1904 Fred McDowell*
1916 Jay McShann*
1928 Ruth Brown*
1941 Long John Baldry*
1945 Maggie Bell*
1956 Steven Bryan Johnson*
1959 Torsten Zwingenberger*
2013 Precious Bryant+
Rita Chiarelli*
Gary Smith*
Joe Marhofer*
1916 Jay McShann*
1928 Ruth Brown*
1941 Long John Baldry*
1945 Maggie Bell*
1956 Steven Bryan Johnson*
1959 Torsten Zwingenberger*
2013 Precious Bryant+
Rita Chiarelli*
Gary Smith*
Joe Marhofer*
Happy Birthday
Fred McDowell *12.01.1904
Fred McDowell (* 12. Januar 1904 in Rossville, Tennessee; † 3. Juli 1972), auch bekannt als Mississippi Fred McDowell, war als Sänger und Gitarrist ein Vertreter des Delta Blues.
Leben und Werk
Fred McDowell wurde in Rossville, Tennessee, in der Nähe von Memphis geboren. Seine Eltern starben früh in seiner Jugend. McDowell begann im Alter von 14 Jahren Gitarre zu spielen und trat bald auf kleinen Tanzveranstaltungen auf. Er lebte bis zu seinem 21. Lebensjahr in seinem Geburtsort. Nach einem längeren Aufenthalt in Cleveland, Mississippi – während der 1920er Jahre – ließ er sich in Memphis, Tennessee, nieder. Seine erste eigene Gitarre bekam er dort im Jahre 1941 von einem weißen Texaner. Bis zu dieser Zeit war er auf geliehene Instrumente angewiesen. Bald darauf zog McDowell in die Nähe seiner Schwester nach Como, 40 Meilen südlich von Memphis, jedoch im Nachbarstaat Mississippi. Bis zu seiner Entdeckung 1959 verdiente er seinen Lebensunterhalt als Arbeiter, die meiste Zeit in landwirtschaftlichen Betrieben. Ab seiner Teenagerzeit trat er abends und an Wochenenden regelmäßig als Musiker auf. Im Gegensatz zu anderen Bluesmusikern seiner Generation und seines Kalibers hatte er in den 1920er- und 1930er Jahren keine Aufnahmen gemacht. 1959 wurde er von Alan Lomax aufgespürt, der auf einem seiner zahlreichen Feldforschungs-Reisen im Norden von Mississippi den Namen Fred McDowell als hörenswerten Geheimtipp erhielt. Lomax traf ihn nach der Feldarbeit zu Hause an und machte an Ort und Stelle ein paar Aufnahmen. Am nächsten Tag verließ er ihn mit dem Versprechen auf eine Karriere im Musikgeschäft. [1]
Mississippi Fred McDowell wurde zum ersten Bluesmusiker aus dem Norden von Mississippi der die Aufmerksamkeit eines breiteren Publikums erhielt, er beeinflusste maßgeblich die Musik von Junior Kimbrough und R. L. Burnside. [2] In den 1960ern gastierte Fred McDowell auf vielen Festivals, nahm Platten auf und trat in mehreren Dokumentarfilmen auf: u. a. in „Newport Festival, Blues Maker“ (Kurzfilm; University of Mississippi), „Fred McDowell“ (Kurzfilm; Seattle Folklore Society), „Roots of American Music“ (University of Washington School of Music). Zwei 1964 von Chris Strachwitz (Arhoolie Records) aufgenommene Alben verhalfen ihm zu einem hohen Bekanntheitsgrad in der Folk & Blues Szene. McDowell wurde zur Sensation des Newport Folk Blues Festival 1964, in der folgenden Zeit tourte er in Nordamerika und Europa. 1965 und 1969 war er u. a. in England und Deutschland unterwegs.
McDowell verstarb 1972 mit 68 Jahren an Krebs und wurde zwischen Como und Senatobia, in Mississippi beerdigt. 1991 wurde er in die Blues Hall of Fame aufgenommen. Als Einstieg in McDowells Musik ist seine letzte Aufnahme „Live in New York“(Oblivion Records) – ein Live-Mitschnitt von 1971 aus dem Gaslight Cafe in Greenwich Village, New York – besonders empfehlenswert. [3]
Instrumente und Spieltechnik
Für das Slide-Spiel verwendete McDowell anfangs ein Taschenmesser, später fertigte er sich ein Bottleneck aus einer Gordon´s Gin Flasche an. Zum Bottleneck-Slide-Spiel benutzte er seinen Ringfinger oder den kleinen Finger. Neben der Standardstimmung spielte er in diversen offenen Stimmungen (meistens A oder E). Seine Stimmungen waren jedoch relativ, er stimmte die Gitarre nicht nach einem Klavier oder einer Stimmgabel, sondern passend zu seiner Stimme. Fred McDowell bevorzugte für Aufnahmen und Konzerte gleichermaßen bis 1968 eine National Resonatorgitarre mit Holzkorpus und eine Höfner (flattop, steelstring). Ab 1968 stieg er auf eine Kopie einer Gibson ES-335 um, fand aber schließlich ein gutes Original (Gibson Trini Lopez Standard), das er bis zu seinem Tod spielte.
Der Einsatz einer elektrischen Gitarre war im ursprünglichen Delta-Blues-Genre bis zu seinem Umstieg auf die Gibson-Kopie unbekannt und wurde ambivalent aufgenommen. McDowell hatte bei seinen Konzertreisen und zu Studioaufnahmen meist keinen Verstärker dabei. Er war auf das Wohlwollen und das vorhandene Equipment der Veranstalter angewiesen; das erklärt die großen Schwankungen der Klangqualität seiner elektrischen Aufnahmen. [4]
McDowell's 1969er Album „I Do Not Play No Rock 'N' Roll“ war seine erste Aufnahme mit elektrischer Gitarre. Es enthält Teile eines Interviews, in dem er u. a. die Ursprünge des Blues erörtert. Dieses Interview wurde 1999 von der Band Dangerman als Sample in ihrem gleichnamigen Song verwendet. In der zweiten Hälfte der 1960er Jahre hatte McDowell bereits Kontakt zu viel jüngeren Rhythm & Blues und Rockmusikern. Er unterrichtete Bonnie Raitt im Slide-Spiel, die Rolling Stones coverten sein Stück „You Gotta Move“ auf ihrem Album Sticky Fingers.
