1900 Pink Anderson*
1923 Big John Wrencher*
1923 „Baby Face“ Leroy Foster*
1939 Ray Manzarek*
1970 Ishman Bracey+
1995 George Mayweather+
2000 Screamin’ Jay Hawkins+
2015 Sam Andrew+
Happy Birthday
Big John Wrencher *12.02.1923
Big John Wrencher (* 12. Februar 1923 in Sunflower, Sunflower County, Mississippi; † 15. Juli 1977 in Clarksdale, Mississippi, auch bekannt als One Arm John, eigentlich John Thomas Wrencher) war ein US-amerikanischer Mundharmonikaspieler und Sänger. In den 1960er Jahren spielte er oft auf dem Maxwell Street Market, in den 1970ern tourte er auch in Europa.
Schon als Kind zeigte er großes Interesse für Musik und lehrte sich in frühen Jahren Mundharmonika. In den 1940er Jahren war er als fahrender Musiker in Tennessee, Missouri, Indiana und Illinois unterwegs.[1]. Mitte des Jahrzehnts kam er in Chicago an und spielte oft auf dem Maxwell Street Market und auf Hauspartys. In den 1950er Jahren wohnte er in Detroit und spielte mit Baby Boy Warren und in einem eigenen Trio.
1958 verlor er bei einem Autounfall in Memphis seinen linken Arm. In den frühen 1960er Jahren siedelte er sich wieder in Chicago an und wurde ein Fixpunkt auf der Maxwell Street, wo er jeden Sonntag von 10 bis 15 Uhr spielte.[2] 1964 trat er im Dokumentarfilm And This Is Free auf, die Musik wurde in einer CD-Box veröffentlicht (And This Is Maxwell Street). In diesem Jahrzehnt nahm er für Testament auf, als Musiker in Robert Nighthawks Band.
1973 und 1974 war er mit dem Chicago Blues Festival und den American Blues Legends auf Europatournee, bei der Tournee 1974 nahm er in London ein Album für das Big Bear-Label auf, bei dem ihn Eddie Taylor und seine Band begleiteten.
Bei einem Familienbesuch 1977 starb Big Joe Wrencher an einem Herzinfarkt in Clarksdale, Mississippi.
Big John Wrencher (February 12, 1923 - July 15, 1977), also known as One Arm John, was an American blues harmonica player and singer, well known for playing on Maxwell Street Market, Chicago in the 1960s, and who later toured Europe in the 1970s.[1]
Biography
John Thomas Wrencher was born in Sunflower, Mississippi, United States. He became interested in music as a child, and taught himself to play harmonica at an early age, and from the early 1940s was working as an itinerant musician in Tennessee, Missouri, Indiana, and Illinois.[1] By the mid-1940s he had arrived in Chicago and was playing on Maxwell Street and at house parties with Jimmy Rogers, Claude "Blue Smitty" Smith and John Henry Barbee.[2] In the 1950s he moved to Detroit, where he worked with singer/guitarist Baby Boy Warren, and formed his own trio to work in the Detroit and Clarksdale, Mississippi areas.[1]
In 1958 Wrencher lost his left arm as a result of a car accident outside Memphis, Tennessee.[1] By the early 1960s he had settled in Chicago, where he became a fixture on Maxwell Street Market, in particular playing from 10am to 3pm on Sundays.[3] In 1964 he appeared in a documentary film about Maxwell Street, titled And This Is Free;[1] performances by Wrencher recorded in the process of making the film were eventually issued on the three CD set And This Is Maxwell Street. During the 1960s he recorded for the Testament label backing Robert Nighthawk, and as part of the Chicago String Band.[4] In 1969 he recorded for Barrelhouse Records, backed by guitarist Little Buddy Thomas and drummer Playboy Vinson, who formed his Maxwell Street band of the time. The resulting album, Maxwell Street Alley Blues, was described as "superlative in every regard" by Cub Koda at Allmusic.[5] Wrencher toured Europe with the Chicago Blues Festival in 1973 and with the American Blues Legends in 1974, and during the latter tour recorded an album in London for Big Bear Records, backed by guitarist Eddie Taylor and his band.[1]
During a trip to Mississippi to visit his family in July 1977, Wrencher died suddenly of a heart attack in Wade Walton's barber shop in Clarksdale, Mississippi.
Biography
John Thomas Wrencher was born in Sunflower, Mississippi, United States. He became interested in music as a child, and taught himself to play harmonica at an early age, and from the early 1940s was working as an itinerant musician in Tennessee, Missouri, Indiana, and Illinois.[1] By the mid-1940s he had arrived in Chicago and was playing on Maxwell Street and at house parties with Jimmy Rogers, Claude "Blue Smitty" Smith and John Henry Barbee.[2] In the 1950s he moved to Detroit, where he worked with singer/guitarist Baby Boy Warren, and formed his own trio to work in the Detroit and Clarksdale, Mississippi areas.[1]
In 1958 Wrencher lost his left arm as a result of a car accident outside Memphis, Tennessee.[1] By the early 1960s he had settled in Chicago, where he became a fixture on Maxwell Street Market, in particular playing from 10am to 3pm on Sundays.[3] In 1964 he appeared in a documentary film about Maxwell Street, titled And This Is Free;[1] performances by Wrencher recorded in the process of making the film were eventually issued on the three CD set And This Is Maxwell Street. During the 1960s he recorded for the Testament label backing Robert Nighthawk, and as part of the Chicago String Band.[4] In 1969 he recorded for Barrelhouse Records, backed by guitarist Little Buddy Thomas and drummer Playboy Vinson, who formed his Maxwell Street band of the time. The resulting album, Maxwell Street Alley Blues, was described as "superlative in every regard" by Cub Koda at Allmusic.[5] Wrencher toured Europe with the Chicago Blues Festival in 1973 and with the American Blues Legends in 1974, and during the latter tour recorded an album in London for Big Bear Records, backed by guitarist Eddie Taylor and his band.[1]
During a trip to Mississippi to visit his family in July 1977, Wrencher died suddenly of a heart attack in Wade Walton's barber shop in Clarksdale, Mississippi.
Chicago Beau *13.02.1949
Chicago Beau (* 13. Februar 1949 in Chicago, Illinois als Lincoln T. Beauchamp, junior) ist ein amerikanischer Bluesmusiker (Bluesharp, Gesang), Musikproduzent und Autor.
Chicago Beau war seit seinem zehnten Lebensjahr zunächst Steptänzer, der von Jimmy Payne ausgebildet wurde, und nahm bis zum 15. Lebensjahr an vielen Cabaret-Shows teil. Dann gab ihm Billy Boy Arnold Harmonika-Unterricht; seinen Künstlernamen erhielt er von Muddy Waters. Seitdem er 17 Jahre alt war, trat er in kleinen Clubs und in Lagern sowie als Straßenmusiker auf, nicht nur in seiner Heimatstadt, sondern auch in Neuenglandstaaten und in Kanada, um dann in Amsterdam und in Paris zu arbeiten. In Paris begegnete er Archie Shepp, der ihn mit einem weiteren Mundharmonikaspieler, Julio Finn, an den Aufnahmen seines Creativ-Jazz-Klassikers Blasé , des Albums Pitchin Can und eines weiteren Albums mit Philly Joe Jones und Anthony Braxton beteiligte. Kurz darauf zog ihn auch das Art Ensemble of Chicago zu Auftritten und Aufnahmen (Certain Blacks, 1970) heran.
In den nächsten Jahrzehnten nahm Chicago Beau mit eigenen Bands, aber auch mit seinem Lehrer Billy Boy Arnold und mit Cal Massey, Pinetop Perkins, Fontella Bass, James Carter, Frank Zappa, Sunnyland Slim, Famoudou Don Moye sowie mit dem südafrikanischen Amakhono We Sinto Choir auf. In den 1990er Jahren war er mit seiner eigenen Gruppe, aber auch mit dem Art Ensemble of Chicago auf Europatournee.
Als Musikproduzent nahm er in Chicago Musiker wie Junior Wells, Valerie Wellington, Billy Branch, Willie Kent, Deitra Farr oder Tommy McCracken auf. 1988 gründete er den Verlag Literati Internazionale, der sich dem Schreiben über Blues und Jazz sowie dem Multikulturalismus widmete und neben Büchern auch Zeitschriften veröffentlichte. Er verfasste drei Bücher.
Chicago Beau erhielt den Clio Award für seine Musik, die Anfang der 1990er Jahre in der Kabelfernseh-Kampagne der Chicago Bulls verwendet wurde.
Bluesman Lincoln McGraw-Beauchamp, or Chicago Beau, as he is known in local and international blues circles, grew up in the 50s in a boardinghouse near 39th and Ellis, a place he recalls as "a house of blues." The building was populated with hustlers, drug dealers, prostitutes, and gamblers. The landlady ran a numbers operation on the first floor; her son was a junkie who lived in the attic. The tenants shared one kitchen, which served as a center of gambling, boozing, and carousing. Beauchamp remembers his eyes being level with the kitchen table. He saw women in colorful dresses and elaborate hats with veils who smoked cigarettes in ornate holders and crossed their legs, dangling high-heeled shoes from their toes; men in double-breasted suits with betting tickets stuck in the bands of their Stetson hats swayed to the bebop that flowed incessantly from a record player. These people lived by their wits. They fascinated Lincoln. And a blues club they frequented down the street filled him with wonder.
Today Beauchamp lives in Wicker Park and stays busy as a blues harmonica player, record producer, publisher, writer, and lecturer. His new book, Blues Stories, is a collection of essays, articles, poetry, and interviews with other blues players. In his preface--rich with autobiographical anecdotes, including scenes from the boardinghouse--he establishes the theme that informs the rest of the text: freedom and dignity through creative adventure and cultural expression.
