1887 Hart Wand*
1893 William Moore*
1923 Doc Watson*
1945 John Primer*
1948 Snowy White*
1979 Dwayne Dopsie*
1988 Lorenzo Mumbles Albai*
2007 Tadeusz Nalepa+
John Aruda*
Happy Birthday
Doc Watson *03.03.1923
Arthel Lane „Doc“ Watson (* 3. März 1923 in Deep Gap, North Carolina; † 29. Mai 2012 in Winston-Salem, North Carolina[1]) war ein US-amerikanischer Gitarrist und Sänger von Country-, Bluegrass-, Gospel- und Folksongs.
Zu seinem Künstlernamen „Doc“ kam Arthel Lane Watson während einer Radioübertragung aus einem Möbelhaus in Lenoir (North Carolina) zu Beginn der 1940er Jahre. Der Sprecher fand seinen Namen Arthel zu unaussprechlich für die Sendung, und eine Zuhörerin vor Ort schlug vor ihn „Doc“ zu nennen, möglicherweise in Anspielung auf Sherlock Holmes’ Assistenten. Von da an hieß er in der Öffentlichkeit Doc Watson.Kindheit und Jugend
Der im ersten Lebensjahr an den Folgen einer Augeninfektion erblindete Watson wuchs in einer außerordentlich musikalischen Familie auf. Mutter Annie war eine Sängerin traditioneller und religiöser Lieder, während Vater General das Banjo spielte, das auch Watsons erstes Saiteninstrument wurde.
Watson besuchte die Blindenschule, in der er mit Jazz, Klassik und der Musik von Django Reinhardt konfrontiert wurde. Dadurch machte er wesentlich mehr musikalische Erfahrungen als andere und bekam einen umfassenderen Zugang zu Musik. Hier unterschied er sich später deutlich von anderen Countrymusikern. Der Talentescout, Musiker und Produzent Ralph Rinzler schrieb über ihn: „Doc ist ein musikalischer Mischling, aber ein Mischling von besonderer Art.“
Im Alter von dreizehn Jahren spielte Watson seinem Vater auf einer ausgeliehenen Gitarre das selbst erlernte Stück When the Roses Bloom in Dixieland vor. Dieser war vom Können seines Sohnes so beeindruckt, dass er ihn in einen Laden mitnahm und ihm dort eine 12-Dollar-Stella-Gitarre kaufte.
Watson entwickelte in weiterer Folge einen eigenständigen, persönlichen Stil, der beeinflusst wurde durch Platten des Banjospezialisten Clarence Ashley, der Carter Family, Jimmie Rodgers u. a. durch die damals sehr einflussreichen Country-Radioprogramme und außerdem durch die traditionelle Musik, die er von seinen Eltern vermittelt bekam.
Heirat und Kinder
Watson machte nun in erster Linie Musik mit der Familie und Nachbarn wie dem Fiddler Gaither Carlton, dessen Tochter Rosa Lee er 1947 heiratete. 1949 wurde Eddy Merle Watson (so benannt nach Eddy Arnold und Merle Travis) geboren. Tochter Nancy Ellen Watson kam 1951 zur Welt.
Musikerkarriere
Es dauerte bis 1953, ehe Watson mit dem Pianisten Jack Williams und dessen Country and Western Swing Band erste bezahlte Auftritte spielte. Das Repertoire beinhaltete neben Western Swing auch Rockabilly und eine dem Kommerz angepasste Countrymusik. Watson spielte Lead-Gitarre, wobei er eine Gibson Les Paul E-Gitarre als Instrument verwendete. Im 1995 erschienenen Album Docabilly würdigte Watson diesen für ihn eher untypischen Karriereabschnitt noch einmal.
1960 besuchte Ralph Rinzler Docs Nachbarn Clarence Ashley, um mit ihm Aufnahmen zu machen. Dabei lernte Rinzler auch Watson kennen und war von dessen instrumentalen Fertigkeiten so beeindruckt, dass er ihn kurzerhand in die Aufnahmesessions mit Ashley miteinbezog. Das daraus entstandene Album war Watsons erste Plattenaufnahme und erschien unter dem Titel Old Time Music at Clarence Ashley’s.
Die Phase der stromverstärkten Gitarre war damit vorbei und Watson nahm im folgenden Jahr mit Clarence Ashley, dem Fiddler Fred Price und dem Gitarristen Clint Howard am später legendär gewordenen Friends of Old Time Music Concert in New York teil. In weiterer Folge gab Watson Konzerte in der Carnegie Hall und beim Newport Folk Festival. Dort wurde 1963 und 1964 das Doppelalbum The Essential Doc Watson mitgeschnitten, auf dem er von Junior Huskey (Bass), Floyd Cramer (Piano), Shot Jackson (Dobro), Buddy Harman (Schlagzeug) u. a. begleitet wurde. Auf solchen Live-Alben erzählte Watson auch schon mal humorige Kurzgeschichten wie The Preacher and the Bicycle; zu finden auf der Doppel-LP Doc Watson on Stage. Ab Mitte der 1960er Jahre arbeitete Watson ebenfalls mit dem „Father of Bluegrass“ Bill Monroe zusammen, mit dem er auf den verschiedenen Bluegrass- und Folk-Konzerten auftrat. Ihre Zusammenarbeit gipfelte 1978 mit dem gemeinsamen Album Bill and Doc Sing Country Songs.
Seine Auftritte in Gerde’s Folk City in Greenwich Village brachten ihn in Kontakt mit Musikern, die in ihren Songs Kritik an politischen und gesellschaftlichen Missständen übten. Durch das persönliche Kennenlernen dieser Künstler entwickelte Watson, der sich selbst stets der konservativen Haltung seiner Eltern verbunden fühlte, eine offenere Haltung gegenüber Musikern wie Joan Baez und Tom Paxton. Auch hier bestand ein Unterschied zu vielen anderen Countrymusikern.
