar bei einem breiteren Publikum Anerkennung. Eine Cover-Version von „Whole Lotta Love“ von Led Zeppelin war der erste Erfolg. 1973 löste sich die Band auf und Korner und Thorup gründeten mit Boz Burrell (King Crimson), Mel Collins und Ian Wallace die Band Snape (CD „Live on Tour in Germany 1973“).
1974–1984: Solokarriere
Anschließend arbeitete Korner, abgesehen von einer intensiven und langjährigen Zusammenarbeit mit Colin Hodgkinson als „Alexis & Colin“, nur noch in kurzfristigen Projekten. Auf seinen nachfolgenden Solo-Alben erhielt er Unterstützung von zahlreichen Musikern aus dem Rock- und dem Jazzlager. An „Get Off of my Cloud“ (1975) waren unter anderem Peter Frampton, Nicky Hopkins und Steve Marriott beteiligt. Auf dem „Party Album“ zu seinem 50. Geburtstag versammelte er 1978 noch einmal die Bläser aus der Blues Incorporated (etwa John Surman, Alan Skidmore, Art Themen oder Chris Pyne). 1981 formierte Korner die Gruppe Rocket 88, von der auch das gleichnamige Album stammt, das live in Deutschland mit dem mobilen Aufnahmestudio der Rolling Stones aufgezeichnet wurde. Seinen letzten öffentlichen Auftritt hatte Alexis Korner am 20. August 1983 in Eindhoven. Im Dezember 1983 entstanden seine letzten Aufnahmen bei der BBC, die auf der Anthology "Kornerstoned" enthalten sind.
Da Alexis gegen Ende des Jahres 1983 über starke Kopfschmerzen klagte, wurde er ins Krankenhaus eingeliefert, wo jedoch nichts festgestellt werden konnte. Im Krankenhaus machte er nur wenige Tage vor seinem Tod letzte Aufnahmen auf einem Tonbandgerät, die aber bis heute auf Wunsch der Familie unveröffentlicht blieben. Am 1. Januar 1984 verstarb Alexis Korner in London an Krebs. Als Reaktion organisierten einige seiner Schützlinge ein Memorial-Konzert mit vielen namhaften Musikern aus Korners Umfeld, welches auch auf LP erschien. Seit 1950 war er mit Roberta Korner, geborene Melville, verheiratet. Aus der Ehe stammen seine Tochter, die Musikerin Sappho Gillett Korner, sowie die Söhne Nicholas und Damián (Damien).
BBC
Rhythm & Blues World Service
Alexis Korner moderierte diese wöchentliche, jeweils 15 minütige Sendung Ende der 1960er Jahre. Hier wurden keine Platten aufgelegt, die Bands spielten stattdessen live im Radio. Hier traten unter anderem Jimi Hendrix und Cream auf. Der Mitschnitt des Hendrixauftritts, bei dem Korner selbst Slidegitarre spielte, ist auf der CD "BBC Sessions" von Hendrix zu hören.
Sympathy For The Devil
1972 moderierte Korner eine dreizehnteilige Sendung zur Geschichte von Rock und Blues namens „Sympathy for the Devil“. Produzenten für den NDR3 waren Horst Königstein und Manfred Miller. Über Ernest Bornemann wurden Verbindungen zu den Popularmusik-Sendungen bei Radio Bremen geknüpft. Die Sendereihe wurde im deutschsprachigen Raum international ausgestrahlt, also auch im Schweizer Fernsehen.
