1943 Larry Lee*
1960 Jochen Lanius*
1981 George "Little Hat" Jones+
1999 Lowell Fulson+
2006 Ali Farka Touré+
2007 Paul deLay+
2011 Hermann Ernest
Jana Svobodová*
Doghouse Sam*
Happy Birthday
Larry Lee *07.03.1943
Larry Lee (* 7. März 1943 in Memphis, Tennessee als Lawrence Harold Lee Jr.; † 29. Oktober 2007 ebenda) war ein US-amerikanischer Gitarrist, hauptsächlich bekannt für seine Zusammenarbeit mit Jimi Hendrix und Al Green.
Noch während er die „Hamilton High School“ in Memphis besuchte, schrieb er für das Label Stax Records Songs. Darunter befanden sich auch Hits wie „What Can It Be“ und „A Woman Needs The Love of Man“, die von „The Astors“ interpretiert wurden. Im Alter von zwanzig Jahren studierte Lee an der Tennessee State University in Nashville. Hier lernte er Billy Cox und Jimi Hendrix kennen, mit denen sich eine tiefe Freundschaft entwickelte. Schnell wurde Lee Mitglied bei „The King Kasuals“, der damaligen Band Hendrix' und Cox'. Sie konnten jedoch nur schlecht bezahlte Gigs in Nashville spielen ($11 für vier Abende in der Woche[1]). Das veranlasste Hendrix dazu, im Januar 1964 nach New York zu ziehen, um dort weiter Musik zu machen. Lee hingegen blieb in Nashville und tourte weiterhin als Musiker mit Rhythm and Blues-Bands wie u.a. The Impressions. Er wurde jedoch zur US Army eingezogen und leistete seinen Militärdienst in Vietnam ab, wo er eine Kopfverletzung erlitt. 1969, nach seiner Entlassung aus der Army, wurde Lee von Hendrix, der mittlerweile zum Weltstar geworden war, eingeladen, in seiner Band zu spielen. Lee zog nach New York und wurde so – eine Woche vor dem berühmten Woodstock-Festival im August 1969 – Rhythmusgitarrist von „Gypsy Sun and Rainbows“. Der letzte Auftritt in dieser Formation fand schon kurze Zeit nach dem Woodstock-Auftritt am 10. September 1969 im Salvation nightclub in New York statt. Kurze Zeit später kam es zu einem Konflikt zwischen Hendrix und seinem Management, das seine alte Band The Jimi Hendrix Experience wieder ins Leben rufen und auf Tour schicken wollte. Um den Druck von Hendrix zu nehmen sei Lee daher wieder zurück nach Memphis gegangen[2].
In den siebziger Jahren des 20. Jahrhunderts wurde Lee ein fester Bestandteil der Musikergruppe um Al Green. Die Zusammenarbeit sollte über dreißig Jahre dauern. Sie traten in mehreren Fernsehsendungen auf, u. a. bei The Tonight Show. Sie legten den Song Judy neu auf, den Lee in der Zeit geschrieben hatte, als er noch mit Hendrix zusammen spielte. Das Lied erschien im Jahr 1972 auf dem Album Let's Stay Together.
In jüngerer Vergangenheit arbeitete Lee mit Timothy Lee Matthews zusammen, an dessen Album Songs for the Greats (2000) er mitschrieb. Außerdem wurde noch nicht veröffentlichtes Material, Jimi Hendrix Live at Woodstock (1994), Jimi Hendrix South Saturn Delta (1997) veröffentlicht, auf dem Lee als Rhythmusgitarrist zu hören ist. Darüber hinaus hatte er eine Band namens „Elmo & The Shades“.
Larry Lee starb am 29. Oktober 2007 im „Veterans Medical Center“ in Memphis an den Folgen einer Magenkrebserkrankung. Er hinterlässt seine Mutter, seine Ehefrau, vier Kinder und fünf Enkelkinder.
Lawrence H. "Larry" Lee, Jr. (March 7, 1943 – October 30, 2007) was an American guitarist and singer-songwriter from Memphis, Tennessee, best known for his work with Al Green and Jimi Hendrix.