Spieltechnik und Einflüsse
Von Maybelle Carter von der Carter Family übernahm Watson zunächst die in der traditionellen „Old Time Music“ übliche Daumenpick-Technik (to pick: [Gitarre] „zupfen“), auch Fingerstyle genannt. Beeinflusst von Jimmie Rodgers wechselte er dann zum Straight Pick und entwickelte in weiterer Folge das Flatpickingspiel zu einer konzertanten Perfektion. Neben dem großen Vorbild Django Reinhardt übten auch noch andere Musiker wie die Delmore Brothers, Merle Travis, Chet Atkins u. a. einen maßgeblichen Einfluss auf Doc Watson aus. Bestimmend blieb für ihn jedoch zeitlebens die Musik seiner Heimat in den Appalachen. Diese Gebirgsregion gilt als die Wiege der weißen, amerikanischen Bluegrass-, Hillbilly- und Countrymusik.
Merle Watson
Merle Watson, der sich im Lauf der Jahre selbst zu einem erstklassigen Gitarristen und Banjospieler entwickelt hatte und trotz des direkten Einflusses des Vaters ebenso wie dieser seinen eigenen, an Musikern wie Mississippi John Hurt orientierten Stil fand, arbeitete ab Mitte der 1960er Jahre mit seinem Vater in musikalischer wie in administrativer Weise zusammen. Dieses produktive Zusammenwirken führte die beiden bei Tourneen durch Europa und Asien; außerdem wurden mehr als ein Dutzend Platten eingespielt. Durch einen Traktorunfall, bei dem Merle 1985 ums Leben kam, fand diese Phase ein abruptes Ende.
Jack Lawrence, ein Freund von Merle, nahm – zumindest als Musiker – dessen Platz neben Doc Watson ein. Obwohl dieser vom Verlust seines Sohnes schwer getroffen wurde, führte er seine Tätigkeit als Musiker fort und veröffentlichte in fast regelmäßigen Abständen Alben wie das 1990 erschienene On Praying Ground und Legacy aus dem Jahr 2002.
Würdigung
In seinem Genre nimmt Doc Watson eine Sonderstellung ein. In puncto Geschwindigkeit, Präzision und musikalischem Ausdruck setzte Watson mit seinem Gitarrenspiel neue Maßstäbe. Er übte nicht nur auf die amerikanische Folkmusik, sondern genreübergreifend auf Gitarristen in der ganzen Welt einen großen Einfluss aus. Es ist zu einem großen Teil sein Verdienst, dass die Gitarre in der Folk-, Bluegrass- und Countrymusik das führende Instrument wurde. Sein Bluegrass-Leadguitarstil wurde von Musikern wie Clarence White und Tony Rice übernommen und weiterentwickelt. Dan Miller vom „Flatpicking Guitar Magazine“ über Watson: „Playing for the Love of Music is what has sustained Doc Watson.
Arthel Lane "Doc" Watson (March 3, 1923 – May 29, 2012) was a blind American guitarist, songwriter, and singer of bluegrass, folk, country, blues, and gospel music. Watson won seven Grammy awards as well as a Grammy Lifetime Achievement Award. Watson's flatpicking skills and knowledge of traditional American music are highly regarded. He performed with his son, guitarist Merle Watson, for over 15 years until Merle's death in 1985 in an accident on the family farm.
Biography
Early life
Watson was born in Deep Gap, North Carolina. According to Watson on his three-CD biographical recording Legacy, he got the nickname "Doc" during a live radio broadcast when the announcer remarked that his given name Arthel was odd and he needed an easy nickname. A fan in the crowd shouted "Call him Doc!" presumably in reference to the literary character Sherlock Holmes's sidekick Doctor Watson. The name stuck ever since.[4]
An eye infection caused Doc Watson to lose his vision before his first birthday. Despite this setback, he was taught by his parents to work hard and care for himself. He attended North Carolina's school for the visually impaired, The Governor Morehead School, in Raleigh, North Carolina.[5]
In a 1989 radio interview with Terry Gross on the Fresh Air show on National Public Radio, Watson explains how he got his first guitar. His father told him that if he and his brother David chopped down all the small dead chestnut trees along the edge of their field, he could sell the wood to a tannery. Watson bought a $10 Stella guitar from Sears Roebuck with his earnings, while his brother bought a new suit.[6] Later in that same interview, Watson explained that his first high-quality guitar was a Martin D-18.[7]
Watson's earliest influences were country roots musicians and groups such as the Carter Family and Jimmie Rodgers. The first song he learned to play on the guitar was "When Roses Bloom in Dixieland", first recorded by the Carter Family in 1930. Watson stated in an interview with American Songwriter that, "Jimmie Rodgers was the first man that I started to claim as my favorite."[8] Watson proved to be a natural musical talent and within months was performing on local street corners playing songs from the Delmore Brothers, Louvin Brothers, and Monroe Brothers alongside his brother Linny. By the time Watson reached adulthood, he had become a proficient acoustic and electric guitar player.[9]
Career
In 1953, Watson joined the Johnson City, Tennessee-based Jack Williams' country and western swing band on electric guitar. The band seldom had a fiddle player, but was often asked to play at square dances. Following the example of country guitarists Grady Martin and Hank Garland, Watson taught himself to play fiddle tunes on his Les Paul electric guitar. He later transferred the technique to acoustic guitar, and playing fiddle tunes became part of his signature sound.[1][10] During his time with Jack Williams, Doc also supported his family as a piano tuner.
In 1960, as the American folk music revival grew, Watson took the advice of folk musicologist Ralph Rinzler and began playing acoustic guitar and banjo exclusively.[5] That move ignited Watson's career when he played on his first recording, Old Time Music at Clarence Ashley's. Also of pivotal importance for his career was his February 11, 1961 appearance at P.S. 41 in Greenwich Village.[11] He subsequently began to tour as a solo performer and appeared at universities and clubs like the Ash Grove in Los Angeles. Watson would eventually get his big break and rave reviews for his performance at the renowned Newport Folk Festival in Newport, Rhode Island in 1963. Watson recorded his first solo album in 1964 and began performing with his son Merle, the same year.
After the folk revival waned during the late 1960s, Watson's career was sustained by his performance of the Jimmie Driftwood song Tennessee Stud on the 1972 live album recording Will the Circle Be Unbroken. As popular as ever, Doc and Merle began playing as a trio, with T. Michael Coleman on bass guitar, in 1974. The trio toured the globe during the late seventies and early eighties, recorded nearly fifteen albums between 1973 and 1985, and brought Doc and Merle's unique blend of acoustic music to millions of new fans.[10] In 1985, Merle died in a tractor accident on his family farm.