Fred McDowell (January 12, 1904 – July 3, 1972) known by his stage name; Mississippi Fred McDowell, was an American Hill country blues singer and guitar player.
Career
McDowell was born in Rossville, Tennessee. His parents, who were farmers, died when McDowell was a youth. He started playing guitar at the age of 14 and played at dances around Rossville. Wanting a change from plowing fields, he moved to Memphis in 1926 where he started to work in the Buck-Eye feed mill where they processed cotton into oil and other products.[4] He also had a number of other jobs and played music for tips. Later in 1928 he moved south into Mississippi to pick cotton.[4] He settled in Como, Mississippi, about 40 miles south of Memphis, in 1940 or 1941, and worked steadily as a farmer, continuing to perform music at dances and picnics. Initially he played slide guitar using a pocket knife and then a slide made from a beef rib bone, later switching to a glass slide for its clearer sound. He played with the slide on his ring finger.[5]
While commonly lumped together with Delta Blues singers, McDowell actually may be considered the first of the bluesmen from the 'North Mississippi' region – parallel to, but somewhat east of the Delta region – to achieve widespread recognition for his work. A version of the state's signature musical form somewhat closer in structure to its African roots (often eschewing the chord change for the hypnotic effect of the droning, single chord vamp), the north hill country blues style (or at least its aesthetic) may be heard to have been carried on in the music of such figures as Junior Kimbrough and R. L. Burnside, while serving as the original impetus behind creation of the Fat Possum record label out of Oxford, Mississippi.[6]
The 1950s brought a rising interest in blues music and folk music in the United States and McDowell was brought to wider public attention, beginning when he was discovered and recorded in 1959 by Alan Lomax and Shirley Collins.[7] McDowell's records were popular, and he performed often at festivals and clubs.[8] McDowell continued to perform blues in the North Mississippi blues style much as he had for decades, but he sometimes performed on electric guitar rather than acoustic guitar. While he famously declared "I do not play no rock and roll," McDowell was not averse to associating with many younger rock musicians: He coached Bonnie Raitt on slide guitar technique,[8] and was reportedly flattered by The Rolling Stones' rather straightforward, authentic version of his "You Gotta Move" on their 1971 Sticky Fingers album[citation needed]. In 1965 he toured Europe with The American Folk Blues Festival, together with Big Mama Thornton, John Lee Hooker, Buddy Guy, Roosevelt Sykes and others.[9]
McDowell's 1969 Malaco Records album I Do Not Play No Rock 'N' Roll, recorded in Jackson, Mississippi, was his first featuring electric guitar. It features parts of an interview in which he discusses the origins of the blues and the nature of love. McDowell's final album,[10] Live in New York (Oblivion Records), was a concert performance from November 1971 at the Village Gaslight (aka The Gaslight Cafe), Greenwich Village, New York.
McDowell died of cancer in 1972, aged 68, and was buried at Hammond Hill Baptist Church, between Como and Senatobia, Mississippi. On August 6, 1993 a memorial was placed on his grave site by the Mt. Zion Memorial Fund. The ceremony was presided over by Dick Waterman, and the memorial with McDowell's portrait upon it was paid for by Bonnie Raitt. The memorial stone was a replacement for an inaccurate and damaged marker (McDowell's name was misspelled) and the original stone was subsequently donated by McDowell's family to the Delta Blues Museum in Clarksdale, Mississippi.
Career
McDowell was born in Rossville, Tennessee. His parents, who were farmers, died when McDowell was a youth. He started playing guitar at the age of 14 and played at dances around Rossville. Wanting a change from plowing fields, he moved to Memphis in 1926 where he started to work in the Buck-Eye feed mill where they processed cotton into oil and other products.[4] He also had a number of other jobs and played music for tips. Later in 1928 he moved south into Mississippi to pick cotton.[4] He settled in Como, Mississippi, about 40 miles south of Memphis, in 1940 or 1941, and worked steadily as a farmer, continuing to perform music at dances and picnics. Initially he played slide guitar using a pocket knife and then a slide made from a beef rib bone, later switching to a glass slide for its clearer sound. He played with the slide on his ring finger.[5]
While commonly lumped together with Delta Blues singers, McDowell actually may be considered the first of the bluesmen from the 'North Mississippi' region – parallel to, but somewhat east of the Delta region – to achieve widespread recognition for his work. A version of the state's signature musical form somewhat closer in structure to its African roots (often eschewing the chord change for the hypnotic effect of the droning, single chord vamp), the north hill country blues style (or at least its aesthetic) may be heard to have been carried on in the music of such figures as Junior Kimbrough and R. L. Burnside, while serving as the original impetus behind creation of the Fat Possum record label out of Oxford, Mississippi.[6]
The 1950s brought a rising interest in blues music and folk music in the United States and McDowell was brought to wider public attention, beginning when he was discovered and recorded in 1959 by Alan Lomax and Shirley Collins.[7] McDowell's records were popular, and he performed often at festivals and clubs.[8] McDowell continued to perform blues in the North Mississippi blues style much as he had for decades, but he sometimes performed on electric guitar rather than acoustic guitar. While he famously declared "I do not play no rock and roll," McDowell was not averse to associating with many younger rock musicians: He coached Bonnie Raitt on slide guitar technique,[8] and was reportedly flattered by The Rolling Stones' rather straightforward, authentic version of his "You Gotta Move" on their 1971 Sticky Fingers album[citation needed]. In 1965 he toured Europe with The American Folk Blues Festival, together with Big Mama Thornton, John Lee Hooker, Buddy Guy, Roosevelt Sykes and others.[9]
McDowell's 1969 Malaco Records album I Do Not Play No Rock 'N' Roll, recorded in Jackson, Mississippi, was his first featuring electric guitar. It features parts of an interview in which he discusses the origins of the blues and the nature of love. McDowell's final album,[10] Live in New York (Oblivion Records), was a concert performance from November 1971 at the Village Gaslight (aka The Gaslight Cafe), Greenwich Village, New York.
