Happy New Year!
1874 Henry Thomas* 1)
1884 Jim Jackson* 1)
1885 Papa Charlie
Jackson* 1)
1890 Charley Jordan*
1885- Funny Papa
Smith*/+ 1)
1940
1895 Oscar "Buddy"
Woods* 1)
1895 Trixie Smith* 1)
1896 Arthur "Blind"
Blake* 1)
1896 Tommy Johnson*
1)
1905 Ed Bell* 1)
1906 Al Broussard*
1918 Johnny "Man"
Young*
1921 Big Jack
Reynolds* 1)
1923 Sydney Maiden* 1)
1934 Bishop
Dready Manning* 1)
1939 Bob Stroger* 1)
1941 Barry Goldberg*
1942 Mighty Mo
Rodgers* 1)
1950 Bernd Kleinow*
1)
1950 Omar Kent Dykes*
1)
1950 Henry Thomas+ 1)
1951 Hugh Holmes
(Professor Harp)* 1)
1952 Al Copley*
1953 Tampa Blue*
1954 Alex Schultz* 1)
1958 Carlos del Junco*
1)
1960 Ed Bell+ 1)
1962 Tommy McClennan+
1)
1963 Raúl Alemany* 1)
1964 Ruthie Foster* 1)
1967 Lazer Lloyd*
1980 Matt
S. Force*
1984 Alexis Korner+
1988 Frank Stokes*
2001 Al Broussard+
2014 Ernest "Rockin'
Tabby" Thomas+
2015 Jeff Golub+
Bo Weavil Jackson 1)
Buddy Boy Hawkins )
Charles Segar 1)
"Stovepipe No. 1"
Sam Jones *before 1900
Tom Freitag*
R.I.P.
Ernest "Rockin' Tabby" Thomas +01.01.2014
http://www.smokestacklightnin.com/bios/Tabby%20Thomas.htm
Ernest "Rockin' Tabby" Thomas ist am Neujahrstag 2014 im Alter von 84 Jahren
in seiner Heimatstadt Baton Rouge (Louisiana) verstorben. Seine
musikalische Laufbahn startete der Sänger, Gitarrist und Klavierspieler
in San Francisco, wo er während seiner Zeit bei der US-Army stationiert
war. Thomas gewann im Rahmen eines Talentwettbewerbs einen
Plattenvertrag von Hollywood Records, doch da die erste Single nicht
erfolgreich war, trennte sich das Label wieder von ihm. Zurück in Baton
Rouge lief es besser, ab Mitte der 50er-Jahre nahm er weitere Platten
auf und mit "Voodoo Party" (Excello) gelang im 1962 sogar ein Hit. In
den 70ern gründete Ernest Thomas mit Blue Beat eine eigene Plattenfirma
und später auch den Club Tabby's Blues Box, der weit über die Grenzen
von Baton Rouge hinaus bekannt wurde.
Dabei lag "Rockin' Tabby"
besonders der Nachwuchs am Herzen, Künstler wie Tab Benoit, Kenny Neal,
Larry Garner und viele andere wurden von ihm gefördert. Thomas hat die
Bluesszene in Louisiana über drei Jahrzehnte maßgeblich mitgeprägt und
engagierte sich gemeinsam mit seiner großen Familie auch in der Baton
Rouge Blues Foundation zur Erhaltung der Blues-Tradition. Sein Sohn
Chris Thomas King konnte überaus erfolgreich im Musik- (über 10
Millionen verkaufte Tonträger allein in den USA) und Filmgeschäft Fuß
fassen, er wirkte unter anderem in den Kinostreifen "O Brother, Where
Art Thou" und "The Soul Of A Man" mit.
Ernest "Rockin' Tabby" Thomas
spielte ganz in der Tradition des sogenannten Louisiana-Swamp-Blues und
trat bis zu einem schweren Verkehrsunfall vor 12 Jahren regelmäßig auf.