Gypsy Sun and Rainbows
Lee was an old friend of Jimi Hendrix and Billy Cox, they had all played together in various R&B acts, and in 1969 he joined Hendrix's new band Gypsy Sun and Rainbows as rhythm guitarist, occasionally playing alternating lead. The newly formed band was hired to play the Woodstock Music Festival for which Hendrix had been previously booked to play as the Jimi Hendrix Experience. Lee had only been back from the Vietnam war for two weeks, was unemployed when Hendrix called him and had only joined Gypsy Sun and Rainbows a week before the Woodstock concert.
At the concert Hendrix and Lee both wore white outfits and exotic headgear was much in evidence, Lee wore a distinctive green bandana that had long tassles hanging over his eyes, which at the time he thought was a statement of originality as he explains in the Woodstock DVD, whereas Billy Cox wore a multi coloured turban and Hendrix a bright pink bandana and large shining ear studs. Lee played a 1955 Gibson Les Paul Custom guitar and sang his own composition 'Master Mind' as well as two Impressions numbers sung as a medley - 'Gypsy Woman' and 'Aware of Love', with Hendrix playing Curtis Mayfield style back up, he also took several solos and played some alternating lead ("weaving") with Hendrix.
After Woodstock these "hired guns" briefly continued to help Hendrix develop his new style, which included the first of his classic, new "message" songs, in which Hendrix attempted to communicate his complex philosophy towards the current Vietnam war and human relationships in general: Machine Gun, Message to Love and Izabella. This group then played at the Harlem, 'United Block' benefit and later performed at the small 'Salvation' club in Greenwich Village to a mixed reception. Lee, Velez and Sultan then went off to pursue their briefly interrupted careers, Sultan later played occasional sessions for Hendrix.
Al Green years
During the seventies, Lee acted as the band director and lead guitarist for Al Green's touring band. He appeared on The Tonight Show Starring Johnny Carson and television specials around the world with Green. Lee also was a songwriter and wrote for Stax Records early recording artists, the Astors. "Judy", a song he wrote during his days playing with Hendrix in Nashville was covered by Al Green and the Spidells. Lee briefly traveled with blues great Albert King. He said King fired him because his playing overshadowed King's.
In the eighties through the nineties, he teamed with his friend, El Espada, Timothy Lee Matthews, and they collaborated on Matthews' CD Songs for the Greats. Matthews, co-writer of the classic blues song, "Breaking Up Somebody's Home," called Lee the consummate "sideman", Lee's distinctive complementary rhythm and lead style can be heard on nine of the eleven songs on Matthews' CD.
Larry lived in Memphis, TN and played in the regional rock/blues/R&B outfit "Elmo & the Shades".Larry was a member of Elmo and the Shades for eight years and was an integral part of their success during this period.The band enjoyed much popularity during this time playing nightclubs,casinos,parties,and occasional blues festivals throughout Memphis and the Mid-South.Larry Lee is featured on three cuts on the new CD(2009) by Elmo and The Shades, "Blue Memphis".They are "Same Old Dog","I Get the Blues for Free", and the title cut "Blue Memphis". Larry took his leave from the group as his battle with cancer left him too weak to perform in August 2006. Larry was as soulful a blues singer and incredibly moving blues guitarist as Memphis, Beale St. and the world has ever seen.
He also joined in with Mike Strickland and the Usual Unusual Clowns at random intervals.
Death
Larry Lee died in Memphis, Tennessee on October 29, 2007 after a year battling stomach cancer, and was buried at 11 a.m. on November 6 in West Tennessee Veterans Cemetery. He left wife Carrie Lee, daughter April D. Lee and three sons - Lawrence H. Lee III, Robert A. Lee, and Thomas Lee. He was also survived by his mother, Lula Lee, and five grandchildren.
Jana Svobodová *07.03.
The core of the band sound is created by growling and howling electric guitar & vocal of Miloš Svoboda and ass kickin' bass lines from bass guitar in master's hands of his wife Jana Svobodová, both of them rewarded at Guitar festival 1999, organized by finest Czech musician magazin MUZIKUS.