Some of the book's material originally appeared in two magazines that Beauchamp publishes and edits: The Original Chicago Blues Annual and Literati International, the latter a semiannual journal of African American arts. Chicago Beau, who says he was given his moniker by Muddy Waters, has always considered the "blues" a cultural whole made up of a variety of elements, including jazz, poetry, theater, and African dance. Blues Stories is drawn from his various lines of work, but is above all a proclamation of his devotion to the blues.
That devotion started early. Beauchamp's godmother gave him a set of harmonicas when he was 12. His father--who had come off a southern plantation and gone on to become an attorney--disapproved of musicians, viewing them as drug addicts. He tried to discourage his son's musical aspirations. But when one of young Lincoln's baby-sitters took him to the Sanctified Church on the south side, where he witnessed an intense display of wildly celebratory gospel music and dancing, he was hooked. A musician named Billy Boy Arnold taught him, at age 14, the fundamentals of playing the blues.
In Blues Stories Beauchamp tells of leaving Chicago at age 17 "to play the blues and embrace a life of adventure and risks." He writes of landing first in Boston, drifting then to Montreal, Quebec City, San Francisco, and eventually New York. A natural raconteur, Beauchamp happily romanticizes his own history. In the preface he tells of hitting a winning streak shooting craps in Manhattan one night in 1969. As the story goes, he and companion Julio Finn counted the take after the game: $3,800. "My brother," Beauchamp said, "tomorrow we leave for Paris."
Paris became the first in a long itinerary of international cities where Beauchamp has since worked as a musician, poet, writer, and lecturer. Piano player Memphis Slim, who at the time of Beauchamp's arrival was also working in Paris, helped guide the 20-year-old through the unfamiliar city's maze of narrow streets. He also allowed the young harmonica player to join him onstage, introducing him to audiences and friends as a guest artist. This was the break Beauchamp needed to start his career.
He still plays mostly overseas, where, he says, audiences consider blues an art form and the money is better. His portfolio of press clippings is dominated by articles from French, Italian, and Japanese publications. "We were part of an era now exhausted," Beauchamp writes in Blues Stories. "No longer does youth take to the road, no longer does youth in America shout." A similar sentiment becomes central to the book, as he and other senior blues people express frustration at the younger generation's inevitable lack of interest in their values, music, and culture.
Sitting in Kiki's Bistro, a French restaurant in River North that's one of his current haunts, Beauchamp recalls a vibrant scene in Paris in the late 60s and early 70s--cafes filled with energetic, able, and enthused black artists and musicians who were always collaborating on projects. He laments the absence of such passion here in Chicago, and, echoing his father, blames drugs for lassitude and indifference among the players. Polemical harangues, like adventure stories, are staples of Beau's social and literary discourse.
"Cocaine is the drug of choice here," he says. "So many local blues people are messed up on it, and they're unable to take care of business." He says cocaine has left a depressing haze hanging over the Chicago blues scene: "It's not a healthy environment, and it's not conducive to creativity." Most blues musicians today don't write new material, he says, preferring instead to endlessly rehash a short list of old songs, not even playing them correctly.
Alcohol has done its part too. In an introduction to his interview with pianist and songwriter Eddie Boyd Beauchamp writes: "There are a few Blues players today who have to be literally led to the stage and propped up to the microphone because they are so drunk. Others have suffered violent death and injury due to drunkenness."
Also interviewed are senior bluesmen Junior Wells and Pinetop Perkins--who, like Beauchamp, have traveled the world playing the blues. We learn that in the late 60s Wells was hired by the State Department, under Hubert Humphrey, to tour the world giving cultural presentations of the blues. He visited Africa, Australia, and Vietnam, among other places.
The lectures Beauchamp has given--at institutions such as the University of Copenhagen, the Sorbonne, and Chicago's Field and DuSable museums--have titles like "Blues as Literature," and "Blues as a Social and Political Condition." He also has taught a course in Blues as Literature at Columbia College. But he worries that not enough of his peers are doing their part to sustain blues culture.
Beauchamp and Wells think that black idols like Michael Jordan have sold out their responsibilities as role models. "Heroes with all that money never address the cultural issues," Beauchamp says. "They'll talk about gym shoes or some goofy cereal before they'll ever utter anything positive for our young people regarding our culture and dignity."
Wells says young blacks "don't want to be bothered with the blues, but the white boys imitating the blues [get] richer and richer."
Beauchamp acknowledges, perhaps reluctantly, the contribution rap has made to the evolving black cultural body, but resents it as the music that has stolen young people's attentions away from the blues. In one of his Blues Stories poems, "The Poet's Bitter Observation," Beauchamp writes, "If the people are not taught to curate their own culture, then they will always be in a quandary about their identity."
Like many of Beauchamp's writing projects, Blues Stories is self-published. The book has more than its share of typos and sometimes betrays the lack of a good editor, but it is a compelling read and serves well as a chronicle of a culture. Beau will be reading from Blues Stories and playing harmonica with guitarist Pete Crawford, Thursday, February 25, at Barnes & Noble, 659 W. Diversey. The program starts at 7 PM and it's free. For more information call 871-9004.
Today Beauchamp lives in Wicker Park and stays busy as a blues harmonica player, record producer, publisher, writer, and lecturer. His new book, Blues Stories, is a collection of essays, articles, poetry, and interviews with other blues players. In his preface--rich with autobiographical anecdotes, including scenes from the boardinghouse--he establishes the theme that informs the rest of the text: freedom and dignity through creative adventure and cultural expression.
Some of the book's material originally appeared in two magazines that Beauchamp publishes and edits: The Original Chicago Blues Annual and Literati International, the latter a semiannual journal of African American arts. Chicago Beau, who says he was given his moniker by Muddy Waters, has always considered the "blues" a cultural whole made up of a variety of elements, including jazz, poetry, theater, and African dance. Blues Stories is drawn from his various lines of work, but is above all a proclamation of his devotion to the blues.
That devotion started early. Beauchamp's godmother gave him a set of harmonicas when he was 12. His father--who had come off a southern plantation and gone on to become an attorney--disapproved of musicians, viewing them as drug addicts. He tried to discourage his son's musical aspirations. But when one of young Lincoln's baby-sitters took him to the Sanctified Church on the south side, where he witnessed an intense display of wildly celebratory gospel music and dancing, he was hooked. A musician named Billy Boy Arnold taught him, at age 14, the fundamentals of playing the blues.
In Blues Stories Beauchamp tells of leaving Chicago at age 17 "to play the blues and embrace a life of adventure and risks." He writes of landing first in Boston, drifting then to Montreal, Quebec City, San Francisco, and eventually New York. A natural raconteur, Beauchamp happily romanticizes his own history. In the preface he tells of hitting a winning streak shooting craps in Manhattan one night in 1969. As the story goes, he and companion Julio Finn counted the take after the game: $3,800. "My brother," Beauchamp said, "tomorrow we leave for Paris."
Paris became the first in a long itinerary of international cities where Beauchamp has since worked as a musician, poet, writer, and lecturer. Piano player Memphis Slim, who at the time of Beauchamp's arrival was also working in Paris, helped guide the 20-year-old through the unfamiliar city's maze of narrow streets. He also allowed the young harmonica player to join him onstage, introducing him to audiences and friends as a guest artist. This was the break Beauchamp needed to start his career.
He still plays mostly overseas, where, he says, audiences consider blues an art form and the money is better. His portfolio of press clippings is dominated by articles from French, Italian, and Japanese publications. "We were part of an era now exhausted," Beauchamp writes in Blues Stories. "No longer does youth take to the road, no longer does youth in America shout." A similar sentiment becomes central to the book, as he and other senior blues people express frustration at the younger generation's inevitable lack of interest in their values, music, and culture.
Sitting in Kiki's Bistro, a French restaurant in River North that's one of his current haunts, Beauchamp recalls a vibrant scene in Paris in the late 60s and early 70s--cafes filled with energetic, able, and enthused black artists and musicians who were always collaborating on projects. He laments the absence of such passion here in Chicago, and, echoing his father, blames drugs for lassitude and indifference among the players. Polemical harangues, like adventure stories, are staples of Beau's social and literary discourse.
"Cocaine is the drug of choice here," he says. "So many local blues people are messed up on it, and they're unable to take care of business." He says cocaine has left a depressing haze hanging over the Chicago blues scene: "It's not a healthy environment, and it's not conducive to creativity." Most blues musicians today don't write new material, he says, preferring instead to endlessly rehash a short list of old songs, not even playing them correctly.
Alcohol has done its part too. In an introduction to his interview with pianist and songwriter Eddie Boyd Beauchamp writes: "There are a few Blues players today who have to be literally led to the stage and propped up to the microphone because they are so drunk. Others have suffered violent death and injury due to drunkenness."
Also interviewed are senior bluesmen Junior Wells and Pinetop Perkins--who, like Beauchamp, have traveled the world playing the blues. We learn that in the late 60s Wells was hired by the State Department, under Hubert Humphrey, to tour the world giving cultural presentations of the blues. He visited Africa, Australia, and Vietnam, among other places.
The lectures Beauchamp has given--at institutions such as the University of Copenhagen, the Sorbonne, and Chicago's Field and DuSable museums--have titles like "Blues as Literature," and "Blues as a Social and Political Condition." He also has taught a course in Blues as Literature at Columbia College. But he worries that not enough of his peers are doing their part to sustain blues culture.
Beauchamp and Wells think that black idols like Michael Jordan have sold out their responsibilities as role models. "Heroes with all that money never address the cultural issues," Beauchamp says. "They'll talk about gym shoes or some goofy cereal before they'll ever utter anything positive for our young people regarding our culture and dignity."
