1912 Walter Davis*
1938 Johnny Drummer*
1970 Lucille Hegamin+
1989 Odie Payne+
1994 Jay Gaunt*
2005 George "Wild Child" Butler+
Manfred Pokrandt*
Happy Birthday
Walter Davis *01.03.1912
Walter Davis (* 1. März 1912 in Grenada, Mississippi; † 22. Oktober 1963 in St. Louis, Missouri) war ein US-amerikanischer Blues-Pianist und -Sänger.
Walter Davis war in den 1930ern einer der führenden Vertreter des St.-Louis-Blues, zusammen mit Roosevelt Sykes und Henry Townsend. Zwischen 1931 und 1941 nahm Davis über 160 Titel auf. Von 1946 bis 1952 folgten etliche weitere Aufnahmen.
Zu den bekanntesten Stücken von Walter Davis gehören Come Back Baby (das Ray Charles 1950 zu einem Top-Hit machte), Angel Child (1949 ein Hit für Memphis Slim), Think You Need A Shot, Pet Cream Blues und Ashes In My Whiskey. Titel von Davis wurden von B. B. King, Fred McDowell, Eddie Boyd, Champion Jack Dupree und anderen bearbeitet.
Nach einem Schlaganfall in den 1950ern war Davis als Prediger aktiv. Er starb 1963 in St. Louis. 2005 wurde er in die Blues Hall of Fame aufgenommen.
Davis had a rich singing voice that was as expressive as the best of the Delta blues vocalists. His best-known recording, a version of the train blues standard "Sunnyland Blues", which he released in 1931, is more notable for the warmth and poignancy of his singing than for his piano playing.[3] Two more of his best known songs were "Ashes In My Whiskey" and "Blue Blues".[2]
He was also billed as 'Hooker Joe'.[2]
Career
Davis was born on a farm in Grenada, Mississippi, United States,[2][4] and ran away from home at about 13 years of age, landing in St. Louis, Missouri. During the period from the late 1920s through the early 1950s he played club dates in the South and the lower Midwest, often with guitarist Henry Townsend and fellow pianist Peetie Wheatstraw, and recorded prolifically. He was accompanied by Roosevelt Sykes on his first recordings (1930–33).[5]
He recorded around 180 singles between 1930 and 1952. Some of his material has been covered by other performers.[5]
Davis appears to have stopped performing professionally around 1953. Suffering from health problems, primarily a stroke, he settled in St. Louis, Missouri, supporting himself as a night clerk at a hotel and as a preacher.[6] He died in St. Louis in 1963, aged 52.[6]
He was posthumously inducted into the Blues Hall of Fame in 2005.
In October 2012 the Killer Blues Headstone Project, a nonprofit organization, placed a headstone on Davis's unmarked grave at Greenwood Cemetery in Hillsdale, Missouri. The stone was unveiled at the 2012 Big Muddy Blues Festival in St. Louis, Missouri.
Davis is no relation to the jazz pianist, Walter Davis, Jr.
Jay Gaunt *01.03.1994
Jay Gaunt began playing harmonica at the age of 12, developing a passion for blues music. One of Jay’s first exposures to blues was The Blues Brothers movie and shortly thereafter he went to see Dan Aykroyd (in full Elwood mode) at the Opus Theater in West Nyack, NY, at which time Dan called up Jay to sit in for the encore. The moment he stepped on stage and played the Mississippi sax, Jay was hooked. Since then he has been hungrily seeking out everything he can find that relates to harmonica, blues and roots music.
While Jay’s favorite music is the blues, he is not limited to just one genre. He also plays jazz, funk, rock and pop. Jay’s main influences on harmonica are James Cotton, Jason Ricci, Little Walter, Dennis Gruenling, Paul Butterfield, Chris Michalek, Sonny Boy Williamson, Kim Wilson, and Junior Wells. However, Jay does not only listen to harmonica players, but also draws influences from an array of musicians as diverse as Jimi Hendrix, John Coltrane, and Donny Hathaway.