The Devil’s Music
Ende der 1970er Jahre zeichnete die BBC zwei Staffeln dieser Sendung auf. Sie wurde 1979 zum ersten Mal ausgestrahlt. Alexis Korner stellte darin alte Bluesmusiker vor und zeigte deren musikalische Situation zum Ende des Jahrzehnts. Es sollte ein Eindruck davon geschaffen werden, wie sich die frühe Bluesmusik am Anfang des 20. Jahrhunderts angehört haben mag. Auch hier stellte er wieder viele eher unbekannte Musiker einem breiten Publikum vor. Gäste waren zum Beispiel Big Joe Williams, Bukka White, Houston Stackhouse, Sonny Blake oder Sam Chatmon.[
Guitar Greats
Im Jahre 1983 wurden 13 Folgen dieser Sendung produziert. Darin interviewte Korner die Gitarristen (Eric Clapton, B.B. King, Brian May u.v.m.) , um die es in der Sendung ging, spielte ihre bekannten Lieder, aber auch Raritäten und beleuchtete ihre Karriere. Die Sendung dauerte jeweils eine Stunde und wurde zuletzt 2010 ausgestrahlt.
Alexis Korner (19 April 1928 – 1 January 1984) was a British blues musician and radio broadcaster, who has sometimes been referred to as "a founding father of British blues".[2] A major influence on the sound of the British music scene in the 1960s,[3] Korner was instrumental in bringing together various English blues musicians.
Early career
Alexis Andrew Nicholas Koerner was born in Paris to an Austrian Jewish father and a Turkish-Greek mother.[4][5] He spent his childhood in France, Switzerland and North Africa and arrived in London in 1940 at the start of World War II. One memory of his youth was listening to a record by black pianist Jimmy Yancey during a German air raid. Korner said, "From then on all I wanted to do was play the blues."[6]
After the war, Korner played piano and guitar (his first guitar was built by friend and author Sydney Hopkins, who wrote Mister God, This Is Anna) and in 1949 joined Chris Barber's Jazz Band[7] where he met blues harmonica player Cyril Davies. They started playing together as a duo, started the influential London Blues and Barrelhouse Club in 1955 and made their first record together in 1957. Korner made his first official record on Decca Records DFE 6286 in the company of Ken Colyer's Skiffle Group. His talent extended to playing mandolin on one of the tracks of this rare British EP, recorded in London on 28 July 1955. Korner brought many American blues artists, previously virtually unknown in Britain, to perform.[8]
The 1960s
In 1961, Korner and Davies formed Blues Incorporated,[9] initially a loose-knit group of musicians with a shared love of electric blues and R&B music. The group included, at various times, such influential musicians as Charlie Watts, Jack Bruce, Ginger Baker, Long John Baldry, Graham Bond, Danny Thompson and Dick Heckstall-Smith. It also attracted a wider crowd of mostly younger fans, some of whom occasionally performed with the group, including Mick Jagger, Keith Richards, Brian Jones, Geoff Bradford, Rod Stewart, John Mayall and Jimmy Page.[10]
One story is that the Rolling Stones went to stay at Korner's house late one night, in the early 1960s, after a performance. They entered in the accepted way, by climbing in through the kitchen window, to find Muddy Waters' band sleeping on the kitchen floor.[citation needed]
Although Cyril Davies left the group in late-1962, Blues Incorporated continued to record, with Korner at the helm, until 1966. However, by that time its originally stellar line-up (and crowd of followers) had mostly left to start their own bands. "While his one-time acolytes the Rolling Stones and Cream made the front pages of music magazines all over the world, Korner was relegated to the role of 'elder statesman'."[6]
Although he himself was a blues purist, Korner criticised better-known British blues musicians during the blues boom of the late 1960s for their blind adherence to Chicago blues, as if the music came in no other form. He liked to surround himself with jazz musicians and often performed with a horn section drawn from a pool that included, among others, saxophone players Art Themen, Mel Collins, Dick Heckstall-Smith, Lol Coxhill,[11] Dick Morrissey, John Surman and trombonist Mike Zwerin.
Broadcasting
In the 1960s Korner began a media career, working initially as a show business interviewer and then on ITV's Five O'Clock Club, a children's TV show. Korner also wrote about blues for the music papers, and continued to maintain his own career as a blues artist, especially in Europe.
