1893 John Henry „Perry“ Bradford*
1911 Belton Sutherland*
1930 Fred "Sweet Daddy Goodlow" Ford*
1937 Magic Sam*
1950 Otis Grand*
1950 Sammy Mayfield*
1963 Greg Nagy*
2010 Lil' Dave Thompson+ , Geb. 1969
2016 Lee Chester Ulmer (L.C. Ulmer)+
1911 Belton Sutherland*
1930 Fred "Sweet Daddy Goodlow" Ford*
1937 Magic Sam*
1950 Otis Grand*
1950 Sammy Mayfield*
1963 Greg Nagy*
2010 Lil' Dave Thompson+ , Geb. 1969
2016 Lee Chester Ulmer (L.C. Ulmer)+
Happy Birthday
Belton Sutherland *14.02.1911
Musikforschern wie John und Alan Lomax sind unzählige unkommerzielle Aufnahmen von Blusmusikern zu verdanken. Einige von ihnen, wie Leadbelly oder Muddy Waters, sind durch diese sogenannten Field Recordings zu bekannten Größen geworden, deren Leben und musikalisches Wirken in weiten Teilen gut dokumentiert ist. Doch der Blues war insbesondere in den frühen Jahren eine Volksmusik, die sich fernab des kommerziellen Mainstreams entwickelte und deren unterschiedlichsten Ausprägungen sich im modernen Mainstream kaum noch widerspiegeln. Umso bemerkenswerter ist es, dass sich durch die Verbreitung über das Internet, Liebhaber in aller Welt finden, die sich für diese historischen Musikdomente interessieren. Eine dieser eher unbekannten Legenden des ursprünglichen Blues ist Belton Sutherland.
Schon in den 30er Jahren war Alan Lomax mit seinem Vater John durch die USA gezogen, um die ursprünglichen Formen der verschiedenen Arten der Volksmusik zu dokumentieren und so für die Nachwelt zu erhalten. Die rasche Entwicklung der mobilen Tonaufnahmetechniken begünstigte dabei ihre Arbeit. Dennoch entstanden bis in die späten 50er Jahre nur wenige Filmaufnahmen. Geräte und Material waren teuer, der Aufwand für Filmaufnahmen sehr hoch. Doch in den 70er Jahren traf Alan Lomax auf den jungen, ambitionierten Filmemacher John Bishop. Zusammen begaben sie sich auf eine Reise durch den Süden der USA, deren Ergebnis der Dokumentarfilm The Land Where The Blues Began werden sollte.
In seinen Erinnerungen beschreibt John Bishop anschaulich den Aufwand, der die Filmaufnahmen in der Hitze Mississippis begleitete. Am 3. September 1978 besuchten Lomax und Bishop Clyde Maxwells Farm, nahe des Ortes Canton.
An jenem Abend hatten sich mehrere Musiker und Neugierige aus der nahen Umgebung bei Clyde Maxwell zu einer Aufnahmesession eingefunden. Unter den Zuschauern befand sich auch Belton Sutherland mit seiner Frau.
John Bishop schreibt auf Anfrage von bluestruth, dass sich vor einigen Jahren ein weißer Bluesmusiker bei ihm meldete, der zu wissen meinte, dass Belton Southerland Kirchgänger war, weshalb seine Frau nicht wollte, dass er Blues spielt, was vermutlich der Grund dafür ist, dass er nur sehr selten öffentlich auftrat. Doch an jenem Abend griff sich Southerland so plötzlich die Gitarre, dass Bishop es beinahe verpasst hätte, die Kamera einzuschalten.
Offensichtlich – so jedenfalls Bishops Eindruck – war Belton Sutherland der Meinung gewesen, dass die anderen Musiker den Blues nicht in angemessener Weise repräsentiert hatten, weshalb er zeigen wollte wie es wirklich klingen soll. John Bishop schließt seine Erinnerungen gegenüber bluestruth mit dem Satz: „I guess he’s just a legend now.“.
Diesem kurzen Anflug von – aus der Sicht eines frommen Kirchgängers – Hochmut, verdanken eine nicht unbeträchtliche Zahl an Bluesliebhabern immerhin zwei Aufnahmen eines Mannes, aus dessen Leben sonst nichts bekannt ist.
Update:
bluestruth erreichte jüngst die Nachricht, dass Belton Sutherland im Jahr 1983 verstarb und zwischen Camden und Canton, im Bundesstaat Mississippi beerdigt wurde.
Weiterhin hat sich herausgestellt, dass Sutherland seinerzeit nicht nur zwei, sondern insgesamt drei Song aufnahm. Nun ist auch das dritte Video im überaus empfehlenswerten Kanal des AlanLomaxArchive veröffentlicht worden.
Later, while trying to show the clip to a friend, I discovered it had been taken down, presumably for copyright violation. In its place a second video had emerged, this time of Sutherland performing “Belton Sutherland’s Blues.”
Belton Sutherland: Blues #2 (1978)
https://www.youtube.com/watch?x-yt-cl=85027636&v=W6jjNRUqPxg&x-yt-ts=1422503916
https://www.youtube.com/watch?x-yt-cl=85027636&v=W6jjNRUqPxg&x-yt-ts=1422503916
Magic Sam *14.02.1937
Magic Sam, eigentlich Sam Maghett (* 14. Februar 1937 in Grenada, Mississippi; † 1. Dezember 1969) war ein US-amerikanischer Blues-Gitarrist und -Sänger.
1956 ging Magic Sam nach Chicago, wo er mit seinem herausragenden Gitarrenspiel in den Blues-Clubs Fuß fassen konnte. Ab 1957 machte er Aufnahmen und hatte mit All Your Love und Easy Baby erste Hits; 1960 wirkte auch der Jazzmusiker Boyd Atkins bei seinen Aufnahmen mit. 1963 wurde seine Single Feelin’ Good (We’re Gonna Boogie) ein US-weiter Hit. Nach Tourneen durch die Vereinigten Staaten, England und Deutschland nahm er die Alben West Side Soul und Black Magic auf.
Im Dezember 1969 starb Magic Sam an einem Herzinfarkt. Er wurde in Alsip, Illinois, beigesetzt.
Samuel "Magic Sam" Gene Maghett (February 14, 1937 – December 1, 1969) was an American Chicago blues musician. Maghett was born in Grenada, Mississippi and learned to play the blues from listening to records by Muddy Waters and Little Walter. After moving to Chicago at the age of nineteen, he was signed by Cobra Records and became well known as a bluesman after his first record, "All Your Love" in 1957. He was known for his distinctive tremolo-guitar playing.[1]
Life and career
After moving to Chicago in 1956, his guitar playing earned bookings at blues clubs on the West Side. Sam recorded for Cobra Records from 1957 to 1959, recording singles including "All Your Love" and "Easy Baby". They did not appear on the record charts, yet they had a profound influence, far beyond Chicago's guitarists and singers. Together with recordings by Otis Rush and Buddy Guy (also Cobra artists), they made a manifesto for a new kind of blues.[2] Around this time Sam also worked briefly with Homesick James Williamson.[2] Sam gained a following before being drafted into the U.S. Army. He served six months in prison for desertion and received a dishonorable discharge.[3]
In 1963, he gained national attention for his single "Feelin' Good (We're Gonna Boogie)". After successfully touring the U.S., Britain and Germany, he was signed to Delmark Records in 1967 where he recorded West Side Soul and Black Magic. He also continued performing live and toured with blues harp player Charlie Musselwhite and Sam Lay.
Sam's breakthrough performance was at the Ann Arbor Blues Festival in 1969,[4] which won him many bookings in the U.S. and Europe. His life and career was cut short when he suddenly died of a heart attack in December 1969. He was 32 years old. He is buried in the Restvale Cemetery in Alsip, Illinois.[5] In February 1970, the Butterfield Blues Band played at a benefit concert for Magic Sam, at Fillmore West in San Francisco. Also on the bill were Mike Bloomfield, Elvin Bishop, Charlie Musselwhite and Nick Gravenites.[6]
His guitar style, vocals, and songwriting ability have inspired and influenced many blues musicians ever since. In The Blues Brothers, Jake Blues dedicates the band's performance of "Sweet Home Chicago" to the "late, great Magic Sam".
The stage name Magic Sam was devised by Sam's bass player and childhood friend Mack Thompson at Sam's first recording session for Cobra as an approximation of "Maghett Sam". The name Sam was using at the time, Good Rocking Sam, was already being used by another artist.[7]
"Magic Sam had a different guitar sound," said his record producer, Willie Dixon. "Most of the guys were playing the straight 12-bar blues thing, but the harmonies that he carried with the chords was a different thing altogether. This tune "All Your Love", he expressed with such an inspirational feeling with his high voice. You could always tell him, even from his introduction to the music."[2]
Awards and recognition
1982 - Blues Foundation Blues Music Award: Magic Sam Live (Vintage or Reissue Album of
the Year (US)).[8]
1982 - Blues Foundation Hall of Fame: Magic Sam inducted (Performer).[9]
1984 - Blues Foundation Hall of Fame: West Side Soul (Classics of Blues Recordings -
Albums category)[9]
1990 - Blues Foundation Hall of Fame: Black Magic (Classics of Blues Recordings - Albums
category)
Life and career
After moving to Chicago in 1956, his guitar playing earned bookings at blues clubs on the West Side. Sam recorded for Cobra Records from 1957 to 1959, recording singles including "All Your Love" and "Easy Baby". They did not appear on the record charts, yet they had a profound influence, far beyond Chicago's guitarists and singers. Together with recordings by Otis Rush and Buddy Guy (also Cobra artists), they made a manifesto for a new kind of blues.[2] Around this time Sam also worked briefly with Homesick James Williamson.[2] Sam gained a following before being drafted into the U.S. Army. He served six months in prison for desertion and received a dishonorable discharge.[3]
In 1963, he gained national attention for his single "Feelin' Good (We're Gonna Boogie)". After successfully touring the U.S., Britain and Germany, he was signed to Delmark Records in 1967 where he recorded West Side Soul and Black Magic. He also continued performing live and toured with blues harp player Charlie Musselwhite and Sam Lay.
