1924 Slim Harpo*
1936 Katie Webster*
1964 Ralf Heinz Fuckardt*
Jelly Roll*
Johnny Childs*
Happy Birthday
Slim Harpo *11.01.1924
Slim Harpo (eigentlich James Moore; * 11. Januar 1924 in Lobdel, Louisiana; † 31. Januar 1970 in Baton Rouge, Louisiana) war ein US-amerikanischer Blues-Musiker, ein Virtuose auf der Mundharmonika. Als Waise musste Slim Harpo bereits früh hart arbeiten. Nach dem Krieg begann er, in den Clubs von Baton Rouge als „Harmonica Slim“ aufzutreten. Später begleitete er seinen Schwager Lightnin’ Slim sowohl im Studio als auch bei Auftritten.
1957 machte er erste eigene Aufnahmen. Seine Debüt-Single war ein Mix aus I’m A King Bee und I Got Love If You Want It. Beeinflusst von Jimmy Reed brachte Slim Harpo eine Reihe von Hits heraus, darunter Rainin’ In My Heart (1961), I Love The Life I Live, Buzzin’ (instrumental), Little Queen Bee (1964) und Baby Scratch My Back (1966). Slim Harpos Hits I’m A King Bee und Shake Your Hips (1966) wurden später auch von den Rolling Stones aufgenommen. Weitere Gruppen, die Titel von Slim Harpo aufnahmen, waren die Pretty Things, die Yardbirds und Them.
Slim Harpo war nie ein Vollzeit-Musiker. In den 1960ern hatte er sein eigenes Transportunternehmen. Er starb 1970 an einem Herzinfarkt. 1985 wurde er in die Blues Hall of Fame aufgenommen, im Jahr 2004 folgte das Album Raining in my Heart.
James Isaac Moore (January 11, 1924 – January 31, 1970),[1][nb 1] known as Slim Harpo, was an American blues musician, a leading exponent of the swamp blues style, and "one of the most commercially successful blues artists of his day".[2] His most successful and influential recordings included "I'm a King Bee" (1957), "Rainin' In My Heart" (1961), and "Baby Scratch My Back" (1966) which reached no.1 on the R&B chart and no.16 on the US pop chart. A master of the blues harmonica, his stage name was derived from the popular nickname for that instrument, the "harp".[3]
Life and career
James Moore was born in Lobdell, Louisiana, United States,[4] the eldest child in his family. After his parents died he worked as a longshoreman and construction worker in New Orleans during the late 1930s and early 1940s. Influenced in style by Jimmy Reed, he began performing in Baton Rouge bars under the name Harmonica Slim, and also accompanied his brother-in-law Lightnin' Slim in live performances.[2][1][5][6][7]
He started his own recording career in March 1957, working with A&R man and record producer J. D. "Jay" Miller in Crowley, Louisiana.[8] At his wife's suggestion, he took the name Slim Harpo in order to differentiate himself from another performer called Harmonica Slim.[9] His first solo release, for Excello Records based in Nashville, Tennessee, was "I'm a King Bee", backed with "I Got Love If You Want It." The other musicians on the recording were Gabriel "Guitar Gable" Perrodin (guitar); John "Fats" Perrodin (bass); and Clarence "Jockey" Etienne (drums).[8] Although Harpo played guitar in his live shows, he usually used other guitarists when recording.[10] The record was a regional hit, but failed to make the national charts.[5] He followed up with several more singles for Excello before having his first chart hit, "Rainin' In My Heart", in early 1961. The record reached no.17 on the Billboard R&B chart and no.34 on the US pop chart,[11] and it was followed soon after with an LP of the same name and further singles. Many of his songs were co-written with his wife, Lovelle Moore, although she never received credit.[9][7]
