1898 Will Shade*
1934 Little Arthur Duncan*
1947 Rainer Lojewski*
1984 Tiny Powell+
1994 Buddy Scott+
1997 Robert Elem+
1934 Little Arthur Duncan*
1947 Rainer Lojewski*
1984 Tiny Powell+
1994 Buddy Scott+
1997 Robert Elem+
Happy Birthday
Little Arthur Duncan *05.02.1934
Duncan was born in Indianola, Mississippi, United States,[2] and initially learned to play the drums.[4] In 1950, aged 16, he moved to Chicago, Illinois, and made acquaintance with both Little Walter, who helped Duncan to learn the rudiments of harmonica playing, and Jimmy Reed. He found work playing his harmonica by accompanying Earl Hooker, John Brim and Floyd Jones.[2][4] Billed and henceforth commonly known as 'Little Arthur Duncan', he played primarily in and around Chicago, and built up a local reputation over the years. He appeared with his own band in the Backscratcher's Social Club, which he also owned.[2] Duncan worked in construction during the 1960s and 1970s, so was restricted to playing and singing in the evenings.[4]
In 1989, Duncan recorded the album Bad Reputation, which was released on the Blues King record label.[2][4] He later appeared on a compilation album, Blues Across America: The Chicago Scene, alongside Detroit Junior.[2] In 1999, Duncan recorded for Delmark, who released Singin' with the Sun that year.[2] On the album he was accompanied by the guitar player Billy Flynn.[5] Live in Chicago followed in 2000.[1]
His final recording was Live at Rosa's Blues Lounge, which was a live album recorded in Chicago in August 2007. One music journalist noted "...spirited, gritty performances of Reed's "Pretty Thing," Wolf's "No Place to Go," and two Dixon favorites ("Young Fashioned Ways" and "Little Red Rooster") leave no doubt that Duncan lives and breathes electric Chicago blues."[6] However, a subsequent lengthy illness and hospitalization meant that Duncan could not build on his success.[1]
Duncan died in Northlake, Illinois, in August 2008, from complications following brain surgery. He was aged 74.
Mr. Speiches Monokel Blues Band - BYE BYE Lübben City
Er heißt Andreas, Micha oder Frank
Und Montag sieht er immer etwas müde aus
Er hat die Kilometer noch in den Knochen
Und die anderen kommen aus dem Fernsehhaus
Er sagt: Gib Gas, liebe Woche
Und Freitag rastet er dann wieder aus...
(Originaltext von Rainer Lojewski aus dem Kultsong der Band Monokel /1979)
http://www.blueser54.de/294.html
Er heißt Andreas, Micha oder Frank
Und Montag sieht er immer etwas müde aus
Er hat die Kilometer noch in den Knochen
Und die anderen kommen aus dem Fernsehhaus
Er sagt: Gib Gas, liebe Woche
Und Freitag rastet er dann wieder aus...
(Originaltext von Rainer Lojewski aus dem Kultsong der Band Monokel /1979)
http://www.blueser54.de/294.html
Will Shade- Memphis Jug Band (Evergreen Money Blues(Weldon- Shade )
2005 veröffentlichte er nach fast 30 Jahren wieder ein Album, dem trotz positiver Kritiken kein großer Erfolg beschieden war.
Al Kooper (born Alan Peter Kuperschmidt, February 5, 1944) is an American songwriter, record producer and musician, known for organizing Blood, Sweat & Tears (although he did not stay with the group long enough to share its popularity), providing studio support for Bob Dylan when he went electric in 1965, and bringing together guitarists Mike Bloomfield and Stephen Stills to record the Super Session album. He has had a successful solo career since then, written music for film soundtracks, and has lectured in musical composition. He continues to perform live.
Life and career
Kooper, born in Brooklyn,[1] grew up in a Jewish family[2] in Hollis Hills, Queens, New York. His first musical success was as a fourteen-year-old guitarist in the Royal Teens, best known for their 1958 ABC Records novelty twelve-bar blues riff, "Short Shorts". In 1960, he joined the songwriting team of Bob Brass and Irwin Levine and wrote "This Diamond Ring", which became a hit for Gary Lewis and the Playboys. When he was twenty-one, Kooper moved to Greenwich Village.