Sam's breakthrough performance was at the Ann Arbor Blues Festival in 1969,[4] which won him many bookings in the U.S. and Europe. His life and career was cut short when he suddenly died of a heart attack in December 1969. He was 32 years old. He is buried in the Restvale Cemetery in Alsip, Illinois.[5] In February 1970, the Butterfield Blues Band played at a benefit concert for Magic Sam, at Fillmore West in San Francisco. Also on the bill were Mike Bloomfield, Elvin Bishop, Charlie Musselwhite and Nick Gravenites.[6]
His guitar style, vocals, and songwriting ability have inspired and influenced many blues musicians ever since. In The Blues Brothers, Jake Blues dedicates the band's performance of "Sweet Home Chicago" to the "late, great Magic Sam".
The stage name Magic Sam was devised by Sam's bass player and childhood friend Mack Thompson at Sam's first recording session for Cobra as an approximation of "Maghett Sam". The name Sam was using at the time, Good Rocking Sam, was already being used by another artist.[7]
"Magic Sam had a different guitar sound," said his record producer, Willie Dixon. "Most of the guys were playing the straight 12-bar blues thing, but the harmonies that he carried with the chords was a different thing altogether. This tune "All Your Love", he expressed with such an inspirational feeling with his high voice. You could always tell him, even from his introduction to the music."[2]
Awards and recognition
1982 - Blues Foundation Blues Music Award: Magic Sam Live (Vintage or Reissue Album of
the Year (US)).[8]
1982 - Blues Foundation Hall of Fame: Magic Sam inducted (Performer).[9]
1984 - Blues Foundation Hall of Fame: West Side Soul (Classics of Blues Recordings -
Albums category)[9]
1990 - Blues Foundation Hall of Fame: Black Magic (Classics of Blues Recordings - Albums
category)
Magic Sam ~ All Your Love and Lookin' Good
https://www.youtube.com/watch?x-yt-ts=1422579428&v=7S5DGqCfk8o&x-yt-cl=85114404
From the "Chitlin Circuit to the Grammys," Colorado blues guitarist Sam Mayfield, 57, has played guitar in many a venue while leading his own band and as King Solomon Burke’s musical director. King Solomon Burke wrote 32 singles, including six top-ten R&B hits and four songs which made the top 40 in the pop charts. Burke is best known for his song, "Got to Get You Off of My Mind," and he was inducted into the Rock and Roll Hall in 2001. Mayfield started working for the musical legend in 1973 after his band backed Burke at Margies Lounge in Denver. "Because he was late we didn’t get a chance to rehearse," Sam says. "He was impressed that we knew all his music, of course we grew up on his music. After that I started playing with him full time." Mayfield was born in Denver and raised in the Curtis Park area. He started playing guitar in 1957, when he was seven years old. His first instrument was the saxophone, which he played in school. "I couldn’t feel the horn the way I could play the guitar," Sam said. "I knew from the time I was seven what I wanted to do for the rest of my life." Mayfield grew up around music. His uncle Clarence Mayfield played guitar and Sam picked it from him. He also said his mother took him to church, "Every day of the week and twice on Sundays," He said there was a lot of singing and preaching. His mother encouraged him to keep busy with music because she believed it kept him out of trouble. She bought him his first guitar from a local pawn shop. "We grew up with cheap stuff," Sam said. "That was all we could afford. The tone is in your hands, not the guitar or amp. We bought our strings at the drug store. The G string was coated, so I would scrape it with a knife, made it easier to bend, tricks of the trade." Sam said his second cousin Percy Mayfield was a successful hit song writer until he was involved in a car accident. Percy Mayfield wrote "Hit the Road Jack," a song made famous by the late great Ray Charles. "I always liked the blues," Sam said. "My family all listened to the blues, BB King, T-Bone Walker, Gate Mouth Brown, Muddy Waters, all them cats." Mayfield said growing up in a segregated era kept black people together and made them want to break out and music was one way to break out of the projects. "Black people weren’t allowed past York," Sam said. "At theaters we had to sit upstairs. We had our own stores right down in the Points. Things didn’t change until 63-64 when Kennedy was president." One of the people wanting to break out of the projects with Mayfield was Nathan Wright, Sam’s life long friend and bass player. They met when they went to Cole Jr. High School together, where they both played saxophone in the school band. "Sam always has been a guitar player. I played sax all the way through school," Wright said, "But I always wanted to play bass. When I graduated I bought a bass." Wright said through high school he didn’t see Mayfield all that much, because Sam was busy honing his craft, and honing his craft he was. When he was a teenager, Mayfield cut his teeth playing guitar at the black nightclubs located in the Five Points area in Denver. He would go to school during the day, then play all night at such clubs as The Savoy, KC Lounge, Bowlers Club and The Rosanna Lounge. "They partied all night back in those days," Mayfield said. "The Protocrest started at 2:30 in the morning and went to 6:00 in the morning. The cops would come in and they would hide me." Wright said soon after he started on bass, Mayfield heard him and asked him to play bass in his band. He said it was Mayfield who taught him how to play bass, how to approach it and put the feeling behind the groove he was laying down. He said when they weren’t playing a club they were rehearsing and he remembers putting a lot of miles on the road. "We broke a lot of bread together on the road," Wright said, "And Murphy’s Law hit musicians harder than anybody. We learned to work around it, so when it happens now, been there, done that." Wright said at times there were as many as six band members crammed into two vehicles along with all the equipment. He said both vehicles and equipment broke down a lot on the road. He also said there were times club owners didn’t want to pay them, and of course the racism and segregation they had to endure on the road. Mayfield said though he grew up with segregation in Colorado and it changed in the 60s, segregation didn’t change much in the South. Mayfield said at times the only place they could wash up was in train stations. This made playing the blues mean more, because he witnessed first hand what down-and-out could really mean. "I saw a lot of prejudice," Mayfield said. "When you were playing down in the South you understood you were Black. You stayed at different people’s houses because you couldn’t stay in a hotel." Yet, Wright says it was all worth it and he feels blessed for the musical experience and friendship he has had with Mayfield and other musicians. "I’m not bitter about the racism," Wright said. "Because playing music has always been a wonderful thing and still is. We met a lot of great players and people on the road." Mayfield said he learned on the road, and that is where he developed his style of guitar playing. He said that the secret to being a successful guitar player is to have your own voice. One element that led to him developing his own style early on was that he and other players in the projects were too poor to afford good equipment, but everyone had a guitar. A guitar player had to have something that was unique to set him apart from everyone else. His drive and experience gained him a reputation as a top guitar player and band leader. He soon was a top attraction, not only to the local club scene, but also to black national acts in need of a guitar player or opening or backing band. When black national musical acts came into town, they played at the clubs located in the Five Points area. Mayfield soon had the opportunity to play guitar with his guitar heroes like Big Joe Turner, Gate Mouth Brown, Little Lester, Vernon Garret and Solomon Burke. When Carlos Landos, current program director for 89.3 KUVO, moved to Denver in the 80s to work at radio station KDKO, he would go looking for live soul, funk, jazz or blues bands that he could listen to. He quickly became a fan of Mayfield’s band, and he and Mayfield became great friends. He would often go see Mayfield’s band back up many of the national acts that played at the Casino night club located in the Five Points area. "One week it would be Lowell Folsom, then the next week Ruth Brown, and then Ester Phillips and he would introduce me to these artists. We started to hang out and we became close friends." Landos said Landos remembers a blues concert he MC’d at McNichols Sports Arena in the 80s and blues legend Big Mama Thornton was on the bill. The promoter had hired a local band to back her and she didn’t like the lead guitarist. A call was made for local guitarist to audition for the show and Mayfield was among them. Big Mama heard Mayfield play a few notes and said, "That’s it." Landos said after the show she told him what a great musician Mayfield was, and that he was the glue that had held it together for her. When the opportunity came, Landos hired Mayfield to be the main host for the "All Blues" program on KUVO. Not because he’s a close friend, but because of what he brings to the program. "He’s a cat that knows the music," Landos said. "I wanted to bring a musician who had a following. That knew the music selection and the knowledge to comment on it. I wanted to bring some legitimacy to the program." Mayfield has been doing the program for about five years now. The only time Mayfield doesn’t do the show is when he’s playing on the road, which he said he has to do in order to make money. Mayfield said now all the black clubs that played live music in Denver have disappeared. He said all you find are DJs and it makes it hard for a working musician to survive. In order to make a living you have to do it on the road. "I’ve been on the road for over 40 years," Mayfield said. "All over the states, and in Europe, which seems to appreciate and encourage blues musicians more." Mayfield said the one European gig that stands out for him was in Berlin. He was playing guitar for Solomon Burke when the Berlin Wall came down in 1989. He said it was a great experience and that Burke’s song "A Change is Going to Come," was used as the theme song for the historical event. Speaking of historical events, Mayfield has witnessed and played through some of the history of how modern music has been shaped and formed, and is a living historian of the early Denver R&B, soul, and blues music scene. Landos said Mayfield was there when it was a very special time for music through the 60s and into the 70s. "He learned from the masters while being on the road," Landos said. "Sam was always and still is the consummate band leader, a legitimate R and B player." Carlos feels Sam is one of the last links in Denver representative to that era of R&B, soul and blues that came up in the 60s and 70s. By & © Jerry Roys Published: May 20, 2007 © 2011 Colorado Local Legends.