2004 erlitt er zudem einen Schlaganfall, woraufhin er noch im gleichen
Jahr seinen Club schließen musste. Thomas engagierte sich aber noch mit
lokalen Radiosendungen für den Blues, bevor die gesundheitlichen
Probleme immer größer wurden. Vier Tage vor seinem 85. Geburtstag sei er
"friedlich und eines natürlichen Todes" in seinem Haus in Baton Rouge
gestorben, teilte seine Familie mit.
http://www.bluesnews.de/news-reader/items/ernest-rockin-tabby-thomas-verstorben.html
Ernest „Rockin’ Tabby“ Thomas (* 5. Januar 1929 in Baton Rouge, Louisiana; † 1. Januar 2014 ebenda[1]) war ein US-amerikanischer Gitarrist und Sänger des Swamp Blues.
Thomas begann seine Karriere als Musiker während der Ableistung des Militärdienstes bei der US-Luftwaffe. Während der 1950er Jahre sang er in einer R&B-Band und nahm erste Schallplatten auf, beeinflusst von Roy Brown. Ab 1954 begann seine Zusammenarbeit mit dem Produzenten Jay Miller, am erfolgreichsten war der Song Hoodoo Party, der 1962 auf Excello Records erschien. 1981 eröffnete Thomas in Baton Rouge den Veranstaltungsort Tabby's Blues Box, der bis 2004 bestand. Tabby Thomas ist der Vater des Musikers und Schauspielers Chris Thomas King.[2]Tabby Thomas verstarb kurz vor seinem 85. Geburtstag am Neujahrstag 2014 in seinem Haus in Baton Rouge friedlich eines natürlichen Todes.
http://de.wikipedia.org/wiki/Tabby_Thomas
Ernest Joseph "Tabby" Thomas, (January 5, 1929 – January 1, 2014), also known as Rockin' Tabby Thomas, was an American blues musician.[1] He sang and played the piano and guitar, and specialized in a substyle of blues indigenous to southern Louisiana called swamp blues.[2]Life and career
Thomas was born and grew up in Baton Rouge, Louisiana. After graduating he served in the U.S. Air Force, and while serving won a talent contest on KSAN radio in San Francisco in 1959. After making a few unsuccessful recordings for Hollywood Records,[3] he returned to Baton Rouge. He recorded for several small local labels, before he became more successful with Excello Records in Crowley, for whom his records included "Hoodo Party" in 1961.[4] He also worked in various jobs, including a time with Ciba Geigy where he was a union steward.[2]
He became one of the best known blues musicians in Baton Rouge with his band the Mellow, Mellow Men, but briefly retired from performing in the late 1960s to set up his own record label, Blue Beat, which released his own recordings and those of other local musicians.[3] In 1978, with other members of his family including his son Chris Thomas King,[5] he reopened a rundown building on North Boulevard. He ran the venue as an authentic blues club, Tabby's Blues Box and Heritage Hall. The club moved in 2000 and finally closed in November 2004. Thomas also became a popular performer in the UK and Europe, where he made regular appearances.[2]
Thomas had a serious automobile accident in 2002 and a stroke in 2004, which affected his playing but not his singing. He later hosted the radio show, Tabby's Blues Box, on Baton Rouge stations WBRH-FM and KBRH-AM. He died in the early hours of January 1, 2014.
Tabby Thomas - I Can't Hold Out
Hugh Holmes (Professor Harp) *1951
http://www.professorharp.com/bio.htm
Although born and raised as Hugh Holmes of Boston, Mass.,
the emanations from his harmonica and vocals make it clear that Professor
Harp has the blues of Texas and the whole wide Delta coursing through his
veins.
The Professor was a rock 'n' roll drummer until '69, when
the Boston blues revival and a sterling performance he caught of blues
harmonica great George Allen 'Harmonica' Smith, combined to lure him
away from drums and into a full court press on the blues harp. "Undaunted!"
he brags, by the vicissitudes of his life as blues man, front man, every
kind of man, Professor Harp puts forth his commanding presence and
exceptional talent, night after night.