We can proudly say we are strongly diffrent from other Czech blues performers and Czech blues experts knows that.. some of them love it, some of them not.. If you feel safety in 12-bar blues schematics, you can be frightened from the 10 strings storm that will strike you!
Electric Blue was guest of international festivals like Blues Alive 2002, Blues v lese III, Přelouč International Blues Night III, Blues aperitiv, Blues na Kyselce 2009, Bluesix festival, and they performed at some finest Czech blues & jazz clubs, namely Jazz Club Železná, Blues Sklep, Malostranská beseda.
You can get the best mix of modern blues rock, heavy blues with all the respect for traditionaly electric blues that you know from the records of the first electrified players and his followers in urban blues.
Trio continues to write his own chapter in the continuing history of blues music in Czech Republic.
Doghouse Sam *07.03.
Doghouse Sam
- Played with the Rhythm Bombs
- Doghouse Sam plays the guitar just the way we like it : no flashy stuff with 20 000 notes per minute, but lived and melodic, sometimes complaintive, then again vigorous and biting, but never never boring !!!
- He has a versatile voice that can scream, rumble, snarl and whisper, it is always passionate!
-...without a doubt one of the best harmonicaplayers in europe ...
- Sam is a gifted songwriter and plays his music in such an inventive way that all his songs intrigue from beginning to end.
- Played with the Rhythm Bombs
- Doghouse Sam plays the guitar just the way we like it : no flashy stuff with 20 000 notes per minute, but lived and melodic, sometimes complaintive, then again vigorous and biting, but never never boring !!!
- He has a versatile voice that can scream, rumble, snarl and whisper, it is always passionate!
-...without a doubt one of the best harmonicaplayers in europe ...
- Sam is a gifted songwriter and plays his music in such an inventive way that all his songs intrigue from beginning to end.
DOGHOUSE SAM & HIS MAGNATONES - FINE AIN'T GOOD ENOUGH @ MOD, HASSELT - 13/11/14
R.I.P.
Lowell Fulson +07.03.1999
Lowell Fulson (* 31. März 1921 bei Tulsa, Oklahoma; † 6. März 1999 in Long Beach, Kalifornien) war ein US-amerikanischer Blues-Gitarrist und -Sänger.
Fulson wurde in einem Reservat der Choctaw-Indianer bei Tulsa geboren; sein Großvater war ein Choctaw. Er spielte früh Musik, zunächst Gospels und Country, bevor er seine Liebe zum Blues entdeckte.
Mit 18 Jahren ersetzte Fulson den Bluesgitarristen Chester Burnett (besser bekannt als Howlin’ Wolf) in der Band von Texas Alexander. Während seines Dienstes bei der United States Navy ab 1943 gründete er in Guam seine erste Band. Nach dem Krieg zog Fulson nach Kalifornien, wo er eine Band gründete, in der auch der junge Ray Charles für einige Zeit spielte.
Hier nahm Fulson im Juni 1946 in San Francisco seine erste Single Crying Blues auf. Im selben Monat entstanden in Oakland zwei Teile des River Blues als Fulson Trio mit Eldridge McCarty (Piano) und Big Dad (Bob Johnson) (Bass). Im Oktober 1948 hatte er seinen ersten Hit mit dem Three O’Clock Blues, der bis auf Rang drei der Rhythm & Blues-Hitparade gelangte. Eine erste Coverversion vom Bluesklassiker Everyday I Have the Blues wurde von Lowell Fulson am 18. Juli 1949 (Besetzung: Lloyd Glenn -Piano-, Billy Hadnott -Bass- und Bob Harvey -Schlagzeug-) aufgenommen, kam im Mai 1950 auf den Markt (Rang #3) und wurde vom Musikmagazin Billboard bei den am meisten verkauften Rhythm & Blues-Platten an Rang 10 geführt.[1] Es folgten weitere Hits wie Blues Shadows (August 1950; sein einziger Nummer-eins-Hit). Dieser Erfolg motivierte Fulson zur Gründung des Lowell Fulson Orchestra, einer siebenköpfigen Band, in der zeitweise Ray Charles am Piano mitspielte. Einer dieser Titel mit Ray Charles am Piano war The Snow Is Falling, aufgenommen im November 1951. Im Dezember 1953 wechselte Fulson zu Aladdin Records,[2] wo er nur bis 1954 blieb. Im September 1954 ging er zu Checker Records, wo er am 27. September 1954 das klassische Reconsider Baby aufnahm. Viele dieser Songs wurden etwa von B.B. King, Elvis Presley und Otis Redding gecovert, die zum Teil damit größere kommerzielle Erfolge erzielten.