Jay has shared the stage with Dan Aykroyd, Honeyboy Edwards, the James Cotton Blues Band, Tab Benoit, Kenny Brown, Keith Sykes, Jason Ricci & New Blood, Bob Margolin, Dave Fields, Rich DelGrosso, Eric McFadden, Zac Harmon, Jimmy Hall, Mark Hummel, Jon Paris, Rob Paparozzi, Michael Powers, Richie Canata, Victor Wainwright, Davis Coen, Treasa Lavasseur and Mike Zito.
In addition to performing at B.B. King’s Clubs in New York and Memphis, Terra Blues and The Cutting Room in NYC, Jay has also gigged at Ground Zero Blues Club, Rum Boogie and New Daisy in Memphis, and Biscuits & Blues in San Francisco. Festival performances include The Greeley Blues Fest (2008 & 2009) and Blues from the Top (2008 & 2009) in CO as well as the Cape May Jazz Festival (2009) in NJ. In December 2009 he undertook his first European dates performing with Knut Reiersrud and The Alabama Lovesnakes in Oslo, Norway.
Gaunt has studied with Dennis Gruenling, David Barrett, Jason Ricci, Chris Michalek, Mark Hummel, Jon Paris and Michael Peloquin. He is presently studying music composition with Dr. Pedro Da Silva of NYU.
He is a regular attendee and performer at the annual SPAH conventions and is featured in the spring 2010 issue of Harmonica Happenings. A recent interview with Jay is posted at www.harmonica411.com. Late fall 2009 he appeared in a New Jersey Network State of the Arts TV program and earlier this year Jay was the featured artist on a CBS Sunday Morning segment about Harrison Harmonicas, both videos of which are posted on his YouTube channel.
In 2008 he released his debut album, Blown Away, recorded in San Francisco. His 2010 release, Harmonicopia, was recorded at Royal Studios, Memphis, TN and produced by Lawrence \"Boo\" Mitchell and Charley Burch.
Jay Gaunt plays Harrison Harmonicas.
Ronnie Shellist, Jay Gaunt, Todd Edmunds at SPAH 2010
Manfred Pokrandt *01.03.1956
Der Musiker: Pokrandt wurde am 1. März 1956 in Cottbus geboren - am Gründungstag der Nationalen Volksarmee. Daher hat er seinen 20. Geburtstag auf dem Appellplatz verbringen müssen: "Das war nicht so schön." Musikalisch ausgebildet wurde er unter anderem am Konservatorium Cottbus. Seit 26 Jahren spielt er Rock und Blues in der Band Engerling, die seit 1994 die deutsche Begleitband der US-Musikers Mitch Ryder ist. Pokrandt hat zwei Kinder und lebt in Berlin.
Was Google nicht zuwege bringt, schüttelt Manne Pokrandt locker aus dem Ärmel? Ein in die Jahre gekommener Rocker mit DDR-Vita, der seit 26 Jahren mit demselben ostdeutschen Bluesrock-Quartett namens Engerling durch die Clubs und Säle der Republik zieht? Ost-Rockmusiker, sind das nicht mehrheitlich Gestalten, die gemeinsam mit ihrem allmählich vergreisenden Publikum vermeintlich besseren Zeiten hinterherweinen?
Wer so denkt, ist dem Mann noch nie begegnet. Denn wenn es darum geht, jemanden zu finden, der mit offenen Augen durch Welt und Zeit geht, die richtigen Fragen stellt und aus den Antworten seinen Lebenslauf schmiedet, dann ist Pokrandt eine gute Wahl. Eine Mischung aus Neugier, Lebenslust, Können und mitunter an Sturheit grenzende Beharrlichkeit führte den einstigen Mathematiker, der seine Diplomarbeit über die Lösung steifer Differenzialgleichungen mit dem kombinierten Simulationssystem Simkom S/80 irgendwo zu Hause herumliegen hat, zu den Stationen seines Lebens.