http://www.otisgrand.com/promogallery.htm
http://secondhandsongs.com/artist/73510
http://www.onlinerootsofrock.com/perry_bradford/
http://www.pastblues.com/view-action-89.html?en=Lil
https://www.youtube.com/watch?x-yt-ts=1422579428&v=7S5DGqCfk8o&x-yt-cl=85114404
Sammy Mayfield *14.02.1950
https://www.facebook.com/sammymayfield
From the "Chitlin Circuit to the Grammys," Colorado blues guitarist Sam Mayfield, 57, has played guitar in many a venue while leading his own band and as King Solomon Burke’s musical director. King Solomon Burke wrote 32 singles, including six top-ten R&B hits and four songs which made the top 40 in the pop charts. Burke is best known for his song, "Got to Get You Off of My Mind," and he was inducted into the Rock and Roll Hall in 2001. Mayfield started working for the musical legend in 1973 after his band backed Burke at Margies Lounge in Denver. "Because he was late we didn’t get a chance to rehearse," Sam says. "He was impressed that we knew all his music, of course we grew up on his music. After that I started playing with him full time." Mayfield was born in Denver and raised in the Curtis Park area. He started playing guitar in 1957, when he was seven years old. His first instrument was the saxophone, which he played in school. "I couldn’t feel the horn the way I could play the guitar," Sam said. "I knew from the time I was seven what I wanted to do for the rest of my life." Mayfield grew up around music. His uncle Clarence Mayfield played guitar and Sam picked it from him. He also said his mother took him to church, "Every day of the week and twice on Sundays," He said there was a lot of singing and preaching. His mother encouraged him to keep busy with music because she believed it kept him out of trouble. She bought him his first guitar from a local pawn shop. "We grew up with cheap stuff," Sam said. "That was all we could afford. The tone is in your hands, not the guitar or amp. We bought our strings at the drug store. The G string was coated, so I would scrape it with a knife, made it easier to bend, tricks of the trade." Sam said his second cousin Percy Mayfield was a successful hit song writer until he was involved in a car accident. Percy Mayfield wrote "Hit the Road Jack," a song made famous by the late great Ray Charles. "I always liked the blues," Sam said. "My family all listened to the blues, BB King, T-Bone Walker, Gate Mouth Brown, Muddy Waters, all them cats." Mayfield said growing up in a segregated era kept black people together and made them want to break out and music was one way to break out of the projects. "Black people weren’t allowed past York," Sam said. "At theaters we had to sit upstairs. We had our own stores right down in the Points. Things didn’t change until 63-64 when Kennedy was president." One of the people wanting to break out of the projects with Mayfield was Nathan Wright, Sam’s life long friend and bass player. They met when they went to Cole Jr. High School together, where they both played saxophone in the school band. "Sam always has been a guitar player. I played sax all the way through school," Wright said, "But I always wanted to play bass. When I graduated I bought a bass." Wright said through high school he didn’t see Mayfield all that much, because Sam was busy honing his craft, and honing his craft he was. When he was a teenager, Mayfield cut his teeth playing guitar at the black nightclubs located in the Five Points area in Denver. He would go to school during the day, then play all night at such clubs as The Savoy, KC Lounge, Bowlers Club and The Rosanna Lounge. "They partied all night back in those days," Mayfield said. "The Protocrest started at 2:30 in the morning and went to 6:00 in the morning. The cops would come in and they would hide me." Wright said soon after he started on bass, Mayfield heard him and asked him to play bass in his band. He said it was Mayfield who taught him how to play bass, how to approach it and put the feeling behind the groove he was laying down. He said when they weren’t playing a club they were rehearsing and he remembers putting a lot of miles on the road. "We broke a lot of bread together on the road," Wright said, "And Murphy’s Law hit musicians harder than anybody. We learned to work around it, so when it happens now, been there, done that." Wright said at times there were as many as six band members crammed into two vehicles along with all the equipment. He said both vehicles and equipment broke down a lot on the road. He also said there were times club owners didn’t want to pay them, and of course the racism and segregation they had to endure on the road. Mayfield said though he grew up with segregation in Colorado and it changed in the 60s, segregation didn’t change much in the South. Mayfield said at times the only place they could wash up was in train stations. This made playing the blues mean more, because he witnessed first hand what down-and-out could really mean. "I saw a lot of prejudice," Mayfield said. "When you were playing down in the South you understood you were Black. You stayed at different people’s houses because you couldn’t stay in a hotel." Yet, Wright says it was all worth it and he feels blessed for the musical experience and friendship he has had with Mayfield and other musicians. "I’m not bitter about the racism," Wright said. "Because playing music has always been a wonderful thing and still is. We met a lot of great players and people on the road." Mayfield said he learned on the road, and that is where he developed his style of guitar playing. He said that the secret to being a successful guitar player is to have your own voice. One element that led to him developing his own style early on was that he and other players in the projects were too poor to afford good equipment, but everyone had a guitar. A guitar player had to have something that was unique to set him apart from everyone else. His drive and experience gained him a reputation as a top guitar player and band leader. He soon was a top attraction, not only to the local club scene, but also to black national acts in need of a guitar player or opening or backing band. When black national musical acts came into town, they played at the clubs located in the Five Points area. Mayfield soon had the opportunity to play guitar with his guitar heroes like Big Joe Turner, Gate Mouth Brown, Little Lester, Vernon Garret and Solomon Burke. When Carlos Landos, current program director for 89.3 KUVO, moved to Denver in the 80s to work at radio station KDKO, he would go looking for live soul, funk, jazz or blues bands that he could listen to. He quickly became a fan of Mayfield’s band, and he and Mayfield became great friends. He would often go see Mayfield’s band back up many of the national acts that played at the Casino night club located in the Five Points area. "One week it would be Lowell Folsom, then the next week Ruth Brown, and then Ester Phillips and he would introduce me to these artists. We started to hang out and we became close friends." Landos said Landos remembers a blues concert he MC’d at McNichols Sports Arena in the 80s and blues legend Big Mama Thornton was on the bill. The promoter had hired a local band to back her and she didn’t like the lead guitarist. A call was made for local guitarist to audition for the show and Mayfield was among them. Big Mama heard Mayfield play a few notes and said, "That’s it." Landos said after the show she told him what a great musician Mayfield was, and that he was the glue that had held it together for her. When the opportunity came, Landos hired Mayfield to be the main host for the "All Blues" program on KUVO. Not because he’s a close friend, but because of what he brings to the program. "He’s a cat that knows the music," Landos said. "I wanted to bring a musician who had a following. That knew the music selection and the knowledge to comment on it. I wanted to bring some legitimacy to the program." Mayfield has been doing the program for about five years now. The only time Mayfield doesn’t do the show is when he’s playing on the road, which he said he has to do in order to make money. Mayfield said now all the black clubs that played live music in Denver have disappeared. He said all you find are DJs and it makes it hard for a working musician to survive. In order to make a living you have to do it on the road. "I’ve been on the road for over 40 years," Mayfield said. "All over the states, and in Europe, which seems to appreciate and encourage blues musicians more." Mayfield said the one European gig that stands out for him was in Berlin. He was playing guitar for Solomon Burke when the Berlin Wall came down in 1989. He said it was a great experience and that Burke’s song "A Change is Going to Come," was used as the theme song for the historical event. Speaking of historical events, Mayfield has witnessed and played through some of the history of how modern music has been shaped and formed, and is a living historian of the early Denver R&B, soul, and blues music scene. Landos said Mayfield was there when it was a very special time for music through the 60s and into the 70s. "He learned from the masters while being on the road," Landos said. "Sam was always and still is the consummate band leader, a legitimate R and B player." Carlos feels Sam is one of the last links in Denver representative to that era of R&B, soul and blues that came up in the 60s and 70s. By & © Jerry Roys Published: May 20, 2007 © 2011 Colorado Local Legends.
Sammy Mayfield
OTIS GRAND, the Gentle Giant of the Blues, has absorbed a wide spectrum of Blues styles in the past four decades and now leads the hottest TRUE Blues and R & B band around today. More importantly, he not only carries the real blues TORCH for the heros of yesterday, his superb blues guitar technique and playing and originality and a tight band that rocks mean, Otis Grand also sets the standards for many others to follow which ensure that he is at the top of the Blues scene for many years to come.
