1934 Huey
„Piano“ Smith*
1950 Paul
Pena*
1990 Natala Nacia Abłamowicz*
1990 Natala Nacia Abłamowicz*
Happy Birthday
Huey „Piano“ Smith *26.01.1934
Huey „Piano“ Smith (* 26. Januar 1934 in New Orleans) ist ein US-amerikanischer Rhythm & Blues-Musiker, der unter anderem die bekannte Band The Clowns leitete. Smith zählt zu den bedeutendsten Musikern der Piano-Tradition von New Orleans.
Session-Pianist
Nach seiner Schulzeit lernt Smith im Jahre 1949 das Klavierspiel, 1953 wird er als Pianist in die Band von Gitarrist Earl King aufgenommen. Hier entwickelt er seinen Piano-Stil, eine Mischung des Boogie Woogie von Albert Ammons, des Offbeat-Pianos von Professor Longhair und des Jazz von Jelly Roll Morton. Smith ist auf Kings erster Single (unter dem Namen Earl Johnson) Have You Gone Crazy? / Begging at Your Mercy (Savoy Records 1102) als Pianist dabei (aufgenommen in New Orleans am 1. Juni 1953). Am selben Aufnahmetag erschien auch Smiths erste Single unter dem Namen „Huey Smith“: You Made Me Cry / You're Down With Me (Savoy 1113, Piano und Gesang) und King an der Gitarre. Bei dem oft gecoverten Smiley Lewis-Klassiker I Hear You Knockin‘ ist Smiths großartiges Piano-Solo zu hören (aufgenommen am 23. Mai 1955 in Cosimo Matassas Studio, veröffentlicht im Juli 1955). Berühmt wurde Earl King nachfolgend mit Those Lonely Lonely Nights (August 1955), wiederum mit Smith am Piano, diesmal bei Ace Records, für die King als Label-Gitarrist arbeitete. Die Single verhalf mit 250.000 Exemplaren King zum Durchbruch. Es war mit Katalog-# 509 erst die 10 Single des jungen Labels. Kurz darauf erschien als Ace 521 - „Huey 'Piano' Smith & the Rhythm Aces“ Everybody's Whalin', aufgenommen wiederum in Cosimo Matassas berühmten Studio (September 1956). Bei Matassa stieg Smith schließlich zu den gefragten Session-Musikern auf, und Matassa erteilte Smith im Studio oft den Auftrag, „etwas Mist in die Aufnahme einzustreuen“.[1] Für Bob Marchan, seinem späteren Leadsänger, schrieb Smith im Jahre 1956 „Little Chickee Wah Wah“ (Ace 523).
Eigene Platten
Neben seiner Tätigkeit als erfolgreicher Session-Pianist und Komponist für andere Interpreten gründete er eine eigene Band, zunächst unter dem Namen „Rhythm Aces“, mit Junior Gordon (Izzy Cougarten), Dave Dixon und Roland Cook als Sänger. Nach mehreren Umbesetzungen trat die Band dann ab 1957 als „Clowns“ mit Junior Gordon oder Gerri Hall (Sängerin), abwechselnd mit 'Scarface John' Williams, Eugene Francis, Billy Roosevelt (Bassgesang), Roland Stone und Leadsänger Bobby Marchan auf. Als Musikbegleitung konnte Smith auf die Matassa-Sessionmusiker Lee Allen und Red Tyler (Saxophon) sowie Charles Williams (Schlagzeug) zurückgreifen. Die Aufgabenverteilung war zwischen den Beteiligten geregelt: Smith komponierte, arrangierte und spielte Piano, während Marchan und der Chor sang. Um mehr Zeit für Kompositionen zu gewinnen, ließ sich Huey Smith am Klavier bei Tourneen oft durch James Booker vertreten.[2]