Nachdem ein Berufsmusiker ihm während der Armeezeit erzählt hatte, was selbst in der DDR hinter der Bühne so alles los ist, war ihm klar: Ich werde Musiker. Das Schlagzeugspiel lernte er, weil seine damalige Band dringend einen Trommler brauchte und weil er es leid war, auf Familienfeiern "La Paloma" auf dem Akkordeon zu spielen. Zum Bass kam er, weil der etatmäßige Basser ein paar Stunden vor dem Auftritt hingeworfen hatte. "Du weißt doch, wo die Töne sind", sagten die Kollegen zu Manne. Und als eines Tages, irgendwann in den Achtzigern, ein Bekannter anfragte, ob er fürs Stadttheater Anklam vielleicht die Hymne "O Anklam meine Perle" aufnehmen könne, legte er den Grundstein für sein privates Aufnahmestudio, zu DDR-Zeiten fast ein Unding, das er seit damals erfolgreich betreibt. Jedes Mal stellte er sich die gleichen Fragen: "Geht das eigentlich? Kann ich das?"
Engerling - Narkose Blues - Apfeltraum Renft - Ring Of Fire - Heiligen Mühle - Erfurt 2013
Besetzung:
Wolfram Boddi Bodag (Gesang, Keyboard, Harp)
Heiner Witte (Gitarre)
Manne Pokrandt (Bass) -- seit 1986
Hannes Schulze (Schlagzeug) -- seit 2005
Wolfram Boddi Bodag (Gesang, Keyboard, Harp)
Heiner Witte (Gitarre)
Manne Pokrandt (Bass) -- seit 1986
Hannes Schulze (Schlagzeug) -- seit 2005
Mitch Ryder feat. Engerling - Soul Kitchen / Schwarzer Adler Rheinberg 2014 Germany
Band :
Mitch Ryder - vocals (Gesang)
Heiner Witte - guitar (Gitarre)
Pitti Piatkowski - guitar (Gitarre)
Manne Pockrandt - Bass Guitar (Bass Gitarre)
Ronny Dehn - drums (Schlagzeug)
Boddi Bodag - keys (Piano)
Mitch Ryder - vocals (Gesang)
Heiner Witte - guitar (Gitarre)
Pitti Piatkowski - guitar (Gitarre)
Manne Pockrandt - Bass Guitar (Bass Gitarre)
Ronny Dehn - drums (Schlagzeug)
Boddi Bodag - keys (Piano)
R.I.P.
George "Wild Child" Butler +01.03.2005
Biografie
Geboren als jüngstes von 9 Kindern in Autaugaville, Alabama, erhielt Butler schon als Kleinkind den Spitznamen „Wild Cild“. Er verbrachte einen Teil seiner Jugend in Alabames Hauptstadt Montgomery, wo er mit Big Mama Thornton, einer Freundin der Familie, Mundharmonika spielte.[1][2]
Der Farmarbeit zog er ein Leben als Musiker vor. Zeitweise hielt er sich in Chicago und Detroit auf, wo er mit Größen wie Big Walter Horton, Sonny Boy Williamson II. und Sunnyland Slim auftrat. Mitte der 1960er arbeitete er in Texas und Louisiana. 1966 nahm er unter der Leitung von Willie Dixon sein erstes Album auf. Es sollten im Laufe der Zeit sechs weitere Alben folgen.[1]
Zu den bekannten Kollegen, mit denen Butler zusammen arbeitete, zählen Howlin’ Wolf, Muddy Waters, Jimmy Rogers, Sam Lay, Big Jack Johnson und andere. Zuletzt lebte George Butler in Windsor, Ontario, wo er 2005 im Alter von 68 Jahren starb.[1]
Butler was born in Hernando, Mississippi,[1] or Autuagaville, Alabama, United States,[2] and began playing blues music in bands from the late 1950s, but it was not until 1966 that he began to receive notice, after moving to Chicago and signing with Jewel Records.[3] His early sessions were recorded with Willie Dixon, Cash McCall and Jimmy Dawkins as sidemen.[1][3] He recorded an album for Mercury Records in 1969.[3]
In 1981, Butler moved to Ontario, Canada, where he played regularly.[1] In the 1990s, he began recording with record producer Mike Vernon in England, which resulted in two albums released on Bullseye Blues.[1]
Butler died on March 1, 2005 in Windsor, Ontario, of a pulmonary embolism, at the age of 68.