1993 gewann Fulson fünf W. C. Handy Awards. Sein Album Them Update Blues (1995) war für einen Grammy nominiert. 1993 wurde er in die Blues Hall of Fame aufgenommen. Lowell Fulson starb 1999 an Nierenversagen als Folge seines Diabetes. Im Jahr 2010 fand sein Album Hung Down Head ebenfalls Aufnahme in der Blues Hall of Fame. Sein Song Reconsider Baby wird in der Rock and Roll Hall of Fame als einer der 500 Titel gelistet, die den Rock ’n’ Roll formten.
http://de.wikipedia.org/wiki/Lowell_Fulson
Lowell Fulson (March 31, 1921 – March 7, 1999)[1] was a big-voiced blues guitarist and songwriter, in the West Coast blues tradition. Fulson was born in Tulsa, Oklahoma. He also recorded for business reasons as Lowell Fullsom and Lowell Fulsom. After T-Bone Walker, Fulson was the most important figure in West Coast blues in the 1940s and 1950s.[2]
Career
According to some sources, Fulson was born on a Choctaw reservation in Oklahoma. Fulson stated that he was of Cherokee ancestry through his father, but he also claimed Choctaw ancestry. At the age of eighteen, he moved to Ada, Oklahoma, and joined Alger "Texas" Alexander for a few months in 1940,[1] but later moved to California, forming a band which soon included a young Ray Charles and tenor saxophone player, Stanley Turrentine. He recorded for Swing Time Records in the 1940s, Chess Records (on the Checker label) in the 1950s, Kent Records in the 1960s, and Rounder Records (Bullseye) in the 1970s.
Fulson was drafted in 1943, but left the United States Navy in 1945.[1] His most memorable and influential recordings included: "Three O'Clock Blues" (now a blues standard); the Memphis Slim-penned "Everyday I Have the Blues"; "Lonesome Christmas"; "Reconsider Baby" recorded in 1960 by Elvis Presley and in 1994 by Eric Clapton for his From the Cradle album as well as by Joe Bonamassa); and "Tramp" (co-written with Jimmy McCracklin and later covered by Otis Redding with Carla Thomas, ZZ Top (on 2003's Mescalero), Alex Chilton, and Tav Falco.
"Reconsider Baby" came from a long term contract agreed with Chess Records in 1954. It was recorded in Dallas under Stan Lewis' supervision with a saxophone section that included David "Fathead" Newman on tenor and Leroy Cooper on baritone.[1]
Jackie Brenston played in Fulson's band between 1952 and 1954.
Fulson stayed with the Checker label into 1962, when he moved to the Los Angeles-based Kent Records. 1965's "Black Nights" became his first hit in a decade, and "Tramp," did even better, restoring the guitarist to R&B stardom.[1]
In 1993 at the Paramount Theatre in Oakland, California a show entitled "California Blues - Swingtime Tribute" opened with Fulson plus Johnny Otis, Charles Brown, Jay McShann, Jimmy Witherspoon, Jimmy McCracklin and Earl Brown.[3] Fulson's last recording was a duet of "Every Day I Have the Blues" with Jimmy Rogers on the latter's 1999 Atlantic Records release, "The Jimmy Rogers All-Stars: Blues, Blues, Blues."
A resident of Los Angeles, Fulson died in Long Beach, California, in March 1999, at the age of 77. His companion Tina Mayfield stated that the causes of death were complications from kidney disease, diabetes, and congestive heart failure. He was the father of four and grandfather of thirteen.[4]
Fulson was interred in Inglewood Park Cemetery, in Inglewood, California.