Schon im Juli 1957 wurde mit dieser Formation der Instrumentaltitel Rockin' Pneumonia And The Boogie Woogie Flu eingespielt, komponiert von Smith und Johnny Vincent, seinem Produzenten und Labelchef von Ace Records. Als B-Seite wurde eine Vokalversion hierzu ausgewählt. Die Vokalversion des Songs entwickelte sich innerhalb kurzer Zeit zum Millionseller, als er zum Crossover wurde (# 7 R&B, # 52 Pop-Charts). Smith hatte inzwischen einen charakteristischen Pianostil entwickelt. Er perfektionierte ein Shuffle-ähnliches, rechtshändig orientiertes Piano-Break, das auf seinen Aufnahmen erkennbar ist. So auch bei dem größten Hit mit über 2 Millionen verkaufter Exemplare, Don't You Just Know It, erschienen im März 1958. Er erreichte mit seinem größten Erfolg # 9 der Pop-Charts (#4 R&B). Beide Platten lassen den klassischen New Orleans-Rhythmus und die perkussive Spieltechnik des Bandleaders erkennen. Ende 1958 nahm Smith das von ihm komponierte Original von Sea Cruise auf Matassas Zweispurtonband mit Marchan und Gerri Hall als Leadsänger auf. Ace hatte andere Pläne, zumal Marchans Stimme indisponiert war und er zudem die Gruppe verlassen wollte. Das Master blieb zunächst einmal 7 Monate in den Archiven des Labels, bevor der Labelchef Vincent der Aufnahme im März 1959 ein Overdubbing vom weißen Teenidol Frankie Ford hinzufügte. Versetzt mit einigen tontechnischen Raritäten, einer Schiffsglocke und einem Nebelhorn sowie einer leicht beschleunigten Tonbandgeschwindigkeit von Fords Stimme, avancierte der Mardi Gras-infizierte Rhythmus im April 1959 zu einem weiteren Hit für Ace Records (# 11 R&B, #14 Pop). Unzufrieden über die schleppende Bezahlung bei Ace Records verließ Huey Smith das Label Ende 1959 und wechselte zu Imperial Records, für die er acht Songs und 4 LPs ohne Hitparadenerfolg einspielte. Marchan verließ die Clowns und Ace Records dann tatsächlich Anfang 1960 und wurde ersetzt durch die Sängerin Gerri Hall und den Sänger Curley Moore.
Im Mai 1962 erschien plötzlich bei Ace Pop Eye, eine Aufnahme aus früheren Beständen mit Curley Moore als Leadstimme und wiederum komponiert von Smith. Damit griff Smith die berühmte, spinatessende Seemanns-Figur Popeye aus der gleichnamigen Cartoon-Serie auf und lieferte - ungewollt - den Song für den gerade modernen gleichnamigen Tanz. Ace behauptete, die Clowns seien die Entdecker des Pop Eye-Tanzes; sie waren es aber nicht.[3] Verärgert über die Ace-Veröffentlichung, entließ Imperial Huey Smith aus dem Plattenvertrag; er ging kurzerhand wieder zurück zu Ace, wo er ohne Erfolg bis zur Pleite des Labels im Jahre 1964 blieb. Um von seinen mittlerweile zunehmenden Alkoholproblemen wegzukommen, konvertierte er 1965 zu den Zeugen Jehovas und beendete seine Musikerlaufbahn. Ab 1967 versuchte er bei Instant Records - unter verschiedenen Namensvariationen - natürlich in New Orleans beheimatet, ein erfolglos gebliebenes Comeback.
Zwei seiner Erfolge wurden später gecovert. Sein größter Hit Don't You Just Know It kam im Januar 1965 als Don’t ha ha von der britischen Beatband Casey Jones & the Governors heraus, die hiermit in Deutschland bis auf Platz 2 der Charts vordrang, aber im Heimatland floppte. An den anderen großen Hit Rockin' Pneumonia.. erinnerte sich Johnny Rivers (Oktober 1972, US # 6 Pop).
BMI zufolge sind für Huey „Piano“ Smith 135 Kompositionen urheberrechtlich registriert.
Huey "Piano" Smith (born January 26, 1934, New Orleans, Louisiana[1]) is an American rhythm and blues pianist whose sound was influential in the development of rock and roll.