On 17 October 1967, Korner interviewed the Jimi Hendrix Experience for the BBC radio showTop Gear. Some of these tracks, including audio of Korner himself, appear on the Hendrix double-CD BBC Sessions, including Korner playing slide guitar on "(I'm Your) Hoochie Coochie Man".
While touring Scandinavia he first joined forces with guitarist and singer Peter Thorup, together forming the band New Church, who were one of the support bands at the Rolling Stones Free Concert in Hyde Park, London, on 5 July 1969. Jimmy Page reportedly found out about a new singer, Robert Plant, who had been jamming with Korner, who wondered why Plant had not yet been discovered. Plant and Korner were in the process of recording a full album with Plant on vocals until Page had asked him to join "the New Yardbirds", aka Led Zeppelin. Only two songs are in circulation from these recordings: "Steal Away" and "Operator".[10] Alexis Korner gave one of his last radio interviews to BBC Midlands on the Record Collectors Show with Mike Adams and the Late Chris Savory.
1970s
Korner and Peter Thorup in Bremen
In 1970 Korner and Thorup formed a big-band ensemble, C.C.S. – short for "The Collective Consciousness Society" – which had several hit singles produced by Mickie Most, including a version of Led Zeppelin's "Whole Lotta Love", which was used as the theme for BBC's Top of the Pops between 1971 and 1981. Another instrumental called "Brother" was used as the theme to the BBC Radio 1 Top 20/40 when Tom Browne/Simon Bates presented the programme in the 1970s. It was also used in the 1990s on Radio Luxembourg for the Top 20 Singles chart and was hosted by Shaun Tilley. This was the period of Korner's greatest commercial success in the UK.[10]
1970s to 1984
Korner with Snape
In 1973, he formed another group, Snape, with Boz Burrell, Mel Collins, and Ian Wallace, who were previously together in King Crimson. Korner also played on B.B. King's In London album, and cut his own, similar "supersession" album; Get Off My Cloud, with Keith Richards, Peter Frampton, Nicky Hopkins and members of Joe Cocker's Grease Band. In the mid-1970s, while touring Germany, Korner established an intensive working relationship with bassist Colin Hodgkinson who played for the support act Back Door. They would continue to collaborate right up until Korner's death.[10]
In the 1970s Korner's main career was in broadcasting. In 1973 he presented a unique 6-part documentary on BBC Radio 1, The Rolling Stones Story,[3] and in 1977 he established a Sunday-night blues and soul show on Radio 1, Alexis Korner's Blues and Soul Show, which ran until 1981. He also used his gravelly voice to great effect as an advertising voice-over artist. In 1978, for Korner's 50th birthday, an all-star concert was held featuring many of his above-mentioned friends, as well as Eric Clapton, Paul Jones, Chris Farlowe, Zoot Money and others, which was later released as The Party Album, and as a video.
In 1981, Korner joined another "supergroup", Rocket 88, a project led by Ian Stewart based on boogie-woogie keyboard players, which featured a rhythm section comprising Jack Bruce and Charlie Watts, among others, as well as a horn section. They toured Europe and released an album on Atlantic Records. He played in Italy with Paul Jones and the Blues Society of Italian bluesman Guido Toffoletti.
Alexis Korner - How Long Blues & Hoochie Coochie Man
Alexis Korner - Stormy Monday Blues
Jeff Golub +01.01.2015
Jeff
Golub (* 15. April 1955 in Copley, Ohio; † 1. Januar 2015) war ein
US-amerikanischer Jazz-Gitarrist, der auch im Blues und Rock in
Erscheinung trat. Von 1988 bis 1995 war er über einen Zeitraum von rund
acht Jahren in der Band von Rod Stewart aktiv, wobei er an vier Alben
beteiligt war und an fünf Welttourneen teilnahm. Des Weiteren
veröffentlichte er in den Jahren 1988 bis 2013 zwölf Soloalben sowie
drei Alben mit dem Instrumentalensemble Avenue Blue.