Otis Grand has pioneered the big band blues sound over the last few years, starting with a West Coast R&B band and now moving into his present guitar led Big City style Blues. For the past ten years Otis has recieved a number of Awards including UK BLUES GUITARIST OF THE YEAR ( 1990- 96), Best Blues Albums, Best Band, and nominations to the prestigious W.C. HANDY BLUES Awards in Memphis, Tenn.Surely testimony enough of the man's ability and dedication to the Blues.
Anyone who has experienced the Gentle Giant of the Blues in action can bear witness to the devastating effect he and his band can have on the audience. His gigs are now legendry, drawing acclaim from purists and from those who come looking for a good night out.Otis has toured consantly turning in consistently great performances, building a big following and confirming his "numero uno" status in Europe.
On his 1992 CD, the esteem with which Otis is now held by his many friends in the Blues World is evident by the stature of those musicians who have joined him on "HE KNOWS THE BLUES". Critics have already claimed it to be "...one of the best contemporary blues records heard for a long,long time". ( source : Tony Burke - Editor, Blues & Rhythm Magazine )
Not content with having become the Undisputed leader of the British Blues Scene, Otis goes on to attack the USA & Canada head on and comes out with a clear winner with his new 1994 CD. Recorded in Boston,mass. "NOTHING ELSE MATTERS .." shows where he's coming from and where he intends to go!.This CD has already recieved the highest critical acclaim for a new artist (see News/Articles Page..), and has also hit no. 6 on The prestigious USA HARD REPORT TOP 20 BLUES CHART.
Otis Grand’s music career spans over 25 years. Otis Grand has played a major role in the evolution of the modern blues scene in Britain.
After the decline of the British blues boom of the 60’s , Otis arrived on the scene and formed his 10-pieces Rhythm and Blues band , and firmly established his act and style of blues in Britain , quickly becoming a firm favourite throughout Europe.
Guitarist Otis Grand has been playing blues guitar since the age of 13 - Otis says: "I never listened to any one but B.B.king and Robert Johnson for a very very long time, and I am glad I’ve missed out on all the heavy blues/rock/acid thing that was going on in the 60’s. This way I have preserved the deep blues roots of my playing style, which now goes with me in whatever musical journey I am attempting."
In 1988 Otis Grand released his first album ‘Always Hot’ with his big band. The band quickly dominated the UK blues scene, and soon after began to establish an international audience by touring extensively in Europe, and also as an opening act for such major stars as John Lee Hooker, BB king, Albert Collins, Stevie Ray Vaughan, and Steve Winwood, among others.
The following years he released three further CD’s each with a veteran Blues artists: Guitar Shorty in 1991, Philip Walker in 1992, and 50’s Tenor sax star Joe Houston in 1994. The Shorty release won a coveted W.C. Handy Award for best Blues album (foreign)
In 1990 Otis Grand released his first solo album for Sequel Records with musicians and guests from the USA. The album, titled "He Knows the Blues", was critically and commercially acclaimed. This album was testimony to Otis’ superb song writing and guitar playing, and as well as his standing in the blues fraternity by the calibre of artists who agreed to appear on this album.
1995 release of Otis’ second album for Sequel," Nothing Else matters " further established his reputation as one of the country’s best and most convincing bluesman. This powerhouse release mixes slow scorchers with uptempo jumpers that had the dance floors from Scandinavia to California packed. This album was also Grand’s major U,S debut and a ‘ kick the door open’ approach to American Blues fans. The CD established Otis as the highest seller in the UK and Europe with total sales outdoing other blues artist, including Robert Cray and Duke Robillard. It has also debuted at no. 8 and reached on the US top 20 Blues Charts, and received extensive radio play in both Canada and the USA.
With his third release for Sequel , Perfume & Grime, Otis Grand became a huge guitar star all over the USA & Canada. During the summer and autumn of 1998, Otis embarked on a major tour of Canada and the United states, and appearred at all the major Blues festivals, including the long running San Francisco Blues festival, and the Mighty Cisco Systems OTTAWA Bluesfest. This led to a 2 year stretch with IKE TURNER & the Rythym Kings .. as Guitarist and Band leader. Otis also performed in concert throughout the UK and Europe with his own band in support of the GRAND UNION CD release, with special appearances by Anson Funderburgh and Debbie Davis.
Otis continues to tour throughout the world, bringing his Classic Big Band Blues to many festivals and Events. He released a long-awaited Live CD plus a highly acclaimed duet CD with Joe Louis Walker aptly titled "Guitar Brothers". He also continues to make special guest appearances with other Blues Artists, and through the annual OTIS GRAND R&B ALLSTAR EXTRAVAGANZA, has teamed super artists like STEVE CROPPER and KIM WILSON together with the Late ROSCO GORDON and SUGAR RAY Norcia. Others legendary artists invited were JOE HOUSTON, T99 NELSON.
Otis has also started a " Blues in Schools " lecture programme aimed at the younger generation and which has been very successfully recieved in High Schools in the South of Britain.
Recently, Sanctuary Records released a 2 CD, 34 track best-of Compilation of Otis' 5 Studio Recordings in recognition of sales figures in the past 10 years. The label has created a well-packaged and informative product containing the best tracks with many special guest artists. The Box set is aptly titled "In Grand Style", and has been a best seller in the UK and Europe.
Otis has also been very busy as a Producer for many other Blues Bands throughout Europe who want that special OG recording sound that is immediately recognizable as a mix of pure vintage and modern sounds of the Blues.A recent Production task saw him collaborating with Swing sensation Little Charlie Baty, who came out of retirement to record with Otis for Bliss Street Records.
Otis Grand has pioneered the big band blues sound over the last few years, starting with a West Coast R&B band and now moving into his present guitar led Big City style Blues. For the past ten years Otis has recieved a number of Awards including UK BLUES GUITARIST OF THE YEAR ( 1990- 96), Best Blues Albums, Best Band, and nominations to the prestigious W.C. HANDY BLUES Awards in Memphis, Tenn.Surely testimony enough of the man's ability and dedication to the Blues.
Anyone who has experienced the Gentle Giant of the Blues in action can bear witness to the devastating effect he and his band can have on the audience. His gigs are now legendry, drawing acclaim from purists and from those who come looking for a good night out.Otis has toured consantly turning in consistently great performances, building a big following and confirming his "numero uno" status in Europe.
On his 1992 CD, the esteem with which Otis is now held by his many friends in the Blues World is evident by the stature of those musicians who have joined him on "HE KNOWS THE BLUES". Critics have already claimed it to be "...one of the best contemporary blues records heard for a long,long time". ( source : Tony Burke - Editor, Blues & Rhythm Magazine )
Not content with having become the Undisputed leader of the British Blues Scene, Otis goes on to attack the USA & Canada head on and comes out with a clear winner with his new 1994 CD. Recorded in Boston,mass. "NOTHING ELSE MATTERS .." shows where he's coming from and where he intends to go!.This CD has already recieved the highest critical acclaim for a new artist (see News/Articles Page..), and has also hit no. 6 on The prestigious USA HARD REPORT TOP 20 BLUES CHART.
Otis Grand’s music career spans over 25 years. Otis Grand has played a major role in the evolution of the modern blues scene in Britain.
After the decline of the British blues boom of the 60’s , Otis arrived on the scene and formed his 10-pieces Rhythm and Blues band , and firmly established his act and style of blues in Britain , quickly becoming a firm favourite throughout Europe.
Guitarist Otis Grand has been playing blues guitar since the age of 13 - Otis says: "I never listened to any one but B.B.king and Robert Johnson for a very very long time, and I am glad I’ve missed out on all the heavy blues/rock/acid thing that was going on in the 60’s. This way I have preserved the deep blues roots of my playing style, which now goes with me in whatever musical journey I am attempting."
In 1988 Otis Grand released his first album ‘Always Hot’ with his big band. The band quickly dominated the UK blues scene, and soon after began to establish an international audience by touring extensively in Europe, and also as an opening act for such major stars as John Lee Hooker, BB king, Albert Collins, Stevie Ray Vaughan, and Steve Winwood, among others.
The following years he released three further CD’s each with a veteran Blues artists: Guitar Shorty in 1991, Philip Walker in 1992, and 50’s Tenor sax star Joe Houston in 1994. The Shorty release won a coveted W.C. Handy Award for best Blues album (foreign)
In 1990 Otis Grand released his first solo album for Sequel Records with musicians and guests from the USA. The album, titled "He Knows the Blues", was critically and commercially acclaimed. This album was testimony to Otis’ superb song writing and guitar playing, and as well as his standing in the blues fraternity by the calibre of artists who agreed to appear on this album.
1995 release of Otis’ second album for Sequel," Nothing Else matters " further established his reputation as one of the country’s best and most convincing bluesman. This powerhouse release mixes slow scorchers with uptempo jumpers that had the dance floors from Scandinavia to California packed. This album was also Grand’s major U,S debut and a ‘ kick the door open’ approach to American Blues fans. The CD established Otis as the highest seller in the UK and Europe with total sales outdoing other blues artist, including Robert Cray and Duke Robillard. It has also debuted at no. 8 and reached on the US top 20 Blues Charts, and received extensive radio play in both Canada and the USA.