Arlen Roth writes, "...we can attribute an entirely new style and a whole generation of pickers to [Watson's] inspiration. He was the first rural acoustic player to truly 'amaze' urban audiences in the early 1960s with his dazzling, fast technique, and he has continued to be a driving, creative force on the acoustic music scene."[12]
Watson played guitar in both flatpicking and fingerpicking style, but is best known for his flatpick work. His guitar playing skills, combined with his authenticity as a mountain musician, made him a highly influential figure during the folk music revival. Watson pioneered a fast and flashy bluegrass lead guitar style including fiddle tunes and crosspicking techniques which were adopted and extended by Clarence White, Tony Rice and many others. Watson was also an accomplished banjo player and sometimes accompanied himself on harmonica as well. Known also for his distinctive and rich baritone voice, Watson over the years developed a vast repertoire of mountain ballads, which he learned via the oral tradition of his home area in Deep Gap, North Carolina. His affable manner, humble nature and delightful wit endeared him to his fans nearly as much as his musical talent.
Watson played a Martin model D-18 guitar on his earliest recordings. In 1968, Watson began a relationship with Gallagher Guitars when he started playing their G-50 model. His first Gallagher, which Watson refers to as "Old Hoss", is on display at the Country Music Hall of Fame in Nashville, Tennessee. In 1974, Gallagher created a customized G-50 line to meet Watson's preferred specifications, which bears the Doc Watson name. In 1991, Gallagher customized a personal cutaway guitar for Watson that he played until his death and which he referred to as "Donald" in honor of Gallagher guitar's second generation proprietor and builder, Don Gallagher.[13] For the last few years, Doc had been playing a Dana Bourgeois dreadnought given to him by Ricky Skaggs for his 80th birthday.
In 1986, Watson received the North Carolina Award and in 1994 he received a North Carolina Folk Heritage Award. Also in 1994, Watson teamed up with musicians Randy Scruggs and Earl Scruggs to contribute the classic song "Keep on the Sunny Side" to the AIDS benefit album Red Hot + Country produced by the Red Hot Organization.
Later life
In 2000, Watson was inducted into the International Bluegrass Music Hall of Honor in Owensboro, Kentucky. In 1997, Watson received the National Medal of Arts from U.S. president Bill Clinton.[14] In 2010, he was awarded an honorary doctor of music degree from Berklee College of Music in Boston, Massachusetts.[15]
In his later life, Watson scaled back his touring schedule. Watson was generally joined onstage by his grandson (Merle's son) Richard, as well as longtime musical partners David Holt or Jack Lawrence. On one occasion, Watson was accompanied by Australian guitar player Tommy Emmanuel at a concert at the Bass Performance Hall in Fort Worth, Texas. Watson also performed, accompanied by Holt and Richard, at the Hardly Strictly Bluegrass festival in San Francisco in 2009, as he had done in several previous years.
Watson hosted the annual MerleFest music festival held every April at Wilkes Community College in Wilkesboro, North Carolina. The festival features a vast array of acoustic style music focusing on the folk, bluegrass, blues and old-time music genres. It was named in honor of Merle Watson and is one of the most popular acoustic music festivals in the world, drawing over 70,000 music fans each year.[16]
Watson was inducted into the North Carolina Music Hall of Fame in 2010.[17]
Personal life and death
In 1947, Doc married Rosa Lee Carlton, the daughter of popular fiddle player Gaither Carlton. Watson and Rosa Lee had two children – Eddy
Merle (named after country music legends Eddy Arnold and Merle Travis) in 1949 and Nancy Ellen in 1951.[5]
On April 29, 2012, Watson performed with the Nashville Bluegrass Band on the Creekside Stage at MerleFest. It was an annual tradition for Watson to join the Nashville Bluegrass Band for a gospel set on the festival's Sunday morning. Watson was in good form that morning, straying from the set list prepared by his supporting band. It would be his final performance.
On May 21, 2012, Watson fell at his home, after which he was sent to Watauga Medical Center in nearby Boone, North Carolina. He was listed in critical condition but was responsive at Wake Forest Baptist Medical Center in Winston-Salem, North Carolina, after undergoing colon surgery.[18] Watson was not seriously injured in the fall, but an underlying medical condition prompted the surgery which required him to be airlifted to Winston-Salem.[19] Watson died on May 29, 2012 at Wake Forest Baptist Medical Center[20] of complications following the surgery at the age of 89.[21] He is buried in the Merle and Doc Watson Memorial Cemetery, Deep Gap. Watauga County, North Carolina with his wife and son. According to the Find A Grave database "This memorial cemetery is on the private property of the Watson Family and is not open to visitors."[22]
Legacy
In 2002, High Windy Audio released a multi-CD biographical album titled Legacy. The collection features audio interviews with Watson interspersed with music, as well as a complete recording of a live performance at the Diana Wortham Theatre in Asheville, North Carolina.[23] The collection won the 2002 Grammy Award for Best Traditional Folk Album.[24]
In 2010, Blooming Twig Books published a comprehensive biography of Doc Watson, written by Kent Gustavson. The book, titled Blind But Now I See: The Biography of Music Legend Doc Watson, features never before published content regarding Watson's life and career, gleaned from interviews with Watson's friends and collaborators, including Norman Blake, Sam Bush, members of the Seeger family, Michelle Shocked and many others. The book also goes into detail on the life, supporting role and ultimate death of Merle Watson.[25] An updated edition was released by Sumach-Red Books in March 2012.[26][27][28]
In April 2013, Open Records released a multi-disc collection of unreleased recordings by Doc Watson. The collection, titled Milestones, features 94 songs as well as stories, remembrances, and over 500 photographs. The collection was created by Watson's daughter Nancy and is being produced by ETSU Bluegrass and ETSU professor Roy Andrade.