Primarily playing a sparse, yet
full-sounding brand of no-nonsense, no-frills Texas style blues, Professor
Harp specializes in what he calls, 'roots music'. "It's whatever makes me
feel good and moves me, so to speak." Indeed it has evolved while continuing to
move audiences for decades.
Under the influence of many diverse blues
greats, Professor Harp has developed a robust playing style. He often
utilizes the Leslie rotating-speaker sound system to give his harp a Hammond
organ timbre, while he alternately and simultaneously employs the standard or
traditional 'electrified' blues harp. The Professor tops this off by
singing the blues with an infectious fervor, supported at his strictest
insistence by only top-flight musicians on guitar, bass, and drums.
Professor Harp performed with various bands throughout the
Northeast including legends Solomon Burke and Luther 'Guitar Jr.'
Johnson and played live on NBC's Today Show. Among the legions of
hot performances at rocking blues clubs, the memories that often stand out
for The Professor are the nights his harp helped to swell the room, in a
spontaneous jam with his old mentor, the inimitable bluesman Muddy
Waters. It was the spring of '75 when a
friend first introduced Hugh to Muddy Waters.
Following his friend backstage at Boston's Paul's Mall, he found Muddy
immersed in a game of Casino with bassist Calvin Jones. Muddy was
unresponsive when it was suggested that Hughie Holmes should sit in on a
few numbers. Holmes and his friend backed off.
Yet, halfway
through his show Muddy stopped and asked where that harp player was.
The Professor was ready. Overcoming the sudden burning in his ears,
Harp climbed on stage and miraculously grabbed exactly the right
harmonica from his disorganized bag of harps. As usual he took the time to
grease it up with Vaseline, and still jumped in without slowing down the show
for a moment. From that day on Harp had a standing invitation to join in
whenever Muddy took the stage.
Harp says every show with
Muddy was a learning experience and he cites Muddy as his
greatest teacher. Muddy, in turn, called Hugh the professional of
the Harp. Solomon Burke called him Professor Harmonica
Holmes. After two greats anointed him with sobriquets, Hugh Holmes
decided it was time to split the difference and became Professor Harp.
http://www.professorharp.com/bio.htm
Professor Harp
Al Copley *01.01.1952
Alman LeGrande (Al) Copley (* 1952 in Buffalo, New York) ist ein US-amerikanischer Bluespianist und, gemeinsam mit dem Gitarristen Duke Robillard, Gründer der Band "Roomful of Blues".
Obwohl er in seiner Jugend einige Umzüge machen musste, erhielt er regelmäßigen Klavierunterricht. Fasziniert vom Boogie Woogie gründete er 1965 seine erste Band, Ponce de Leon & the Young Ones. Drei Jahre später gründete er Roomful of Blues. [1] Neben den Auftritten mit Roomful of Blues studierte er an der Berklee School of Music in Boston.
Sein Stil wurde stark von Big Joe Turner beeinflusst und umfasst verschiedene Richtungen wie Boogie Woogie, Swing und Barrelhouse. Seine Auftritte sind durch Energie charakterisiert und seine Liveauftritte erinnern an den Stil von Jerry Lee Lewis.