Wells says young blacks "don't want to be bothered with the blues, but the white boys imitating the blues [get] richer and richer."
Beauchamp acknowledges, perhaps reluctantly, the contribution rap has made to the evolving black cultural body, but resents it as the music that has stolen young people's attentions away from the blues. In one of his Blues Stories poems, "The Poet's Bitter Observation," Beauchamp writes, "If the people are not taught to curate their own culture, then they will always be in a quandary about their identity."
Like many of Beauchamp's writing projects, Blues Stories is self-published. The book has more than its share of typos and sometimes betrays the lack of a good editor, but it is a compelling read and serves well as a chronicle of a culture. Beau will be reading from Blues Stories and playing harmonica with guitarist Pete Crawford, Thursday, February 25, at Barnes & Noble, 659 W. Diversey. The program starts at 7 PM and it's free. For more information call 871-9004.
Vinir Dóra And Chicago Beau
https://www.youtube.com/watch?v=nX3hykPwpR0&x-yt-ts=1421914688&x-yt-cl=84503534
https://www.youtube.com/watch?v=nX3hykPwpR0&x-yt-ts=1421914688&x-yt-cl=84503534
Chicago Beau & Band - Jazzwoche Burghausen 2013 fragm. 2
Pink Anderson *12.02.1900
Pink Anderson and son "Little Pink
Anderson" in the 1960s
Pinkney „Pink“ Anderson (* 12. Februar 1900 in Spartanburg, South Carolina; † 12. Oktober 1974 in Spartanburg, South Carolina) war ein US-amerikanischer Blues-Musiker.
Er verdiente jahrelang seinen Lebensunterhalt bei einem Quacksalber, der durch die Lande fuhr, um den Menschen angebliche Wundermedizin zu verkaufen, und für den er musizierte, um die Aufmerksamkeit der Leute auf den „Zauberdoktor“ zu lenken.
Erst in den 1950er-Jahren machte Pink Anderson seine ersten professionellen Aufnahmen, abgesehen von einigen Aufnahmen mit Simmie Dooley in den 20er-Jahren. Zudem hatte er einen Auftritt im Film The Bluesmen (1963).
Syd Barrett setzte den Namen seiner Band Pink Floyd aus den Vornamen von Pink Anderson und Floyd Council zusammen, von denen er im Hüllentext von Paul Oliver zu der im Jahr 1962 erschienenen Blind Boy Fuller LP Philips BBL-7512 gelesen hatte: „Curley Weaver and Fred McMullen, (...) Pink Anderson or Floyd Council -- these were a few amongst the many blues singers that were to be heard in the rolling hills of the Piedmont, or meandering with the streams through the wooded valleys.“
Pinkney "Pink" Anderson (February 12, 1900 – October 12, 1974[1]) was an American blues singer and guitarist.
Life and career
He was born in Laurens, South Carolina. After being raised in nearby Greenville and Spartanburg, he joined Dr. Frank Kerr of the Indian Remedy Company in 1914 to entertain the crowds while Kerr tried to sell a concoction purported to have medicinal qualities.[2]
He still "went out" when he could with Leo "Chief Thundercloud" Kahdot (of the Potawatomi native Americans) and his medicine show, often with the Jonesville, South Carolina based harmonica-player Arthur "Peg Leg Sam" Jackson. In May 1950, Anderson was recorded by folklorist Paul Clayton at the Virginia State Fair.
Anderson recorded an album in the early 1960s and performed at some live venues.[3] He appeared in the 1963 film The Bluesmen. He reduced his activities in the late 1960s after a stroke.[4] Attempts by folklorist Peter B. Lowry in 1970 to get Anderson on tape were not successful, although apparently he could occasionally summon up some of his past abilities. A final tour took place in the early 1970s with the aid of Roy Book Binder, one of his "students", taking him to Boston and New York.
He died in October 1974, of a heart attack at the age of 74. He is interred at Lincoln Memorial Gardens in Spartanburg.[1] Anderson's son, known as Little Pink Anderson (b. July 13, 1954[5]), is currently a bluesman living in Vermillion, South Dakota.[6]
The Pink in Pink Floyd
Syd Barrett, of English progressive rock band Pink Floyd, came up with the band's name by juxtaposing the first names of Pink Anderson and North Carolina bluesman, Floyd Council.[3] Barrett noticed the names in the liner notes of a 1962 Blind Boy Fuller album (Philips BBL-7512). The text, written by Paul Oliver, read: "Curley Weaver and Fred McMullen, (...) Pink Anderson or Floyd Council - these were a few amongst the many blues singers that were to be heard in the rolling hills of the Piedmont, or meandering with the streams through the wooded valleys."
Life and career
He was born in Laurens, South Carolina. After being raised in nearby Greenville and Spartanburg, he joined Dr. Frank Kerr of the Indian Remedy Company in 1914 to entertain the crowds while Kerr tried to sell a concoction purported to have medicinal qualities.[2]
He still "went out" when he could with Leo "Chief Thundercloud" Kahdot (of the Potawatomi native Americans) and his medicine show, often with the Jonesville, South Carolina based harmonica-player Arthur "Peg Leg Sam" Jackson. In May 1950, Anderson was recorded by folklorist Paul Clayton at the Virginia State Fair.
Anderson recorded an album in the early 1960s and performed at some live venues.[3] He appeared in the 1963 film The Bluesmen. He reduced his activities in the late 1960s after a stroke.[4] Attempts by folklorist Peter B. Lowry in 1970 to get Anderson on tape were not successful, although apparently he could occasionally summon up some of his past abilities. A final tour took place in the early 1970s with the aid of Roy Book Binder, one of his "students", taking him to Boston and New York.
He died in October 1974, of a heart attack at the age of 74. He is interred at Lincoln Memorial Gardens in Spartanburg.[1] Anderson's son, known as Little Pink Anderson (b. July 13, 1954[5]), is currently a bluesman living in Vermillion, South Dakota.[6]
The Pink in Pink Floyd
Syd Barrett, of English progressive rock band Pink Floyd, came up with the band's name by juxtaposing the first names of Pink Anderson and North Carolina bluesman, Floyd Council.[3] Barrett noticed the names in the liner notes of a 1962 Blind Boy Fuller album (Philips BBL-7512). The text, written by Paul Oliver, read: "Curley Weaver and Fred McMullen, (...) Pink Anderson or Floyd Council - these were a few amongst the many blues singers that were to be heard in the rolling hills of the Piedmont, or meandering with the streams through the wooded valleys."
Pink Anderson - I Had My Fun (Going Down Slow)
„Baby Face“ Leroy Foster *12.02.1923
„Baby Face“ Leroy Foster (* 12. Februar 1923 in Algoma, Mississippi; † 26. Mai 1958 in Chicago) war ein US-amerikanischer Blues-Gitarrist, Sänger und Schlagzeuger.
Leroy Foster gehörte zu den Pionieren des Chicagoer Nachkriegsblues, der ab 1945 in der Stadt entstand. Foster wirkte auch an den Sessions für das kurzlebige Label Tempo-Tone mit, bei denen er mit Muddy Waters, Sunnyland Slim und Jimmy Rogers spielte. Er spielte auch mit John Lee „Sonny Boy“ Williamson. Seine ersten Aufnahmen entstanden um 1945/46 mit dem Pianisten Lee Brown und James Clark (für Columbia). Erste Aufnahmen unter eigenem Namen spielte er 1948 für Aristocrat Records ein; zwei Stücke mit Muddy Waters. Leroy Foster, der neben der Gitarre gleichzeitig auch Bass Drum und Hi-Hat mit seinen Füßen spielte, war auch als Sänger aktiv. Anfang 1950 entstanden die letzten Aufnahmen mit Waters für Parkway Records (Rollin' and Tumblin'.) Seine zwei für Tempo-Tone entstandenen Nummern nahm er erneut auf, Red Headed Woman und Boll Weevil. Foster wirkte auch als Schlagzeuger bei Aufnahmen von Memphis Minnie mit. Nachdem er die Muddy Waters-Band verlassen hatte, arbeitete er 1950, 1951 und 1952 mit eigenen Formationen bei drei Sessions für J.O.B. Records und wirkte bei Aufnahmen von Mildred Richards und Snooky Pryor 1950 bei JOB mit. 1950 spielte er auch bei der Debüt-Session von J. B. Lenoir, die später bei Chess Records erschien und begleitete Sunnyland Slim bei Aufnahmen für dessen Label Sunny. 1952 nahm Foster erneut unter eigenem Namen auf; die Stück blieben jedoch zunächst unveröffentlicht. Alkoholismus schränkte seine Arbeitsmöglichkeiten ein; er starb am 26. Mai 1958 in Chicago.
Leroy Foster gehörte zu den Pionieren des Chicagoer Nachkriegsblues, der ab 1945 in der Stadt entstand. Foster wirkte auch an den Sessions für das kurzlebige Label Tempo-Tone mit, bei denen er mit Muddy Waters, Sunnyland Slim und Jimmy Rogers spielte. Er spielte auch mit John Lee „Sonny Boy“ Williamson. Seine ersten Aufnahmen entstanden um 1945/46 mit dem Pianisten Lee Brown und James Clark (für Columbia). Erste Aufnahmen unter eigenem Namen spielte er 1948 für Aristocrat Records ein; zwei Stücke mit Muddy Waters. Leroy Foster, der neben der Gitarre gleichzeitig auch Bass Drum und Hi-Hat mit seinen Füßen spielte, war auch als Sänger aktiv. Anfang 1950 entstanden die letzten Aufnahmen mit Waters für Parkway Records (Rollin' and Tumblin'.) Seine zwei für Tempo-Tone entstandenen Nummern nahm er erneut auf, Red Headed Woman und Boll Weevil. Foster wirkte auch als Schlagzeuger bei Aufnahmen von Memphis Minnie mit. Nachdem er die Muddy Waters-Band verlassen hatte, arbeitete er 1950, 1951 und 1952 mit eigenen Formationen bei drei Sessions für J.O.B. Records und wirkte bei Aufnahmen von Mildred Richards und Snooky Pryor 1950 bei JOB mit. 1950 spielte er auch bei der Debüt-Session von J. B. Lenoir, die später bei Chess Records erschien und begleitete Sunnyland Slim bei Aufnahmen für dessen Label Sunny. 1952 nahm Foster erneut unter eigenem Namen auf; die Stück blieben jedoch zunächst unveröffentlicht. Alkoholismus schränkte seine Arbeitsmöglichkeiten ein; er starb am 26. Mai 1958 in Chicago.