His piano playing incorporated the boogie styles of Pete Johnson, Meade Lux Lewis, and Albert Ammons; the jazz style of Jelly Roll Morton; and the piano playing of Fats Domino.[1] Allmusic journalist, Steve Huey, also noted "At the peak of his game, Smith epitomized New Orleans R&B at its most infectious and rollicking, as showcased on his classic signature tune, 'Don't You Just Know It.'"[2]
Career
Smith was born in New Orleans' Garden District, and was influenced by the innovative work of Professor Longhair.[3] He became known for his shuffling right-handed break on the piano that influenced other Southern players.[4]
Smith wrote his first song on the piano, "Roberson Street Boogie" (named after the street where he lived), when he was only eight years old, and performed the tune with a friend. They billed themselves as Slick and Dark. Smith attended McDowell High and Xavier University of Louisiana in New Orleans.[5] When Smith was fifteen he began working in clubs and recording records with his flamboyant partner, Eddie Jones, who rose to fame as Guitar Slim.[4] When he was eighteen, in 1952, he signed a recording contract with Savoy Records, which released his first known single, "You Made Me Cry". In 1953 Smith recorded with Earl King.[6]
In 1955, Smith turned 21, and became the piano player with Little Richard's first band for Specialty Records.[2] The same year he also played piano on several studio sessions for other artists such as Lloyd Price.[2] Two of the sessions resulted in hits for Earl King ("Those Lonely Lonely Nights"), and Smiley Lewis ("I Hear You Knocking").[2]
In 1957, Smith formed 'Huey 'Piano' Smith and His Clowns' with Bobby Marchan,[7] and signed a long term contract with former Specialty record producer, Johnny Vincent at Ace Records.[2] They hit the Billboard charts with several singles in succession, including "Rockin' Pneumonia and the Boogie Woogie Flu".[2] The record was issued as "Rockin' Pneumonia and the Boogie Woogie Flu Part 1" on the topside (a vocal) and "Rockin' Pneumonia and the Boogie Woogie Flu Part 2", an instrumental, on the flip. The lyrics were written by John Vincent, and the record sold over one million copies, achieving gold disc status.[1]
In 1958, Vin Records, a subsidiary of Ace Records, released a popular single "Little Chickee Wah Wah" with Clowns singer Gerri Hall, under the billing of Huey and Jerry. (This song is sometimes confused with the similarly titled 1956 single "Chickie Wah Wah" by Bobby Marchan, which has entirely different lyrics, tempo, chord structure and melody; the Vincent-Smith composition is built around the melody of the old black children's play-song "Little Sally Walker.")
Meanwhile, Ace Records released several more singles from 'Huey "Piano" Smith and His Clowns', including "We Like Birdland", "Well I'll Be John Brown", and "Don't You Know Yockomo." (Later, in 1964, New Zealand artist Dinah Lee took her cover version of this last song to number 1 in both New Zealand & Australia.)
The Clowns' most famous single, released in 1958, was "Don't You Just Know It" b/w "High Blood Pressure." This hit number 9 on the Billboard Pop chart and number 4 on the Rhythm and Blues chart.[2] It was their second million seller.[1]
In 1959, Ace Records erased Huey Smith's vocal track from the now classic single Smith composed, arranged and performed entitled "Sea Cruise", and replaced it with a vocal track by white singer Frankie Ford.[2] The tune was a huge hit for Ford.[8]
Smith left Ace Records for Imperial Records, to record with Fats Domino's noted producer (and fellow Louisianan) Dave Bartholomew, but the national hits did not follow.[2] Instead, Ace Records again overdubbed new vocals by Gerri Hall, Billy Roosevelt and Johnny Williams on another one of Smith's unreleased tracks, to produce the last hit single credited to Huey "Piano" Smith, entitled "Pop-Eye".[2]
In the years following, he made several comebacks, performing as 'Huey "Piano" Smith and His Clowns', 'The Hueys', 'The Pitter Pats', and as 'Shindig Smith and the Soul Shakers', but he has never attained his former degree of success.[2]
In 2000, Smith was honored with a Pioneer Award by the Rhythm and Blues Foundation.