McDowell died of cancer in 1972, aged 68, and was buried at Hammond Hill Baptist Church, between Como and Senatobia, Mississippi. On August 6, 1993 a memorial was placed on his grave site by the Mt. Zion Memorial Fund. The ceremony was presided over by Dick Waterman, and the memorial with McDowell's portrait upon it was paid for by Bonnie Raitt. The memorial stone was a replacement for an inaccurate and damaged marker (McDowell's name was misspelled) and the original stone was subsequently donated by McDowell's family to the Delta Blues Museum in Clarksdale, Mississippi.
Jay McShann *12.01.1916
Jay McShann, eigentlich James Columbus McShann, auch als Hootie McShann bekannt, (* 12. Januar 1916 in Muskogee, Oklahoma; † 7. Dezember 2006 in Kansas City, Missouri) war ein US-amerikanischer Blues- und Swing-Pianist, Bandleader und Sänger.
Leben
McShann hatte sich als Kind selbst das Pianospielen beigebracht. Er begann 1931 in der Gegend um Tulsa, Oklahoma bei Al Dennie und im benachbarten Arkansas als Profimusiker zu arbeiten. 1936 zog er nach Kansas City in Missouri, wo er in der Band von Buster Smith spielte und 1939 seine eigene Big Band gründete, in der Gene Ramey, Gus Johnson, Bernard Anderson, die Sänger Al Hibbler und Walter Brown sowie Charlie Parker (1937 bis 1941, damals noch Teenager) spielten. Sie spielten sowohl Blues als auch Swing, doch nahmen sie überwiegend Blues-Stücke auf. Ihre bekannteste Aufnahme war Confessin' The Blues. Parker konnte sich in McShanns Band zu einem profilierten Saxophonisten entwickeln. 1944 löste sich die Band auf, als McShann seinen Militärdienst antreten musste, kam jedoch nach seiner Entlassung im gleichen Jahr für kurze Zeit wieder zusammen. Neben seiner regulären Band spielte McShann im Trio mit Gene Ramey und Gus Johnson Ende April 1941 für Decca den Song „Confessin’ the Blues“ ein; Sänger war Walter Brown. Er erreichte Rang 24 der Billboard Top 30. Erst im Juli 1943 gelang ihn mit seinem Orchester und dem Bandsänger Al Hibbler ein weiterer Hit mit „Get Me on Your Mind“ (#18). Es war auch der einzige Hit, bei dem Charlie Parker mitwirkte, der allerdings nicht mit einem Solo zu hören war.[1]
In der zweiten Hälfte der 40er Jahre hatte McShann kleinere Bands. Er lebte jetzt in Los Angeles. 1945 begann er mit Jimmy Witherspoon zusammenzuarbeiten und Aufnahmen zu machen. Danach geriet er zunehmend in Vergessenheit. 1948 ging er nach Los Angeles, wo er eine kleine Band gründete, und 1958 wieder nach Kansas City.
1969 wurde Jay McShann wiederentdeckt und genoss seitdem erhebliche Popularität als Sänger und Pianist. Seine CD „Going To Kansas City“ wurde für einen Grammy, allerdings in der Kategorie „Traditioneller Blues“, nominiert. McShann ist auch in dem von Clint Eastwood gedrehten Dokumentationsfilm „The Blues“ zu erleben. Der 3. März 1979 wurde vom Gouverneur von Missouri zum „Jay McShann Day“ erklärt. Neben vielen weiteren Ehrungen erhielt McShann 1987 die NEA Jazz Masters Fellowship des National Endowment for the Arts.
Jay McShann starb neunzigjährig am 7. Dezember 2006 in Kansas City.
Jay McShann (January 12, 1916 – December 7, 2006) was a jump blues, mainstream jazz, and swing bandleader, pianist and singer.
During the 1940s, McShann was at the forefront of blues and hard bop jazz musicians mainly from Kansas City. He assembled his own big band, with musicians that included some of the most influential artists of their time, including Charlie Parker, Bernard Anderson, Ben Webster and Walter Brown. His kind of music became known as "the Kansas City sound".
Biography
Nicknamed Hootie,[1] McShann was born James Columbus McShann in Muskogee, Oklahoma. Musically, his education came from Earl Hines' late-night broadcasts from Chicago's Grand Terrace Cafe: "When 'Fatha' [Hines] went off the air, I went to bed".[2] He began working as a professional musician in 1931, performing around Tulsa, Oklahoma and neighboring Arkansas.
Orchestra
He moved to Kansas City, Missouri in 1936, and set up his own big band, which featured variously Charlie Parker (1937–42), Al Hibbler, Ben Webster, Paul Quinichette, Bernard Anderson, Gene Ramey, Jimmy Coe, Gus Johnson (1938–43),[3] Harold "Doc" West, Earl Coleman,[4] Walter Brown, and Jimmy Witherspoon among others His first recordings were all with Charlie Parker, the first as "The Jay McShann Orchestra" on August 9, 1940.
Although they included both swing and blues numbers, the band played blues on most of its records; its most popular recording was "Confessin' the Blues". The group disbanded when McShann was drafted into the Army in 1944 and, the big-band era being over, he was unable to successfully restart it after the war ended.[citation needed]
Smaller groups
After World War II McShann began to lead small groups featuring blues shouter Jimmy Witherspoon. Witherspoon started recording with McShann in 1945, and fronting McShann's band, and had a hit in 1949 with "Ain't Nobody's Business." As well as writing much material, Witherspoon continued recording with McShann's band, which also featured Ben Webster. McShann had a modern rhythm and blues hit with "Hands Off", featuring a vocal by Priscilla Bowman, in 1955.[citation needed]
In the late 1960s, McShann became popular as a singer as well as a pianist, often performing with violinist Claude Williams. He continued recording and touring through the 1990s. Well into his 80s, McShann still performed occasionally, particularly in the Kansas City area and Toronto, Ontario where he made his last recording "Hootie Blues" in February 2001 after a recording career of 61 years. In 1979, he appeared prominently in the documentary on Kansas City jazz, The Last of the Blue Devils.[citation needed]
Influence
On one of their earliest albums, Five by Five (a UK EP) and 12x5 (a US LP) (both 1964), The Rolling Stones recorded a cover of "Confessin' the Blues", a song McShann had co-written with Walter Brown in the 1940s. Crime-fiction writer Elmore Leonard featured McShann as a character in his 2005 novel, The Hot Kid.[citation needed]
Death
McShann died on December 7, 2006 in Kansas City, Missouri, aged 90.[5] He was survived by his companion of more than 30 years, Thelma Adams (known as Marianne McShann), and three daughters.