"Baby Face" Leroy Foster (February 1, 1923 – May 26, 1958) was an American blues singer, drummer and guitarist, active in Chicago from the mid-1940s until the late 1950s. He was a significant figure in the development of the post-war electric Chicago blues sound, most notably as a member of the Muddy Waters band during its formative years.[1]
Early life
Foster was born in Algoma, Mississippi, United States. He moved to Chicago in the mid-1940s, and by 1946 was working with pianist Sunnyland Slim and harmonica player John Lee "Sonny Boy" Williamson.[2] He was introduced to singer and guitarist Muddy Waters by an acquaintance Waters met at a recording session in 1946, and was soon playing guitar and drums in Waters’ band, along with guitar and harmonica player Jimmy Rogers,[3] with the band later joined by Little Walter on harmonica. Calling themselves the Headhunters, the trio were known for going from club to club and “cutting” (i.e. engaging in musical duels with) other bands.[1]
First recordings
Foster’s first recordings were made with pianist Lee Brown in 1945 for J. Mayo Williams' Chicago label. In 1946, he appeared on another session with Lee Brown and recorded with James "Beale Street" Clark for Columbia. He also accompanied Sunnyland Slim on a 1947 or 1948 session for the Opera label.[2] Further recordings followed, both under his own name and backing Sunnyland Slim, Muddy Waters, Little Walter and pianist Johnny Jones, before his most notable session, for the Parkway label in 1950.
The Parkway session
This session featured the personnel of Muddy Waters' band of the time: Foster, Waters, Little Walter and (on two tracks only, since he was late for the session), Jimmy Rogers.[4] Four singles were released from the session, two by Foster and two by Little Walter. One of the singles, the two-part "Rollin' and Tumblin'" was notable enough to be reviewed, unusually for a down home blues release, in the Chicago Defender by Edward Myers, who described it as having "the sound and beat of African chant".[2] The track featured only Foster’s drumming and singing, Walter’s harmonica and Waters’ slide guitar, with hummed ensemble vocals on one side. Unfortunately, Waters’ guitar playing and backup singing were distinctive enough for it to come to the attention of Leonard Chess of Chess Records, who had Waters under an exclusive recording contract. As a result, Waters was made to record his own version of the song for the larger Chess label in order to "kill" the Parkway recording.[5]
Later career and death
After the Parkway session, Foster left Waters’ band, possibly in the hope of a solo career resulting from the releases on Parkway, but unfortunately the label soon folded. Afterwards, Foster recorded a further three sessions under his own name for the JOB label between 1950 and 1953, but died from a heart attack, possibly as a result of alcoholism, at the age of 35 in 1958.[2][6]
Foster was buried at Fern Oak Cemetery in Griffith, Indiana.[7] In 2012 the Killer Blues Headstone Project, a nonprofit organization, placed a headstone on Foster's unmarked grave.[8]
Influences and performing style
Foster sang in a style influenced by Sonny Boy Williamson and Dr. Clayton,[9] and while he played guitar and drums competently, the talents for which he was popular have been described as “drinking, singing and clowning”.
Early life
Foster was born in Algoma, Mississippi, United States. He moved to Chicago in the mid-1940s, and by 1946 was working with pianist Sunnyland Slim and harmonica player John Lee "Sonny Boy" Williamson.[2] He was introduced to singer and guitarist Muddy Waters by an acquaintance Waters met at a recording session in 1946, and was soon playing guitar and drums in Waters’ band, along with guitar and harmonica player Jimmy Rogers,[3] with the band later joined by Little Walter on harmonica. Calling themselves the Headhunters, the trio were known for going from club to club and “cutting” (i.e. engaging in musical duels with) other bands.[1]
First recordings
Foster’s first recordings were made with pianist Lee Brown in 1945 for J. Mayo Williams' Chicago label. In 1946, he appeared on another session with Lee Brown and recorded with James "Beale Street" Clark for Columbia. He also accompanied Sunnyland Slim on a 1947 or 1948 session for the Opera label.[2] Further recordings followed, both under his own name and backing Sunnyland Slim, Muddy Waters, Little Walter and pianist Johnny Jones, before his most notable session, for the Parkway label in 1950.
The Parkway session
This session featured the personnel of Muddy Waters' band of the time: Foster, Waters, Little Walter and (on two tracks only, since he was late for the session), Jimmy Rogers.[4] Four singles were released from the session, two by Foster and two by Little Walter. One of the singles, the two-part "Rollin' and Tumblin'" was notable enough to be reviewed, unusually for a down home blues release, in the Chicago Defender by Edward Myers, who described it as having "the sound and beat of African chant".[2] The track featured only Foster’s drumming and singing, Walter’s harmonica and Waters’ slide guitar, with hummed ensemble vocals on one side. Unfortunately, Waters’ guitar playing and backup singing were distinctive enough for it to come to the attention of Leonard Chess of Chess Records, who had Waters under an exclusive recording contract. As a result, Waters was made to record his own version of the song for the larger Chess label in order to "kill" the Parkway recording.[5]
Later career and death
After the Parkway session, Foster left Waters’ band, possibly in the hope of a solo career resulting from the releases on Parkway, but unfortunately the label soon folded. Afterwards, Foster recorded a further three sessions under his own name for the JOB label between 1950 and 1953, but died from a heart attack, possibly as a result of alcoholism, at the age of 35 in 1958.[2][6]
Foster was buried at Fern Oak Cemetery in Griffith, Indiana.[7] In 2012 the Killer Blues Headstone Project, a nonprofit organization, placed a headstone on Foster's unmarked grave.[8]
Influences and performing style
Foster sang in a style influenced by Sonny Boy Williamson and Dr. Clayton,[9] and while he played guitar and drums competently, the talents for which he was popular have been described as “drinking, singing and clowning”.
Ray Manzarek *12.02.1939
Raymond Daniel „Ray“ Manzarek (eigentlich Raymond Manczarek; * 12. Februar 1939 in Chicago, Illinois, USA; † 20. Mai 2013 in Rosenheim, Deutschland) war ein US-amerikanischer Musiker und Schriftsteller. Bekannt wurde er als Organist der Rockgruppe The Doors.Leben
Manzarek wurde 1939 als Sohn einer polnischstämmigen Einwandererfamilie, in der dritten Generation in den Vereinigten Staaten, in Chicago geboren. Schon früh begann er mit klassischen Klavierstunden – wohl eher im Kontext einer bürgerlichen Erziehung – und seine Begabung bildete sich langsam heraus.
Nach seinem College-Abschluss 1960 beschloss Manzarek, an der University of California in Los Angeles zu studieren, wo er Jim Morrison kennenlernte. Die aufstrebenden Intellektuellen schlossen schnell Freundschaft, Morrison bewohnte sogar einige Zeit mit Ray und dessen Freundin Dorothy dieselbe Wohnung. Manzarek machte in dieser Zeit erste ausgiebige Drogenerfahrungen: Vornehmlich konsumierte er Marihuana, allerdings auch das aufkommende LSD.
Nach dem Tod Morrisons und der Auflösung der Band versuchte auch Ray Manzarek sich als Solo-Interpret zu verwirklichen, hatte allerdings keinen großen Erfolg. Erwähnen ließe sich beispielsweise das Album The Golden Scarab (1974), seine Zusammenarbeit mit Nite City oder die elektronische Adaption der Carmina Burana (1983).
Im Jahr 2002 gründete Manzarek zusammen mit Robby Krieger, Ty Dennis und dem Frontmann der Band The Cult, Ian Astbury die Band The Doors of the 21st Century, die sich nach einem abermaligen Rechtsstreit mit John Densmore und den Eltern von Jim Morrison im Jahr 2005 „Riders on the Storm“ nannte.[1][2] Zuletzt traten Manzarek und Krieger als Ray Manzarek and Robby Krieger of The Doors auf.
Aufgrund eines Gallengangskarzinoms ließ sich Manzarek von Friedrich Douwes in der St.-Georg-Klinik in Bad Aibling behandeln. Angesichts seines schlechten Zustands wurde er in eine Klinik in Rosenheim verlegt, wo er im Alter von 74 Jahren an den Folgen seiner Krankheit verstarb.[3][4]
Zitat
„Die Gegenwart ist doch entsetzlich. Wir leben in genau dem zynischen Alptraum, vor dem wir in den Sechzigern immer gewarnt hatten.“
– Ray Manzarek: Pressekonferenz im Sommer 1997.
Raymond Daniel Manczarek Jr. (February 12, 1939 – May 20, 2013), known as Ray Manzarek, was an American musician, singer, producer, film director, and author, best known as a founding member and keyboardist of The Doors from 1965 to 1973. He was a co-founding member of Nite City from 1977 to 1978, and of Manzarek–Krieger from 2001 to his death.Biography
Early life and career
Manzarek was of Polish descent, born and raised on the South Side of Chicago, Illinois, as were his parents, Helena and Raymond Manzarek, Sr.[1] Growing up, he took private piano lessons from Bruno Michelotti and others. He originally wanted to play basketball, but he only wanted to play power forward or center. When he was sixteen his coach insisted either he play guard or not at all and he quit the team. Manzarek said later if it was not for that ultimatum, he might never have been with the Doors. He went to Everett Elementary School on South Bell Street and attended St. Rita High School in Chicago.[2] He graduated from DePaul University with a degree in economics and played in many shows at the school.