Never a full-time musician, Harpo had his own trucking business during the 1960s.[7] According to writer Ryan Whirty, "Harpo and his band needed to tour constantly and play as much as possible; times were frequently lean financially, and the men had to scrape up whatever they could get."[2] But, by 1964, several of his tracks had been released on albums and singles in the UK,[8] and British rock bands like the Rolling Stones, the Pretty Things, the Yardbirds, the Kinks, Pink Floyd and Them began to feature versions of his songs in their early repertoires. The Moody Blues reportedly took their name from an instrumental track of Slim's called "Moody Blues".[7]
Writer Cub Koda noted that: "Harpo was more adaptable than [Jimmy] Reed or most other bluesmen. His material not only made the national charts, but also proved to be quite adaptable for white artists on both sides of the Atlantic... A people-pleasing club entertainer, he certainly wasn't above working rock & roll rhythms into his music, along with hard-stressed, country & western vocal inflections...By the time his first single became a Southern jukebox favorite, his songs were being adapted and played by white musicians left and right. Here was good-time Saturday-night blues that could be sung by elements of the Caucasian persuasion with a straight face."[1]
He had his biggest commercial success in 1966, when the instrumental "Baby Scratch My Back" reached no.1 on the R&B chart and no.16 on the US pop chart. Harpo described it as "an attempt at rock & roll for me." Like his previous records, it was recorded with producer J. D. Miller and the regular Excello musicians, including guitarist Rudy Richard, bassist James Johnson and drummer Jesse Kinchen, in Crowley, Louisiana.[2][8] However, disagreements with Miller and a change in the record company's ownership led to two follow-ups, "Tip On In" and "Tee-Ni-Nee-Ni-Nu," being recorded in Nashville with new producer Robert Holmes.[5] Both made the R&B charts.[11] He recorded his 1968 album Tip On In in Nashville, using musicians Charles Hodges (organ), Mabon "Teenie" Hodges (guitar); Leroy Hodges (bass) and Howard Grimes (drums), who later became more widely known as the Hi Rhythm Section. He also recorded versions of Charlie Rich's "Mohair Sam" and Johnny Cash's "Folsom Prison Blues".[8]
He recruited Lightnin' Slim to his touring band in 1968,[5] and toured widely in the late 1960s, mainly reaching rock audiences. In January 1970, with his first scheduled tour of Europe and recording sessions planned, he died suddenly in Baton Rouge, of a heart attack at the age of 46, despite being "one of the cleanest living bluesmen of his era".[1][9] He was buried in Mulatto Bend Cemetery in Port Allen, Louisiana.[12]
Influence
The riff from Harpo's 1966 hit "Shake Your Hips", which itself was derivative of Bo Diddley's "Bring It to Jerome", was used in the ZZ Top 1973 hit "La Grange", and the Rolling Stones covered the song on their 1972 album Exile On Main Street. "Shake Your Hips" was also covered by Joan Osborne on her 2012 album Bring It On Home. Other notable covers of Slim Harpo songs include "I Got Love If You Want It" by the Kinks, "I'm the Face" by the Who (when they were still called the High Numbers), "I'm A King Bee" by the Rolling Stones, Muddy Waters, the Grateful Dead, Pink Floyd and the Doors, and "Don't Start Crying Now" by Them with Van Morrison. Harpo's recordings were also widely covered in modern African-American circles, including by Gil Scott-Heron on his final album. Scott-Heron covered "I'll Take Care of You" on his record I'm New Here. The song is also featured on the remix album featuring Jamie XX called We're New Here. In 2012 a Jack Daniel's Tennessee Honey Whiskey commercial featured Harpo's song "I'm a King Bee" covered by San Francisco blues band the Stone Foxes.
The Slim Harpo Music Awards, awarded annually in Baton Rouge, are named in his honour. Proceeds from the awards benefit the "Music in the Schools" outreach program.