He performed with Bob Dylan in concert in 1965, including playing Hammond organ with Dylan at the Newport Folk Festival, and in the recording studio in 1965 and 1966. Kooper also played the Hammond organ riffs on Dylan's "Like a Rolling Stone". It was in those recording sessions that Kooper met and befriended Mike Bloomfield, whose guitar playing he admired. He worked extensively with Bloomfield for several years. Kooper played organ once again with Dylan during his 1981 world tour.
Kooper joined the Blues Project as their keyboardist in 1965; he left the band shortly before their gig at the Monterey Pop Festival in 1967. He formed Blood, Sweat & Tears in 1967, leaving due to creative differences in 1968, after the release of the group's first album, Child Is Father to the Man.[3] He recorded Super Session with Bloomfield and Stills in 1968,[4] and in 1969 he collaborated with 15-year-old guitarist Shuggie Otis on the album Kooper Session. In 1975 he produced the debut album by the Tubes.
Kooper has played on hundreds of records, including ones by the Rolling Stones, B. B. King, the Who, the Jimi Hendrix Experience, Alice Cooper, and Cream. On occasion, he has even overdubbed his own efforts, as on The Live Adventures of Mike Bloomfield and Al Kooper and other albums, under the pseudonym "Roosevelt Gook".[5] After moving to Atlanta in 1972, he discovered the band Lynyrd Skynyrd, and produced and performed on their first three albums, including the single "Sweet Home Alabama" and "Free Bird".
He wrote the score for the TV series Crime Story and for the film The Landlord and wrote music for several made-for-television movies. He was the musical force behind many of the pop tunes, including "You're the Lovin' End", for The Banana Splits, a children's television program.
During the late 1980s Kooper had his own dedicated keyboard studio room in the historic Sound Emporium recording studio in Nashville, next to studio B.
Kooper published a memoir, Backstage Passes: Rock 'n' Roll Life in the Sixties (1977), which was revised and published as Backstage Passes and Backstabbing Bastards: Memoirs of a Rock 'n' Roll Survivor (1998). The revised edition includes indictments of "manipulators" in the music industry, including his one-time business manager, Stan Polley. Kooper's status as a published author enabled him to join (and act as musical director of) the Rock Bottom Remainders, a band made up of writers, including Dave Barry, Stephen King, Amy Tan, and Matt Groening.
Kooper is retired from teaching songwriting and recording production at Berklee College of Music, in Boston, and plays weekend concerts with his bands the ReKooperators and the Funky Faculty. In 2008, he participated in the production of the album Psalngs,[7] the debut release of Canadian musician John Lefebvre.
Kooper was inducted into the Musicians Hall of Fame and Museum, in Nashville, in 2008.[8]
In 2005 Martin Scorsese produced a documentary, No Direction Home: Bob Dylan, for the PBS American Masters Series, Kooper's most notable playing with Dylan is the organ parts on "Like a Rolling Stone". Kooper had been invited to the session as an observer and hoped to be allowed to sit in on guitar, his primary instrument. He uncased his guitar and began tuning it. After hearing Mike Bloomfield, who was the hired session guitarist, warming up, he concluded that Bloomfield at that point was a much better guitarist, so Kooper put his guitar aside and retreated into the control room.
As the recording sessions progressed, keyboardist Paul Griffin was moved from the Hammond organ to piano. Kooper quickly suggested to producer Tom Wilson that he had a "great organ part" for the song (which he later confessed was just a ruse to play in the session), and Wilson responded, "Al, you're not an organ player, you're a guitar player", but Kooper stood his ground. Before Wilson could explicitly reject Kooper's suggestion, he was interrupted by a phone call in the control room. Kooper immediately went into the studio and sat down at the organ, though he had rarely played organ before the session. When Wilson returned, he was shocked to find Kooper in the studio. By this time, Kooper had been playing along with Dylan and his backing band. His organ can be heard coming in an eighth note behind the other members of the band, as Kooper followed to make sure he was playing the proper chords. During a playback of tracks in the control room, when asked about the organ track, Dylan was emphatic: "Turn the organ up!"