From 1962 to 1965, he studied in the Department of Cinematography at the University of California, Los Angeles (UCLA), where he met film student Jim Morrison. At UCLA, he also met Dorothy Fujikawa, whom he married. At the time Manzarek was in a band called Rick and the Ravens with his brothers Rick and Jim.[3] Forty days after finishing film school, thinking they had gone their separate ways, Manzarek and Morrison met by chance on Venice Beach in California. Morrison said he had written some songs, and Manzarek expressed an interest in hearing them, whereupon Morrison sang rough versions of "Moonlight Drive", "My Eyes Have Seen You" and "Summer's Almost Gone". Manzarek liked the songs and co-founded the Doors with Morrison at that moment.
Manzarek met drummer John Densmore and guitarist Robby Krieger at a Transcendental Meditation lecture. Densmore says, "There wouldn't be any Doors without Maharishi."[4]
In January 1966, the Doors became the house band at the London Fog on the Sunset Strip. According to Manzarek, "Nobody ever came in the place...an occasional sailor or two on leave, a few drunks. All in all it was a very depressing experience, but it gave us time to really get the music together." The same day the Doors were fired from the London Fog, they were hired to be the house band of the Whisky a Go Go. Their first performance at the Whisky was with the group Them.[5]
The Doors' first recording contract was with Columbia Records. After a few months of inactivity, they learned they were on Columbia's drop list. At that point, they asked to be released from their contract. After a few months of live gigs, Jac Holzman "rediscovered" the Doors and signed them to Elektra Records.
The Doors lacked a bassist, so Manzarek usually played the bass parts on a Fender Rhodes PianoBass. His signature sound is that of the Vox Continental combo organ, an instrument used by many other psychedelic rock bands of the era. He later used a Gibson G-101 Kalamazoo combo organ (which looks like a Farfisa) because the Continental's plastic keys frequently broke, according to Manzarek.
Manzarek occasionally sang for the Doors, including the live recording "Close To You" and on the B-side of "Love Her Madly," "You Need Meat (Don't Go No Further)." He also sang on the last two Doors albums, recorded after Morrison's death, Other Voices and Full Circle. Additionally, he provided one of several guitar parts on the song "Been Down So Long."
Later career and influence
Manzarek played in several groups after the Doors, including Nite City.[5] He recorded a rock adaptation of Carl Orff's Carmina Burana with Philip Glass, played with Iggy Pop, backed one track on the eponymous 1987 album Echo & the Bunnymen, backed San Francisco poet Michael McClure's poetry readings and did improvisational composition with poet Michael C. Ford.[6] He also worked extensively with "Hearts of Fire" screenwriter and former SRC front man Scott Richardson[7] on a series of spoken word and blues recordings entitled "Tornado Souvenirs".
Manzarek produced Los Angeles, the 1980 inaugural album of the punk band X,[8] also contributing on keyboards.[9]
His memoir, Light My Fire: My Life with The Doors, was published in 1998. The Poet in Exile (2001) is a novel exploring the urban legend that Jim Morrison may have faked his death. Manzarek's second novel, Snake Moon, released in April 2006, is a Civil War ghost story.
In 2000, a collaboration poetry album entitled Freshly Dug was released with British singer, poet, actor and pioneer Punk rocker Darryl Read. Read had previously worked with Manzarek on the Beat Existentialist album in 1994, and their last poetical and musical collaboration was in 2007 with the album Bleeding Paradise.
Also in 2000, he co-wrote, directed the film Love Her Madly,[10] which was credited to a story idea by Jim Morrison.[11] The film was shown at the closing night of the 2004 Santa Cruz Film Festival,[12] but otherwise received limited distribution and critical review.
In 2006, he collaborated with composer and trumpeter Bal. The album that resulted, Atonal Head, is an exploration in the realm of electronica. The two musicians integrated jazz, rock, ethnic and classical music into their computer-based creations.
On August 4, 2007, Manzarek hosted a program on BBC Radio 2 about the 40th anniversary of the recording of "Light My Fire" and the group's musical and spiritual influences.
In April 2009, Manzarek and Robby Krieger appeared as special guests for Daryl Hall's monthly concert webcast Live From Daryl's House. They performed several Doors tunes ("People Are Strange", "The Crystal Ship", "Roadhouse Blues" and "Break on Through (To the Other Side)") with Hall providing lead vocals.
After living many years in Hollywood, Manzarek moved to Napa County, California, to a house that he remodeled extensively.[13] In his last years he played with local bands in the Napa area.[14]
In 2009, Manzarek collaborated with "Weird Al" Yankovic, by playing keyboards on the single "Craigslist", which is a pastiche of The Doors.[15] On the day of Manzarek's death, Yankovic published a personal video of this studio session which he said had been an "extreme honor" and "one of the absolute high points of my life".[16]
Manzarek was a co-producer on a few tracks for Universal Recording artist Michael Barber. A track appeared on the Internet, titled "Be Ok", on Barber's Universal Records debut.
In May 2010, Manzarek recorded with slide guitarist Roy Rogers in Studio D in Sausalito. Their album, Translucent Blues, released in mid-2011, was ranked No. 3 on the Top 100 Roots Rock Albums of 2011 by The Roots Music Report.[17]
In February 2012, Manzarek recorded Breakn' a Sweat with DJ Skrillex and his fellow members Robby Krieger and John Densmore.
Personal life and death
Manzarek married Dorothy Aiko Fujikawa in Los Angeles on December 21, 1967, with Jim Morrison and his long time companion, Pamela Courson, as witnesses. Manzarek and Fujikawa remained married until his death. They had a son, Pablo, and three grandchildren.[8]
Around early 2013, he was diagnosed with a rare cancer called Cholangiocarcinoma (bile duct cancer) and traveled to Germany for special treatment. On May 20, 2013, Manzarek died at a hospital in Rosenheim, Germany, at the age of 74.[18][19] Robby Krieger said, "I was deeply saddened to hear about the passing of my friend and bandmate Ray Manzarek today. I'm just glad to have been able to have played Doors songs with him for the last decade. Ray was a huge part of my life and I will always miss him."[19] John Densmore said, "There was no keyboard player on the planet more appropriate to support Jim Morrison's words. Ray, I felt totally in sync with you musically. It was like we were of one mind, holding down the foundation for Robby and Jim to float on top of. I will miss my musical brother."[20]
Greg Harris, President and CEO of the Rock and Roll Hall of Fame, said in reaction to Manzarek's death that "The world of rock 'n' roll lost one of its greats with the passing of Ray Manzarek."[21] Harris also said that "he was instrumental in shaping one of the most influential, controversial and revolutionary groups of the '60s. Such memorable tracks as 'Light My Fire', 'People are Strange' and 'Hello, I Love You' – to name but a few – owe much to Manzarek's innovative playing."[22] At 9:31 on May 21, The Whiskey a Go Go and other clubs that the Doors played, dimmed their lights in his memory. An invitation-only memorial service (Ray's celebration of life) was held on June 9 in the Napa Opera House.
RAY MANZAREK-RIDERS ON THE STORM
The doors & Scott Stapp - Riders on the storm
The Doors featuring Pat Monahan - Love Me Two Times
R.I.P.
Ishman Bracey +12.02.1970
Tommy
Johnson.....................................Ishman Bracey
Ishman Bracey (* 9. Januar 1901 in Byram, Mississippi; † 12. Februar 1970 in Jackson, Mississippi), bisweilen auch Ishmon Bracey genannt, war ein US-amerikanischer Blues-Sänger und Gitarrist. Er gilt als einer der bedeutendsten Vertreter des Delta Blues, zusammen mit Blues-Legenden wie Charlie Patton, Tommy Johnson, Papa Charlie McCoy und Skip James. Bracey lernte das Gitarrespielen von Reverend "Mississippi" Ruben Lacy. Bereits früh spielte er auf Festen und in Juke Joints. 1928 machte er zusammen mit Charlie McCoy Aufnahmen für Victor, 1929 mit den "New Orleans Nehi Boys" für Paramount. Im ganzen nahm er 12 Stücke auf, vier davon liegen auch in Alternativaufnahmen vor. Zwei weitere Titel sind bekannt, Low Down Blues und Run to Me at Night, jedoch verschollen.
Auch nach seiner kurzen Plattenkarriere trat Bracey weiterhin auf, oft zusammen mit Tommy Johnson. In den 1940ern wurde er religiös und spielte keinen Blues mehr, auch als er Ende der 1950er "wiederentdeckt" wurde. Allerdings gab er über die frühe Blues-Szene Auskunft und trug zur Wiederentdeckung von Skip James bei.
Ishman Bracey starb 1970 in Jackson, Mississippi.