Life and career
James Moore was born in Lobdell, Louisiana, United States,[4] the eldest child in his family. After his parents died he worked as a longshoreman and construction worker in New Orleans during the late 1930s and early 1940s. Influenced in style by Jimmy Reed, he began performing in Baton Rouge bars under the name Harmonica Slim, and also accompanied his brother-in-law Lightnin' Slim in live performances.[2][1][5][6][7]
He started his own recording career in March 1957, working with A&R man and record producer J. D. "Jay" Miller in Crowley, Louisiana.[8] At his wife's suggestion, he took the name Slim Harpo in order to differentiate himself from another performer called Harmonica Slim.[9] His first solo release, for Excello Records based in Nashville, Tennessee, was "I'm a King Bee", backed with "I Got Love If You Want It." The other musicians on the recording were Gabriel "Guitar Gable" Perrodin (guitar); John "Fats" Perrodin (bass); and Clarence "Jockey" Etienne (drums).[8] Although Harpo played guitar in his live shows, he usually used other guitarists when recording.[10] The record was a regional hit, but failed to make the national charts.[5] He followed up with several more singles for Excello before having his first chart hit, "Rainin' In My Heart", in early 1961. The record reached no.17 on the Billboard R&B chart and no.34 on the US pop chart,[11] and it was followed soon after with an LP of the same name and further singles. Many of his songs were co-written with his wife, Lovelle Moore, although she never received credit.[9][7]
Never a full-time musician, Harpo had his own trucking business during the 1960s.[7] According to writer Ryan Whirty, "Harpo and his band needed to tour constantly and play as much as possible; times were frequently lean financially, and the men had to scrape up whatever they could get."[2] But, by 1964, several of his tracks had been released on albums and singles in the UK,[8] and British rock bands like the Rolling Stones, the Pretty Things, the Yardbirds, the Kinks, Pink Floyd and Them began to feature versions of his songs in their early repertoires. The Moody Blues reportedly took their name from an instrumental track of Slim's called "Moody Blues".[7]
Writer Cub Koda noted that: "Harpo was more adaptable than [Jimmy] Reed or most other bluesmen. His material not only made the national charts, but also proved to be quite adaptable for white artists on both sides of the Atlantic... A people-pleasing club entertainer, he certainly wasn't above working rock & roll rhythms into his music, along with hard-stressed, country & western vocal inflections...By the time his first single became a Southern jukebox favorite, his songs were being adapted and played by white musicians left and right. Here was good-time Saturday-night blues that could be sung by elements of the Caucasian persuasion with a straight face."[1]
He had his biggest commercial success in 1966, when the instrumental "Baby Scratch My Back" reached no.1 on the R&B chart and no.16 on the US pop chart. Harpo described it as "an attempt at rock & roll for me." Like his previous records, it was recorded with producer J. D. Miller and the regular Excello musicians, including guitarist Rudy Richard, bassist James Johnson and drummer Jesse Kinchen, in Crowley, Louisiana.[2][8] However, disagreements with Miller and a change in the record company's ownership led to two follow-ups, "Tip On In" and "Tee-Ni-Nee-Ni-Nu," being recorded in Nashville with new producer Robert Holmes.[5] Both made the R&B charts.[11] He recorded his 1968 album Tip On In in Nashville, using musicians Charles Hodges (organ), Mabon "Teenie" Hodges (guitar); Leroy Hodges (bass) and Howard Grimes (drums), who later became more widely known as the Hi Rhythm Section. He also recorded versions of Charlie Rich's "Mohair Sam" and Johnny Cash's "Folsom Prison Blues".[8]
He recruited Lightnin' Slim to his touring band in 1968,[5] and toured widely in the late 1960s, mainly reaching rock audiences. In January 1970, with his first scheduled tour of Europe and recording sessions planned, he died suddenly in Baton Rouge, of a heart attack at the age of 46, despite being "one of the cleanest living bluesmen of his era".[1][9] He was buried in Mulatto Bend Cemetery in Port Allen, Louisiana.[12]
Influence
The riff from Harpo's 1966 hit "Shake Your Hips", which itself was derivative of Bo Diddley's "Bring It to Jerome", was used in the ZZ Top 1973 hit "La Grange", and the Rolling Stones covered the song on their 1972 album Exile On Main Street. "Shake Your Hips" was also covered by Joan Osborne on her 2012 album Bring It On Home. Other notable covers of Slim Harpo songs include "I Got Love If You Want It" by the Kinks, "I'm the Face" by the Who (when they were still called the High Numbers), "I'm A King Bee" by the Rolling Stones, Muddy Waters, the Grateful Dead, Pink Floyd and the Doors, and "Don't Start Crying Now" by Them with Van Morrison. Harpo's recordings were also widely covered in modern African-American circles, including by Gil Scott-Heron on his final album. Scott-Heron covered "I'll Take Care of You" on his record I'm New Here. The song is also featured on the remix album featuring Jamie XX called We're New Here. In 2012 a Jack Daniel's Tennessee Honey Whiskey commercial featured Harpo's song "I'm a King Bee" covered by San Francisco blues band the Stone Foxes.