Leben und Karriere
Der im Jahre 1955 in Copley, einem westlichen Vorort Akrons im US-Bundesstaat Ohio, geborene Jeff Golub begann schon in jungen Jahren seine Karriere als Gitarrist und hatte mit zwölf Jahren im Jahre 1967 seinen ersten Auftritt, ehe er im darauffolgenden Jahrzehnt sein Spielen professionalisierte. So besuchte er unter anderem das Berklee College of Music in Boston und spielte während dieser Zeit auch in James Montgomerys Band. Nach seiner Übersiedelung nach New York City 1980 schloss sich Golub der Band des Rockmusikers Billy Squier an, der es ab dieser Zeit zu seinen ersten großen Erfolgen und Chartplatzierungen brachte. An der Seite Squiers war er an sieben Alben beteiligt und nahm an drei Welttourneen teil. Über das Label GAIA Records veröffentlichte der mittlerweile 33-jährige Gitarrist schließlich im Jahre 1988 sein Debütalbum mit dem Titel Unspoken Words. Im selben Jahr schloss er sich der Band eines der erfolgreichsten Künstlers dieser Zeit an, der Band Rod Stewarts, mit der er in weiterer Folge bis zu seinem Abgang im Jahre 1995 an vier Alben (Vagabond Heart, Unplugged... and Seated, A Spanner in the Works und Lead Vocalist) und fünf Welttourneen beteiligt war. Bereits ein Jahr vor seinem Abgang veröffentlichte er mit Avenue Blue das gleichnamige Album Avenue Blue über Mesa/Bluemoon Recordings und Atlantic Records. Zwei Jahre später folgte mit Naked City das zweite Album des Instrumentalensembles, gefolgt von Nightlife im Jahr 1997. Im gleichen Jahr veröffentlichte er mit seiner Band auch sein Weihnachtsalbum Six String Santa, das er zehn Jahre später ein weiteres Mal in neuem Klang und somit komplett neu aufgenommen herausbrachte.
1999 kam mit Out of the Blue das bereits fünfte Album Golubs in Folge über das Label Mesa/Bluemoon Recordings heraus, in dem er nach drei Alben mit Avenue Blue funky angehauchte Latino-Rhythmen, gefühlvolle Melodien und dramatische Arrangements einfließen ließ. Ein Jahr später kam es zur ersten Zusammenarbeit mit dem Plattenlabel GRP Records, bei dem er das Album Dangerous Curves, veröffentlichte. Das Album wurde binnen einer Woche Anfang des Jahres 2000 in den Cherokee Studios, sowie bei LAFX in North Hollywood aufgenommen und hat auch einen großen Souleinfluss. Im 2002 veröffentlichten Studioalbum Do It Again, wo er vor allem Lieder aus den 1960er und 1970er Jahren, die ihn mitunter stark geprägt haben, coverte, wird die Mischung zwischen klassischem Jazz und R&B deutlich gemacht. Mit dem 2003 herausgebrachten Album Soul Sessions verkörperte Golubs Verschmelzung von Jazz, R&B und Pop einen noch härteren, raueren und erdigeren Smooth Jazz, als in all seinen bisherigen Alben. Über Narada Productions wurde im Jahre 2005 Temptation veröffentlicht; das Album ist ebenfalls durch Golubs größten Einfluss, Wes Montgomery und dem Modernen Jazz, geprägt. 2007 publizierte er über Narada sein siebentes Soloalbum Grand Central; abermals zwei Jahre später folgte mit dem Album Blues for You eine neue Mischung aus Blues und Jazz.