Ishmon Bracey (January 9, 1901 – February 12, 1970[1]) was an American blues singer and guitarist from Mississippi, considered one of the most important early delta blues performers. With Tommy Johnson, he was the center of a small Jackson, Mississippi group of blues musicians in the 1920s. His name is incorrectly spelled "Ishman" on almost all of his records and in most older sources.[2] [3]
Biography
Bracey was born in Byram, Mississippi, and started playing at local dances and parties around 1917. He also worked as a waterboy on the Illinois Central Railroad.[1] He first recorded in Memphis in 1928 for the Victor label, with Charlie McCoy on second guitar, recording two sessions in February and August that year.[4]
At that time his style had not fully formed and his performances varied considerably, probably in his attempts to become more commercially successful. Bracey's blues "Saturday Blues" and "Left Alone Blues", used interesting variations in the usual three line verse form. Bracey was one of the few Mississippi bluesmen who sang with a nasal tone without embellishment. In "Saturday Blues" he used one of the conventional infidelity themes, but he changed the form of the verses to fit a newer melodic concept. His lyrics loosen up enough to sing about skin creams and powder advertised as being able to lighten dark skin.[citation needed]
He recorded again in 1931 for Paramount Records with a group called the New Orleans Nehi Boys, which included guitarist Charles Taylor. Bracey's total recorded output is only 16 songs, and original copies of his 78-rpm records are among the most valued items sought by blues collectors. "Trouble Hearted Blues" and "Left Alone Blues" are his best known songs.[1]
He was an associate of Tommy Johnson, and the pair performed together in medicine shows in the 1930s. By the time he was "rediscovered" in the late 1950s, he had become a preacher and a performer of religious songs, and was uninterested in recording or discussing his time as a blues performer. However, he did help in the rediscovery of his contemporary Skip James.
Biography
Bracey was born in Byram, Mississippi, and started playing at local dances and parties around 1917. He also worked as a waterboy on the Illinois Central Railroad.[1] He first recorded in Memphis in 1928 for the Victor label, with Charlie McCoy on second guitar, recording two sessions in February and August that year.[4]
At that time his style had not fully formed and his performances varied considerably, probably in his attempts to become more commercially successful. Bracey's blues "Saturday Blues" and "Left Alone Blues", used interesting variations in the usual three line verse form. Bracey was one of the few Mississippi bluesmen who sang with a nasal tone without embellishment. In "Saturday Blues" he used one of the conventional infidelity themes, but he changed the form of the verses to fit a newer melodic concept. His lyrics loosen up enough to sing about skin creams and powder advertised as being able to lighten dark skin.[citation needed]
He recorded again in 1931 for Paramount Records with a group called the New Orleans Nehi Boys, which included guitarist Charles Taylor. Bracey's total recorded output is only 16 songs, and original copies of his 78-rpm records are among the most valued items sought by blues collectors. "Trouble Hearted Blues" and "Left Alone Blues" are his best known songs.[1]
He was an associate of Tommy Johnson, and the pair performed together in medicine shows in the 1930s. By the time he was "rediscovered" in the late 1950s, he had become a preacher and a performer of religious songs, and was uninterested in recording or discussing his time as a blues performer. However, he did help in the rediscovery of his contemporary Skip James.
'Trouble Hearted Blues' ISHMAN BRACEY (1928) Delta Blues Guitar Legend
https://www.youtube.com/watch?v=eKSaWJiV1_Y&x-yt-cl=84503534&x-yt-ts=1421914688
https://www.youtube.com/watch?v=eKSaWJiV1_Y&x-yt-cl=84503534&x-yt-ts=1421914688
Screamin’ Jay Hawkins +12.02.2000
Jalacy Hawkins, besser bekannt unter dem Namen Screamin' Jay Hawkins (* 18. Juli 1929 in Cleveland, Ohio, USA; † 12. Februar 2000 in Neuilly-sur-Seine, Frankreich) war ein US-amerikanischer Blues-Sänger, der für seine ausgefallenen Auftritte und Songs wie I Put a Spell on You und Constipation Blues bekannt ist.Hawkins wollte ursprünglich Opernsänger werden und gab daher Paul Robeson und Enrico Caruso als frühe Einflüsse an. Allerdings waren seine Bemühungen in diese Richtung nicht von Erfolg gekrönt, und er begann seine Karriere als Bluessänger und Pianist.
Während des Zweiten Weltkrieges diente er in der US Army im pazifischen Ozean. Hauptsächlich als Entertainer, obwohl er behauptete, Kriegsgefangener gewesen zu sein. Hawkins war ein ausgezeichneter Boxer. Im Jahre 1949 hielt er den Mittelgewichtstitel von Alaska.
1951 tat er sich für eine Weile mit dem Gitarristen Tiny Grimes zusammen und nahm einige Songs mit ihm für Atlantic Records auf. Als er begann als Solo-Künstler aufzutreten, legte er sich eine ausgefallene Garderobe zu, welche etwa Leopardenfelle, rotes Leder und breitkrempige Hüte umfasste. Legendär wurden die Auftritte bei denen er sich im brennenden Sarg auf die Bühne tragen ließ. Ebenso legendär sind seine übrigen Requisiten und Bühneneffekte geworden, die mit der Symbolik des Voodoo spielten und Vorbild für mehrere Generationen von „Schock-Rockern“ waren: z.B. Gehstock, (Plastik-)Schlangen, aber auch „Henry“, ein rauchender und sprechender Totenschädel, sowie zahlreiche wegweisende Pyro-Effekte.
Seine erfolgreichste Veröffentlichung war I Put a Spell on You. Das Lied wurde in die The Rock and Roll Hall of Fame’s 500 Songs that Shaped Rock and Roll aufgenommen. Hawkins spielte das von ihm selbst geschriebene Lied mehrfach ein. Die erste Aufnahme entstand Ende 1955 für Grand Records; sie verkaufte sich nur mäßig. Im Laufe des Jahres 1956 wechselte Hawkins zu OKeh Records, einem Tochterunternehmen von Columbia. In seiner ersten OKeh-Session, am 12.September 1956, entstand eine weitere Version des Liedes, die schließlich weltbekannt wurde. Hawkins berichtete später, er und seine Musiker seien bei der Aufnahme vollständig betrunken gewesen.[1] Durch das „Schreien, Rufen und Grunzen“ (Hawkins) der Betrunkenen sei die Aufnahme „etwas Besonderes“ geworden.
Anzumerken ist, dass der Song in den 1950er Jahren durch die US-Radiostationen boykottiert wurde, sich aber trotzdem sehr gut verkaufte. Der Song wurde von zahlreichen namhaften Künstlern gecovert, darunter The Animals, Creedence Clearwater Revival, Nina Simone, Them, The Who, Joe Cocker, Marilyn Manson, Katie Melua sowie von Shane MacGowan and Friends (unter anderem Nick Cave, Bobby Gillespie, Mick Jones, Johnny Depp, Glen Matlock und Chrissie Hynde) als Benefiz-Download-Single im März 2010 für die Opfer des Erdbebens in Haiti.
Eine Neuaufnahme in digitaler Tonqualität wurde 1991 auf dem Sampler Back to Blues II veröffentlicht.
Später distanzierte sich Hawkins von seinem Lied. Er habe ein Monster geschaffen, dessen Leben er nun führen müsse. Seine Versuche, weniger exzentrische Lieder zu produzieren, waren wenig erfolgreich. Das Publikum und auch die Veranstalter bestanden üblicherweise darauf, dass Hawkins seinen inzwischen typischen Stil auf die Bühne brachte.
Hawkins hatte etliche weitere „Hits“, z. B. Constipation Blues (der lautstarke Verdauungsprobleme zum Thema hat), Orange Colored Sky und Feast of the Mau Mau, welches von den Geschichten über den Kannibalismus der kenianischen Mau-Mau-Rebellen profitierte. Allerdings wurde keines dieser Stücke so erfolgreich wie I Put a Spell on You.
Ende der 1950er und 1960er hielt sich Hawkins für längere Zeit im selbstgewählten Exil auf Hawaii auf. Während der 60er und 70er Jahre nahm er zwar auch weiterhin Platten auf, tourte aber vorwiegend durch Europa, wo er sehr populär war. In den USA blieb der Erfolg aus, bis der Regisseur Jim Jarmusch I Put a Spell on You in Soundtrack und Handlung des Filmes Stranger than Paradise (1983) unterbrachte und Hawkins später eine Rolle in Mystery Train gab, wo dieser einen in einen auffallend roten Anzug gewandeten lakonischen Nachtportier in einem schäbigen Motel in Memphis spielt, der u.a. (ironischerweise?) dem Portiersjungen rät, sich neu einzukleiden: "You look like a damned shimpansee ... The clothes make the man ... ." Diese Rolle führte zu einigen weiteren Filmauftritten, wie etwa in Álex de la Iglesias Perdita Durango, wo er Adolfo, den Gehilfen des Santero-Priesters Dolorosa spielt und worin dessen Stück „I'm Lonely“ die Schlussszene des Films untermalt. Einen weiteren Auftritt bekam er in Bill Dukes Adaption von Chester Himes A Rage In Harlem.
Seine 1957 veröffentlichte Single Frenzy war im Jahre 1996 auf dem Sampler Songs in the Key of X: Music From and Inspired by The X-Files enthalten. Dieses Lied unterlegte die Folge Humbug aus der 2. Staffel von Akte X.
Im Jahre 1991 kam das Album Black Music For White People heraus. Es enthielt ein Cover des von Tom Waits geschriebenen Lieds Heart Attack and Vine. Hawkins’ Version wurde im Laufe des Jahres in einer europäischen Levi’s-Werbung benutzt, doch Waits hatte niemals eine Erlaubnis zur Nutzung erteilt und es kam zu einem Rechtsstreit. Das Stück Ice Cream Man, welches der Blues-Gitarrist John Brim komponiert hatte, wurde außerdem zuvor schon von Tom Waits (1973) und Van Halen (1978) gecovert.
Während dieser Zeit tourte Hawkins auch mit The Clash und Nick Cave und wurde nicht nur bei Blues-Festivals zu einer festen Größe, sondern trat auch des Öfteren bei Filmfestivals auf.