Life and career
Kooper, born in Brooklyn,[1] grew up in a Jewish family[2] in Hollis Hills, Queens, New York. His first musical success was as a fourteen-year-old guitarist in the Royal Teens, best known for their 1958 ABC Records novelty twelve-bar blues riff, "Short Shorts". In 1960, he joined the songwriting team of Bob Brass and Irwin Levine and wrote "This Diamond Ring", which became a hit for Gary Lewis and the Playboys. When he was twenty-one, Kooper moved to Greenwich Village.
He performed with Bob Dylan in concert in 1965, including playing Hammond organ with Dylan at the Newport Folk Festival, and in the recording studio in 1965 and 1966. Kooper also played the Hammond organ riffs on Dylan's "Like a Rolling Stone". It was in those recording sessions that Kooper met and befriended Mike Bloomfield, whose guitar playing he admired. He worked extensively with Bloomfield for several years. Kooper played organ once again with Dylan during his 1981 world tour.
Kooper joined the Blues Project as their keyboardist in 1965; he left the band shortly before their gig at the Monterey Pop Festival in 1967. He formed Blood, Sweat & Tears in 1967, leaving due to creative differences in 1968, after the release of the group's first album, Child Is Father to the Man.[3] He recorded Super Session with Bloomfield and Stills in 1968,[4] and in 1969 he collaborated with 15-year-old guitarist Shuggie Otis on the album Kooper Session. In 1975 he produced the debut album by the Tubes.
Kooper has played on hundreds of records, including ones by the Rolling Stones, B. B. King, the Who, the Jimi Hendrix Experience, Alice Cooper, and Cream. On occasion, he has even overdubbed his own efforts, as on The Live Adventures of Mike Bloomfield and Al Kooper and other albums, under the pseudonym "Roosevelt Gook".[5] After moving to Atlanta in 1972, he discovered the band Lynyrd Skynyrd, and produced and performed on their first three albums, including the single "Sweet Home Alabama" and "Free Bird".
He wrote the score for the TV series Crime Story and for the film The Landlord and wrote music for several made-for-television movies. He was the musical force behind many of the pop tunes, including "You're the Lovin' End", for The Banana Splits, a children's television program.
During the late 1980s Kooper had his own dedicated keyboard studio room in the historic Sound Emporium recording studio in Nashville, next to studio B.
Kooper published a memoir, Backstage Passes: Rock 'n' Roll Life in the Sixties (1977), which was revised and published as Backstage Passes and Backstabbing Bastards: Memoirs of a Rock 'n' Roll Survivor (1998). The revised edition includes indictments of "manipulators" in the music industry, including his one-time business manager, Stan Polley. Kooper's status as a published author enabled him to join (and act as musical director of) the Rock Bottom Remainders, a band made up of writers, including Dave Barry, Stephen King, Amy Tan, and Matt Groening.
Kooper is retired from teaching songwriting and recording production at Berklee College of Music, in Boston, and plays weekend concerts with his bands the ReKooperators and the Funky Faculty. In 2008, he participated in the production of the album Psalngs,[7] the debut release of Canadian musician John Lefebvre.
Kooper was inducted into the Musicians Hall of Fame and Museum, in Nashville, in 2008.[8]
In 2005 Martin Scorsese produced a documentary, No Direction Home: Bob Dylan, for the PBS American Masters Series, Kooper's most notable playing with Dylan is the organ parts on "Like a Rolling Stone". Kooper had been invited to the session as an observer and hoped to be allowed to sit in on guitar, his primary instrument. He uncased his guitar and began tuning it. After hearing Mike Bloomfield, who was the hired session guitarist, warming up, he concluded that Bloomfield at that point was a much better guitarist, so Kooper put his guitar aside and retreated into the control room.
As the recording sessions progressed, keyboardist Paul Griffin was moved from the Hammond organ to piano. Kooper quickly suggested to producer Tom Wilson that he had a "great organ part" for the song (which he later confessed was just a ruse to play in the session), and Wilson responded, "Al, you're not an organ player, you're a guitar player", but Kooper stood his ground. Before Wilson could explicitly reject Kooper's suggestion, he was interrupted by a phone call in the control room. Kooper immediately went into the studio and sat down at the organ, though he had rarely played organ before the session. When Wilson returned, he was shocked to find Kooper in the studio. By this time, Kooper had been playing along with Dylan and his backing band. His organ can be heard coming in an eighth note behind the other members of the band, as Kooper followed to make sure he was playing the proper chords. During a playback of tracks in the control room, when asked about the organ track, Dylan was emphatic: "Turn the organ up!"