1984 verließ er die Gruppe um nach Europa zu gehen, wo er bei verschiedenen Festivals auftrat. Ende des Jahrzehnts begann er mit der Veröffentlichung von Soloalben. Nach einer kurzen Wiedervereinigung mit Roomful of Blues begann eine Zusammenarbeit mit dem Gitarristen Jimmie Vaughan, mit dem er in der Royal Albert Hall für Eric Clapton als Vorband spielte. [1]Die Freundschaft mit Eric Clapton führte dazu, dass er 1997 mit einer eigenen Band für Clapton als Vorband arbeitete. Die gesamten 1990er-Jahre veröffentlichte er weiter Soloalben, arbeitete aber auch mit Hal Singer zusammen und stellte eine eigene Band zusammen (Al Copley's Prophet Motive 1999).[1]
Als Pianist spielte er für Lou Rawls, The Fabulous Thunderbirds, Stevie Ray Vaughan, Ruth Brown, Jimmy Witherspoon, Snooks Eaglin, John Hammond Jr., Big Mama Thornton, George „Harmonica“ Smith, Otis Rush, Big Walter Horton, Helen Humes, Benny Waters, Hal Singer, Arnett Cobb, Scott Hamilton, Big Jay McNeely, Roy „Good Rockin“ Brown und andere oder trat mit ihnen auf.
http://de.wikipedia.org/wiki/Al_Copley
Al Copley (born Alman LeGrande Copley, 1952, Buffalo, New York) is a blues pianist who co-founded the American jump blues band Roomful of Blues[1] with guitarist Duke Robillard in Westerly, Rhode Island in 1967. In 1974 Count Basie called Roomful "the hottest blues band I've ever heard". In 1975 Roomful signed a recording contract with Island Records, thanks to support from Doc Pomus. After 16 years and 7 albums with Roomful, Copley relocated to Europe in 1984, where he still travels and performs extensively.
Strongly influenced by the music of Big Joe Turner, Copley's solo style spans several genres and defies categorisation, including (but certainly not limited to) swing, boogie-woogie and barrelhouse. Live performances are characterised by their energy and Copley's acrobatic approach to piano performance, in the style of Jerry Lee Lewis.
Copley has performed and recorded with Lou Rawls, the The Fabulous Thunderbirds, Stevie Ray Vaughan, Ruth Brown, Jimmy Witherspoon, Snooks Eaglin, John Hammond Jr., Big Mama Thornton, George "Harmonica" Smith, Otis Rush, Big Walter Horton, Helen Humes, Benny Waters, Hal Singer, Arnett Cobb, Scott Hamilton, Big Jay McNeely, Roy "Good Rockin" Brown and a host of others.
http://en.wikipedia.org/wiki/Al_Copley
Al Copley at the Ocean House
Al Broussard *01.01.1906,
+05.08.2001
The lights of Bourbon Street seemed to dim a bit with the passing of one of its most sparkling entertainers. Pianist and vocalist Al Broussard, who first played "the street" in 1925 and spent a quarter-century charming audiences at the Tricou House (previously the 711 Club), died Aug. 5 at the age of 95.
As Broussard liked to say, he was born on Orleans Avenue in New Orleans in Orleans Parish. He began his career as a young boy playing solo piano at house parties, later moving on to perform at Storyville clubs such as the Big 25 and the Two Black Crows. "I could sing before I could play the piano," Broussard said last April, just before his big 95th birthday bash at the Tricou House. "What people don't realize is that we didn't have no radio or television. Somebody had to whistle a song for you or sing it."
Broussard headed his own orchestra in the mid-1920s, but he was best known for reigning from center stage, alone at a piano. Wearing his signature red-orange fedora with matching suspenders, the always-youthful Broussard offered -- as the title of his 1984 Rabadash album says -- The Music of a Lifetime at his regular Bourbon Street gig. Between a blend of ragtime, jazz, blues, stride and boogie-woogie numbers, he told stories, chatted with his admirers, and flirted with the women in the audience.
In the early 1940s, Broussard stepped away from the music business and opened a junkyard, continuing to play a piano that he kept amidst the scrap iron. He once remembered how piano legend Professor Longhair used to visit him there and play the old upright. Broussard returned to music by launching his long-running gig at the 711, now the Tricou House.
Until a car accident several years ago, Broussard would amaze onlookers by arriving at his job at the Tricou House via moped. And it was last month at the Tricou House that Broussard was first struck down. Later that week, he called the club from the hospital. "I had a heart attack after the last note of the last song of the last gig of the weekend," he said. Broussard added that at the time he thought he was simply suffering "indigestion and a little bit of the blues."