Am 12. Februar 2000 starb Hawkins und hinterließ eine Vielzahl von Kindern, die von vielen verschiedenen Frauen stammten. Etwa 55 Kinder sind bekannt; einige Quellen berichten von bis zu 75 Kindern. Zu seinen Freundinnen gehörten Bea Arthur und Claire Roca.
Jalacy Hawkins (July 18, 1929 – February 12, 2000), better known by the stage name Screamin' Jay Hawkins, was an American rhythm and blues musician, singer, and actor. Famed chiefly for his powerful, operatic vocal delivery, and wildly theatrical performances of songs such as "I Put a Spell on You", he sometimes used macabre props onstage, making him an early pioneer of shock rock.[1]
Early life
Born and raised in Cleveland, Ohio, Hawkins studied classical piano as a child and learned guitar in his twenties.[2] His initial goal was to become an opera singer (Hawkins has cited Paul Robeson as his musical idol in interviews),[3] but when his initial ambitions failed he began his career as a conventional blues singer and pianist.
Hawkins was an avid and formidable boxer. In 1949, he was the middleweight boxing champion of Alaska.[4] In 1951, he joined guitarist Tiny Grimes's band, and was subsequently featured on some of Grimes's recordings.[3] When Hawkins became a solo performer, he often performed in a stylish wardrobe of leopard skins, red leather and wild hats.
Career
Hawkins' most successful recording, "I Put a Spell on You" (1956), was selected as one of The Rock and Roll Hall of Fame's 500 Songs that Shaped Rock and Roll. According to the AllMusic Guide to the Blues, "Hawkins originally envisioned the tune as a refined ballad."[3] The entire band was intoxicated during a recording session where "Hawkins screamed, grunted, and gurgled his way through the tune with utter drunken abandon."[3] The resulting performance was no ballad but instead a "raw, guttural track" that became his greatest commercial success and reportedly surpassed a million copies in sales,[5][6] although it failed to make the Billboard pop or R&B charts.[7][8]
The performance was mesmerizing, although Hawkins himself blacked out and was unable to remember the session.[6] Afterward he had to relearn the song from the recorded version.[6] Meanwhile the record label released a second version of the single, removing most of the grunts that had embellished the original performance; this was in response to complaints about the recording's overt sexuality.[6] Nonetheless it was banned from radio in some areas.
Soon after the release of "I Put a Spell on You", radio disc jockey Alan Freed offered Hawkins $300 to emerge from a coffin onstage.[5] Hawkins accepted and soon created an outlandish stage persona in which performances began with the coffin and included "gold and leopardskin costumes and notable voodoo stage props, such as his smoking skull on a stick – named Henry – and rubber snakes."[5] These props were suggestive of voodoo, but also presented with comic overtones that invited comparison to "a black Vincent Price."[2][6]
Later career
Hawkins' later releases included "Constipation Blues" (which included a spoken introduction by Hawkins in which he states he wrote the song because no one had written a blues song before about "real pain"), "Orange Colored Sky", and "Feast of the Mau Mau". Nothing he released, however, had the monumental success of "I Put a Spell on You". In fact, "Constipation Blues" has been described as "gross".[9] In Paris in 1999 and at the Taste of Chicago festival, he actually performed the song with a toilet onstage.[10]
He continued to tour and record through the 1960s and 1970s, particularly in Europe, where he was very popular. He appeared in performance (as himself) in the Alan Freed bio-pic American Hot Wax in 1978. Subsequently, filmmaker Jim Jarmusch featured "I Put a Spell on You" on the soundtrack – and deep in the plot – of his film Stranger Than Paradise (1983) and then Hawkins himself as a hotel night clerk in his Mystery Train and in roles in Álex de la Iglesia's Perdita Durango and Bill Duke's adaptation of Chester Himes' A Rage in Harlem.
His 1957 single "Frenzy" (found on the early 1980s compilation of the same name) was included in the compilation CD, Songs in the Key of X: Music from and Inspired by the X-Files, in 1996.[11] This song was featured in the show's Season 2 episode "Humbug". It was also covered by the band Batmobile.[citation needed] "I Put a Spell on You" was featured during the show and over the credits of Episode 303 of The Simpsons.[12]
In 1983, Hawkins relocated to the New York area. In 1984 and 1985, Hawkins collaborated with garage rockers The Fuzztones, resulting in "Screamin' Jay Hawkins and The Fuzztones Live" album recorded at Irving Plaza in December 1984. They perform in the 1986 movie Joey.[13]
In 1990, Hawkins performed the song Sirens Burnin', which was featured in the 1990 horror film Night Angel.
In July 1991, Hawkins released his album Black Music for White People.[14] The record features covers of two Tom Waits compositions: "Heart Attack and Vine"[15] (which, later that year, was used in a European Levi's advertisement without Waits' permission, resulting in a lawsuit),[16] and "Ice Cream Man" (which, contrary to popular belief,[citation needed] is a Waits original, and not a cover of the John Brim classic).[17] Hawkins also covered the Waits song "Whistlin' Past the Graveyard", for his album Somethin' Funny Goin' On. In 1993, his version of "Heart Attack and Vine" became his only UK hit, reaching #42 on the UK singles chart.[18]
When Dread Zeppelin recorded their "disco" album, It's Not Unusual in 1992, producer Jah Paul Jo asked Hawkins to guest. He performed the songs "Jungle Boogie" and "Disco Inferno". He also toured with The Clash and Nick Cave during this period, and not only became a fixture of blues festivals, but appeared at many film festivals as well, including the Telluride Film Festival premier of Mystery Train.
Personal life
Hawkins had six marriages; his French last wife was 33 at his death.[19] Singing partner Shoutin' Pat Newborn stabbed him in jealousy when he married Virginia Sabellona.[19] He had three children with his first wife and estimated the number of his illegitimate children at between 50 and 70.[19] After his death, his friend and biographer Maral Nigolian set up a website to trace these children,[20] identifying 33, at least 12 of whom met at a 2001 reunion.[19][21]
Death
Hawkins died on February 12, 2000, after surgery to treat an aneurysm.[22]
Influence
Although Hawkins was not a major success as a recording artist, his highly theatrical performances from "I Put a Spell On You" onward earned him a steady career as a live performer for decades afterward, and influenced subsequent acts.[2] He opened for Fats Domino, Tiny Grimes and the Rolling Stones.[2] This exposure in turn influenced rock groups such as The Cramps, Screaming Lord Sutch, Black Sabbath, Arthur Brown, Dread Zeppelin, The Horrors, Marilyn Manson, Tom Waits, Alice Cooper and Glenn Danzig.
Early life
Born and raised in Cleveland, Ohio, Hawkins studied classical piano as a child and learned guitar in his twenties.[2] His initial goal was to become an opera singer (Hawkins has cited Paul Robeson as his musical idol in interviews),[3] but when his initial ambitions failed he began his career as a conventional blues singer and pianist.
Hawkins was an avid and formidable boxer. In 1949, he was the middleweight boxing champion of Alaska.[4] In 1951, he joined guitarist Tiny Grimes's band, and was subsequently featured on some of Grimes's recordings.[3] When Hawkins became a solo performer, he often performed in a stylish wardrobe of leopard skins, red leather and wild hats.
Career
Hawkins' most successful recording, "I Put a Spell on You" (1956), was selected as one of The Rock and Roll Hall of Fame's 500 Songs that Shaped Rock and Roll. According to the AllMusic Guide to the Blues, "Hawkins originally envisioned the tune as a refined ballad."[3] The entire band was intoxicated during a recording session where "Hawkins screamed, grunted, and gurgled his way through the tune with utter drunken abandon."[3] The resulting performance was no ballad but instead a "raw, guttural track" that became his greatest commercial success and reportedly surpassed a million copies in sales,[5][6] although it failed to make the Billboard pop or R&B charts.[7][8]
The performance was mesmerizing, although Hawkins himself blacked out and was unable to remember the session.[6] Afterward he had to relearn the song from the recorded version.[6] Meanwhile the record label released a second version of the single, removing most of the grunts that had embellished the original performance; this was in response to complaints about the recording's overt sexuality.[6] Nonetheless it was banned from radio in some areas.
Soon after the release of "I Put a Spell on You", radio disc jockey Alan Freed offered Hawkins $300 to emerge from a coffin onstage.[5] Hawkins accepted and soon created an outlandish stage persona in which performances began with the coffin and included "gold and leopardskin costumes and notable voodoo stage props, such as his smoking skull on a stick – named Henry – and rubber snakes."[5] These props were suggestive of voodoo, but also presented with comic overtones that invited comparison to "a black Vincent Price."[2][6]
Later career
Hawkins' later releases included "Constipation Blues" (which included a spoken introduction by Hawkins in which he states he wrote the song because no one had written a blues song before about "real pain"), "Orange Colored Sky", and "Feast of the Mau Mau". Nothing he released, however, had the monumental success of "I Put a Spell on You". In fact, "Constipation Blues" has been described as "gross".[9] In Paris in 1999 and at the Taste of Chicago festival, he actually performed the song with a toilet onstage.[10]
He continued to tour and record through the 1960s and 1970s, particularly in Europe, where he was very popular. He appeared in performance (as himself) in the Alan Freed bio-pic American Hot Wax in 1978. Subsequently, filmmaker Jim Jarmusch featured "I Put a Spell on You" on the soundtrack – and deep in the plot – of his film Stranger Than Paradise (1983) and then Hawkins himself as a hotel night clerk in his Mystery Train and in roles in Álex de la Iglesia's Perdita Durango and Bill Duke's adaptation of Chester Himes' A Rage in Harlem.