Biography
Early life
Watson was born in Deep Gap, North Carolina. According to Watson on his three-CD biographical recording Legacy, he got the nickname "Doc" during a live radio broadcast when the announcer remarked that his given name Arthel was odd and he needed an easy nickname. A fan in the crowd shouted "Call him Doc!" presumably in reference to the literary character Sherlock Holmes's sidekick Doctor Watson. The name stuck ever since.[4]
An eye infection caused Doc Watson to lose his vision before his first birthday. Despite this setback, he was taught by his parents to work hard and care for himself. He attended North Carolina's school for the visually impaired, The Governor Morehead School, in Raleigh, North Carolina.[5]
In a 1989 radio interview with Terry Gross on the Fresh Air show on National Public Radio, Watson explains how he got his first guitar. His father told him that if he and his brother David chopped down all the small dead chestnut trees along the edge of their field, he could sell the wood to a tannery. Watson bought a $10 Stella guitar from Sears Roebuck with his earnings, while his brother bought a new suit.[6] Later in that same interview, Watson explained that his first high-quality guitar was a Martin D-18.[7]
Watson's earliest influences were country roots musicians and groups such as the Carter Family and Jimmie Rodgers. The first song he learned to play on the guitar was "When Roses Bloom in Dixieland", first recorded by the Carter Family in 1930. Watson stated in an interview with American Songwriter that, "Jimmie Rodgers was the first man that I started to claim as my favorite."[8] Watson proved to be a natural musical talent and within months was performing on local street corners playing songs from the Delmore Brothers, Louvin Brothers, and Monroe Brothers alongside his brother Linny. By the time Watson reached adulthood, he had become a proficient acoustic and electric guitar player.[9]
Career
In 1953, Watson joined the Johnson City, Tennessee-based Jack Williams' country and western swing band on electric guitar. The band seldom had a fiddle player, but was often asked to play at square dances. Following the example of country guitarists Grady Martin and Hank Garland, Watson taught himself to play fiddle tunes on his Les Paul electric guitar. He later transferred the technique to acoustic guitar, and playing fiddle tunes became part of his signature sound.[1][10] During his time with Jack Williams, Doc also supported his family as a piano tuner.
In 1960, as the American folk music revival grew, Watson took the advice of folk musicologist Ralph Rinzler and began playing acoustic guitar and banjo exclusively.[5] That move ignited Watson's career when he played on his first recording, Old Time Music at Clarence Ashley's. Also of pivotal importance for his career was his February 11, 1961 appearance at P.S. 41 in Greenwich Village.[11] He subsequently began to tour as a solo performer and appeared at universities and clubs like the Ash Grove in Los Angeles. Watson would eventually get his big break and rave reviews for his performance at the renowned Newport Folk Festival in Newport, Rhode Island in 1963. Watson recorded his first solo album in 1964 and began performing with his son Merle, the same year.
After the folk revival waned during the late 1960s, Watson's career was sustained by his performance of the Jimmie Driftwood song Tennessee Stud on the 1972 live album recording Will the Circle Be Unbroken. As popular as ever, Doc and Merle began playing as a trio, with T. Michael Coleman on bass guitar, in 1974. The trio toured the globe during the late seventies and early eighties, recorded nearly fifteen albums between 1973 and 1985, and brought Doc and Merle's unique blend of acoustic music to millions of new fans.[10] In 1985, Merle died in a tractor accident on his family farm.
Arlen Roth writes, "...we can attribute an entirely new style and a whole generation of pickers to [Watson's] inspiration. He was the first rural acoustic player to truly 'amaze' urban audiences in the early 1960s with his dazzling, fast technique, and he has continued to be a driving, creative force on the acoustic music scene."[12]
Watson played guitar in both flatpicking and fingerpicking style, but is best known for his flatpick work. His guitar playing skills, combined with his authenticity as a mountain musician, made him a highly influential figure during the folk music revival. Watson pioneered a fast and flashy bluegrass lead guitar style including fiddle tunes and crosspicking techniques which were adopted and extended by Clarence White, Tony Rice and many others. Watson was also an accomplished banjo player and sometimes accompanied himself on harmonica as well. Known also for his distinctive and rich baritone voice, Watson over the years developed a vast repertoire of mountain ballads, which he learned via the oral tradition of his home area in Deep Gap, North Carolina. His affable manner, humble nature and delightful wit endeared him to his fans nearly as much as his musical talent.
Watson played a Martin model D-18 guitar on his earliest recordings. In 1968, Watson began a relationship with Gallagher Guitars when he started playing their G-50 model. His first Gallagher, which Watson refers to as "Old Hoss", is on display at the Country Music Hall of Fame in Nashville, Tennessee. In 1974, Gallagher created a customized G-50 line to meet Watson's preferred specifications, which bears the Doc Watson name. In 1991, Gallagher customized a personal cutaway guitar for Watson that he played until his death and which he referred to as "Donald" in honor of Gallagher guitar's second generation proprietor and builder, Don Gallagher.[13] For the last few years, Doc had been playing a Dana Bourgeois dreadnought given to him by Ricky Skaggs for his 80th birthday.
In 1986, Watson received the North Carolina Award and in 1994 he received a North Carolina Folk Heritage Award. Also in 1994, Watson teamed up with musicians Randy Scruggs and Earl Scruggs to contribute the classic song "Keep on the Sunny Side" to the AIDS benefit album Red Hot + Country produced by the Red Hot Organization.
Later life
In 2000, Watson was inducted into the International Bluegrass Music Hall of Honor in Owensboro, Kentucky. In 1997, Watson received the National Medal of Arts from U.S. president Bill Clinton.[14] In 2010, he was awarded an honorary doctor of music degree from Berklee College of Music in Boston, Massachusetts.[15]
In his later life, Watson scaled back his touring schedule. Watson was generally joined onstage by his grandson (Merle's son) Richard, as well as longtime musical partners David Holt or Jack Lawrence. On one occasion, Watson was accompanied by Australian guitar player Tommy Emmanuel at a concert at the Bass Performance Hall in Fort Worth, Texas. Watson also performed, accompanied by Holt and Richard, at the Hardly Strictly Bluegrass festival in San Francisco in 2009, as he had done in several previous years.