The Slim Harpo Music Awards, awarded annually in Baton Rouge, are named in his honour. Proceeds from the awards benefit the "Music in the Schools" outreach program.
Johnny Childs - Leaving in the Morning (Webster Hall, NYC)
Ralf Heinz Fuckardt *11.01.1964
https://www.facebook.com/profile.php?id=100001815677697&fref=ts
Geboren 1964 nicht in Herne sondern in Düsseldorf
1990 das erste Musikinstrument “ Klarinette”
1992 der Wechsel zum “ Saxophone ”
1996 der Wechsel zur “ Bluesharp “
1998 Mitgründer der Band “Route 49”
2000 - 2003
Gastmusiker in verschiedenen Bands und vielen Sessions!
2003 -heute
Dozent der VHS Düsseldorf “ Bluesharp”
2006 - heute
Mitglied der “ Haranni Hurricanes “
Harps
Hohner - Marineband deluxe, Special 20 classic
Amp
Fender Pro Junior, WEM Westminster
Effekte
Danecho - Delay
Mikrofon
BBH Microphones Eigenbauten
1990 das erste Musikinstrument “ Klarinette”
1992 der Wechsel zum “ Saxophone ”
1996 der Wechsel zur “ Bluesharp “
1998 Mitgründer der Band “Route 49”
2000 - 2003
Gastmusiker in verschiedenen Bands und vielen Sessions!
2003 -heute
Dozent der VHS Düsseldorf “ Bluesharp”
2006 - heute
Mitglied der “ Haranni Hurricanes “
Harps
Hohner - Marineband deluxe, Special 20 classic
Amp
Fender Pro Junior, WEM Westminster
Effekte
Danecho - Delay
Mikrofon
BBH Microphones Eigenbauten
The Autumn Wind feat BB Harpy (Blues Harp) HD
Music/Text, Audio/Video editing, Vocal: Krzysztof LUDWINSKI
Lead Guitar: Tomek CHOJNOWSKI "Mr. Feeling"
Blues Harp: Ralf Heinz FUCKARDT "BB Harpy"
Lead Guitar: Tomek CHOJNOWSKI "Mr. Feeling"
Blues Harp: Ralf Heinz FUCKARDT "BB Harpy"
https://www.youtube.com/watch?v=9D6LWw12mz8
https://www.facebook.com/jelly.roll.56
https://www.facebook.com/blackpattimusic?fref=ts
Jelly Roll *11.01.
https://www.facebook.com/jelly.roll.56
https://www.facebook.com/blackpattimusic?fref=ts
Benannt nach einem obskuren Plattenlabel, hat sich das Duo ganz der akustischen schwarzen Roots- und Bluesmusik verschrieben.Der mit diversen Preisen ausgezeichnete Gitarrist und Mundharmonikaspieler Peter Crow C. ist seit etlichen Jahren auf Europas Blues-und Jazzbühnen unterwegs und begeistert nicht allein durch sein virtuoses Gitarrenspiel und seinen markanten Gesang, sondern auch durch seine Qualitäten als Entertainer.
In Mr. Jelly Roll hat Peter Crow C. seinen kongenialen musikalischen Partner gefunden. Der erst 21-jährige gilt als neues Ausnahmetalent in der Welt des Blues. So wurde bereits Europas großes Plattenlabel Bear Family Records auf ihn aufmerksam. Neben Gitarre und Kontrabass spielt er das fast vergessene Bluesinstrument Mandoline. Um die vielen ausgetretenen Pfade dieses Genres zu meiden, schreiben Black Patti ihre Songs und Arrangements selber. Mit zweistimmigem Gesang, beeindruckender Instrumentenbeherrschung und ansteckender Spielfreunde erobern Black Patti ihr Publikum im Sturm.
In Mr. Jelly Roll hat Peter Crow C. seinen kongenialen musikalischen Partner gefunden. Der erst 21-jährige gilt als neues Ausnahmetalent in der Welt des Blues. So wurde bereits Europas großes Plattenlabel Bear Family Records auf ihn aufmerksam. Neben Gitarre und Kontrabass spielt er das fast vergessene Bluesinstrument Mandoline. Um die vielen ausgetretenen Pfade dieses Genres zu meiden, schreiben Black Patti ihre Songs und Arrangements selber. Mit zweistimmigem Gesang, beeindruckender Instrumentenbeherrschung und ansteckender Spielfreunde erobern Black Patti ihr Publikum im Sturm.