Im Jahre 2010 gehörte er der Hausband Dave Koz & The Kozmos, die an der The Emeril Lagasse Show mit Emeril Lagasse auftrat, an. Im Juni 2011, als sein neuntes Album The Three Kings vom Independent-Label E1 Music veröffentlicht wurde, wurde bekanntgegeben, dass Jeff Golub aufgrund eines Kollapses seines Sehnerves erblindet war. Auf dem Album trat neben ihm vor allem der von Geburt an erblindete Henry Butler in Erscheinung. Am 3. September 2012 fiel Golub, der zu diesem Zeitpunkt mit seinem Blindenhund, dem Labrador Luke, unterwegs war, in der U-Bahn-Station 66th Street – Lincoln Center auf die Geleise und wurde leicht verletzt ins Weill Cornell Medical Center des NewYork-Presbyterian Hospitals gebracht.[1] Im 2013 veröffentlichten Album Train Keeps A Rolling verarbeitete er unter anderem diesen Vorfall des vorangegangenen Jahres, wo er nur kurz vor dem Einfahren der U-Bahn von Passanten gerettet werden konnte. Auf dem Cover des Albums, das er vor allem mit dem britischen Organisten Brian Auger herausbrachte, ist Golub mit seiner Gitarre und seinem Blindenhund Luke zwischen Bahngleisen zu sehen. Nachdem bei Golub im November 2014 progressive supranukleäre Blickparese, eine sehr seltene degenerative Erkrankung des Gehirns, diagnostiziert worden war,[2] verstarb er nur etwas mehr als einen Monat später, am 1. Januar 2015, an dieser Krankheit.[3] In den Jahren nach seiner Erblindung kam es bei Golub aufgrund der hohen Kosten der Therapien, Medikamente usw. zu finanziellen Engpässen, weshalb unter anderem eine Onlineauktion zu Gunsten Golubs gestartet wurde, die über 50.000 US-Dollar einbrachte.[4] Das letzte Jahr vor seinem Tod trat er, nachdem die Krankheit bereits so weit fortgeschritten war, nicht mehr als Künstler in Erscheinung. Einer seiner letzten Auftritte war jener beim Smooth Jazz Festival in Augsburg Mitte September 2013.
Er hinterließ seine Ehefrau Audrey Stafford sowie die gemeinsamen Söhne Christopher und Matthew.
Leben und Karriere
Der im Jahre 1955 in Copley, einem westlichen Vorort Akrons im US-Bundesstaat Ohio, geborene Jeff Golub begann schon in jungen Jahren seine Karriere als Gitarrist und hatte mit zwölf Jahren im Jahre 1967 seinen ersten Auftritt, ehe er im darauffolgenden Jahrzehnt sein Spielen professionalisierte. So besuchte er unter anderem das Berklee College of Music in Boston und spielte während dieser Zeit auch in James Montgomerys Band. Nach seiner Übersiedelung nach New York City 1980 schloss sich Golub der Band des Rockmusikers Billy Squier an, der es ab dieser Zeit zu seinen ersten großen Erfolgen und Chartplatzierungen brachte. An der Seite Squiers war er an sieben Alben beteiligt und nahm an drei Welttourneen teil. Über das Label GAIA Records veröffentlichte der mittlerweile 33-jährige Gitarrist schließlich im Jahre 1988 sein Debütalbum mit dem Titel Unspoken Words. Im selben Jahr schloss er sich der Band eines der erfolgreichsten Künstlers dieser Zeit an, der Band Rod Stewarts, mit der er in weiterer Folge bis zu seinem Abgang im Jahre 1995 an vier Alben (Vagabond Heart, Unplugged... and Seated, A Spanner in the Works und Lead Vocalist) und fünf Welttourneen beteiligt war. Bereits ein Jahr vor seinem Abgang veröffentlichte er mit Avenue Blue das gleichnamige Album Avenue Blue über Mesa/Bluemoon Recordings und Atlantic Records. Zwei Jahre später folgte mit Naked City das zweite Album des Instrumentalensembles, gefolgt von Nightlife im Jahr 1997. Im gleichen Jahr veröffentlichte er mit seiner Band auch sein Weihnachtsalbum Six String Santa, das er zehn Jahre später ein weiteres Mal in neuem Klang und somit komplett neu aufgenommen herausbrachte.