Contemporary influences
In the 2004 film Ray, a biopic of Ray Charles, Fulson was portrayed by the blues musician Chris Thomas King. ZZ Top's 2003 release Mescalero included their version of "Tramp", citing Fulson's guitar prowess as an inspiration to recreate the song. Redman's 1993 single "Time 4 Sum Aksion" contains a sample from Fulson's song, "Tramp", as does "How I Could Just Kill A Man" from Cypress Hill. "Why Don't We Do It in the Road?", as performed by Fulson, appeared on the soundtrack to the 2007 crime film, American Gangster. Fulson originally covered The Beatles' song on his 1970 album, In A Heavy Bag.[5] Salt-n-Pepa recorded a contemporary version of "Tramp" in 1987, on their Hot, Cool & Vicious album. A cover of Fulson's song "Sinner's Prayer" appeared both on Eric Clapton's From the Cradle (1994) and on Ray Charles' first album Ray Charles (1957) and (with B.B. King and Billy Preston) on his final album, Genius Loves Company (2004).
Awards and recognition
1993 - Blues Foundation Hall of Fame: Lowell Fulson inducted
1993 - Blues Foundation Hall of Fame: "Reconsider Baby" (Classics of Blues Recording -
Singles or Album Tracks)
1993 - Blues Foundation Blues Music Award: Hold On (Traditional Album of the Year)
1993 - Rhythm and Blues Foundation: Pioneer Award
1995 - Grammy Awards: Them Update Blues (nominated for Best Traditional Blues Album
of the Year)
1995 - Rock and Roll Hall of Fame: "Reconsider Baby" (included "500 Songs That Shaped
Rock and Roll")
2010 - Blues Foundation Hall of Fame: Hung Down Head (Classics of Blues Recording -
Albums)
Career
According to some sources, Fulson was born on a Choctaw reservation in Oklahoma. Fulson stated that he was of Cherokee ancestry through his father, but he also claimed Choctaw ancestry. At the age of eighteen, he moved to Ada, Oklahoma, and joined Alger "Texas" Alexander for a few months in 1940,[1] but later moved to California, forming a band which soon included a young Ray Charles and tenor saxophone player, Stanley Turrentine. He recorded for Swing Time Records in the 1940s, Chess Records (on the Checker label) in the 1950s, Kent Records in the 1960s, and Rounder Records (Bullseye) in the 1970s.
Fulson was drafted in 1943, but left the United States Navy in 1945.[1] His most memorable and influential recordings included: "Three O'Clock Blues" (now a blues standard); the Memphis Slim-penned "Everyday I Have the Blues"; "Lonesome Christmas"; "Reconsider Baby" recorded in 1960 by Elvis Presley and in 1994 by Eric Clapton for his From the Cradle album as well as by Joe Bonamassa); and "Tramp" (co-written with Jimmy McCracklin and later covered by Otis Redding with Carla Thomas, ZZ Top (on 2003's Mescalero), Alex Chilton, and Tav Falco.
"Reconsider Baby" came from a long term contract agreed with Chess Records in 1954. It was recorded in Dallas under Stan Lewis' supervision with a saxophone section that included David "Fathead" Newman on tenor and Leroy Cooper on baritone.[1]
Jackie Brenston played in Fulson's band between 1952 and 1954.
Fulson stayed with the Checker label into 1962, when he moved to the Los Angeles-based Kent Records. 1965's "Black Nights" became his first hit in a decade, and "Tramp," did even better, restoring the guitarist to R&B stardom.[1]
In 1993 at the Paramount Theatre in Oakland, California a show entitled "California Blues - Swingtime Tribute" opened with Fulson plus Johnny Otis, Charles Brown, Jay McShann, Jimmy Witherspoon, Jimmy McCracklin and Earl Brown.[3] Fulson's last recording was a duet of "Every Day I Have the Blues" with Jimmy Rogers on the latter's 1999 Atlantic Records release, "The Jimmy Rogers All-Stars: Blues, Blues, Blues."
A resident of Los Angeles, Fulson died in Long Beach, California, in March 1999, at the age of 77. His companion Tina Mayfield stated that the causes of death were complications from kidney disease, diabetes, and congestive heart failure. He was the father of four and grandfather of thirteen.[4]
Fulson was interred in Inglewood Park Cemetery, in Inglewood, California.