With his third release for Sequel , Perfume & Grime, Otis Grand became a huge guitar star all over the USA & Canada. During the summer and autumn of 1998, Otis embarked on a major tour of Canada and the United states, and appearred at all the major Blues festivals, including the long running San Francisco Blues festival, and the Mighty Cisco Systems OTTAWA Bluesfest. This led to a 2 year stretch with IKE TURNER & the Rythym Kings .. as Guitarist and Band leader. Otis also performed in concert throughout the UK and Europe with his own band in support of the GRAND UNION CD release, with special appearances by Anson Funderburgh and Debbie Davis.
Otis continues to tour throughout the world, bringing his Classic Big Band Blues to many festivals and Events. He released a long-awaited Live CD plus a highly acclaimed duet CD with Joe Louis Walker aptly titled "Guitar Brothers". He also continues to make special guest appearances with other Blues Artists, and through the annual OTIS GRAND R&B ALLSTAR EXTRAVAGANZA, has teamed super artists like STEVE CROPPER and KIM WILSON together with the Late ROSCO GORDON and SUGAR RAY Norcia. Others legendary artists invited were JOE HOUSTON, T99 NELSON.
Otis has also started a " Blues in Schools " lecture programme aimed at the younger generation and which has been very successfully recieved in High Schools in the South of Britain.
Recently, Sanctuary Records released a 2 CD, 34 track best-of Compilation of Otis' 5 Studio Recordings in recognition of sales figures in the past 10 years. The label has created a well-packaged and informative product containing the best tracks with many special guest artists. The Box set is aptly titled "In Grand Style", and has been a best seller in the UK and Europe.
Otis has also been very busy as a Producer for many other Blues Bands throughout Europe who want that special OG recording sound that is immediately recognizable as a mix of pure vintage and modern sounds of the Blues.A recent Production task saw him collaborating with Swing sensation Little Charlie Baty, who came out of retirement to record with Otis for Bliss Street Records.
Otis Grand: Guitar Boogie
Greg Nagy *14.02.1963
Born in 1963, in Flint, Michigan, the “Auto City” birthplace of once-mighty General Motors, young guitarist Greg was fortunate to grow up with friends whose older siblings encouraged them to explore soul, rock, funk, jazz, and the Motown Sound originating down Interstate 75 in Detroit. The emotional blues of Muddy Waters and Albert King made a particularly strong mark on the Kearsley High School student who went on to college and military service before, in the early-1990s, working regularly seven nights a week in blues and funk bands. There probably hasn’t been a better blues or soul band than Root Doctor in the Wolverine State, and Greg happily signed on with that long-established group in 2004. He prompted singer Freddie Cunningham and the other three guys to record their debut album, the aptly titled Been a Long Time Coming. Two more discs, Change Our Ways (2007) and Live At The Cadillac Club (2008), followed. All three were critically acclaimed, played frequently on blues radio, and turned out to be favorites of award-show nominating committees. Word about the superior talents of the Root Doctor group spread far beyond the Midwest. Not too long after Cadillac Club appeared and the band performed at the highly regarded Pocono Blues Festival, Greg left the band on good terms for a solo career. Walk That Fine Thin Line marks its auspicious beginning.
A multi-faceted artist in the most classic sense, his songwriting, singing, and guitar playing beautifully reveal Greg’s personalized music refreshingly and honestly infused with elements of soul, r&b, rock, and gospel. So unique and impressive was Greg’s debut release that it earned him a prestigious Best New Artist debut nomination from the Blues Foundation in Memphis, as well as favorable reviews from hard-to-please critics at top media outlets like Down Beat, All About jazz, Blues Revue, Chicago Tribune, Detroit Free Press, Living Blues, Hitting The Note, Elmore and more. DJs throughout North America, Europe, and Australia responded enthusiastically to Greg’s music, with Walk That Fine Thin Line debuting on the National Living Blues Radio charts at number fourteen, and peaking at number three on XM satellite radio, no small achievement.
Following up to the debut of Walk That Fine Thin Line, Greg raised his own bar several notches with the dynamic Fell Toward None. Ken Bay's of Rollingstone.com called the release one of the best of 2011. Nagy also received high praise from such notables as Bruce Iglauer of Alligator Records, Sing Out Magazine, About.com, and much more. Greg released a record that further carved out his place in the upper echelon of contemporary blues inspired artists. Fell Toward None also charted at number three on XM radio, again, no small achievement.
On the heels of his impressive sophomore record, Greg was given the honor of performing at BB Kings in Memphis the following year for the Blues Hall Of Fame Induction Ceremony; with icons the likes of Buddy Guy and Alan Touisannt present, his star continuing to rise.
Greg Nagy's third record "Stranded" released in Feb 2015 received four stars from Soul Bag, DownBeat, and received great reviews from Vintage Guitar, Blues in Britain, and more. Stranded also spent fourteen weeks at number one and presently going on seven months in the top ten on the Root Music Soul/R&B charts. It also debuted in the top ten for the National Living Blues charts. In heavy rotation on XM/Sirius and spinning on hundreds of stations around the globe, Stranded is a recording that continues to win attention and acclaim...
Following up to the debut of Walk That Fine Thin Line, Greg raised his own bar several notches with the dynamic Fell Toward None. Ken Bay's of Rollingstone.com called the release one of the best of 2011. Nagy also received high praise from such notables as Bruce Iglauer of Alligator Records, Sing Out Magazine, About.com, and much more. Greg released a record that further carved out his place in the upper echelon of contemporary blues inspired artists. Fell Toward None also charted at number three on XM radio, again, no small achievement.
On the heels of his impressive sophomore record, Greg was given the honor of performing at BB Kings in Memphis the following year for the Blues Hall Of Fame Induction Ceremony; with icons the likes of Buddy Guy and Alan Touisannt present, his star continuing to rise.
Greg Nagy's third record "Stranded" released in Feb 2015 received four stars from Soul Bag, DownBeat, and received great reviews from Vintage Guitar, Blues in Britain, and more. Stranded also spent fourteen weeks at number one and presently going on seven months in the top ten on the Root Music Soul/R&B charts. It also debuted in the top ten for the National Living Blues charts. In heavy rotation on XM/Sirius and spinning on hundreds of stations around the globe, Stranded is a recording that continues to win attention and acclaim...
Be With You | Greg Nagy | BackStage Pass | WKAR PBS
Fred "Sweet Daddy Goodlow" Ford *14.02.1930
Fred "Sweet Daddy Goodlow" Ford (February 14, 1930 – November 26, 1999) was an American blues and jazz artist, composer, arranger and educator. Ford was born in Memphis, Tennessee, to Boss Fred Ford and Nancy Taylor Ford.
Known mostly for his baritone saxophone skills, Ford began his musical career in 1943 on clarinet at Frederick Douglass High School, as a part of the Douglass Swingsters Orchestra and the Andrew Chaplin Band, with influence by the Memphis born bandleader, Jimmie Lunceford.
Career
Ford’s first professional gig was at 'The Barn' in the Hyde Park section of Memphis. He continued honing his musical skills around Memphis at the 'Hotel Men's Improvement Club' (later called the Flamingo Room at Gayoso and Beale), The Elks Club, Mitchell's Domino Lounge (later known as Club Handy) and Club Paradise. Ford began traveling on the road and playing saxophone gigs with Johnny Hodges, Earl Bostic, Paul Desmond, Pete Brown, and Benny Carter.
As a leader in the Johnny Otis Band, Ford performed at such venues as the Apollo Theater in Harlem, The Earl Theater in Philadelphia, the Howard Theater in Washington, D.C., the 5-4 Ballroom in Los Angeles and Club Rivera in St. Louis. From the 1950s to 1976 he worked through the booking agency of Don D. Robey of Peacock Records, based in Houston, Texas. It was there that Ford recorded with Clarence "Gatemouth" Brown, Marie Anderson, and Big Mama Thornton where on her original recording of "Hound Dog" - later famous by Elvis Presley - Ford was heard as the barking/howling dog.[1] Ford continued to tour and record with B. B. King, Esther Phillips, Lightnin' Hopkins and Junior Parker. He also recorded with Jerry Lee Lewis and Charlie Rich at Sam Phillips' Sun Studio and at the Stax Music Studios with Rufus Thomas on "Do the Funky Chicken."[2]
Producer
As a record producer, Ford was behind the jazz pianist Phineas Newborn, Jr.’s 1974 album, Solo Piano, which won a Grammy nomination. In 1979, they went to the Montreaux Jazz Festival and other European venues, accompanied by the writer Stanley Booth. In 1978 at Sam Phillips' studio, Ford produced Vanilla, the homecoming album of actress Cybill Shepherd, featuring the Beale Street USA Orchestra and Newborn Jr.
Trio
In the 1980s, Ford’s stature as a jazz musician became more recognized as he formed a jazz trio with the organist/vocalist Robert "Honeymoon" Garner and drummer Bill Tyus. As the Fred Ford-Honeymoon Garner Trio,[3] they became a favorite of the annual Memphis Music and Heritage Festival, sponsored by the Center for Southern Folklore. As a jazz musician, Ford worked with Charlie Rich on Rich's last single, "Pictures and Paintings." Ford was also featured in a 1984 Charlie Rich YouTube video for "Lonely Weekends".