Black Patti, named after a short-lived Jazz/Blues record label in 1927, has dedicated themselves to the early roots of acoustic blues. The German duo consists of professional musicians Peter Crow C. (guitar, slide, harmonica, vocals) and Ferdinand Kraemer (a.k.a. Mr. Jelly Roll, guitar, mandolin, vocals).
Taking the road typically less travelled by today’s performers of this genre,
Black Patti draws upon inspiration provided by early Blues artists to write and arrange their own music. With a two-voiced harmony, impressive instrument mastery and a capturing stage presence, Black Patti has taken the European Blues scene by storm, with their own nuanced version of early American Blues. Black Patti is not a Blues cover band. Black Patti writes and plays their own innovative Songs, arrangements and interpretations of early, traditional American Blues.
Taking the road typically less travelled by today’s performers of this genre,
Black Patti draws upon inspiration provided by early Blues artists to write and arrange their own music. With a two-voiced harmony, impressive instrument mastery and a capturing stage presence, Black Patti has taken the European Blues scene by storm, with their own nuanced version of early American Blues. Black Patti is not a Blues cover band. Black Patti writes and plays their own innovative Songs, arrangements and interpretations of early, traditional American Blues.
Black Patti - Illinois Blues
Black Patti live in der Kneipenbühne am 15.2.2014, Teil 1
Katie Webster *11.01.1936
Katie
Webster (* 11. Januar 1936 in Houston; † 5. September 1999 in League
City, Texas) war eine US-amerikanische Jazz-Pianistin und Sängerin.
Sie
war teils indianischer, teils afro-amerikanischer Abstammung und
hauptsächlich durch die Einspielung des Klavierparts in dem Otis
Redding-Hit I’m sitting on the dock of the bay bekannt geworden. Sie
wurde auch – nach dem Titel ihres bekanntesten Albums – als The Swamp
Boogie Queen bezeichnet.
Ihr Geburtsname war Kathryn Jewel
Thorne. Sie lernte Gospelsongs von ihrer Mutter, machte in den 50er und
60er Jahren internationale Tourneen mit dem Soulmusiker Otis Redding und
ist auf Platten mit Swamp Blues-Musikern wie Lazy Lester zu hören. Von
1964 bis 1967 spielte sie in der Band von Otis Redding. Der
internationale Durchbruch als Solistin gelang ihr in den 1980er Jahren
mit unzähligen Europatourneen und einem Plattenvertrag bei
Alligator-Records. Sie ließ sich nie „eindeutigen“ Stilen wie Blues oder
Boogie Woogie zuordnen, sondern spielte Jazz, Blues, Boogie Woogie,
Rhythm and Blues, Swamp Blues, verjazzte Popsongs sowie Gospel und
Spirituals. Dazu spielte sie in Zydeco/Cajun-Bands, musizierte zusammen
mit dem Blues-Musiker Robert Cray und unterhielt Touristen in New
Orleans’ Bourbon Street.
Nach einem 1993 erlittenen Schlaganfall
zog sich Katie Webster weitgehend aus dem Musikgeschäft zurück und lebte
mit ihrer Familie nahe Houston, Texas. Sie verstarb am 5. September
1999 an Herzversagen.
Katie Webster (January 11, 1936 – September 5, 1999), born Kathryn Jewel Thorne,[1] was an American boogie-woogie pianist.
Career
Webster
was initially best known as a session musician behind Louisiana
musicians on the Excello and Goldband record labels, such as Lightnin'
Slim and Lonesome Sundown.[2] She also played piano with Otis Redding in
the 1960s, but after his death went into semi-retirement.
In the
1980s she was repeatedly booked for European tours and recorded albums
for the German record label, Ornament Records. She cut You Know That's
Right with the band Hot Links, and the album that established her in the
United States; The Swamp Boogie Queen with guest spots by Bonnie Raitt
and Robert Cray.[2] She performed at both the San Francisco Blues
Festival and Long Beach Blues Festival.