His piano playing incorporated the boogie styles of Pete Johnson, Meade Lux Lewis, and Albert Ammons; the jazz style of Jelly Roll Morton; and the piano playing of Fats Domino.[1] Allmusic journalist, Steve Huey, also noted "At the peak of his game, Smith epitomized New Orleans R&B at its most infectious and rollicking, as showcased on his classic signature tune, 'Don't You Just Know It.'"[2]
Career
Smith was born in New Orleans' Garden District, and was influenced by the innovative work of Professor Longhair.[3] He became known for his shuffling right-handed break on the piano that influenced other Southern players.[4]
Smith wrote his first song on the piano, "Roberson Street Boogie" (named after the street where he lived), when he was only eight years old, and performed the tune with a friend. They billed themselves as Slick and Dark. Smith attended McDowell High and Xavier University of Louisiana in New Orleans.[5] When Smith was fifteen he began working in clubs and recording records with his flamboyant partner, Eddie Jones, who rose to fame as Guitar Slim.[4] When he was eighteen, in 1952, he signed a recording contract with Savoy Records, which released his first known single, "You Made Me Cry". In 1953 Smith recorded with Earl King.[6]
In 1955, Smith turned 21, and became the piano player with Little Richard's first band for Specialty Records.[2] The same year he also played piano on several studio sessions for other artists such as Lloyd Price.[2] Two of the sessions resulted in hits for Earl King ("Those Lonely Lonely Nights"), and Smiley Lewis ("I Hear You Knocking").[2]
In 1957, Smith formed 'Huey 'Piano' Smith and His Clowns' with Bobby Marchan,[7] and signed a long term contract with former Specialty record producer, Johnny Vincent at Ace Records.[2] They hit the Billboard charts with several singles in succession, including "Rockin' Pneumonia and the Boogie Woogie Flu".[2] The record was issued as "Rockin' Pneumonia and the Boogie Woogie Flu Part 1" on the topside (a vocal) and "Rockin' Pneumonia and the Boogie Woogie Flu Part 2", an instrumental, on the flip. The lyrics were written by John Vincent, and the record sold over one million copies, achieving gold disc status.[1]
In 1958, Vin Records, a subsidiary of Ace Records, released a popular single "Little Chickee Wah Wah" with Clowns singer Gerri Hall, under the billing of Huey and Jerry. (This song is sometimes confused with the similarly titled 1956 single "Chickie Wah Wah" by Bobby Marchan, which has entirely different lyrics, tempo, chord structure and melody; the Vincent-Smith composition is built around the melody of the old black children's play-song "Little Sally Walker.")
Meanwhile, Ace Records released several more singles from 'Huey "Piano" Smith and His Clowns', including "We Like Birdland", "Well I'll Be John Brown", and "Don't You Know Yockomo." (Later, in 1964, New Zealand artist Dinah Lee took her cover version of this last song to number 1 in both New Zealand & Australia.)
The Clowns' most famous single, released in 1958, was "Don't You Just Know It" b/w "High Blood Pressure." This hit number 9 on the Billboard Pop chart and number 4 on the Rhythm and Blues chart.[2] It was their second million seller.[1]
In 1959, Ace Records erased Huey Smith's vocal track from the now classic single Smith composed, arranged and performed entitled "Sea Cruise", and replaced it with a vocal track by white singer Frankie Ford.[2] The tune was a huge hit for Ford.[8]
Smith left Ace Records for Imperial Records, to record with Fats Domino's noted producer (and fellow Louisianan) Dave Bartholomew, but the national hits did not follow.[2] Instead, Ace Records again overdubbed new vocals by Gerri Hall, Billy Roosevelt and Johnny Williams on another one of Smith's unreleased tracks, to produce the last hit single credited to Huey "Piano" Smith, entitled "Pop-Eye".[2]
In the years following, he made several comebacks, performing as 'Huey "Piano" Smith and His Clowns', 'The Hueys', 'The Pitter Pats', and as 'Shindig Smith and the Soul Shakers', but he has never attained his former degree of success.[2]
In 2000, Smith was honored with a Pioneer Award by the Rhythm and Blues Foundation.