Lucille Nelson Hegamin (November 29, 1894 – March 1, 1970) was an American singer and entertainer, and a pioneer African-American blues recording artist.
Life and career
Lucille Nelson was born in Macon, Georgia, United States, the daughter of John and Minnie Nelson.[1] From an early age she sang in local church choirs and theatre programs.[1] By the age of 15 she was touring the US South with the Leonard Harper Minstrel Stock Company.[2] In 1914 she settled in Chicago, Illinois, where, often billed as "The Georgia Peach", she worked with Tony Jackson and Jelly Roll Morton before marrying the pianist-composer Bill Hegamin.[3] She later told a biographer: "I was a cabaret artist in those days, and never had to play theatres, and I sang everything from blues to popular songs, in a jazz style. I think I can say without bragging that I made the "St. Louis Blues" popular in Chicago; this was one of my feature numbers."[4]
The Hegamins moved to Los Angeles, California in 1918, then to New York City the following year.[5] Bill Hegamin led his wife's accompanying band, called the Blue Flame Syncopators; Jimmy Wade was a member of this ensemble.
In November 1920, Hegamin became the second African-American blues singer to record, after Mamie Smith.[6] Hegamin made a series of recordings for the Arto record label through 1922, and then a few sides for Paramount in 1922. One of her biggest hits was "Arkansas Blues", recorded for Arto and soon released on no fewer than nine other labels, including Black Swan.[5] Hegamin recorded one of Tom Delaneys' earliest compositions, "Jazz Me Blues", in 1921, and it went on to become a jazz standard.[7] Lucille Hegamin subsequently played theatre dates but did not tour extensively.[5]
On January 20, 1922, she competed in a blues singing contest against Daisy Martin, Alice Leslie Carter and Trixie Smith at the Fifteenth Infantry's First Band Concert and Dance in New York City. Hegamin placed second to Smith in the contest, which was held at the Manhattan Casino.[8]
From 1922 through late 1926 she recorded over forty sides for Cameo Records; from this association she was billed as "The Cameo Girl".[9] After her marriage to Bill Hegamin ended in 1923, her most frequent accompanist was pianist J. Cyrill Fullerton.[10] In 1926, Hegamin recorded with Clarence Williams' band for the Columbia label. She performed in Clarence Williams' Revue at the Lincoln Theater in New York, then in various revues in New York and Atlantic City, New Jersey through 1934. In 1929 she appeared on the radio show "Negro Achievement Hour" on WABC, New York.[11] In 1932 she recorded two sides for Okeh Records.
About 1934 she retired from music as a profession, and worked as a nurse. She came out of retirement in 1961 to record four songs, accompanied by a band led by Willie "The Lion" Smith, on the album Songs We Taught Your Mother[12] for the Bluesville Records label. In 1962 she recorded an album, Basket of Blues for the Spivey label. She performed at a Mamie Smith Benefit concert at the Celebrity Club in New York City in 1964.[11]
Lucille Hegamin died in Harlem Hospital in New York on March 1, 1970,[13] and was interred in the Cemetery of the Evergreens in Brooklyn, New York.[11]
Style
Lucille Hegamin's stylistic influences included Annette Hanshaw and Ruth Etting.[14] According to Derrick Stewart-Baxter, "Lucille's clear, rich voice, with its perfect diction, and its jazz feeling, was well in the vaudeville tradition, and her repertoire was wide."[15] Like Mamie Smith, Hegamin sang classic female blues in a lighter, more pop-tune influenced style than the rougher rural-style blues singers such as Ma Rainey and Bessie Smith who became more popular a few years later.
Life and career
Lucille Nelson was born in Macon, Georgia, United States, the daughter of John and Minnie Nelson.[1] From an early age she sang in local church choirs and theatre programs.[1] By the age of 15 she was touring the US South with the Leonard Harper Minstrel Stock Company.[2] In 1914 she settled in Chicago, Illinois, where, often billed as "The Georgia Peach", she worked with Tony Jackson and Jelly Roll Morton before marrying the pianist-composer Bill Hegamin.[3] She later told a biographer: "I was a cabaret artist in those days, and never had to play theatres, and I sang everything from blues to popular songs, in a jazz style. I think I can say without bragging that I made the "St. Louis Blues" popular in Chicago; this was one of my feature numbers."[4]
The Hegamins moved to Los Angeles, California in 1918, then to New York City the following year.[5] Bill Hegamin led his wife's accompanying band, called the Blue Flame Syncopators; Jimmy Wade was a member of this ensemble.