Honors
Blues Hall of Fame.
Pioneer Award of the Rhythm and Blues Foundation.
Paris All-Star Blues (A Tribute to Charlie Parker) – Best Large Jazz Ensemble Performance –
Nominee, 1991 Grammy Awards.
Goin' to Kansas City – Best Traditional Blues Album – Nominee, 2003 Grammy Awards.
Oklahoma Jazz Hall of Fame, 1989.
During the 1940s, McShann was at the forefront of blues and hard bop jazz musicians mainly from Kansas City. He assembled his own big band, with musicians that included some of the most influential artists of their time, including Charlie Parker, Bernard Anderson, Ben Webster and Walter Brown. His kind of music became known as "the Kansas City sound".
Biography
Nicknamed Hootie,[1] McShann was born James Columbus McShann in Muskogee, Oklahoma. Musically, his education came from Earl Hines' late-night broadcasts from Chicago's Grand Terrace Cafe: "When 'Fatha' [Hines] went off the air, I went to bed".[2] He began working as a professional musician in 1931, performing around Tulsa, Oklahoma and neighboring Arkansas.
Orchestra
He moved to Kansas City, Missouri in 1936, and set up his own big band, which featured variously Charlie Parker (1937–42), Al Hibbler, Ben Webster, Paul Quinichette, Bernard Anderson, Gene Ramey, Jimmy Coe, Gus Johnson (1938–43),[3] Harold "Doc" West, Earl Coleman,[4] Walter Brown, and Jimmy Witherspoon among others His first recordings were all with Charlie Parker, the first as "The Jay McShann Orchestra" on August 9, 1940.
Although they included both swing and blues numbers, the band played blues on most of its records; its most popular recording was "Confessin' the Blues". The group disbanded when McShann was drafted into the Army in 1944 and, the big-band era being over, he was unable to successfully restart it after the war ended.[citation needed]
Smaller groups
After World War II McShann began to lead small groups featuring blues shouter Jimmy Witherspoon. Witherspoon started recording with McShann in 1945, and fronting McShann's band, and had a hit in 1949 with "Ain't Nobody's Business." As well as writing much material, Witherspoon continued recording with McShann's band, which also featured Ben Webster. McShann had a modern rhythm and blues hit with "Hands Off", featuring a vocal by Priscilla Bowman, in 1955.[citation needed]
In the late 1960s, McShann became popular as a singer as well as a pianist, often performing with violinist Claude Williams. He continued recording and touring through the 1990s. Well into his 80s, McShann still performed occasionally, particularly in the Kansas City area and Toronto, Ontario where he made his last recording "Hootie Blues" in February 2001 after a recording career of 61 years. In 1979, he appeared prominently in the documentary on Kansas City jazz, The Last of the Blue Devils.[citation needed]
Influence
On one of their earliest albums, Five by Five (a UK EP) and 12x5 (a US LP) (both 1964), The Rolling Stones recorded a cover of "Confessin' the Blues", a song McShann had co-written with Walter Brown in the 1940s. Crime-fiction writer Elmore Leonard featured McShann as a character in his 2005 novel, The Hot Kid.[citation needed]
Death
McShann died on December 7, 2006 in Kansas City, Missouri, aged 90.[5] He was survived by his companion of more than 30 years, Thelma Adams (known as Marianne McShann), and three daughters.
Honors
Blues Hall of Fame.
Pioneer Award of the Rhythm and Blues Foundation.
Paris All-Star Blues (A Tribute to Charlie Parker) – Best Large Jazz Ensemble Performance –
Nominee, 1991 Grammy Awards.
Goin' to Kansas City – Best Traditional Blues Album – Nominee, 2003 Grammy Awards.
Oklahoma Jazz Hall of Fame, 1989.
Maggie Bell *12.01.1945
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Maggie Bell (geb. Margaret Bell; * 12. Januar 1945 in Glasgow, Schottland) ist eine britische Sängerin, die vor allem mit der Rockband Stone the Crows bekannt wurde.
Leben
Maggie Bell stammt aus einer musikalischen Familie. Als Teenager sang sie in lokalen Tanzbands. Dabei lernte sie auch den Gitarristen Leslie Harvey kennen. 1967 trafen sie wieder aufeinander, als sie beide mit einer Band in Deutschland unterwegs waren, die in amerikanischen Kasernen auftrat.
1968 gründeten Bell und Harvey die Formation „Power“, die in Glasgow recht erfolgreich war und aus der im Jahr darauf Stone the Crows wurde. Die Band brachte zwischen 1970 und 1972 vier Alben heraus, löste sich jedoch 1973 auf, nachdem Harvey im Jahr davor durch einen elektrischen Schlag ums Leben gekommen war.
Danach begann Maggie Bell, solo zu arbeiten. Sie nahm zwei Alben in New York auf, die jedoch nie veröffentlicht wurden. Erst der dritte Versuch mit dem neuen Manager Jerry Wexler führte zum ersten, vielgelobten Soloalbum Queen Of The Night (1973). 1975 folgte das zweite Album Suicide Sal.
Nach Jahren auf Tour zog sich Maggie Bell von der Musikbühne zurück. Sie schrieb Filmmusik und kümmerte sich um ihre Familie. In den 1990ern begann sie wieder aufzutreten, u. a. mit der Alex Harvey Band und Chris Farlowe. Außerdem war sie seit 2006 bis 2013 Mitglied der Band The British Blues Quintet (mit Zoot Money, Frank Diez, Colin Hodgkinson und Colin Allen), von der auch im November 2007 das Album Live in Glasgow (Recorded At The Ferry) erschienen ist.
Von April bis November 2011 tourte Maggie Bell mit dem Jon Lord Blues Project (Miller Anderson, Jon Lord, Pete York, Zoot Money, Colin Hodgkinson) durch Deutschland und Österreich. Nach dem krankheitsbedingten Ausstieg Lords, 2012 verstorben, war die Formation 2012 wieder als Pete York Blues project in Deutschland auf Tour.
2013 und 2014 ging sie mit der Hamburg Blues Band auf Tournee.