POBAM
Ford and his friend and musician/educator, Emerson Able, formed POBAM, (Preservation of Black American Music) with the aim of keeping jazz and the legacy of black jazz musicians alive. In 1982, POBAM became a charter member of the Memphis Black Arts Alliance, Inc., which was organized to nurture artistic excellence and celebrate black heritage.
After diagnosed with lung cancer, Ford became a staunch no smoking advocate encouraging smokers to quit and youngsters not to start.
Family
Ford was the father to twins Jamal and Jamil Ford, who carry on his musical legacy as record producers through their labels and websites, POBAM and WOOKIN. Jacob Ford, the youngest child of Fred Ford, was drafted by the Tennessee Titans in 2007.[4]
Fred Ford died of lung cancer, in November 1999.
Known mostly for his baritone saxophone skills, Ford began his musical career in 1943 on clarinet at Frederick Douglass High School, as a part of the Douglass Swingsters Orchestra and the Andrew Chaplin Band, with influence by the Memphis born bandleader, Jimmie Lunceford.
Career
Ford’s first professional gig was at 'The Barn' in the Hyde Park section of Memphis. He continued honing his musical skills around Memphis at the 'Hotel Men's Improvement Club' (later called the Flamingo Room at Gayoso and Beale), The Elks Club, Mitchell's Domino Lounge (later known as Club Handy) and Club Paradise. Ford began traveling on the road and playing saxophone gigs with Johnny Hodges, Earl Bostic, Paul Desmond, Pete Brown, and Benny Carter.
As a leader in the Johnny Otis Band, Ford performed at such venues as the Apollo Theater in Harlem, The Earl Theater in Philadelphia, the Howard Theater in Washington, D.C., the 5-4 Ballroom in Los Angeles and Club Rivera in St. Louis. From the 1950s to 1976 he worked through the booking agency of Don D. Robey of Peacock Records, based in Houston, Texas. It was there that Ford recorded with Clarence "Gatemouth" Brown, Marie Anderson, and Big Mama Thornton where on her original recording of "Hound Dog" - later famous by Elvis Presley - Ford was heard as the barking/howling dog.[1] Ford continued to tour and record with B. B. King, Esther Phillips, Lightnin' Hopkins and Junior Parker. He also recorded with Jerry Lee Lewis and Charlie Rich at Sam Phillips' Sun Studio and at the Stax Music Studios with Rufus Thomas on "Do the Funky Chicken."[2]
Producer
As a record producer, Ford was behind the jazz pianist Phineas Newborn, Jr.’s 1974 album, Solo Piano, which won a Grammy nomination. In 1979, they went to the Montreaux Jazz Festival and other European venues, accompanied by the writer Stanley Booth. In 1978 at Sam Phillips' studio, Ford produced Vanilla, the homecoming album of actress Cybill Shepherd, featuring the Beale Street USA Orchestra and Newborn Jr.
Trio
In the 1980s, Ford’s stature as a jazz musician became more recognized as he formed a jazz trio with the organist/vocalist Robert "Honeymoon" Garner and drummer Bill Tyus. As the Fred Ford-Honeymoon Garner Trio,[3] they became a favorite of the annual Memphis Music and Heritage Festival, sponsored by the Center for Southern Folklore. As a jazz musician, Ford worked with Charlie Rich on Rich's last single, "Pictures and Paintings." Ford was also featured in a 1984 Charlie Rich YouTube video for "Lonely Weekends".
POBAM
Ford and his friend and musician/educator, Emerson Able, formed POBAM, (Preservation of Black American Music) with the aim of keeping jazz and the legacy of black jazz musicians alive. In 1982, POBAM became a charter member of the Memphis Black Arts Alliance, Inc., which was organized to nurture artistic excellence and celebrate black heritage.
After diagnosed with lung cancer, Ford became a staunch no smoking advocate encouraging smokers to quit and youngsters not to start.
Family
Ford was the father to twins Jamal and Jamil Ford, who carry on his musical legacy as record producers through their labels and websites, POBAM and WOOKIN. Jacob Ford, the youngest child of Fred Ford, was drafted by the Tennessee Titans in 2007.[4]
Fred Ford died of lung cancer, in November 1999.
Fred Ford & T Hodges W Mitchell Band
John Henry „Perry“ Bradford *14.02.1893
John Henry „Perry“ Bradford (* 14. Februar 1893 in Montgomery, Alabama; † 20. April 1970 in New York City) war ein US-amerikanischer Pianist, Sänger, Komponist und Bandleader sowie Aufnahmeleiter von Okeh Records.
Leben und Wirken
Bradford wuchs in Atlanta auf, wohin seine Familie im Jahr 1902 zog. Sie wohnten in der Nähe des örtlichen Gefängnisses, wo der junge Perry den Gesang der Insassen hörte und so erstmals mit dem Blues in Berührung kam. 1907 wurde er Mitglied der Formation „Allen’s New Orleans Minstrels“; in dieser umherreisenden Minstrel-Truppe trat er als Sänger und Tänzer auf. Schließlich verließ er die Truppe und arbeitete als Solopianist, u.a. in Chicago. 1910 kam er nach New York, wo er in den 1920er Jahren Leiter des Aufnahmestudios der Plattenfirma Okeh Records wurde. Er arrangierte zahlreiche Plattenaufnahmen mit bekannten Jazzmusikern wie Louis Armstrong, James P. Johnson, Clarence Williams, Don Redman und Fats Waller sowie Blues-Sängerinnen wie Mamie Smith, die seine Komposition „Crazy Blues“ aufnahm, sowie Edith Wilson und Alberta Perkins. Um 1925 betrieb er die Gründung der Formation „The Jazz Phools“ mit Armstrong, die Titel wie Lucy Long, I Ain't Gonna Play No Second Fiddle (1925) und The Jazzhounds (1927) aufnahm. Unter eigenem Namen entstanden in den 1920er Jahren weitere Aufnahmen unter den Bandbezeichnungen Perry Bradford and his Gang oder Bradford's Jazz Phools, Mitwirkende waren u. a. Louis Armstrong, Buster Bailey, James P. Johnson, Fats Waller und Don Redman. 1923 musst er eine Gefängnisstrafe wegen Verletzung von Urheberrechten verbüßen.
Sein Gesangsstil hatte auch Auswirkungen auf den Rock ’n’ Roll; Little Richard nennt ihn als wichtigen Einfluss. Er hatte 1957 einen Hit mit dem Bradford-Titel „Keep A Knockin’“. Im Jahr 1965 erschien seine Autobiographie „Born with the Blues“. Er war auch Komponist der Titel „Evil Blues“, „You Can't Keep a Good Man Down“, und „That Thing Called Love“.
Leben und Wirken
Bradford wuchs in Atlanta auf, wohin seine Familie im Jahr 1902 zog. Sie wohnten in der Nähe des örtlichen Gefängnisses, wo der junge Perry den Gesang der Insassen hörte und so erstmals mit dem Blues in Berührung kam. 1907 wurde er Mitglied der Formation „Allen’s New Orleans Minstrels“; in dieser umherreisenden Minstrel-Truppe trat er als Sänger und Tänzer auf. Schließlich verließ er die Truppe und arbeitete als Solopianist, u.a. in Chicago. 1910 kam er nach New York, wo er in den 1920er Jahren Leiter des Aufnahmestudios der Plattenfirma Okeh Records wurde. Er arrangierte zahlreiche Plattenaufnahmen mit bekannten Jazzmusikern wie Louis Armstrong, James P. Johnson, Clarence Williams, Don Redman und Fats Waller sowie Blues-Sängerinnen wie Mamie Smith, die seine Komposition „Crazy Blues“ aufnahm, sowie Edith Wilson und Alberta Perkins. Um 1925 betrieb er die Gründung der Formation „The Jazz Phools“ mit Armstrong, die Titel wie Lucy Long, I Ain't Gonna Play No Second Fiddle (1925) und The Jazzhounds (1927) aufnahm. Unter eigenem Namen entstanden in den 1920er Jahren weitere Aufnahmen unter den Bandbezeichnungen Perry Bradford and his Gang oder Bradford's Jazz Phools, Mitwirkende waren u. a. Louis Armstrong, Buster Bailey, James P. Johnson, Fats Waller und Don Redman. 1923 musst er eine Gefängnisstrafe wegen Verletzung von Urheberrechten verbüßen.
Sein Gesangsstil hatte auch Auswirkungen auf den Rock ’n’ Roll; Little Richard nennt ihn als wichtigen Einfluss. Er hatte 1957 einen Hit mit dem Bradford-Titel „Keep A Knockin’“. Im Jahr 1965 erschien seine Autobiographie „Born with the Blues“. Er war auch Komponist der Titel „Evil Blues“, „You Can't Keep a Good Man Down“, und „That Thing Called Love“.
Perry Bradford (14 February 1893, Montgomery, Alabama – 20 April 1970, New York City) was an African-American composer, songwriter, and vaudeville performer.
Biography
Perry Bradford grew up in Atlanta, where his family moved when he was six, and in 1906 started working with minstrel shows. He played in Chicago as a solo pianist as early as 1909 and visited New York City the following year.