In November 1920, Hegamin became the second African-American blues singer to record, after Mamie Smith.[6] Hegamin made a series of recordings for the Arto record label through 1922, and then a few sides for Paramount in 1922. One of her biggest hits was "Arkansas Blues", recorded for Arto and soon released on no fewer than nine other labels, including Black Swan.[5] Hegamin recorded one of Tom Delaneys' earliest compositions, "Jazz Me Blues", in 1921, and it went on to become a jazz standard.[7] Lucille Hegamin subsequently played theatre dates but did not tour extensively.[5]
On January 20, 1922, she competed in a blues singing contest against Daisy Martin, Alice Leslie Carter and Trixie Smith at the Fifteenth Infantry's First Band Concert and Dance in New York City. Hegamin placed second to Smith in the contest, which was held at the Manhattan Casino.[8]
From 1922 through late 1926 she recorded over forty sides for Cameo Records; from this association she was billed as "The Cameo Girl".[9] After her marriage to Bill Hegamin ended in 1923, her most frequent accompanist was pianist J. Cyrill Fullerton.[10] In 1926, Hegamin recorded with Clarence Williams' band for the Columbia label. She performed in Clarence Williams' Revue at the Lincoln Theater in New York, then in various revues in New York and Atlantic City, New Jersey through 1934. In 1929 she appeared on the radio show "Negro Achievement Hour" on WABC, New York.[11] In 1932 she recorded two sides for Okeh Records.
About 1934 she retired from music as a profession, and worked as a nurse. She came out of retirement in 1961 to record four songs, accompanied by a band led by Willie "The Lion" Smith, on the album Songs We Taught Your Mother[12] for the Bluesville Records label. In 1962 she recorded an album, Basket of Blues for the Spivey label. She performed at a Mamie Smith Benefit concert at the Celebrity Club in New York City in 1964.[11]
Lucille Hegamin died in Harlem Hospital in New York on March 1, 1970,[13] and was interred in the Cemetery of the Evergreens in Brooklyn, New York.[11]
Style
Lucille Hegamin's stylistic influences included Annette Hanshaw and Ruth Etting.[14] According to Derrick Stewart-Baxter, "Lucille's clear, rich voice, with its perfect diction, and its jazz feeling, was well in the vaudeville tradition, and her repertoire was wide."[15] Like Mamie Smith, Hegamin sang classic female blues in a lighter, more pop-tune influenced style than the rougher rural-style blues singers such as Ma Rainey and Bessie Smith who became more popular a few years later.
Wabash Blues - Lucille Hegamin And Her Blue Flame Syncopators (Bell Record)1921
Odie Payne +01.03.1989
Odie Payne (* 27. August 1926 in Chicago, Illinois; † 1. März 1989 ebd.) war ein US-amerikanischer Schlagzeuger. Seine Musik war der Chicago Blues. Im Laufe seiner Karriere hat er mit vielen bekannten Bluesmusikern zusammengespielt, darunter Sonny Boy Williamson II., Muddy Waters, Jimmy Rogers, Eddie Taylor, Little Johnny Jones, Tampa Red, Elmore James, Otis Rush, Yank Rachell, Sleepy John Estes, Little Brother Montgomery, Memphis Minnie, Magic Sam, Chuck Berry, Buddy Guy und viele mehr.