Watson hosted the annual MerleFest music festival held every April at Wilkes Community College in Wilkesboro, North Carolina. The festival features a vast array of acoustic style music focusing on the folk, bluegrass, blues and old-time music genres. It was named in honor of Merle Watson and is one of the most popular acoustic music festivals in the world, drawing over 70,000 music fans each year.[16]
Watson was inducted into the North Carolina Music Hall of Fame in 2010.[17]
Personal life and death
In 1947, Doc married Rosa Lee Carlton, the daughter of popular fiddle player Gaither Carlton. Watson and Rosa Lee had two children – Eddy
Merle (named after country music legends Eddy Arnold and Merle Travis) in 1949 and Nancy Ellen in 1951.[5]
On April 29, 2012, Watson performed with the Nashville Bluegrass Band on the Creekside Stage at MerleFest. It was an annual tradition for Watson to join the Nashville Bluegrass Band for a gospel set on the festival's Sunday morning. Watson was in good form that morning, straying from the set list prepared by his supporting band. It would be his final performance.
On May 21, 2012, Watson fell at his home, after which he was sent to Watauga Medical Center in nearby Boone, North Carolina. He was listed in critical condition but was responsive at Wake Forest Baptist Medical Center in Winston-Salem, North Carolina, after undergoing colon surgery.[18] Watson was not seriously injured in the fall, but an underlying medical condition prompted the surgery which required him to be airlifted to Winston-Salem.[19] Watson died on May 29, 2012 at Wake Forest Baptist Medical Center[20] of complications following the surgery at the age of 89.[21] He is buried in the Merle and Doc Watson Memorial Cemetery, Deep Gap. Watauga County, North Carolina with his wife and son. According to the Find A Grave database "This memorial cemetery is on the private property of the Watson Family and is not open to visitors."[22]
Legacy
In 2002, High Windy Audio released a multi-CD biographical album titled Legacy. The collection features audio interviews with Watson interspersed with music, as well as a complete recording of a live performance at the Diana Wortham Theatre in Asheville, North Carolina.[23] The collection won the 2002 Grammy Award for Best Traditional Folk Album.[24]
In 2010, Blooming Twig Books published a comprehensive biography of Doc Watson, written by Kent Gustavson. The book, titled Blind But Now I See: The Biography of Music Legend Doc Watson, features never before published content regarding Watson's life and career, gleaned from interviews with Watson's friends and collaborators, including Norman Blake, Sam Bush, members of the Seeger family, Michelle Shocked and many others. The book also goes into detail on the life, supporting role and ultimate death of Merle Watson.[25] An updated edition was released by Sumach-Red Books in March 2012.[26][27][28]
In April 2013, Open Records released a multi-disc collection of unreleased recordings by Doc Watson. The collection, titled Milestones, features 94 songs as well as stories, remembrances, and over 500 photographs. The collection was created by Watson's daughter Nancy and is being produced by ETSU Bluegrass and ETSU professor Roy Andrade.
Hart Wand *03.03.1887
Hart A. Wand (March 3, 1887 – August 9, 1960), was an American early fiddler and bandleader from Oklahoma City, Oklahoma, he was of German extraction .In the musical world he is chiefly noted for publishing the "Dallas Blues" in March 1912 (copyrighted in September). "Dallas Blues" was an early example of published twelve-bar blues song.
Little is known about Wand. He was named for his maternal grandfather, Hart P. Ancker. Wand was an 89er, coming with his parents, a brother, and two sisters from Kansas at age two. His father John, an immigrant from Frankfurt, Germany, and successful druggist in Topeka, immediately after the run set up a tent drugstore in what would become Oklahoma City. After his father's death in 1909, Hart Wand took control of the Wand & Son manufacturing plant in Oklahoma City, and kept up his musical interests. Wand moved his business to Chicago sometime before 1920, and by 1920 had settled in New Orleans. He traveled through Europe, Latin America, and Asia for his business. Samuel Charters, who interviewed Wand for his book The Country Blues (1959), stated that Wand was respected and well liked in New Orleans.[4] Wand's wife, Alberta, died in 1982.
The Greatest Blues Songs Of All Time - part one
John Primer *03.03.1945
John Primer (* 3. Mai 1946 in Camden, Mississippi) ist ein US-amerikanischer Blues-Gitarrist, Sänger und Songschreiber.
1974 ging er nach Chicago ("Theresa's" Club), wo er einige Zeit mit Sammy Lawhorn spielte, bevor er in Willie Dixon Band (Chicago Blues All-Stars), in Muddy Waters Band und in Magic Slim Band ("the Teardrops") spielte.
Biography
He played guitar at Theresa's, a club in Chicago, between 1974 and 1980. He was influenced by Muddy Waters' former sideman, Sammy Lawhorn, who taught him to play slide guitar. He joined the Chicago Blues All-Stars of Willie Dixon in 1979, then the Muddy Waters's band until the latter's death in 1983. Then he joined the Teardrops of Magic Slim and began a solo career on Wolf Records.[3]
In 1995 he released, The Real Deal, with songwriting and singing techniques showing the influence of both Dixon and Slim.[3]
In 2013, Primer was the special guest on Shawn Holt & the Teardrops' debut recording, Daddy Told Me.[4] Shawn Holt being Magic Slim's son.[5]
In 2013 and 2014, Primer had a nomination for a Blues Music Award in the 'Traditional Blues Male Artist' category.
William Moore *03.03.1893
William „Bill“ Moore (* 3. März 1893 in Dover, Georgia; † 22. November 1951 in Warrenton, Virginia) war ein afroamerikanischer Bluessänger und -Gitarrist.
Er wurde als einziger Country-Bluessänger aus Virginia im Jahre 1928 in Chicago für das Plattenlabel Paramount aufgenommen. Seine 78 rpm Schallplatten sind bei Sammlern heiß begehrt, sein auf Plattenaufnahmen erhaltenes Repertoire, insgesamt acht Songs, wurde auf einer Vielzahl von LP- und CD-Samplern wiederveröffentlicht. Seine Kompositionen (z. B. Ragtime Millionaire, Old Country Rock, One Way Gal) sind von einer Reihe von Musikern gecovert worden, unter ihnen Dave „Snaker“ Ray, John Fahey, Stefan Grossman und Duck Baker, The Insect Trust, The Notting Hillbillies.