Career
From a musical family, she sang from her teenage years, leaving school at the age of fifteen, to work as a window dresser by day and singer at night. Bell was introduced to Leslie Harvey, by his older brother Alex, after getting up on stage to sing with the latter. Leslie Harvey was, at that time, a guitarist with the Kinning Park Ramblers. Bell joined the group as one of the vocalists. After the band split up, Bell moved to the Mecca Band at the Sauchiehall Street Locarno, and later to the Dennistoun Palais Band.[2]
Power
She then rejoined Harvey, forming Power initially known as The Power of Music and eventually The Power. Bell and The Power regularly performed at The Easterhouse Project, run by Archie Hind and Graeme Noble. They also toured United States Air Force bases Germany in the mid 1960s. Peter Grant, who was managing The Yardbirds at the time, heard Power playing at one of these bases and agreed to produce and manage them, impressed by the vocal ability of Bell and the guitar playing of Harvey. Power was then renamed as Stone the Crows, an expression used by Grant upon hearing this band.[3]
First solo album
Stone the Crows split up in 1973, after Leslie Harvey's accidental death from electrocution on 2 May 1972. Harvey had been an integral part of the band and its music.[4] Peter Grant remained as Bell's manager after the split, and along with Mark London offered to help Bell record a solo album. She subsequently recorded two further albums for Atlantic Records, one produced by Felix Pappalardi and the other produced by Felix Cavaliere. Neither has yet been released.[5] Grant then oversaw her first solo album release Queen of the Night (1973), which was recorded in New York City with record producer Jerry Wexler.
Swan Song and Midnight Flyer
Bell signed to the then newly formed Swan Song Records in 1974, along with Bad Company and The Pretty Things, as one of the first signings to the label. Jimmy Page contributed to her second album Suicide Sal (1975).[6] Bell then tried to capture past blues rock glories by fronting Midnight Flyer,[7] a phenomenal live act but their sole eponymous album released in 1981 was not a commercial success.[8] Jimmy Page put together a tribute album to Maggie featuring Robert Plant, John Paul Jones, as well as John Bonham, having Mark Hitt on guitar[9]
Solo again and B. A. Robertson
Returning to a solo career, she had her biggest hit in the UK in 1981 duetting with B. A. Robertson on a cover version of "Hold Me" which reached No. 11 in the UK Singles Chart. Bell also performed at many charity gigs during this period.
Television and beyond
Bell sang the end credits theme for the late 1970s ITV detective drama Hazell, with lyrics written by Judy Forrest and music by Andy Mackay. Her song "No Mean City", written by Mike Moran, was the theme music to the TV crime drama Taggart. She also appeared in a single episode of Taggart called "Evil Eye" in 1990, playing a gypsy fortune teller named Effie Lambie who is murdered early in the episode.
In 2009 she provided the singing voice of rock singer Esme Ford (played by Joanna Lumley) in the episode "Counter Culture Blues" of the ITV series Lewis.[10]
Netherlands and The British Blues Quintet
After living in the Netherlands for twenty years, Bell returned to the UK in early 2006 and joined The British Blues Quintet, sharing lead vocals with Zoot Money. Also featuring former Stone The Crows drummer Colin Allen and bassist Colin Hodgkinson, the band quickly became established on the UK and European live blues circuit. Their debut album, Live in Glasgow (2007), was recorded at one of their first gigs, on Glasgow's Renfrew Ferry in 2006. In addition, Bell toured with Chris Farlowe in the autumn of 2006 and The Manfreds during 2006 and 2008.
Torsten Zwingenberger *12.01.1959
Torsten Zwingenberger (* 12. Januar 1959 in Hamburg) ist ein deutscher Jazz- und Blues-Schlagzeuger.Leben und Wirken
Torsten Zwingenberger wuchs in Hamburg auf und verdiente seine ersten musikalischen Meriten als Waschbrettspieler. Mit 15 Jahren begann er Schlagzeug zu spielen. Anfangs konzentrierte er sich auf den New Orleans Jazz, und entwickelte sich im Laufe der Zeit zum Allrounddrummer des Modern Jazz. Er lebt in Berlin und Hamburg.
Dem breiten Publikum wurde er Ende der 70er Jahre als Begleiter von Rhythm-and-Blues- und Boogie-Woogie-Musikern bekannt, u.a. mit verschiedenen Plattenproduktionen, z.B. mit seinem Bruder, dem Boogie-Woogie-Pianisten Axel Zwingenberger und dem Sänger Big Joe Turner.
1981 veröffentlichte Zwingenberger sein erstes Jazzalbum. 1983 begann er selbst, Tonträger zu produzieren, die seine Arbeit und Entwicklung als Jazztrommler dokumentieren: wie z.B. mit Buddy Tate (1983), Harry "Sweets" Edison (1986) und Plas Johnson (1989). Auf zahlreichen Konzerten und Tourneen spielte er außerdem mit Musikern wie Joe Pass, Jay McShann, Buddy DeFranco, Benny Bailey, Joe Newman, Ray Bryant, Leo Wright, Champion Jack Dupree, Charlie Musselwhite, Katie Webster oder Red Holloway. 1992 trat Zwingenberger als bis dahin einziger deutscher Jazzmusiker bei einem Konzert aus der Reihe "Highlights in Jazz" in New York City auf, wo er mit den Trompetern Jon Faddis und Doc Cheatham und dem Gitarristen Peter Bernstein spielte.
Zusammen mit seinem Bruder Axel Zwingenberger unternahm er Konzertreisen in Europa sowie in Nord-, West- und Zentralafrika und im Nahen Osten. Von 2001 bis 2006 war Zwingenberger als Schlagzeuger und Manager von „Lyambiko“, mit Auftritten in Deutschland, den USA, Frankreich, Schweiz, Österreich, Polen und Tschechien; er produzierte mit dieser Band 4 erfolgreiche CD-Alben. Seitdem tritt er mit unterschiedlichen Jazzformationen auf, z.B. mit seinem Quartett „BERLIN 21“ (Patrick Farrant (guit), Lionel Haas (p), Martin Lillich (basselo) und mit den „New Orleans Shakers“ (Thomas l'Etienne (cl/sax/voc), Jan-Hendrik Ehlers (p), Kurt Tomm (b). Weiterhin tritt er mit seinem Bruder Axel in der Formation als „Boogie-Woogie-Brothers“ sowie in anderen Projekten, etwa mit Jan Luley oder Georg Schroeter und Marc Breitfelder auf.