Schon als Kind war Payne begeistert von der Musik, ohne sich auf eine besondere Spielrichtung festzulegen. Sein Musikstudium wurde durch den Krieg unterbrochen, als er zum Militärdienst eingezogen wurde. Nach dem Krieg beendete er sein Schlagzeugstudium mit Auszeichnung.[1]
1949 trommelte er für den Pianisten Johnny Jones, als er Tampa Red kennenlernte und zu dessen Band wechselte. 1952 gingen Payne und Jones zu Elmore Jamesʼ Band The Broomdusters. Payne blieb drei Jahre bei James, begleitete ihn jedoch bis 1959 bei Aufnahmen. Zu hören ist er auf 31 Singles von Elmore James.[1]
In der zweiten Hälfte der 1950er Jahre wurde Payne ein begehrter Sessionmusiker. Sein innovativer Stil beeinflusste zahlreiche Schlagzeuger.[1]
Odie Payne (August 27, 1926 – March 1, 1989)[2] was an American Chicago blues drummer. Over his long career Payne worked with a range of musicians including Sonny Boy Williamson II, Muddy Waters, Jimmy Rogers, Eddie Taylor, Little Johnny Jones, Tampa Red, Otis Rush, Yank Rachell, Sleepy John Estes, Little Brother Montgomery, Memphis Minnie, Magic Sam, Chuck Berry, and Buddy Guy.[2]
Biography
He was born Odie Payne Jr. in Chicago, Illinois.[1] Payne was interested in music from an early age, and did not restrict himself to a narrow musical genre. He studied music in high school and later drafted into the Army, but upon his discharge, Payne graduated from the Roy C. Knapp School of Percussion. By 1949 Payne was playing along with the pianist Little Johnny Jones, before meeting Tampa Red and enlisting into his band. The association lasted for around three years before, in 1952, Payne and Jones joined Elmore James's band, the Broomdusters.[1]
Payne played with the Broomdusters for another three years, although his recording association with them lasted through to 1959. In total he recorded thirty one singles with them, including "The Sky Is Crying". By this time Payne had become a favored session musician appearing through that decade on the Cobra label, with Otis Rush, Magic Sam, and Buddy Guy. His playing also can be heard on various Chess records, including the Chuck Berry hit singles "Nadine", "You Never Can Tell", "Promised Land" and 1964's "No Particular Place to Go."[1] All appeared on the Berry's 1982 compilation album, The Great Twenty-Eight.
Noted for his usage of the cowbell, bass drum pedal, and extended cymbal and drum rolls, Payne's double shuffle drumming technique was much copied and utilised by both Fred Below and Sam Lay.[1] The technique called for Payne to use both his hands to effect the shuffle effect.[3]
Payne appears to have a songwriting credit to his name for the song "Say Man," which was recorded by both Bo Diddley and Willie Mabon; although Payne's name certainly did not appear on every version published.[4][5]
Odie Payne died in Chicago in March 1989, at the age of 62.
Biography
He was born Odie Payne Jr. in Chicago, Illinois.[1] Payne was interested in music from an early age, and did not restrict himself to a narrow musical genre. He studied music in high school and later drafted into the Army, but upon his discharge, Payne graduated from the Roy C. Knapp School of Percussion. By 1949 Payne was playing along with the pianist Little Johnny Jones, before meeting Tampa Red and enlisting into his band. The association lasted for around three years before, in 1952, Payne and Jones joined Elmore James's band, the Broomdusters.[1]
Payne played with the Broomdusters for another three years, although his recording association with them lasted through to 1959. In total he recorded thirty one singles with them, including "The Sky Is Crying". By this time Payne had become a favored session musician appearing through that decade on the Cobra label, with Otis Rush, Magic Sam, and Buddy Guy. His playing also can be heard on various Chess records, including the Chuck Berry hit singles "Nadine", "You Never Can Tell", "Promised Land" and 1964's "No Particular Place to Go."[1] All appeared on the Berry's 1982 compilation album, The Great Twenty-Eight.
Noted for his usage of the cowbell, bass drum pedal, and extended cymbal and drum rolls, Payne's double shuffle drumming technique was much copied and utilised by both Fred Below and Sam Lay.[1] The technique called for Payne to use both his hands to effect the shuffle effect.[3]
Payne appears to have a songwriting credit to his name for the song "Say Man," which was recorded by both Bo Diddley and Willie Mabon; although Payne's name certainly did not appear on every version published.[4][5]
Odie Payne died in Chicago in March 1989, at the age of 62.
The Sky Is Crying - Hound Dog Taylor, Little Walter, Dillard Crume, Odie Payne
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