William "Bill" Moore (March 3, 1893 – November 22, 1951) was an African American blues singer and guitarist.
Born in Dover, Georgia, United States, he was the only Virginian country bluesman to record for the Paramount label (1928 in Chicago). As a resident of Tappahannock, Virginia, Moore recorded sixteen sides for Paramount Record Company in 1928. His four 78 rpm records are sought by collectors and have been numerously re-released on LP and CD compilation albums. His songs (e.g. "Ragtime Millionaire", "Old Country Rock", "One Way Gal") have been covered by Dave "Snaker" Ray, John Fahey, Stefan Grossman and Duck Baker, The Insect Trust and The Notting Hillbillies.
He died in Warrenton, Virginia.
Born in Dover, Georgia, United States, he was the only Virginian country bluesman to record for the Paramount label (1928 in Chicago). As a resident of Tappahannock, Virginia, Moore recorded sixteen sides for Paramount Record Company in 1928. His four 78 rpm records are sought by collectors and have been numerously re-released on LP and CD compilation albums. His songs (e.g. "Ragtime Millionaire", "Old Country Rock", "One Way Gal") have been covered by Dave "Snaker" Ray, John Fahey, Stefan Grossman and Duck Baker, The Insect Trust and The Notting Hillbillies.
He died in Warrenton, Virginia.
John Aruda *03.03
Over the years Aruda would develop a sound steeped in Jazz and Blues; frequenting Somerville haunts like the Willow Jazz Club, Deco’s Lounge, Johnny D’s while growing up. He has played nonstop and rose to the top, beginning a tradition that would find him performing on stages all over the world.
John has played with some of the greatest acts of our time including Toni Lynn Washington, Susan Tedeschi, Alice Cooper, Derek Trucks, Chad Smith, George Garzone, Julian Lennon, Will Lee, and Ace Frehley among many others; the word is out that Aruda brings style, authenticity and a whole lot of soul with him wherever he goes.
John has played with some of the greatest acts of our time including Toni Lynn Washington, Susan Tedeschi, Alice Cooper, Derek Trucks, Chad Smith, George Garzone, Julian Lennon, Will Lee, and Ace Frehley among many others; the word is out that Aruda brings style, authenticity and a whole lot of soul with him wherever he goes.
Terence Charles "Snowy" White[1] (born 3 March 1948, Barnstaple, Devon) is an English guitarist, known for having played with Thin Lizzy (permanent member from 1980 to 1982) and with Pink Floyd (as a backing guitarist; he was first invited to tour with the band through Europe and the United States in 1977, and during The Wall shows in 1980) and, more recently, for Roger Waters' band.[1] He is also known for his 1983 solo effort "Bird of Paradise", which became a UK Singles Chart Top 10 hit single.[2]
Biography
White grew up on the Isle of Wight, self-taught as a guitarist, having received his first guitar from his parents at the age of ten. He moved to Stockholm in 1965 at the age of seventeen, spending more than a year there playing in a trio called The Train. In 1968 he purchased his signature guitar, the Gibson Les Paul Goldtop. By 1970 he made his way to London and found work as a session player and as a member of Heavy Heart. During this time he met Peter Green and the two began a lifelong friendship (White later appeared on Green's album In the Skies).
White had been recommended to Pink Floyd by Kate Bush's former manager Hilary Walker, as they were looking for an additional guitarist for the live band on the Animals tour in 1977. White's solo on "Pigs on the Wing" (it appears on the 8-track version), was his first time playing for the band. During the tour, White started off the show himself by playing bass guitar on the song "Sheep", as well as soloing during "Have a Cigar" and "Shine on You Crazy Diamond Part VIII".
In 1979 Thin Lizzy guitarist Scott Gorham, having seen White play with Pink Floyd in New York City during the Animals tour, approached him about joining Thin Lizzy.[1]
The collaboration with these two bands was very complicated; the invitation to rehearse the live show of The Wall for Pink Floyd, happened at the same time he was invited to become a full-time member of Thin Lizzy, with whom he recorded/co-wrote their Chinatown and Renegade albums.[1] White left Thin Lizzy in August 1982.
White's connection to Pink Floyd continued in later decades. White was invited by the former Pink Floyd bassist Roger Waters to perform in another take of The Wall, in 1990, by the ruins of the Berlin Wall, along with other guest artists.[1] Waters also called on White in 1991 for the 'Guitar Legends' concert, in Seville.[1] David Gilmour was the guest on White's 1994 album Highway to the Sun, appearing on the track "Love, Pain and Sorrow", with Gilmour playing his Digitech Whammy pedal-induced Fender Stratocaster, which was recorded at Gilmour's houseboat studio, The Astoria.
Apart from guest appearances by Chris Rea, David Gilmour and Gary Moore, the album also introduced two new Dutch-Indonesian musicians, Juan van Emmerloot (drums) and Walter Latupeirissa (bass and rhythm guitar).[1] Kuma Harada also played bass and rhythm guitar.
White's next album project was entitled Goldtop, named after his Gibson Les Paul Goldtop Standard guitar. It featured material in which White has been involved from as far back as 1974 right up to 1996,[1] including two tracks from Thin Lizzy, jams from the Peter Green In the Skies session, and the only complete version of the Pink Floyd song "Pigs on the Wing", featuring White's original guitar solo.
White has recorded five albums with his White Flames band. The first three were No Faith Required in 1996, Little Wing in 1998 and Keep Out: We Are Toxic in 1999.
In 1999 White joined Waters for his band's In the Flesh US tour, which was successful, and in 2000, Waters again toured the US, this time recording a live album and making a film of the show. Again, from February to July 2002 White toured the world with Roger Waters.
Another White Flames album (as a three-piece), entitled Restless, was released in May 2002. Spring 2005 saw the release of a new White Flames album, entitled The Way It Is, with a basic four-piece outfit consisting of Richard Bailey (drums/percussion), Walter Latupeirissa (bass) and Max Middleton (keyboards). A DVD, The Way It Is...Live! was completed and issued.
White toured with Waters in the The Dark Side of the Moon Live tour from June 2006, having played in Europe, North America, Australia, Asia and South America. He also performed with Waters at Live Earth.