Zwingenberger entwickelte eine sehr virtuose und anspruchsvolle Schlagzeugtechnik, die er „Drumming 5.1“ nennt: Er spielt mit mindestens fünf Fußmaschinen - zeitweise simultan, da er auch die Fersen einsetzt. Beidhändig spielt er "open-handed" und gebraucht bei den Trommelstöcken beide Enden mit der „Twineffekt-Technik“, die extrem schnelle Schlagfolgen ermöglicht. Dazu werden unterschiedliche Percussioninstrumente angeschlagen und so verschiedene miteinander engmaschig verflochtene Rhythmuslinien erzeugt.
Torsten Zwingenberger improves every jazz composition with his drumming 5.1 technology. Since 1974, Zwingenberger, plays the drums to a level of enviable competence. Anyone who has heard him play live on stage, is witness to the dynamics and precision of this outstanding technique. His superior control over the drums is an essential component of the 5.1 drumming sounds. With a variety of different effects TEASY defines the new drum solo.
Drumming 5.1 is the advancement of the analog handmade drum and percussion technology:
- Drums combined with percussion
- At times 5 foot pedals played simultaneously
- Open handed (and "footed") plus twin effects
- Melodic, groovy, swinging, dynamic, innovative and very fast
- Pure analog technique without electronic support
Long John Baldry *12.01.1941
Biografie
John Baldry erlernte den Beruf eines Werbegraphikers. Schon früh entdeckte er seine Liebe zu Blues- und Folkmusik. Ende der 1950er lernte er Alexis Korner kennen. 1961 wurde er Sänger in dessen Band Blues Incorporated, die 1962 R&B from the Marquee, das erste britische Bluesalbum, herausbrachte.
Nach einem längeren Aufenthalt in Deutschland wurde John Baldry Mitglied der Cyril Davies' All Stars. Als Cyril Davis 1964 starb, führte Baldry die Band unter dem Namen Hoochie Coochie Men weiter. Ein weiteres Mitglied der Hoochie Coochie Men war Rod Stewart.
Baldry und Stewart gründeten 1965 die Band Steampacket, zu der auch Brian Auger und Julie Driscoll gehörten. Baldrys nächstes Projekt war 1966 die Band Bluesology, in der ein gewisser Reginald Dwight seine Karriere begann, der sich später Baldry und Elton Dean zu Ehren Elton John nannte.
1968 löste sich Baldry vom Blues und begann als Entertainer in Clubs zu tingeln. Mit Let the Heartaches Begin hatte er einen Hit in England.[1] In den Vereinigten Staaten war es seine erste Single, die sich in den Billboard-Charts platzieren konnte, allerdings nur auf Platz 88.[2] Mit dem Titel Mexico gelang ihm 1968 sein zweiter und letzter Top 20-Erfolg.
1971 kehrte er zum Blues zurück, konnte aber nicht an die früheren Erfolge anknüpfen. Mit dem Album It Ain't Easy wurde erstmals ein Album von Baldry in den USA veröffentlicht.[3] Mit dem von Rod Stewart produzierten Titel Don't Try To Lay No Boogie-Woogie On The King Of Rock And Roll [4] konnte Baldry bis Platz 73 der Singles-Charts vordringen. In der Folgezeit wurden mehrere Alben Baldrys in den USA bei mehreren Plattenfirmen veröffentlicht.[5] 1976 musste Baldry für einige Monate in eine Nervenheilanstalt.
Ende der 1970er hatte er wieder kleinere Hits. Einen letzten, eher bescheidenen Erfolg hatte er 1979 in den USA mit seinem Duett mit Kathi MacDonald und der Coverversion des Hits der Righteous Brothers You've Lost That Lovin' Feeling[6] Baldry siedelte nach Kanada über. In den 1990ern veröffentlichte er einige Alben und war auch nach der Jahrtausendwende noch musikalisch aktiv.
Am 21. Juli 2005 starb John William Baldry im Vancouver General Hospital an den Folgen einer schweren Lungeninfektion.
Dies und Das
Im Intro des ersten Live-Albums der Rolling Stones (Got Live If You Want It, 1966) stellte Long John Baldry, der mit den Rolling Stones befreundet war, die Band vor.
Early life
Baldry's birth was registered in Brixworth Registration District in the first quarter of 1941. This District includes East Haddon so it appears certain that this was his birthplace. His mother's maiden name was Parker. His early life was spent in Edgware, Middlesex where he attended Camrose Primary School until the age of 11, after which he attended Downer Grammar School. Just before his death, he attended the school's 40th anniversary celebrations.
Blues bands of the 1960s
Baldry grew to 6 ft 7 in (2.01 m), resulting in the nickname "Long John". He was one of the first British vocalists to sing blues in clubs.[citation needed] Baldry appeared quite regularly in the early '60s in the Gyre and Gymble coffee lounge, around the corner from Charing Cross railway station, and at the Brownsville R. & B. Club, Manor House, London, also "Klooks Kleek" (Railway Hotel, West Hampstead). He sometimes appeared at Eel Pie Island on the Thames at Twickenham and at the Station Hotel in Richmond, one of the Rolling Stones' earliest venues.
In the early 1960s, he sang with Alexis Korner's Blues Incorporated, with whom he recorded the first British blues album in 1962, R&B from the Marquee. At stages, Mick Jagger, Jack Bruce and Charlie Watts were members of this band while Keith Richards and Brian Jones played on stage, although none played on the R&B at the Marquee album.[2] When The Rolling Stones made their debut at the Marquee Club in July 1962, Baldry put together a group to support them. Later, Baldry was the announcer introducing the Stones on their US-only live album, Got Live If You Want It!, in 1966.
Baldry became friendly with Paul McCartney after a show at the Cavern Club in Liverpool in the early 1960s, leading to an invitation to sing on one of The Beatles 1964 TV specials, Around The Beatles. In the special, Baldry performs "Got My Mojo Workin'" and a medley of songs with members of The Vernons Girls trio; in the latter, the Beatles are shown singing along in the audience.[3][4]
In 1963, Baldry joined the Cyril Davies R&B All Stars with Nicky Hopkins playing piano. He took over in 1964 after the death of Cyril Davies, and the group became Long John Baldry and his Hoochie Coochie Men featuring Rod Stewart on vocals and Geoff Bradford on guitar. Stewart was recruited after Baldry heard him busking a Muddy Waters song at Twickenham station after Stewart had been to a Baldry gig at Eel Pie Island.[5] Long John Baldry became a regular fixture on Sunday nights at Eel Pie Island from then onwards, fronting a series of bands.