1999 kam mit Out of the Blue das bereits fünfte Album Golubs in Folge über das Label Mesa/Bluemoon Recordings heraus, in dem er nach drei Alben mit Avenue Blue funky angehauchte Latino-Rhythmen, gefühlvolle Melodien und dramatische Arrangements einfließen ließ. Ein Jahr später kam es zur ersten Zusammenarbeit mit dem Plattenlabel GRP Records, bei dem er das Album Dangerous Curves, veröffentlichte. Das Album wurde binnen einer Woche Anfang des Jahres 2000 in den Cherokee Studios, sowie bei LAFX in North Hollywood aufgenommen und hat auch einen großen Souleinfluss. Im 2002 veröffentlichten Studioalbum Do It Again, wo er vor allem Lieder aus den 1960er und 1970er Jahren, die ihn mitunter stark geprägt haben, coverte, wird die Mischung zwischen klassischem Jazz und R&B deutlich gemacht. Mit dem 2003 herausgebrachten Album Soul Sessions verkörperte Golubs Verschmelzung von Jazz, R&B und Pop einen noch härteren, raueren und erdigeren Smooth Jazz, als in all seinen bisherigen Alben. Über Narada Productions wurde im Jahre 2005 Temptation veröffentlicht; das Album ist ebenfalls durch Golubs größten Einfluss, Wes Montgomery und dem Modernen Jazz, geprägt. 2007 publizierte er über Narada sein siebentes Soloalbum Grand Central; abermals zwei Jahre später folgte mit dem Album Blues for You eine neue Mischung aus Blues und Jazz.
Im Jahre 2010 gehörte er der Hausband Dave Koz & The Kozmos, die an der The Emeril Lagasse Show mit Emeril Lagasse auftrat, an. Im Juni 2011, als sein neuntes Album The Three Kings vom Independent-Label E1 Music veröffentlicht wurde, wurde bekanntgegeben, dass Jeff Golub aufgrund eines Kollapses seines Sehnerves erblindet war. Auf dem Album trat neben ihm vor allem der von Geburt an erblindete Henry Butler in Erscheinung. Am 3. September 2012 fiel Golub, der zu diesem Zeitpunkt mit seinem Blindenhund, dem Labrador Luke, unterwegs war, in der U-Bahn-Station 66th Street – Lincoln Center auf die Geleise und wurde leicht verletzt ins Weill Cornell Medical Center des NewYork-Presbyterian Hospitals gebracht.[1] Im 2013 veröffentlichten Album Train Keeps A Rolling verarbeitete er unter anderem diesen Vorfall des vorangegangenen Jahres, wo er nur kurz vor dem Einfahren der U-Bahn von Passanten gerettet werden konnte. Auf dem Cover des Albums, das er vor allem mit dem britischen Organisten Brian Auger herausbrachte, ist Golub mit seiner Gitarre und seinem Blindenhund Luke zwischen Bahngleisen zu sehen. Nachdem bei Golub im November 2014 progressive supranukleäre Blickparese, eine sehr seltene degenerative Erkrankung des Gehirns, diagnostiziert worden war,[2] verstarb er nur etwas mehr als einen Monat später, am 1. Januar 2015, an dieser Krankheit.[3] In den Jahren nach seiner Erblindung kam es bei Golub aufgrund der hohen Kosten der Therapien, Medikamente usw. zu finanziellen Engpässen, weshalb unter anderem eine Onlineauktion zu Gunsten Golubs gestartet wurde, die über 50.000 US-Dollar einbrachte.[4] Das letzte Jahr vor seinem Tod trat er, nachdem die Krankheit bereits so weit fortgeschritten war, nicht mehr als Künstler in Erscheinung. Einer seiner letzten Auftritte war jener beim Smooth Jazz Festival in Augsburg Mitte September 2013.
Er hinterließ seine Ehefrau Audrey Stafford sowie die gemeinsamen Söhne Christopher und Matthew.
Jeff
Golub (April 15, 1955 – January 1, 2015) was an American jazz
guitarist. Golub was a contemporary jazz guitarist with 12 solo albums
and three CDs as the leader of the instrumental band, Avenue Blue.