White formed a new band in 2008 named The Snowy White Blues Project. In Our Time of Living was released in April 2009. The group featured Matt Taylor: guitar/vocals, Ruud Weber: bass/vocals, Juan van Emmerloot: drums, and Snowy White: guitar/vocals.
In 2010 White toured again with Roger Waters, in The Wall Live.
Biography
White grew up on the Isle of Wight, self-taught as a guitarist, having received his first guitar from his parents at the age of ten. He moved to Stockholm in 1965 at the age of seventeen, spending more than a year there playing in a trio called The Train. In 1968 he purchased his signature guitar, the Gibson Les Paul Goldtop. By 1970 he made his way to London and found work as a session player and as a member of Heavy Heart. During this time he met Peter Green and the two began a lifelong friendship (White later appeared on Green's album In the Skies).
White had been recommended to Pink Floyd by Kate Bush's former manager Hilary Walker, as they were looking for an additional guitarist for the live band on the Animals tour in 1977. White's solo on "Pigs on the Wing" (it appears on the 8-track version), was his first time playing for the band. During the tour, White started off the show himself by playing bass guitar on the song "Sheep", as well as soloing during "Have a Cigar" and "Shine on You Crazy Diamond Part VIII".
In 1979 Thin Lizzy guitarist Scott Gorham, having seen White play with Pink Floyd in New York City during the Animals tour, approached him about joining Thin Lizzy.[1]
The collaboration with these two bands was very complicated; the invitation to rehearse the live show of The Wall for Pink Floyd, happened at the same time he was invited to become a full-time member of Thin Lizzy, with whom he recorded/co-wrote their Chinatown and Renegade albums.[1] White left Thin Lizzy in August 1982.
White's connection to Pink Floyd continued in later decades. White was invited by the former Pink Floyd bassist Roger Waters to perform in another take of The Wall, in 1990, by the ruins of the Berlin Wall, along with other guest artists.[1] Waters also called on White in 1991 for the 'Guitar Legends' concert, in Seville.[1] David Gilmour was the guest on White's 1994 album Highway to the Sun, appearing on the track "Love, Pain and Sorrow", with Gilmour playing his Digitech Whammy pedal-induced Fender Stratocaster, which was recorded at Gilmour's houseboat studio, The Astoria.
Apart from guest appearances by Chris Rea, David Gilmour and Gary Moore, the album also introduced two new Dutch-Indonesian musicians, Juan van Emmerloot (drums) and Walter Latupeirissa (bass and rhythm guitar).[1] Kuma Harada also played bass and rhythm guitar.
White's next album project was entitled Goldtop, named after his Gibson Les Paul Goldtop Standard guitar. It featured material in which White has been involved from as far back as 1974 right up to 1996,[1] including two tracks from Thin Lizzy, jams from the Peter Green In the Skies session, and the only complete version of the Pink Floyd song "Pigs on the Wing", featuring White's original guitar solo.
White has recorded five albums with his White Flames band. The first three were No Faith Required in 1996, Little Wing in 1998 and Keep Out: We Are Toxic in 1999.
In 1999 White joined Waters for his band's In the Flesh US tour, which was successful, and in 2000, Waters again toured the US, this time recording a live album and making a film of the show. Again, from February to July 2002 White toured the world with Roger Waters.
Another White Flames album (as a three-piece), entitled Restless, was released in May 2002. Spring 2005 saw the release of a new White Flames album, entitled The Way It Is, with a basic four-piece outfit consisting of Richard Bailey (drums/percussion), Walter Latupeirissa (bass) and Max Middleton (keyboards). A DVD, The Way It Is...Live! was completed and issued.
White toured with Waters in the The Dark Side of the Moon Live tour from June 2006, having played in Europe, North America, Australia, Asia and South America. He also performed with Waters at Live Earth.
White formed a new band in 2008 named The Snowy White Blues Project. In Our Time of Living was released in April 2009. The group featured Matt Taylor: guitar/vocals, Ruud Weber: bass/vocals, Juan van Emmerloot: drums, and Snowy White: guitar/vocals.
In 2010 White toured again with Roger Waters, in The Wall Live.
Lorenzo Mumbles Albai *03.03.1988
https://www.facebook.com/lorenzo.albai
Lorenzo "mumbles" Albai Armonicista blues, nasce autodidatta e prosegue il percorso come studente presso Marcus Tondo, Milano; attivo con esperienza live dal 2011 con i seguenti gruppi: -Bottleneck Acoustic Trio (armonica), -Joe Valeriano Acoustic Trio (armonica) - The Gangster Counter (armonica) -Jesus On A Tortilla (armonica, voce), - SlamVsBlues (armonica, voce). Nel 2013 è ospite con i Jesus On a Tortilla al Rozzano Blues Festival e in diversi programmi radiofonici blues di Milano e dintorni, con i Jesus On a Tortilla intraprende un percorso di studio sullo stile Chicago Blues portando il risultato nei diversi set live in formazione trio o in quartetto; il risultato ottiene un ampio consenso da parte degli addetti ai lavori e scaturisce nella partecipazione della band all'edizione 2014 del Torrita Blues Festival, alle semifinali nazionali del Pistoia Blues Festival e alla premiazione come miglior promessa blues da parte dell'Italian Blues River. Grazie alla conoscenza di Egidio Ingala e Alberto Vigliarolo approfondisce la sua ricerca nel Chicago Blues confrontandosi su elementi che caratterizzano un'armonicista quali, timing, tone e fraseggio. nell'ottobre 2014 esce il primo lavoro discografico Gone To Main Street in cui è voce e armonica nelle 12 tracce che compongono il disco. influenze: Big Walter Horton, Little Walter, George Harmonica Smith, Junior Wells.
Young bluesharp player, he left looking up to the great masters of Chicago blues, like Little Walter, Big Walter Horton, George Harmonica Smith to get hot'nd personal tone.
He played from 2010 'nd grew up in a Jam situation near Milano.
Encounter with Giulio Marzolo start a collaboration with his band "Bottleneck Acoustic Trio", from last summer Lorenzo and Matteo Ferrario formed the Jesus on a Tortilla, the Lorenzo Mumbles Albai's band reference.