In 1965, the Hoochie Coochie Men became Steampacket with Baldry and Stewart as male vocalists, Julie Driscoll as the female vocalist and Brian Auger on Hammond organ. After Steampacket broke up in 1966, Baldry formed Bluesology featuring Reg Dwight on keyboards and Elton Dean, later of Soft Machine, as well as Caleb Quaye on guitar. Dwight adopted the name Elton John, his first name from Dean and his surname from Baldry.[6]
Baldry was openly gay during the early 1960s, at least amongst his friends and industry peers. However, he did not make a formal public acknowledgement of this until the 1970s—possibly because until 1967 in Britain, homosexuality was still a criminal offence that could lead to forced medication and/or jail time.
Baldry had a brief relationship with lead-guitarist of The Kinks, Dave Davies,[7][8] and supported Elton John in coming to terms with his own sexuality.[7][9] In 1978 his then-upcoming album Baldry's Out announced his formal coming out, and he addressed sexuality problems with a cover of Canadian songwriter Bill Amesbury's "A Thrill's a Thrill".[10]
Solo artist
In 1967, he recorded a pop song "Let the Heartaches Begin" that went to number one in Britain, followed by a 1968 top 20 hit titled "Mexico", which was the theme of the UK Olympic team that year. "Let the Heartaches Begin" made the lower reaches of the Billboard Hot 100 in the US.
Bluesology broke up in 1968, with Baldry continuing his solo career and Elton John forming a songwriting partnership with Bernie Taupin. In 1969, Elton John tried to commit suicide after relationship problems with a woman. Taupin and Baldry[11] found him, and Baldry talked him out of marrying the woman, helping make Elton John comfortable with his sexuality. The song "Someone Saved My Life Tonight" from Captain Fantastic and the Brown Dirt Cowboy was about the experience.[12]
In 1971, John and Stewart each produced one side of It Ain't Easy which became Baldry's most popular album and made the top 100 of the US album chart. The album featured "Don't Try to Lay No Boogie Woogie on the King of Rock and Roll" which became his most successful song in the US. Baldry's first tour of the US was at this time. The band included, Micky Waller, Ian Armitt, Pete Sears, and Sammy Mitchell. Stewart and John would again co-produce his 1972 album Everything Stops For Tea which made the lower reaches of the US album charts. The same year, Baldry worked with ex-Procol Harum guitarist Dave Ball.[13]
Baldry had mental health problems and was institutionalised for a brief time[14] in 1975. The 1979 album Baldry's Out was recorded after his release. He played live at Zolly's nightclub in Oshawa, underneath the Oshawa Shopping Centre, shortly after releasing Baldry's Out. In a 1997 interview with a German television program, Baldry claimed to be the last person to see singer Marc Bolan before Bolan's death on 16 September 1977, having conducted an interview with the fellow singer for an American production company, he says, just before Bolan drove away and had his accident.[15]
Canadian citizenship
After time in New York City and Los Angeles in 1978, Baldry settled in Vancouver, British Columbia, where he became a Canadian citizen. He toured the west coast, as well as the U.S. Northwest. Baldry also toured the Canadian east, including one 1985 show in Kingston, Ontario, where audience members repeatedly called for the title track from his 1979 album Baldry's Out! – to which he replied, "I'll say he is!"[citation needed]
In 1979, he teamed with Seattle singer Kathi McDonald to record a version of The Righteous Brothers' "You've Lost That Lovin' Feelin", following which McDonald became part of his touring group for two decades. The song made the lower reaches of the US Billboard charts but was a top 5 hit in Australia in 1980. He last recorded with the Stony Plain label. His 1997 album Right To Sing The Blues won a Juno Award in the Blues Album of the Year category in the Juno Awards of 1997.
He played his last live show in Columbus, Ohio, on 19 July 2004, at Barristers Hall with guitarist Bobby Cameron. The show was produced by Andrew Myers. They played to a small group, some came from Texas.[citation needed][14] Two years previously the two had a 10-venue sell-out tour of Canada. Baldry's final UK Tour as 'The Long John Baldry Trio' concluded with a performance on Saturday 13 November 2004 at The King's Lynn Arts Centre, King's Lynn, Norfolk, England. The trio consisted of LJB, Butch Coulter on harmonica and Dave Kelly on slide guitar.[16]
Death
Baldry died on 21 July 2005, in Vancouver General Hospital, of a severe chest infection. He was survived by his partner, Felix "Oz" Rexach,[17] a brother, Roger, and a sister, Margaret.
Long John Baldry' Stormy Monday Blues'
Rita Chiarelli is a Canadian blues singer. She has been dubbed "the goddess of Canadian blues" by CBC Radio One's Shelagh Rogers.
Born and raised in Hamilton, Ontario,[1] Chiarelli began performing in Ronnie Hawkins' band in the early 1980s. She subsequently spent several years in Italy. When she returned to Canada, she quickly attracted the attention of film director Bruce McDonald, who included her "Have You Seen My Shoes?" on the soundtrack to his 1989 film Roadkill. Chiarelli and Colin Linden subsequently recorded a cover of Bob Dylan's "Highway 61 Revisited" for McDonald's 1991 film Highway 61, and Chiarelli released her debut album the following year on Stony Plain Records.
Her albums Just Getting Started and Breakfast at Midnight were both nominated for the Juno Award for Best Blues Album.
Rita Chiarelli • Statesborogh Blues
Steven Bryan Johnson *12.01.1956
Steven Bryan Johnson, born January 12, 1956, started playing guitar in 1963 after his Uncle Mickey Johnson played his electric guitar for him. Played in rock blues bands in California untill moving to Ann Arbor, Michigan in 1982. There he met Albert Collins, Willie Dixon, Luther Allison, Duke Robillard, Johnny Winter, and lots of Chicago and Detroit area blues players. Moved to New York City in 1983 and formed The Tanks, a Blues Power Trio and recorded 3 albums all independently released in the U.S. Played with Paul Butterfield, Johnny Copeland, Paul Schaeffer, Albert Collins, Little Jimmy King, Jaco Pastorious, Little Mike, Popa Chubby, Big Ed Sullivan, Jon Paris and most New York Blues players.