Through extensive experience with traveling minstrel shows and theatre companies, Bradford obtained huge exposure and experience to African American folksongs. A huge feat of Bradford’s was severing the walls of racial prejudice that kept African-American singers from recording. He is, too often, unrecognized for this accomplishment. Prior to Bradford’s influence, African-American artists recorded in a style that was closely similar to those of white dance orchestras. There was little to no trace of African-American musical characteristics present in their recordings. Bradford persevered in getting the recording industry to value recordings of African-American artists recording in the style of their own subculture.[1]
As a pianist, singer, dancer and composer, Bradford worked in theatre circuits throughout the South and into the North for the next decade (1908–1919) in a song and dance act billed as "Bradford and Jeanette".,[2] While in New York City, Bradford convinced Fred Hager, of Okeh Records, to record Mamie Smith and became her musical director. Smith starred in Bradford's show Made in Harlem (1918). Bradford was also responsible for Smith being the first African-American blues singer to appear on record (singing his "Crazy Blues") in 1920. Bradford claimed that his revue, Made in Harlem, was the first stage production that offered blues matter to the large, northern audience in Harlem. Bradford was able to organize the first recording session, “That Thing Called Love,” that highlighted an African-American artist, accompanied by a white studio band, performing material specific to the African-American culture. [1]
He had offices in the Gaiety Theatre office building in Times Square.[3] Bradford toured and recorded with Smith, worked with Alberta Hunter and also headed seven recording sessions of his own during 1923–1927. Among Bradford's sidemen were Johnny Dunn, Bubber Miley, Garvin Bushell, Louis Armstrong (on two numbers in 1925), Buster Bailey, and James P. Johnson.
Bradford continued to promote blues and jazz recordings by publishing and managing. Bradford’s influence in the recording industry was negatively affected by the crash of the stock market, as well as by changes in the character of jazz and African-American songs. He was an irregular participant after the 1940s. [1] With the rise of the Great Depression, Bradford slipped away into obscurity. In later years, he appeared to exaggerate his role in early blues, possibly a reaction to his being nearly forgotten. In 1957, Little Richard had a hit with Bradford's "Keep A-Knockin'". In 1965, Bradford's autobiography Born With the Blues was published (New York: Oak Publications) with a foreword by Noble Sissle. Bradford's best-known songs were "Crazy Blues", "That Thing Called Love", and "You Can't Keep a Good Man Down".
Biography
Perry Bradford grew up in Atlanta, where his family moved when he was six, and in 1906 started working with minstrel shows. He played in Chicago as a solo pianist as early as 1909 and visited New York City the following year.
Through extensive experience with traveling minstrel shows and theatre companies, Bradford obtained huge exposure and experience to African American folksongs. A huge feat of Bradford’s was severing the walls of racial prejudice that kept African-American singers from recording. He is, too often, unrecognized for this accomplishment. Prior to Bradford’s influence, African-American artists recorded in a style that was closely similar to those of white dance orchestras. There was little to no trace of African-American musical characteristics present in their recordings. Bradford persevered in getting the recording industry to value recordings of African-American artists recording in the style of their own subculture.[1]
As a pianist, singer, dancer and composer, Bradford worked in theatre circuits throughout the South and into the North for the next decade (1908–1919) in a song and dance act billed as "Bradford and Jeanette".,[2] While in New York City, Bradford convinced Fred Hager, of Okeh Records, to record Mamie Smith and became her musical director. Smith starred in Bradford's show Made in Harlem (1918). Bradford was also responsible for Smith being the first African-American blues singer to appear on record (singing his "Crazy Blues") in 1920. Bradford claimed that his revue, Made in Harlem, was the first stage production that offered blues matter to the large, northern audience in Harlem. Bradford was able to organize the first recording session, “That Thing Called Love,” that highlighted an African-American artist, accompanied by a white studio band, performing material specific to the African-American culture. [1]
He had offices in the Gaiety Theatre office building in Times Square.[3] Bradford toured and recorded with Smith, worked with Alberta Hunter and also headed seven recording sessions of his own during 1923–1927. Among Bradford's sidemen were Johnny Dunn, Bubber Miley, Garvin Bushell, Louis Armstrong (on two numbers in 1925), Buster Bailey, and James P. Johnson.
Bradford continued to promote blues and jazz recordings by publishing and managing. Bradford’s influence in the recording industry was negatively affected by the crash of the stock market, as well as by changes in the character of jazz and African-American songs. He was an irregular participant after the 1940s. [1] With the rise of the Great Depression, Bradford slipped away into obscurity. In later years, he appeared to exaggerate his role in early blues, possibly a reaction to his being nearly forgotten. In 1957, Little Richard had a hit with Bradford's "Keep A-Knockin'". In 1965, Bradford's autobiography Born With the Blues was published (New York: Oak Publications) with a foreword by Noble Sissle. Bradford's best-known songs were "Crazy Blues", "That Thing Called Love", and "You Can't Keep a Good Man Down".
Crazy Blues by Perry Bradford on Piano
PERRY BRADFORD AND HIS GANG Kansas City Blues
R.I.P.
Lil' Dave Thompson +14.02.2010,
*1969
It is with great sadness that we report the death of bluesman Lil' Dave Thompson. The noted blues guitarist was killed in an auto accident outside of Augusta, Georgia at 7:00 AM on Sunday morning, February 14, 2010. Thompson and his band were returning home to Greenville, Mississippi from Charleston, South Carolina where they had performed Saturday night, the last gig on a lengthy and successful tour. None of Thompson's band members were seriously hurt in the accident.
Thompson was born in Mississippi in 1969 into a blues family, his father Sam having performed alongside artists like Asie Payton, Willie Foster, Paul Wine Jones, and others. He began playing guitar at the age of nine, and was playing in local bands in his early teens. Thompson made his recording debut in 1995 with the release of Little Dave and Big Love on the Fat Possum label. Although he would literally disappear from the blues scene for better than six years, Thompson would reappear in 2002 with his album C'mon Down To The Delta.
It was with a pair of albums for the Electro-Fi Records label, however, that Thompson would make a big noise in the blues world. Thompson's Got To Get Over You (2006) and Deep In The Night (2008) would be accompanied by constant touring and critical acclaim, and would earn the guitarist a loyal and growing audience. Thompson is survived by his wife of 15 years, Susan White, and by five children. Our thoughts go out to Thompson's family, friends, and many fans worldwide.
http://blues.about.com/b/2010/02/15/blues-guitarist-lil-dave-thompson-r-i-p.htm Thompson was born in Mississippi in 1969 into a blues family, his father Sam having performed alongside artists like Asie Payton, Willie Foster, Paul Wine Jones, and others. He began playing guitar at the age of nine, and was playing in local bands in his early teens. Thompson made his recording debut in 1995 with the release of Little Dave and Big Love on the Fat Possum label. Although he would literally disappear from the blues scene for better than six years, Thompson would reappear in 2002 with his album C'mon Down To The Delta.
It was with a pair of albums for the Electro-Fi Records label, however, that Thompson would make a big noise in the blues world. Thompson's Got To Get Over You (2006) and Deep In The Night (2008) would be accompanied by constant touring and critical acclaim, and would earn the guitarist a loyal and growing audience. Thompson is survived by his wife of 15 years, Susan White, and by five children. Our thoughts go out to Thompson's family, friends, and many fans worldwide.