Before becoming an instrumentalist, Golub worked as a sideman to a
number of successful rock and pop artists.
He was arguably best known for his work with Rod Stewart, with whom he played from 1988 until 1995 performing on four albums and five world tours, as well as recording the live DVD, One Night Only, at the Royal Albert Hall.
Biography
Born in Copley, Ohio, outside of Akron, Golub started playing by emulating 1960s blues rock guitarists Eric Clapton, Jeff Beck and Jimi Hendrix.[citation needed] Then, following up on the artists that these musicians cited as their inspiration, he delved deeper into the blues listening to Muddy Waters, Buddy Guy, plus B.B., Albert, and Freddie King.
Golub was in his teens when he first heard a Wes Montgomery record. This moment set him on a whole new course which led him to study at Berklee College of Music in Boston. While in Boston he played in The James Montgomery Band. From Boston, Golub moved to New York in 1980 where his first major gig was with Billy Squier. Golub appeared on seven albums and three world tours with Billy. He released his first solo recording, Unspoken Words for Gaia Records in 1988, but really embraced his role as band leader and instrumentalist with the release of Avenue Blue in 1994 for Mesa Bluemoon/Atlantic Records.
Golub was a member of Dave Koz & The Kozmos, the house band of The Emeril Lagasse Show.[1]
In June 2011, Golub became blind due to collapse of the optic nerve.[2]
In September 2012, Golub fell on the tracks of a subway but was saved by Good Samaritans. Golub was brought to New York-Presbyterian Hospital/Weill Cornell Medical Center with minor injuries.[3] He was diagnosed with progressive supranuclear palsy in November 2014,[4] and died of the disease on January 1, 2015.
He was arguably best known for his work with Rod Stewart, with whom he played from 1988 until 1995 performing on four albums and five world tours, as well as recording the live DVD, One Night Only, at the Royal Albert Hall.
Biography
Born in Copley, Ohio, outside of Akron, Golub started playing by emulating 1960s blues rock guitarists Eric Clapton, Jeff Beck and Jimi Hendrix.[citation needed] Then, following up on the artists that these musicians cited as their inspiration, he delved deeper into the blues listening to Muddy Waters, Buddy Guy, plus B.B., Albert, and Freddie King.
Golub was in his teens when he first heard a Wes Montgomery record. This moment set him on a whole new course which led him to study at Berklee College of Music in Boston. While in Boston he played in The James Montgomery Band. From Boston, Golub moved to New York in 1980 where his first major gig was with Billy Squier. Golub appeared on seven albums and three world tours with Billy. He released his first solo recording, Unspoken Words for Gaia Records in 1988, but really embraced his role as band leader and instrumentalist with the release of Avenue Blue in 1994 for Mesa Bluemoon/Atlantic Records.
Golub was a member of Dave Koz & The Kozmos, the house band of The Emeril Lagasse Show.[1]
In June 2011, Golub became blind due to collapse of the optic nerve.[2]
In September 2012, Golub fell on the tracks of a subway but was saved by Good Samaritans. Golub was brought to New York-Presbyterian Hospital/Weill Cornell Medical Center with minor injuries.[3] He was diagnosed with progressive supranuclear palsy in November 2014,[4] and died of the disease on January 1, 2015.
Jeff Golub "Boom Boom" 2009 Smooth Jazz Cruise
Jeff Golub - I'll Play The Blues For You
Sydney Maiden *1923
Born in Mansfield, LA in 1923, singer and harmonica blower Sidney Maiden made his mark on the blues with the classic "Eclipse of the Sun." In the '40s, Maiden moved to California where he first met guitarist K.C. Douglas. They bonded immediately since they both had a purist attitude towards rural blues and didn't compromise that style of playing once they left the south. They played clubs on the West Coast, and recorded "Eclipse of the Sun" in 1948 for the Down Town label run by Bob Geddins. It would be the first and only hit for Maiden. Four years later a session was recorded for Imperial with the Blues Blowers (including Douglas), followed in 1953 by "Hurry Hurry Baby" for the Flash label. In 1961 Maiden participated in a recording session, set up by Arhoolie Records boss Chris Strachwitz, reuniting him with Douglas for Trouble an' Blues released on Bluesville. Since then Maiden has performed sporadically in the Fresno area in both solo and group situations.