Webster suffered a stroke
in 1993 while touring Greece and returned to performing the following
year.[3] She died from heart failure in League City, Texas, in September
1999.
Katie Webster - Pussycat Moan
Katie Webster Pussycat Moan
Katie Webster - Has The Blues (Full Album)
A
piano-pounding institution on the southern Louisiana swamp blues scene
during the late '50s and early '60s, Katie Webster later grabbed a
long-deserved share of national recognition with a series of
well-received Alligator albums
Poor Kathryn Thorne had to deal with deeply religious parents who did everything in their power to stop their daughter from playing R&B. But the rocking sounds of Fats Domino and Little Richard were simply too persuasive. Local guitarist Ashton Savoy took her under his wing, sharing her 1958 debut 45 for the Kry logo ("Baby Baby").
Webster rapidly became an invaluable studio sessioneer for Louisiana producers J.D. Miller in Crowley and Eddie Shuler in Lake Charles. She played on sides by Guitar Junior (Lonnie Brooks), Clarence Garlow, Jimmy Wilson, Lazy Lester, and Phil Phillips (her gently rolling 88s powered his hit "Sea of Love").
The young pianist also waxed some terrific sides of her own for Miller from 1959 to 1961 for his Rocko, Action, and Spot labels (where she introduced a dance called "The Katie Lee"). Webster led her own band, the Uptighters, at the same time she was spending her days in the studio. In 1964, she guested with Otis Redding's band at the Bamboo Club in Lake Charles and so impressed the charismatic Redding that he absconded with her. For the next three years, Webster served as his opening act!
The 1970s were pretty much a lost decade for Katie Webster as she took care of her ailing parents in Oakland, CA. But in 1982 a European tour beckoned, and she journeyed overseas for the first of many such jaunts. The Alligator connection commenced in 1988 with some high-profile help: Bonnie Raitt, Robert Cray, and Kim Wilson all made guest appearances on The Swamp Boogie Queen. The lovably extroverted boogie pianist encored with Two-Fisted Mama! and No Foolin' before suffering the stroke. She died on September 5, 1999 at the age of 63.
1. Katie's Blues 0:00
2. Little One 8:34
3. Let Me Be Your Friend 11:32
4. Never Too Old 13:48
5. Trouble Blues 16:37
6. Broken Hearted Rolling Tears 22:40
7. Worry My Life Anymore 26:31
Poor Kathryn Thorne had to deal with deeply religious parents who did everything in their power to stop their daughter from playing R&B. But the rocking sounds of Fats Domino and Little Richard were simply too persuasive. Local guitarist Ashton Savoy took her under his wing, sharing her 1958 debut 45 for the Kry logo ("Baby Baby").
Webster rapidly became an invaluable studio sessioneer for Louisiana producers J.D. Miller in Crowley and Eddie Shuler in Lake Charles. She played on sides by Guitar Junior (Lonnie Brooks), Clarence Garlow, Jimmy Wilson, Lazy Lester, and Phil Phillips (her gently rolling 88s powered his hit "Sea of Love").
The young pianist also waxed some terrific sides of her own for Miller from 1959 to 1961 for his Rocko, Action, and Spot labels (where she introduced a dance called "The Katie Lee"). Webster led her own band, the Uptighters, at the same time she was spending her days in the studio. In 1964, she guested with Otis Redding's band at the Bamboo Club in Lake Charles and so impressed the charismatic Redding that he absconded with her. For the next three years, Webster served as his opening act!
The 1970s were pretty much a lost decade for Katie Webster as she took care of her ailing parents in Oakland, CA. But in 1982 a European tour beckoned, and she journeyed overseas for the first of many such jaunts. The Alligator connection commenced in 1988 with some high-profile help: Bonnie Raitt, Robert Cray, and Kim Wilson all made guest appearances on The Swamp Boogie Queen. The lovably extroverted boogie pianist encored with Two-Fisted Mama! and No Foolin' before suffering the stroke. She died on September 5, 1999 at the age of 63.
1. Katie's Blues 0:00
2. Little One 8:34
3. Let Me Be Your Friend 11:32
4. Never Too Old 13:48
5. Trouble Blues 16:37
6. Broken Hearted Rolling Tears 22:40
7. Worry My Life Anymore 26:31
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