Last week, during the Aug. 11 jazz funeral procession in his honor, Broussard paid a last visit to the Tricou House. The horse-drawn hearse pulled to a stop at the club, where owner Fred Hendrix stood on the balcony and told a few wonderful stories about the entertainer. He remembered Broussard telling him that one of his secrets to longevity was to drink only good liquor. With that advice in mind, Hendrix declared he'd take a drink of Johnny Walker Red for himself and one for Al. He raised his glass and chugged down the first shot -- and after refilling it, proceeded to pour the glass' contents down onto the sidewalk below.
Friends and family cheered before they resumed behind the Treme Brass Band, on the procession that would finally take Broussard away from Bourbon Street.
Al Broussard - Back door blues
Harvey Mandel, Charlie Musselwhite & Barry Goldberg - Cherry Jam
Johnny "Man" Young *01.01.1918
:format(jpeg):mode_rgb():quality(96)/discogs-images/R-3697412-1340772384-3842.jpeg.jpg)
Johnny Young (January 1, 1918 – April 18, 1974)[1] was an American blues singer, mandolin player and guitarist, significant as one of the first of the new generation of electric blues artists to record in Chicago after the Second World War, and as one of the few mandolin players to have been active in blues music in the post-war era. His nickname, "Man", came from his use of the mandolin.
Young was born in Vicksburg, Mississippi,[2] and played in string bands in Mississippi in the 1930s. He also claimed to have worked with Sleepy John Estes in Tennessee before moving to Chicago in 1940. By 1943 he was working with John Lee "Sonny Boy" Williamson and Muddy Waters and in the late 1940s he became a regular player on Maxwell Street, often with his cousin, guitarist Johnny Williams, as well as playing in clubs with Williams and Little Walter. His first recording was made in 1947 for the Ora Nelle label and featured Young singing "Money Taking Woman" on the A-side, accompanied by Williams, who sang "Worried Man Blues" on the B-side. A second session in late 1948, with Young and Williams joined by Snooky Pryor on harmonica, resulted in a single being released under the name "Man Young" on the Planet label. A further session for the J.O.B. label was unissued, and after a session playing guitar behind Snooky Pryor for Vee-Jay Young retired from performance for a time in the 1950s.[3][4]
The rise of white interest in blues in the early 1960s resulted in Young emerging from retirement in 1963, and he recorded for a number of labels including Vanguard, Testament, Arhoolie and Blue Horizon in the 1960s and early 1970s.Young died in Chicago in 1974 from a heart attack and was buried in Lincoln cemetery, Urbana, Illinois.
Young was born in Vicksburg, Mississippi,[2] and played in string bands in Mississippi in the 1930s. He also claimed to have worked with Sleepy John Estes in Tennessee before moving to Chicago in 1940. By 1943 he was working with John Lee "Sonny Boy" Williamson and Muddy Waters and in the late 1940s he became a regular player on Maxwell Street, often with his cousin, guitarist Johnny Williams, as well as playing in clubs with Williams and Little Walter. His first recording was made in 1947 for the Ora Nelle label and featured Young singing "Money Taking Woman" on the A-side, accompanied by Williams, who sang "Worried Man Blues" on the B-side. A second session in late 1948, with Young and Williams joined by Snooky Pryor on harmonica, resulted in a single being released under the name "Man Young" on the Planet label. A further session for the J.O.B. label was unissued, and after a session playing guitar behind Snooky Pryor for Vee-Jay Young retired from performance for a time in the 1950s.[3][4]
The rise of white interest in blues in the early 1960s resulted in Young emerging from retirement in 1963, and he recorded for a number of labels including Vanguard, Testament, Arhoolie and Blue Horizon in the 1960s and early 1970s.Young died in Chicago in 1974 from a heart attack and was buried in Lincoln cemetery, Urbana, Illinois.