Lee Chester Ulmer (L.C. Ulmer) +14.02.2016
Lee Chester Ulmer (August 28, 1928 – February 14, 2016) was an American delta blues musician, known professionally as L. C. Ulmer. He was a regular performer for over half a century, playing at festivals and clubs throughout the United States and elsewhere,[2] but particularly in the Deep South.[3] Ulmer was also featured in the 2008 documentary film, M for Mississippi: A Road Trip through the Birthplace of the Blues.[4] His earliest influences came from the music of Blind Roosevelt Graves. Throughout his life, Ulmer met or played with numerous notable musicians including Elvis Presley, Les Paul and Mary Ford, Brook Benton, Nat King Cole, Fats Domino, Louis Armstrong, Muddy Waters, Elmore James, Howlin' Wolf, and Buddy Guy.[3]
Ulmer was a multi-instrumentalist, and often performed in his younger days as a one-man band.[2]
Biography
Lee Chester Ulmer was born in Stringer, Jasper County, United States.[3] He was the son of Luther Ulmer and Mattie Brown,[1] the youngest of 14 children.[5] The family moved to a plantation near Moss Hill, where outside of their work in the fields the whole family played music. Jimmie Rodgers was a notable visitor, who played alongside the family while drinking whiskey from the plantation owner son's own whiskey still. Ulmer had learned to play the guitar by the age of nine, taking delight in listening to records by Blind Lemon Jefferson, Blind Boy Fuller, Tampa Red, and Peetie Wheatstraw. His main influence for slide guitar techniques came from the work of Blind Roosevelt Graves, who Ulmer saw perform on the streets of Laurel, Mississippi.[2] After starting to play on the streets himself, Ulmer found regular employment in his teenage years building wooden trestles to support a railway line across Lake Pontchartrain. He later worked near Heidelberg, Mississippi, helping in the construction of railways lines to nearby oil wells.[2]
In 1949, Ulmer traveled to Kansas City, Kansas to visit his sister, and his guitar playing experiences included backing J. B. Lenoir at a local venue. Ulmer was later based in Laurel and developed his one-man band show at various local clubs both there and in Meridian, Mississippi.[2] He continued to travel and, in 1955, found work at the Motoaurant on Route 66 in Holbrook, Arizona, and played in its own nightclub, 'The Cock 'n' Bull'.[2] It was there that he met Elvis Presley, Les Paul and Mary Ford, Brook Benton, Nat King Cole, Fats Domino, and Louis Armstrong.[5] Further travelling saw Ulmer join the musicians union in Hollywood, California, perform across most major States, and return home to visit his parents, before he relocated back to Laurel where he joined the Bel Air Clowns, playing at local clubs in the early 1960s. Ulmer eventually moved again, this time to Joliet, Illinois, his home for the next 37 years. There he worked in construction, and at his own automotive shop, while performing often as a one-man-band and as a club host. It was here that Ulmer met and worked with Muddy Waters, Elmore James, Howlin' Wolf, Buddy Guy, Hound Dog Taylor, Jimmy Reed and Sonny Thompson amongst many others. He could then play up to 12 musical instruments at one time. Ulmer experimented at this time with various instruments, including an early synthesizer and a Gretsch White Falcon, which he bought new in 1965 for $1,800.[2]
In 2001, Ulmer returned home to the area around Ellisville, Mississippi, when he lived for the remainder of his life.[2] In his latter days using just a guitar as his accompaniment,[3] he performed locally on a regular basis, as well as at the Juke Joint Festival in Clarksdale, the Shed Blues Festival in Ocean Springs, the Blues Today Symposium in Oxford and, in 2007, at the Roots and Blues Festival in Parma, Italy. In June the following year, Ulmer made his debut appearance at the Chicago Blues Festival.[2] Ulmer then featured in the 2008 documentary film, M for Mississippi: A Road Trip through the Birthplace of the Blues.[4] Ulmer became a committed vegetarian, and shared his wisdom and recipes with his friends. In 2009, he was named 'Blues Artist of the Year' by the Mississippi Delta Blues Society of Indianola, Mississippi.[3] The same year he performed at the 8th annual Ponderosa Stomp,[1] and the Notodden Blues Festival.
Ulmer's 2011 album, Blues Come Yonder, was released by Hill Country Records and had Jimbo Mathus in the backing band.[6] The tracks included eleven self-penned efforts and a cover of Hank Williams', "I Saw the Light".[7] In 2012 and 2013, Ulmer performed at the Muddy Roots Music Festival.
Death
Ulmer died on February 14, 2016, in his home in Ellisville, Mississippi,[1] of natural causes, aged 87.
Ulmer was a multi-instrumentalist, and often performed in his younger days as a one-man band.[2]
Biography
Lee Chester Ulmer was born in Stringer, Jasper County, United States.[3] He was the son of Luther Ulmer and Mattie Brown,[1] the youngest of 14 children.[5] The family moved to a plantation near Moss Hill, where outside of their work in the fields the whole family played music. Jimmie Rodgers was a notable visitor, who played alongside the family while drinking whiskey from the plantation owner son's own whiskey still. Ulmer had learned to play the guitar by the age of nine, taking delight in listening to records by Blind Lemon Jefferson, Blind Boy Fuller, Tampa Red, and Peetie Wheatstraw. His main influence for slide guitar techniques came from the work of Blind Roosevelt Graves, who Ulmer saw perform on the streets of Laurel, Mississippi.[2] After starting to play on the streets himself, Ulmer found regular employment in his teenage years building wooden trestles to support a railway line across Lake Pontchartrain. He later worked near Heidelberg, Mississippi, helping in the construction of railways lines to nearby oil wells.[2]
In 1949, Ulmer traveled to Kansas City, Kansas to visit his sister, and his guitar playing experiences included backing J. B. Lenoir at a local venue. Ulmer was later based in Laurel and developed his one-man band show at various local clubs both there and in Meridian, Mississippi.[2] He continued to travel and, in 1955, found work at the Motoaurant on Route 66 in Holbrook, Arizona, and played in its own nightclub, 'The Cock 'n' Bull'.[2] It was there that he met Elvis Presley, Les Paul and Mary Ford, Brook Benton, Nat King Cole, Fats Domino, and Louis Armstrong.[5] Further travelling saw Ulmer join the musicians union in Hollywood, California, perform across most major States, and return home to visit his parents, before he relocated back to Laurel where he joined the Bel Air Clowns, playing at local clubs in the early 1960s. Ulmer eventually moved again, this time to Joliet, Illinois, his home for the next 37 years. There he worked in construction, and at his own automotive shop, while performing often as a one-man-band and as a club host. It was here that Ulmer met and worked with Muddy Waters, Elmore James, Howlin' Wolf, Buddy Guy, Hound Dog Taylor, Jimmy Reed and Sonny Thompson amongst many others. He could then play up to 12 musical instruments at one time. Ulmer experimented at this time with various instruments, including an early synthesizer and a Gretsch White Falcon, which he bought new in 1965 for $1,800.[2]
In 2001, Ulmer returned home to the area around Ellisville, Mississippi, when he lived for the remainder of his life.[2] In his latter days using just a guitar as his accompaniment,[3] he performed locally on a regular basis, as well as at the Juke Joint Festival in Clarksdale, the Shed Blues Festival in Ocean Springs, the Blues Today Symposium in Oxford and, in 2007, at the Roots and Blues Festival in Parma, Italy. In June the following year, Ulmer made his debut appearance at the Chicago Blues Festival.[2] Ulmer then featured in the 2008 documentary film, M for Mississippi: A Road Trip through the Birthplace of the Blues.[4] Ulmer became a committed vegetarian, and shared his wisdom and recipes with his friends. In 2009, he was named 'Blues Artist of the Year' by the Mississippi Delta Blues Society of Indianola, Mississippi.[3] The same year he performed at the 8th annual Ponderosa Stomp,[1] and the Notodden Blues Festival.
Ulmer's 2011 album, Blues Come Yonder, was released by Hill Country Records and had Jimbo Mathus in the backing band.[6] The tracks included eleven self-penned efforts and a cover of Hank Williams', "I Saw the Light".[7] In 2012 and 2013, Ulmer performed at the Muddy Roots Music Festival.
Death
Ulmer died on February 14, 2016, in his home in Ellisville, Mississippi,[1] of natural causes, aged 87.
Blues artist, L. C. Ulmer was found unresponsive in his Ellinsville, Mississippi home by family members on Sunday morning. Reports from the Jones County Medical Examiner’s office state that he died of natural causes.
Born Lee Chester Ulmer on August 28th, 1928 in Stringer, Mississippi, he learned to play guitar by the age of nine from his father who often played with other area musicians including Jimmie Rodgers. From that point on Ulmer began busking on street corners, playing picnics and fish fries and learning to play several more instruments including fiddle, mandolin and banjo.
He developed a slide guitar technique by studying his biggest influence, Blind Roosevelt Graves. It wasn’t long before he was traveling to various other parts of the country and performing as a “12 Piece One-Man Band”. Cities where he settled for periods of time included Kansas City, Missouri; Joliet, Illinois; Holbrook, Arizona and Hollywood, California where he not only played music but also worked on the railroad, ran his own automotive shop, operated a tow truck and worked construction.
During his travels, he met and played with artists including J. B. Lenoir, Elvis Presley, Les Paul and Mary Ford, Fats Domino, Muddy Waters, Elmore James, Howlin’ Wolf, Buddy Guy, Hound Dog Taylor and many others. He also appeared at festivals world-wide including King Biscuit, the Chicago Blues Festival and the Roots and Blues Festival in Parma, Italy.
Ulmer settled back in Mississippi in 2001 and in 2009 was named Blues Artist of the Year by the Mississippi Delta Blues Society of Indianola.
Born Lee Chester Ulmer on August 28th, 1928 in Stringer, Mississippi, he learned to play guitar by the age of nine from his father who often played with other area musicians including Jimmie Rodgers. From that point on Ulmer began busking on street corners, playing picnics and fish fries and learning to play several more instruments including fiddle, mandolin and banjo.
He developed a slide guitar technique by studying his biggest influence, Blind Roosevelt Graves. It wasn’t long before he was traveling to various other parts of the country and performing as a “12 Piece One-Man Band”. Cities where he settled for periods of time included Kansas City, Missouri; Joliet, Illinois; Holbrook, Arizona and Hollywood, California where he not only played music but also worked on the railroad, ran his own automotive shop, operated a tow truck and worked construction.
During his travels, he met and played with artists including J. B. Lenoir, Elvis Presley, Les Paul and Mary Ford, Fats Domino, Muddy Waters, Elmore James, Howlin’ Wolf, Buddy Guy, Hound Dog Taylor and many others. He also appeared at festivals world-wide including King Biscuit, the Chicago Blues Festival and the Roots and Blues Festival in Parma, Italy.
Ulmer settled back in Mississippi in 2001 and in 2009 was named Blues Artist of the Year by the Mississippi Delta Blues Society of Indianola.
L.C. Ulmer - Dust My Broom - Pickathon Beardy Session
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