Paul Pena Geb. 26.01.1950
Paul Pena (* 26. Januar 1950 in Hyannis, Massachusetts; † 1. Oktober 2005 in San Francisco, Kalifornien) war ein US-amerikanischer Bluesmusiker.
Leben
Der durch ein Glaukom von Kindheit an blinde und im Rollstuhl sitzende Bluesmusiker Paul Pena wurde international bekannt durch den Oscar nominierten Dokumentarfilm Genghis Blues (Roko Belic, 1999). Aufgrund seiner extrem tiefen Stimme wurde er auch "Earthquake" genannt. Er beherrschte die Gesangskunst des Khöömej (Obertongesang) und war ein Meister des Kargyraa (Untertongesang). 1995 gewann er beim internationalen Khöömej Wettbewerb in Kysyl, Tuwa, den Publikumspreis. Er schrieb u. a. den Hit "Jet Airliner" mit dem die Steve Miller Band einen Hit landete. Seine durch den Dokumentarfilm erlangte Berühmtheit führte dazu, dass sein bereits 1973 aufgenommenes Album "New Train" schließlich am 26. September 2000 auf CD veröffentlicht wurde. Auf diesem Album spielten unter anderen Jerry Garcia, Merle Saunders und The Persuasions als Gastmusiker mit. In seiner Jugend lernte Paul Klavier, Gitarre, Kontrabass, Geige und ein wenig Trompete. Er spielte und sang beliebte Jazz- und Kapverdischen Balladen mit seinem Vater, einem professionellen Jazz-Musiker. Später spielte Paul mit vielen Größen des Blues, John Lee Hooker, BB King, Muddy Waters, Mississippi Fred McDowell, Big Bones und T-Bone Walker.
Paul Pena (January 26, 1950 – October 1, 2005) was an American singer, songwriter and guitarist of Cape Verdean descent.
His music from the first half of his career touched on Delta blues, jazz, morna, flamenco, folk and rock and roll. Pena is probably best known for writing the song "Jet Airliner," a major 1977 hit for the Steve Miller Band and a staple of classic rock radio; and for appearing in the 1999 documentary film Genghis Blues, wherein he displayed his abilities in the field of Tuvan throat singing.
Early years
Pena was born in Hyannis, Massachusetts. His grandparents were from the islands of Brava and Fogo in the Cape Verde islands off the western coast of Africa, and emigrated to the United States in 1919. Pena spoke Cape Verdean Creole with his family while growing up. His grandfather, Francisco Pena, and father, Joaquim "Jack" Pena, were both professional musicians, and taught Paul to play Cape Verdean music, including Morna. Pena performed professionally with his father, including a summer spent in Spain and Portugal, where he studied flamenco music.
Pena was born with congenital glaucoma. He attended the Perkins School for the Blind in Watertown, Massachusetts, from the age of 5, and graduated in 1967. He then attended Clark University in Worcester, Massachusetts.
Pena was completely blind by the time he was 20.
Musical career
In February 1969, Pena's band played for a week at The Electric Factory in Philadelphia, Pennsylvania, opening twice for both Frank Zappa and the Mothers of Invention and The Grateful Dead.[1] Pena performed in the Contemporary Composer's Workshop at the Newport Folk Festival the same year. He also played in the T-Bone Walker Blues Band during the early 1970s, including an appearance in the Montreux Jazz Festival in 1972. He played bass guitar and provided backup vocals on Bonnie Raitt's debut album.
After moving to San Francisco in 1971, Pena called the Grateful Dead office, which helped find him work. He opened for Jerry Garcia and Merl Saunders at the Keystone in Berkeley and other area clubs many times over the course of the next three years. Pena said of Keystone owner Freddie Herrera, "His idea of an audition was for me to come and open up for Garcia and Saunders. That went on for some time. Whenever he would have somebody, not knowing who would open, he would call me."[2]
Pena's debut album was the self-titled Paul Pena, recorded with guitarist Jeff Baxter, drummer Juma Santos, and former Perkins classmate Ellis Hall on backing vocals, and released by Capitol Records in 1972. His follow-up album New Train was recorded in 1973 by Bearsville Records and was produced by Ben Sidran (keyboardist for the Steve Miller Band). New Train featured Jerry Garcia, Merl Saunders, and The Persuasions. Albert Grossman, the owner of Bearsville Records (and best known as the manager of Bob Dylan), stopped release of the record after a dispute with Pena and his then-manager, Dr. Gunther Weil. Pena remained contractually obligated to Grossman, and was unable to record for another label.