His 1957 single "Frenzy" (found on the early 1980s compilation of the same name) was included in the compilation CD, Songs in the Key of X: Music from and Inspired by the X-Files, in 1996.[11] This song was featured in the show's Season 2 episode "Humbug". It was also covered by the band Batmobile.[citation needed] "I Put a Spell on You" was featured during the show and over the credits of Episode 303 of The Simpsons.[12]
In 1983, Hawkins relocated to the New York area. In 1984 and 1985, Hawkins collaborated with garage rockers The Fuzztones, resulting in "Screamin' Jay Hawkins and The Fuzztones Live" album recorded at Irving Plaza in December 1984. They perform in the 1986 movie Joey.[13]
In 1990, Hawkins performed the song Sirens Burnin', which was featured in the 1990 horror film Night Angel.
In July 1991, Hawkins released his album Black Music for White People.[14] The record features covers of two Tom Waits compositions: "Heart Attack and Vine"[15] (which, later that year, was used in a European Levi's advertisement without Waits' permission, resulting in a lawsuit),[16] and "Ice Cream Man" (which, contrary to popular belief,[citation needed] is a Waits original, and not a cover of the John Brim classic).[17] Hawkins also covered the Waits song "Whistlin' Past the Graveyard", for his album Somethin' Funny Goin' On. In 1993, his version of "Heart Attack and Vine" became his only UK hit, reaching #42 on the UK singles chart.[18]
When Dread Zeppelin recorded their "disco" album, It's Not Unusual in 1992, producer Jah Paul Jo asked Hawkins to guest. He performed the songs "Jungle Boogie" and "Disco Inferno". He also toured with The Clash and Nick Cave during this period, and not only became a fixture of blues festivals, but appeared at many film festivals as well, including the Telluride Film Festival premier of Mystery Train.
Personal life
Hawkins had six marriages; his French last wife was 33 at his death.[19] Singing partner Shoutin' Pat Newborn stabbed him in jealousy when he married Virginia Sabellona.[19] He had three children with his first wife and estimated the number of his illegitimate children at between 50 and 70.[19] After his death, his friend and biographer Maral Nigolian set up a website to trace these children,[20] identifying 33, at least 12 of whom met at a 2001 reunion.[19][21]
Death
Hawkins died on February 12, 2000, after surgery to treat an aneurysm.[22]
Influence
Although Hawkins was not a major success as a recording artist, his highly theatrical performances from "I Put a Spell On You" onward earned him a steady career as a live performer for decades afterward, and influenced subsequent acts.[2] He opened for Fats Domino, Tiny Grimes and the Rolling Stones.[2] This exposure in turn influenced rock groups such as The Cramps, Screaming Lord Sutch, Black Sabbath, Arthur Brown, Dread Zeppelin, The Horrors, Marilyn Manson, Tom Waits, Alice Cooper and Glenn Danzig.
Screamin Jay Hawkins - I Put A Spell On You
Inspiradora armónica en este tema, en la foto de izquierda a derecha: Big Leon Brooks, Good Rockin Charles, Dusty Brown, 'Earring' George Mayweather.
https://www.youtube.com/watch?v=Gni_dZh3C54&x-yt-cl=84838260&x-yt-ts=1422327029
Sam Andrew +12.02.2015
Sam
Houston Andrew III (December 18, 1941 – February 12, 2015) was an
American musician, singer, songwriter, composer, artist and founding
member and guitarist of Big Brother and the Holding Company.[2][3][4][1]
During his career as musician and composer, Andrew had three platinum
albums and two hit singles. His songs have been used in numerous major
motion picture soundtracks and documentaries.
Music career
Andrew was born in Taft, California.[1] As the son of a military father, Andrew moved a great deal as a child. He developed a skill for music at a very early age. By the time he was fifteen living in Okinawa, he already had his own band, called the "Cool Notes", and his own weekly TV show, an Okinawan version of American Bandstand. His early influences were Chuck Berry, Bo Diddley and Little Richard. He also listened to a great deal of Delta blues. His brother Leland Andrew frequently stated his brother was the "Benny Goodman of Japan".
Shortly after he graduated from high school, his father was transferred to Hamilton Air Force Base in northern California. It was during this period that he started attending classes at the University of San Francisco, becoming involved with the San Francisco folk music scene of the early 1960s. However it was not until he returned from a two-year stay in Paris that he met Peter Albin at 1090 Page Street.
As Big Brother and the Holding Company began to gel, Andrew brought many songs into the band. He has been a prolific songwriter all of his life, penning his first tune at the age of six. Of his early compositions, "Call on Me" and "Combination of the Two" have been two of Big Brother’s most enduring classic tracks. Until up until his final illness in early 2015 Andrew continued in his original role as the musical director of the band.
Janis Joplin was recruited by band manager Chet Helms to join Big Brother as lead singer on June 4, 1966. They soon landed a record contract, issuing their first album on Mainstream and their second – a top seller – on Columbia Records.
Andrew and original band mate James Gurley were known for their searing, psychedelic guitar work. In February 1997, Guitar Player magazine listed Andrew's and Gurley's work on "Summertime" as one of the top ten psychedelic solos in music history. On September 11, 2001, Andrew was to be presented with a High Times magazine Life Time Achievement award. That day his flight to New York City was canceled, and instead he received the award the next year.
In December 1968, Andrew and Joplin left Big Brother and the Holding Company to form the Kozmic Blues Band.[1] After about nine months and one album, I Got Dem Ol' Kozmic Blues Again Mama!, Andrew returned to Big Brother.
After Big Brother stopped performing in 1972, he moved to New York City, where he studied harmony and counterpoint at the New School for Social Research and composition at Mannes School of Music. During this period he also scored several films in the US and Canada as well as writing two string quartets and a symphony. He remained in New York City for eight years before returning to San Francisco, where he began playing clarinet and saxophone. Big Brother and the Holding Company reunited in 1987.
During the 1990s, in addition to touring with Big Brother, Andrew was involved with his solo project, The Sam Andrew Band. It toured across North America, and the spoken word quartet Theatre of Light, that besides Andrew, featured The Vagabond Poet, Tony Seldin, keyboardist Tom Constanten and harpist-pianist Elise Piliwale.
Andrew was also Music Director of the musical Love, Janis, based on the life of Janis Joplin, written and directed by Randal Myler and based on the book by Laura Joplin of the same name.
Andrew performed at the 40th Anniversary of Woodstock Concert on August 15, 2009 at Bethel Woods, New York.
Personal life and death
Andrew lived in northern California with his wife Elise Piliwale.[1] He had one daughter, Mari Andrew, from his marriage to Suzanne Thorson. He died in San Rafael, California on February 12, 2015, following complications from open-heart surgery due to a heart attack suffered ten weeks prior.
Music career
Andrew was born in Taft, California.[1] As the son of a military father, Andrew moved a great deal as a child. He developed a skill for music at a very early age. By the time he was fifteen living in Okinawa, he already had his own band, called the "Cool Notes", and his own weekly TV show, an Okinawan version of American Bandstand. His early influences were Chuck Berry, Bo Diddley and Little Richard. He also listened to a great deal of Delta blues. His brother Leland Andrew frequently stated his brother was the "Benny Goodman of Japan".
Shortly after he graduated from high school, his father was transferred to Hamilton Air Force Base in northern California. It was during this period that he started attending classes at the University of San Francisco, becoming involved with the San Francisco folk music scene of the early 1960s. However it was not until he returned from a two-year stay in Paris that he met Peter Albin at 1090 Page Street.
As Big Brother and the Holding Company began to gel, Andrew brought many songs into the band. He has been a prolific songwriter all of his life, penning his first tune at the age of six. Of his early compositions, "Call on Me" and "Combination of the Two" have been two of Big Brother’s most enduring classic tracks. Until up until his final illness in early 2015 Andrew continued in his original role as the musical director of the band.
Janis Joplin was recruited by band manager Chet Helms to join Big Brother as lead singer on June 4, 1966. They soon landed a record contract, issuing their first album on Mainstream and their second – a top seller – on Columbia Records.
Andrew and original band mate James Gurley were known for their searing, psychedelic guitar work. In February 1997, Guitar Player magazine listed Andrew's and Gurley's work on "Summertime" as one of the top ten psychedelic solos in music history. On September 11, 2001, Andrew was to be presented with a High Times magazine Life Time Achievement award. That day his flight to New York City was canceled, and instead he received the award the next year.
In December 1968, Andrew and Joplin left Big Brother and the Holding Company to form the Kozmic Blues Band.[1] After about nine months and one album, I Got Dem Ol' Kozmic Blues Again Mama!, Andrew returned to Big Brother.
After Big Brother stopped performing in 1972, he moved to New York City, where he studied harmony and counterpoint at the New School for Social Research and composition at Mannes School of Music. During this period he also scored several films in the US and Canada as well as writing two string quartets and a symphony. He remained in New York City for eight years before returning to San Francisco, where he began playing clarinet and saxophone. Big Brother and the Holding Company reunited in 1987.
During the 1990s, in addition to touring with Big Brother, Andrew was involved with his solo project, The Sam Andrew Band. It toured across North America, and the spoken word quartet Theatre of Light, that besides Andrew, featured The Vagabond Poet, Tony Seldin, keyboardist Tom Constanten and harpist-pianist Elise Piliwale.
Andrew was also Music Director of the musical Love, Janis, based on the life of Janis Joplin, written and directed by Randal Myler and based on the book by Laura Joplin of the same name.
Andrew performed at the 40th Anniversary of Woodstock Concert on August 15, 2009 at Bethel Woods, New York.
Personal life and death
Andrew lived in northern California with his wife Elise Piliwale.[1] He had one daughter, Mari Andrew, from his marriage to Suzanne Thorson. He died in San Rafael, California on February 12, 2015, following complications from open-heart surgery due to a heart attack suffered ten weeks prior.
Big Brother and the Holding Company & Shommy boy - Summertime (Live at 11th In Wires Festival)
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