Two Trains Running-Al Kooper and The Blues Project
Al Kooper ~ ''As The Years Go Passing By'' ( Psychedelic Blues 1972 )
Blood Sweat & Tears - I Can't Quit Her
Kenneth "Buddy" Scott (January 9, 1935 – February 5, 1994)[1] was an American blues guitarist.
Scott
was born in Goodman, Mississippi, Mississippi,[1] and came from a
family of Chicago blues musicians. Both of his brothers, vocalist Howard
and guitarist Walter, played locally, and his son is Kenneth
"Hollywood" Scott. He learned to play guitar from his mother and from
Reggie Boyd. He was born in Mississippi but moved to Chicago when he was
seven, and joined the doo-wop group The Masqueraders. His brothers
formed a group, The Scott Brothers,[1] Buddy formed a group called
Scotty and the Rib Tips and recorded several singles late in the 1960s.
They played locally in Chicago blues establishments for over a
generation.
Scott signed a recording contract with Verve in 1993, and
released his debut major-label release, Bad Avenue, that year, but died
of stomach cancer in Chicago, Illinois, not long after the album's
release.
http://en.wikipedia.org/wiki/Buddy_Scott
When talking about deep bluesmen who are also great entertainers, the conversation will eventually get around to the coolest bassman/singer/showman the Windy City has in its blues arsenal, Big Mojo Elem. As a singer, he possesses a relatively high-pitched voice that alternately drips with honey and malice. As a bassist, his unique approach to the instrument makes him virtually one of a kind. Unlike most bass players, Elem seldom plays standard walking bass patterns, instead using a single-note groove that lends to any band he's a part of a decidedly juke-joint groove. And as a showman, he possesses an energy that makes other performers half his age look like they're sitting down. Born in Itta Bena, Mississippi, Elem grew up in fertile blues territory. Originally a guitarist, he soaked up licks and ideas by observing masters like Robert Nighthawk and a young Ike Turner first-hand. By his 20th birthday, he had arrived in Chicago and was almost immediately pressed into professional service playing rhythm guitar behind Arthur "Big Boy" Spires and harmonica man Lester Davenport. By 1956, Elem had switched over to the newly arrived (in Chicago) electric bass, simply to stand out from the pack of guitar players searching the clubs looking for work. He formed a band with harp player Earl Payton and signed on a young Freddie King as their lead guitarist, playing on King's very first single for the El-Bee label in late 1956. After Freddie's success made him the bandleader, Big Mojo stayed with King off and on for the next eight years. The '50s and '60s also found him doing club work -- mostly on the West side -- with Magic Sam, Junior Wells, Shakey Jake Harris, Jimmy Dawkins, and Luther Allison, with a short stint in Otis Rush's band as well. Aside from a stray anthology cut and a now out of print album for a tiny European label, Elem's career has not been documented in much depth, but he remains one of the liveliest players on the scene.
Big Mojo Elem Talk To Your Daughter (1978)
Tiny Powell +05.02.1984
b. Vance Powell,
17 May 1922, Warren, Arkansas, USA, d. 5 February 1984, Oakland,
California, USA. Powell sang with several gospel groups, including the
Golden Harp Singers, with whom he made his first records in 1947, the
Paramount Gospel Singers, with whom he sang intermittently from 1948-60,
usually as lead singer. He also had a brief early 50s spell with the
Five Blind Boys Of Mississippi, sharing lead duties with the spectacular
Archie Brownlee. Among instrumentalists with whom Powell worked is
guitarist Johnny Heartsman. Active often in the Bay Area of California,
he was especially popular in the 60s. Well known among the songs he
recorded and which were later covered, often more successfully if not
always as well, are "Get My Hat", "Bossy Woman", "You've Got To Bow Down
Before God" and "My Time After Awhile". The outstanding Coral Records
compilation, Heaven In My View, includes test pressings and a cappella
songs that give a clear indication of the power and fervour of Powell's
rich voice and dramatic singing style.
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