Sidran gave an unreleased copy of New Train to Steve Miller, who recorded "Jet Airliner" with the Steve Miller Band for the 1977 album Book of Dreams. Miller's version of "Jet Airliner" was a hit single, and went to #8 on the charts. Pena's primary source of income in his later years were royalties from that single, which was a song about Pena's airplane trip from Boston to Montreal to play the first-ever date with T-Bone Walker's band.
Pena temporarily suspended his musical career to care for his wife, Babe, who was suffering from kidney failure. She died in 1991.
New Train was finally released in 2000, 27 years after it was recorded. In 2001 Pena conducted his last tour, playing a number of dates in support of the album. He opened shows for The String Cheese Incident in March of that year, and for Bob Weir's Ratdog in April. He was a presenter at the 22nd annual W. C. Handy Awards in May. He then appeared on Late Night with Conan O'Brien on June 8, 2001, and played "Jet Airliner".
"Gonna Move," a song from New Train, has been covered by a number of artists, including Les Dudek on his 1978 album Ghost Town Parade, Susan Tedeschi on her 2002 album Wait for Me, the Derek Trucks Band on their 2004 album Live at Georgia Theatre, and by Taylor Hicks on 2006's Taylor Hicks. The Derek Trucks Band also covered Pena's song "Something to Make You Happy" on their 2009 Grammy Award winning album Already Free.
Throat singing
While searching for a Korean language lesson on shortwave radio on December 29, 1984, Pena was intrigued by an example of Tuvan throat-singing he heard on a Radio Moscow broadcast. At the same time he heard an interview with the English musician Jill Purce, one of the pioneers of overtone chanting in the West, on KPFA radio in Berkeley, California, and obtained her recording. Seven years later he found a Tuvan record at a local record store called Tuva: Voices From the Center of Asia, and listened to it "continuously".[3] Based on that record and extended experimentation, he was able to teach himself the vocal techniques called Khoomei, Sygyt and Kargyraa:
After playing the CD continuously for several months and driving many of my friends away by making weird noises while experimenting with my voice, I finally learned a few of the basic techniques of this fascinating group of vocal styles by remembering the styles of some of the blues greats of the past – especially Charlie Patton, Tommy McClennan, and Chester "Howlin' Wolf" Burnett.[3]
Pena also taught himself Tuvan. There were no Tuvan to English translation dictionaries, so Pena used two dictionaries: Tuvan to Russian and Russian to English. He used a device called an Optacon to scan the pages and convert the printed words into tactile sensations he could read with his finger.
Pena attended a performance of Tuvan throat-singing at the Asian Art Museum of San Francisco on February 6, 1993. He performed an impromptu Tuvan song in the kargyraa style, which impressed famous Tuvan throatsinger Kongar-ol Ondar. Ondar invited Pena to sing in the second international Khoomei Symposium in 1995 in Kyzyl, Tuva. Pena travelled to Tuva and was the first westerner to compete in the Symposium. He placed first in the Kargyraa contest and also won the "audience favorite" category.
Tuvans affectionately call him "Cher Shimjer" (Earthquake), because of the deepness of his voice. Pena said "My voice is lower than most Tuvans. They have a style that makes your voice lower. When I use that, there's a slow song when I hit a note that's four white keys from the left of the piano."[4]
The 1999 film Genghis Blues documented Pena's journey to Tuva. It won the 1999 Sundance Film Festival Audience Award for a Documentary. It was also nominated for an Academy Award in 2000 in the Documentary Feature category.
Health issues
In 1997 Pena was severely injured after his bedroom caught fire. He suffered smoke inhalation and was in a coma for four days.