He played from 2010 'nd grew up in a Jam situation near Milano.
Encounter with Giulio Marzolo start a collaboration with his band "Bottleneck Acoustic Trio", from last summer Lorenzo and Matteo Ferrario formed the Jesus on a Tortilla, the Lorenzo Mumbles Albai's band reference.
Jesus on a Tortilla - Chicago City
Dwayne Dopsie *03.03.1979
Dwayne (Dopsie) Rubin hails from one of the most influential Zydeco families in the world. Although inspired by tradition, Dwayne has developed his own high energy style that defies existing stereotypes and blazes a refreshingly distinct path for 21st century Zydeco music. This singer/songwriter and accordionist has performed all over the world since debuting his band, Dwayne Dopsie and the Zydeco Hellraisers, at age 19.
As a tribute to his late father, Rockin’ Dopsie, Sr., Dwayne will record an album of his Dad’s greatest zydeco hits. Dwayne and the Hellraisers are currently in the studio wrapping up their 6th studio album, a follow up to Up In Flames, their second album to be prenominated for a Grammy Award. The Louisiana native writes both the lyrics and music for his songs and describes the upcoming album as soulful with a touch of blues and old time zydeco feel. The new album will receive additional air time on Sirius XM satellite radio. The band plans to promote their album by touring both nationally and abroad and appearing on late night talk shows. 2015 will mark their 7th summer promotional tour in Europe, adding to the 70+ international festivals they have performed in the last 2 years.
Dwayne Dopsie, grew up in Lafayette, Louisiana, as well as four of the Hellraisers. Dwayne has created the perfect band of hand picked musicians. The washboard player, Paul Lafleur, possesses skill and timing that are unmatched, making him a true musician, not just a marvel holding a washboard. Combined, the band has over 100 years of experience playing Zydeco music and it shows in every performance. The energy, true talent, and exuberance that Dwayne Dopsie and the Zydeco Hellraisers emit from stage makes it obvious that there is no competition for this band.
Not only has Dwayne’s band mastered zydeco music, they also add a bit of rhythm and blues, funk, rock and roll, reggae and pop to their performances, making them a very versatile choice for any audience. This Indie artist was named “The Hottest Accordionist” in America for his ability to both work the crowd and pump out musical harmony in grandiose fashion. Dwayne doesn’t confine himself to the stage; he interacts with the crowd, blurring the barrier between performer and audience. Audiences jump to their feet energized by Dwayne’s musical innovation, charismatic performance and sheer, raw talent. His ability to capture the imagination, heart and soul of his audience makes Dwayne one of today’s most dynamic performers.
Adding this band to a festival or event line-up is a must and you, too, will be just as excited as your audience as Dwayne Dopsie and the Zydeco Hellraisers take you into the realm of their on-stage fury aka Dopsie Mania.
Please visit www.DwayneDopsie.com for more information.
As a tribute to his late father, Rockin’ Dopsie, Sr., Dwayne will record an album of his Dad’s greatest zydeco hits. Dwayne and the Hellraisers are currently in the studio wrapping up their 6th studio album, a follow up to Up In Flames, their second album to be prenominated for a Grammy Award. The Louisiana native writes both the lyrics and music for his songs and describes the upcoming album as soulful with a touch of blues and old time zydeco feel. The new album will receive additional air time on Sirius XM satellite radio. The band plans to promote their album by touring both nationally and abroad and appearing on late night talk shows. 2015 will mark their 7th summer promotional tour in Europe, adding to the 70+ international festivals they have performed in the last 2 years.
Dwayne Dopsie, grew up in Lafayette, Louisiana, as well as four of the Hellraisers. Dwayne has created the perfect band of hand picked musicians. The washboard player, Paul Lafleur, possesses skill and timing that are unmatched, making him a true musician, not just a marvel holding a washboard. Combined, the band has over 100 years of experience playing Zydeco music and it shows in every performance. The energy, true talent, and exuberance that Dwayne Dopsie and the Zydeco Hellraisers emit from stage makes it obvious that there is no competition for this band.
Not only has Dwayne’s band mastered zydeco music, they also add a bit of rhythm and blues, funk, rock and roll, reggae and pop to their performances, making them a very versatile choice for any audience. This Indie artist was named “The Hottest Accordionist” in America for his ability to both work the crowd and pump out musical harmony in grandiose fashion. Dwayne doesn’t confine himself to the stage; he interacts with the crowd, blurring the barrier between performer and audience. Audiences jump to their feet energized by Dwayne’s musical innovation, charismatic performance and sheer, raw talent. His ability to capture the imagination, heart and soul of his audience makes Dwayne one of today’s most dynamic performers.
Adding this band to a festival or event line-up is a must and you, too, will be just as excited as your audience as Dwayne Dopsie and the Zydeco Hellraisers take you into the realm of their on-stage fury aka Dopsie Mania.
Please visit www.DwayneDopsie.com for more information.
Dwayne Dopsie & The Zydeco Hellraisers - Where'd My Baby Go [23.08.2012]
R.I.P.
Tadeusz Nalepa +03.03.2007
Tadeusz Nalepa (* 26. August 1943 in Zgłobień; † 4. März 2007 in Warschau) war ein polnischer Gitarrist, Komponist und Sänger.
Nalepa beendete die Musikschule von Rzeszów in den Klassen für Geige, Klarinette und Kontrabass. Erste Beachtung fand er bei einem Talentwettbewerb für junge Musiktalente in Stettin 1963 gemeinsam mit der Sängerin Mira Kubasińska. Mit Mira Kubasińska gründete er 1965 die Band Blackout, für die Nalepa die Musik zu Texten des Poeten Bogdan Loebl schrieb. Der Durchbruch gelang Nalepa ab 1968 mit der neu gegründeten Bluesrockband Breakout, die ebenfalls mit Mira Kubasińska als Sängerin auftrat. Die Band bestand bis 1983 und nahm 10 Langspielplatten auf. Ab 1983 spielte er vor allem solo und trat mit diversen anderen polnischen Bands auf. Außerdem komponierte er die Musik zu zwei Spielfilmen.
2003 erhielt er den Orden Polonia Restituta.
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