http://www.allmusic.com/artist/sidney-maiden-mn0000751249
SIDNEY MAIDEN unissued IMPERIAL
Everything Is Wrong : Sidney Maiden
Bishop Dready Manning *1934
Bishop Dready Manning (born 1934) is an American guitarist, harmonica player, singer, and songwriter who plays gospel music infused with Piedmont blues elements. He is also the founder of St. Mark Holiness Church in Roanoke Rapids, North Carolina and a North Carolina Arts Council Folk Heritage Award winner.
Biography
Dready Manning was born in 1934 in Northampton County, North Carolina, in the farming community of Gaston.[1] He grew up in a family of sharecroppers who grew cotton, peanuts, and corn. In their free time, Manning’s parents invited local blues musicians into their home to play guitars and harmonicas. When Manning was seven years old, he began learning how to fingerpick guitar.[1] His skills improved over time and by his teenage years Manning had earned a reputation as a master of blues guitar and harmonica.[2] His style was influenced by Piedmont blues musicians such as Blind Boy Fuller, Brownie McGhee, and Buddy Moss.[1]
As a young bluesman, Manning played in clubs and sold moonshine. According to his wife Marie, he was "out of hand."[1] In 1962, around age 30, Manning came down with a mysterious illness that caused unstoppable bleeding from his nose. His family and neighbors, who were members of a local Holiness church, prayed over him, using the Christian ritual of laying on hands.[2]
When Manning heard their prayers, he felt the bleeding stop. "I had a converted mind right then... I knew that the Lord had worked a miracle."[1] From that day on, he disavowed the blues and pledged to use his musical talents to serve God.[2]
He and his wife, known as Mother Marie, founded St. Mark Holiness Church in Roanoke Rapids, North Carolina.[2] Manning began composing sacred songs, performing for prayer meetings and revivals, and releasing gospel recordings. With his wife and their six children he developed a distinctive gospel sound by the late 1960s.[1] Marie Manning sings powerful old-time gospel while Bishop Manning plays hard-driving guitar. Along with their five children they formed the Manning Family gospel singers.[3]
Manning has also been a long-time host of a Sunday morning radio show on WSMY in Weldon, North Carolina.[3]
Bishop Manning’s grown children now take the lead when he performs with his family, but Manning continues to play at St. Mark Holiness Church and St. Mark Mission in Scotland Neck, North Carolina. Manning is credited with keeping an older gospel tradition alive.[1]
Bishop Manning and his wife Marie have been invited to perform throughout the United States and Europe, but the needs of their parishioners have kept them rooted to their home county.
Folk Heritage Award
In 2003, Bishop Manning won a North Carolina Arts Council Folk Heritage Award.[4]
The Award "recognizes individuals throughout North Carolina who have demonstrated long-time contributions and commitments to the cultural life — and, in particular, the artistic expressions — of their local communities."[5]
It is awarded to North Carolina’s "most eminent folk artists" in order to "deepen awareness of the rich and diverse cultural traditions of people in North Carolina."[6]
Bishop Dready Manning Day
Mayor Drewery N. Beale, mayor of Roanoke Rapids, NC, proclaimed April 8, 2003 "Bishop Dready Manning Day" in that city. The Proclamation listed six celebratory clauses that document Manning's history and contributions.
http://en.wikipedia.org/wiki/Bishop_Dready_Manning
Hard Luck & Trouble
Bishop Dready Manning and his family perform in Durham NC at West
Village for the Warehouse Blues series hosted by Music Maker Relief
Foundation. This song features Mrs. Manning.
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