Pena suffered from diabetes. He also waged a long battle with pancreatic illness, and was originally mis-diagnosed with pancreatic cancer. He began chemotherapy treatments and doctors gave him six months to live. In 2000 he was properly diagnosed with pancreatitis, a life-threatening illness.
Pena died in his San Francisco, California, apartment of complications from diabetes and pancreatitis on October 1, 2005.
Paul Pena from the movie Genghis Blues,Good Horses
https://www.youtube.com/watch?x-yt-cl=84503534&v=-LYc06l2gGo&x-yt-ts=1421914688#t=17
https://www.facebook.com/natala.kaczmarczyk.5
Terry “Harmonica” Bean is still relatively young, but has decades of experience with the blues. A lifelong resident of Pontotoc, Bean first heard downhome blues at home. His father Eddie Bean, a native of Bruce, sang and played blues guitar and prior to Terry’s birth traveled with an electric blues band.
For many years Eddie Bean, who died in 1985, hosted informal music and gambling gatherings at the family’s house on “Bean Hill” in west Pontotoc. He also worked as a sharecropper, enlisting Terry and other of his fourteen children to pick cotton in the surrounding fields.
Terry began playing guitar and harmonica as a child, and eventually his father began featuring him at the home gatherings and taking him along to other house parties. Although Terry was a “natural,” he stopped playing around the time he was twelve because several of his brothers were jealous of the attention he received. Today his brother Jimmy plays bass in church and occasionally in Terry’s blues band, while brother Jerry Lee sings gospel as well as lead vocals in the Pontotoc-based Legends of the Blues.
Terry turned his attention instead to baseball, and was a star pitcher on American Legion league teams and his high school team, which he led to the state championship in 1980. Equally adept with both hands, Terry pitched five no-hitters and attracted scouts from several professional teams.
A professional career in baseball was curtailed, however, when Terry was injured in a motorcycle accident and he lost his competitive edge. Nevertheless, he continued to play semi-pro ball in his ‘20s until he was involved in another automotive accident.
Terry decided to “get serious” about the blues in 1988 after visiting the Delta Blues Festival in Greenville. He went there to see Robert Junior Lockwood, who played with Terry’s idol, harmonica legend Little Walter, but inadvertently fell in with the Greenville blues scene.
Every weekend for three years Terry traveled to Greenville and its environs to play harmonica with James "T-Model" Ford as well as Asie Payton at various juke joints. He also played across the Delta with artists including Lonnie Pitchford.
Back home he formed a band, and began playing guitar himself after becoming frustrated with teaching others his ideal sound. Following the lead of Arkansas bluesman John Weston, he started using a harmonica rack and performing as a one-man band, stomping his feet for percussion.
Since the mid-‘80s Terry has worked full-time at a furniture factory in Pontotoc, but he has maintained a busy performance schedule as both a solo artist and with the Terry Harmonica Bean Blues Band. He has performed at festivals across Mississippi as well as in Alabama, Arkansas, Missouri, and Tennessee, and regularly works at clubs across the region. Since 2002 he has released six self-produced CDs that document both his band and solo performances.
Terry is consciously dedicated to “keeping alive” older styles of blues. “What’s stimulating to me,” he says, “is people hearing the blues played like they used to hear it."
Natala Nacia Abłamowicz *26.01.1990
https://www.facebook.com/natala.kaczmarczyk.5
Quartet
aus Warschau ausgeliehen seinen Namen von dem Song "Junkers
Blues" aus dem Repertoire von Champion Jack Dupree'a. "Wir,
die Musik vor allem von der alten Blues, Swing, rhytm'n'bluesa,
Boogie-Woogie, Rock'n'Roll und Soul süchtig. Wir erfinden alten
Kompositionen Größen wie Jimmy Reed, Etta James, Snooks Eaglin,
Billy Boy Arnold , Canned Heat, Little Walter, Katie Webster, Slim
Harpo, Cecil Gant, Amos Milburn, und viele andere, sowie das
Erstellen von urheberrechtlich geschützten Werken Styling in
Anspielung auf alten Aufnahmen Meistern des Blues. Wir wollen zeigen,
dass der Blues ist ein Musikgenre, das ein Vater ist, oder bereits
eher, Großvater und Urgroßvater, vielleicht sogar die gesamte
zeitgenössische Musik, und dass, entgegen der landläufigen Meinung
nicht, um Doppelarbeit in der Runde der 12-taktowego scheme
"beschränkt - sagen die Musiker selbst.