Johnny "Man" Young - Let Me Ride Your Mule
"Stovepipe No. 1" Sam Jones *before 1900
"Stovepipe No. 1" was one-man band and Jug Band musician Sam Jones, who was born sometime before 1900. He was a well-known figure on the George Street red light district in Cincinnati as a street musician who billed himself as "Daddy Stovepipe." He probably did not know of the existence of the Maxwell Street one-man band "Daddy Stovepipe", aka Johnny Watson, until he went to Richmond, Indiana to record for Gennett on May 16, 1924. Doubtless the Gennett staffers would have informed Jones that they had already recorded the Chicago "Daddy Stovepipe" just six days before. Although the Gennett ledgers betray compromise entries such as "Stovepipe Jazz Band" and "Stovepipe Jones", it appears that "Stovepipe No. 1" is what Jones finally settled on, to assert his claim that he was the "original" Stovepipe.
Jones had a good reason for using this odd moniker, as his main musical instrument was, in fact, a real stovepipe, modified and used like a jug. He made use of it on 6 titles for Gennett, and then in the Summer of 1924 for 20 titles for Columbia in New York, of which only six ultimately were issued. These sessions are in an extremely primitive folk idiom, mixing up Gospel tunes with numbers such as "Turkey in the Straw" and "Arkansas Traveler". Sam Jones was a performer who straddled the fence between Blues, Gospel and the Country string band tradition.
Given his unusual choice of instrument, Sam Jones was a natural for Jug bands, and in April 1927 he and David Crockett of the King David Jug Band recorded for Okeh in St. Louis. In 1928 Jones traveled to Chicago with a George Street associate, Bob Coleman, to accompany the latter in his first Paramount recordings as "Kid Cole". Jones probably participated in the Cincinnati Jug Band session for Paramount the following January. His final date was in Atlanta with the King David Jug Band in December 1930, again for Okeh. After that, nothing more is known of the man who called himself "Stovepipe No. 1."
Fisher's Hornpipe played by Stovepipe No.1 - 1924
Matt S. Force (Matthias Kraft) *01.01.1980
machte sich in der Bremer Musikszene schnell einen Namen als talentierter Gitarrist, seine Lehrer waren u.a. Holger Larisch und Ulrich Busch
studierte E-Gitarre, Konzertgitarre und Gesang in Bremen, Rostock und Berlin
ist professioneller Musiker
diverse professionelle Projekte im Bereich Klassik sowie Rock-Pop/Jazz, u.a.Goethe Theater Bremen, Europa Chor Akademie, Nikita Koshkin, Aaron Grahovac Ensemble, Benjamin Verdery
zahlreiche Studioaufenthalte, CD-Einspielungen, Sessions, Veröffentlichungen
etliche Konzerte in verschiedenen Formationen und verschiedenen Stilistiken (Rock, Pop, Blues, Jazz; Klassik)
Fernsehkonzert: "Matt and the Strangers" aus Berlin
Live-Musik - präsentiert von Kanal 21, BielefeldDie Musik von "Matt and the Strangers" nennt sich Psychedelic Blues Rock und erinnert an die 60er-Jahre. Beim "Fernsehkonzert" gibt die Band aus Berlin live alles, schließlich plant sie auch ein Live-Album. Im Backstage-Interview verrät Sänger Matt Force, wie er seine Songs schreibt. Prominente Musikerkollegen sind von dem Können der Band begeistert. "Matt and the Strangers" waren bereits auf nationalen und internationalen Touren unterwegs - und stehen jetzt beim Fernsehkonzert von Kanal 21 auf der Bühne.
https://www.nrwision.de/programm/sendungen/ansehen/fernsehkonzert-matt-and-the-strangers.html
TV-Konzert MATT AND THE STRANGERS 5.6.14
Keine Kommentare:
Kommentar veröffentlichen