In 1992 released "The Long Shadows" with Carolina singer Michael Rowe.
1993 WInner of Guitar Player’s , "Ultimate Guitar Competition - Blues Catagory".
1993 "Nuts and Bolts LIVE from the Rodeo Bar", independently released in US.
1994 "Sooner or Later All Nuts Come Home to Find Their Bolts and Rust", independently released in US.
1996 released "Steve Johnson and Nuts and Bolts" (Virgin France/New Risin’ Blue)
1997 released "Back to Memphis (Virgin France/New Risin’ Blues)
1999 released "Blue Guitar" (Virgin France/New Risin’ Blues)
2000 released "Blues Distortion" (Virgin France/New Risin’ Blues)
2001 released "Bluesville" (Virgin France/New Risin’ Blues)
2003 - released "Blues from the Roadhouse - live !" (dixiefrog)
Steve continues to play bars and clubs, music festival and do record dates in New York , California where ever there is a fun gig to do.
Steve Johnson, "Nothing I Can Do About You" Slide guitar
https://theheadcutters.wordpress.com/
https://www.facebook.com/joe.marhofer?fref=ts
“The Headcutters”, from Itajaí – SC, is considered to be one of the most highlighted blues bands in Brazil. Using the 50s ands 60s sound and style, they follow the legendaries Blues records labels from Chicago of that time.The band’s name serves as tribute to the Blues idols from the 50s, such as Muddy Waters, Little Walter and Jimmy Rogers, who in that period were called “The Headhunters”. Thus, THE HEADCUTTERS comes as a reference to those great masters who were clear and strong influence to the band.
Performing very charismatic, exciting and catching concerts, the band has been gathering a faithful audience in every show since it’s beginning. Featuring Joe Marhofer (harmonica and vocals), Ricardo Maca (guitar and vocals), Arthur “Catuto” Garcia (acoustic bass) and Leandro “Cavera” Barbeta (drums).
The band has just returned from a successful tour in the US with 14 shows, covering 5 states and 18 cities. They played in a several holy Blues places like Chicago, Mississippi, Arkansas and California also.
The highlight of the tour is up to the shows in the legendary Festivals: King Biscuit Blues Festival in Helena, Arkansas (Festival with over 40 years of existence) and also in Pinetop Perkins Blues Festival in Clarksdale Mississippi.
The Headcutters was the first Brazilian band to play at both festivals, made ever conducted so far by Brazilians in the US.
The band has played in several blues festivals, produced concerts and shared stage with various national and international bigshots such as : Phil Guy (Buddy Guy’s brother), Mud Morganfield (Muddy Watters’s son) Eddie C. Campbell, Kim Wilson, Billy Flinn, Gary Smith, Billy Branch, Wallace Coleman, Carlos Johnson, Joe Filisko & Eric Noden, Bob Stroger, James Wheeler, J.J. Jackson, Lynwood Slim, Mitch Kashmar, Igor Prado, Blues Etílicos and among others.
The band has two CD’s and a DVD released all of them recorded on analog equipment and tube amps always searching the sound and textures of the 50s and 60s. The first CD released “Back to 50’s” (2009) recorded for three dawn in the History Museum of Itajaí (Brazil). The DVD “Sweet Home Blues” (2011) captured with Full HD images in an environment where the band meets regularly called the “Attic Blues”. The last job released was the CD “Shake That Thing” (2013) which includes the participation of some artists like Igor Prado (BRA), Omar Coleman (USA) and Richard “Rip Lee” Pryor (USA) son of legendary harmonica player Snooky Pryor. This album has received several compliments from Blues experts worldwide and was voted the # 18 best album of Blues released worldwide in 2013 by critics of the United States.
Playing nearly on the road for 13 years, The Headcutters Band is proud to represent that irresistible sort of sound, which is worldwide enjoyed for decades through every generation.
That's All Right - The Headcutters | DVD Sweet Home Blues
R.I.P.
Precious Bryant +12.01.2013
Precious
Bryant (eigentlich Precious Bussey, * 4. Januar 1942 in Talbot County; †
12. Januar 2013 in Columbus) war eine US-amerikanische Bluesmusikerin.
2002 wurde ihr Debütalbum Fool Me Good für den Blues Music Award nominiert, gleich in zwei Kategorien (Acoustic Blues Album of the Year; Best New Artist Debut). 2006 wurde sie nominiert als Traditional Blues Female Artist of the Year.
2002 wurde ihr Debütalbum Fool Me Good für den Blues Music Award nominiert, gleich in zwei Kategorien (Acoustic Blues Album of the Year; Best New Artist Debut). 2006 wurde sie nominiert als Traditional Blues Female Artist of the Year.
Precious Bryant (née Bussey; January 4, 1942 – January 12, 2013) was an American country blues, gospel, and folk musician. She played Piedmont fingerstyle guitar.[1]
Bryant, born January 4, 1942 in Talbot County, Georgia, released two solo albums.[2] Her 2002 debut, Fool Me Good, was nominated for two Blues Music Awards — in the categories of 'Acoustic Blues Album of the Year' and 'Best New Artist Debut'. In 2006 she was nominated for another similar award for 'Traditional Blues Female Artist of the Year', and was up against Koko Taylor, Maria Muldaur and Etta James, the last of whom won.
Bryant died January 12, 2013 in Columbus, Georgia following a six week battle with complications from diabetes and congestive heart failure.
http://en.wikipedia.org/wiki/Precious_BryantBryant, born January 4, 1942 in Talbot County, Georgia, released two solo albums.[2] Her 2002 debut, Fool Me Good, was nominated for two Blues Music Awards — in the categories of 'Acoustic Blues Album of the Year' and 'Best New Artist Debut'. In 2006 she was nominated for another similar award for 'Traditional Blues Female Artist of the Year', and was up against Koko Taylor, Maria Muldaur and Etta James, the last of whom won.
Bryant died January 12, 2013 in Columbus, Georgia following a six week battle with complications from diabetes and congestive heart failure.
Precious Bryant - National Down Home Blues Festival, Atlanta, Georgia (1984)
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