Die
Zusammensetzung der vorliegenden Junkers Blues Sängerin Natalia
Abłamowicz (für die Bildung von Spielern bekannt), Pianist und
Mundharmonika-Spieler Dominik Abłamowicz (auch mit Szulerami
assoziiert), Gitarrist Maciej Sych und Schlagzeuger Gregory
Zawiliński.
In diesem
Jahr die 35. Ausgabe gehören die Rawa Blues Elvin Bishop Band,
Bettye Lavette, Jarekus Singleton und Selwyn Birchwood. Rawa Blues
findet am 3. Oktober in Kattowitz statt.
Terry "Harmonica" Bean *26.01.1961
Terry “Harmonica” Bean is still relatively young, but has decades of experience with the blues. A lifelong resident of Pontotoc, Bean first heard downhome blues at home. His father Eddie Bean, a native of Bruce, sang and played blues guitar and prior to Terry’s birth traveled with an electric blues band.
For many years Eddie Bean, who died in 1985, hosted informal music and gambling gatherings at the family’s house on “Bean Hill” in west Pontotoc. He also worked as a sharecropper, enlisting Terry and other of his fourteen children to pick cotton in the surrounding fields.
Terry began playing guitar and harmonica as a child, and eventually his father began featuring him at the home gatherings and taking him along to other house parties. Although Terry was a “natural,” he stopped playing around the time he was twelve because several of his brothers were jealous of the attention he received. Today his brother Jimmy plays bass in church and occasionally in Terry’s blues band, while brother Jerry Lee sings gospel as well as lead vocals in the Pontotoc-based Legends of the Blues.
Terry turned his attention instead to baseball, and was a star pitcher on American Legion league teams and his high school team, which he led to the state championship in 1980. Equally adept with both hands, Terry pitched five no-hitters and attracted scouts from several professional teams.
A professional career in baseball was curtailed, however, when Terry was injured in a motorcycle accident and he lost his competitive edge. Nevertheless, he continued to play semi-pro ball in his ‘20s until he was involved in another automotive accident.
Terry decided to “get serious” about the blues in 1988 after visiting the Delta Blues Festival in Greenville. He went there to see Robert Junior Lockwood, who played with Terry’s idol, harmonica legend Little Walter, but inadvertently fell in with the Greenville blues scene.
Every weekend for three years Terry traveled to Greenville and its environs to play harmonica with James "T-Model" Ford as well as Asie Payton at various juke joints. He also played across the Delta with artists including Lonnie Pitchford.
Back home he formed a band, and began playing guitar himself after becoming frustrated with teaching others his ideal sound. Following the lead of Arkansas bluesman John Weston, he started using a harmonica rack and performing as a one-man band, stomping his feet for percussion.
Since the mid-‘80s Terry has worked full-time at a furniture factory in Pontotoc, but he has maintained a busy performance schedule as both a solo artist and with the Terry Harmonica Bean Blues Band. He has performed at festivals across Mississippi as well as in Alabama, Arkansas, Missouri, and Tennessee, and regularly works at clubs across the region. Since 2002 he has released six self-produced CDs that document both his band and solo performances.
Terry is consciously dedicated to “keeping alive” older styles of blues. “What’s stimulating to me,” he says, “is people hearing the blues played like they used to hear it."
http://www.arts.state.ms.us/folklife/artist.php?dirname=bean_terry
http://mississippibluesproject.org/2012/07/12/artist-profile-terry-harmonica-bean/#.Vc5E65fdQ2E
http://mississippibluesproject.org/2012/07/12/artist-profile-terry-harmonica-bean/#.Vc5E65fdQ2E
Terry " Harmonica " Bean - of Delta Mississippi Blues - With the Blues Band
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