Contemporary influences
In the 2004 film Ray, a biopic of Ray Charles, Fulson was portrayed by the blues musician Chris Thomas King. ZZ Top's 2003 release Mescalero included their version of "Tramp", citing Fulson's guitar prowess as an inspiration to recreate the song. Redman's 1993 single "Time 4 Sum Aksion" contains a sample from Fulson's song, "Tramp", as does "How I Could Just Kill A Man" from Cypress Hill. "Why Don't We Do It in the Road?", as performed by Fulson, appeared on the soundtrack to the 2007 crime film, American Gangster. Fulson originally covered The Beatles' song on his 1970 album, In A Heavy Bag.[5] Salt-n-Pepa recorded a contemporary version of "Tramp" in 1987, on their Hot, Cool & Vicious album. A cover of Fulson's song "Sinner's Prayer" appeared both on Eric Clapton's From the Cradle (1994) and on Ray Charles' first album Ray Charles (1957) and (with B.B. King and Billy Preston) on his final album, Genius Loves Company (2004).
Awards and recognition
1993 - Blues Foundation Hall of Fame: Lowell Fulson inducted
1993 - Blues Foundation Hall of Fame: "Reconsider Baby" (Classics of Blues Recording -
Singles or Album Tracks)
1993 - Blues Foundation Blues Music Award: Hold On (Traditional Album of the Year)
1993 - Rhythm and Blues Foundation: Pioneer Award
1995 - Grammy Awards: Them Update Blues (nominated for Best Traditional Blues Album
of the Year)
1995 - Rock and Roll Hall of Fame: "Reconsider Baby" (included "500 Songs That Shaped
Rock and Roll")
2010 - Blues Foundation Hall of Fame: Hung Down Head (Classics of Blues Recording -
Albums)
Lowell Fulson - Reconsider Baby
Paul deLay +07.03.2007
Paul Joseph deLay (* 31. Januar 1952 in Portland, Oregon; † 7. März 2007 ) war ein US-amerikanischer Sänger und Mundharmonikaspieler.
Er wurde in Oregon geboren, wuchs aber in einer der Musik zugeneigten Familie in Milwaukee auf. Im Alter von acht Jahren, nachdem er Paul Butterfield gehört hatte, begann er Mundharmonika zu spielen. Seine Vorbilder waren Big Walter Horton, Little Walter Jacobs und später George „Harmonica“ Smith und Charlie Musselwhite. Er nahm Klavierunterricht und wollte sich selbst Gitarre und Schlagzeug beibringen, aber er erkannte bald, dass die Mundharmonika seine Berufung ist. [1]
In den 1970er-Jahren spielte er in einer Band namens The Brown Sugar Band, die hauptsächlich in der Umgebung von Portland auftrat. 1978 gründete er eine Band, die unter seinem Namen auftrat, mit dieser Band begleitete er unter Anderem Sunnyland Slim und Hubert Sumlin. 1980 widmete er sich dem Ausbau seiner Kenntnisse als Songschreiber. Er vermied es seine Karriere hindurch, Bluesklischees in seinen Songs zu verwenden.
Sein größtes Problem war seine Sucht, und als er dem Alkohol entsagte, wendete er sich Kokain zu. Er wurde wegen Drogenhandel verhaftet und kam für drei Jahre ins Gefängnis, wo er eine große Zahl von Songs schrieb, die er nach seiner Entlassung 1995 auf einigen Alben veröffentlichte.
In den 1980er und 1990er Jahren trat er beim San Francisco Blues Festival, dem Pocono Blues Festival, dem Long Beach Blues Festival und dem San Francisco Harmonica Festival auf.
2007 starb Paul deLay an Leukämie und den Spätfolgen seiner Sucht.
http://de.wikipedia.org/wiki/Paul_deLay
George "Little Hat" Jones (October 5, 1899 – March 7, 1981)[2] was an American Texas blues musician.
Jones, born in Bowie County, Texas, was a street busker in the 1920s in San Antonio, and he recorded one 78rpm for Okeh Records on June 15, 1929.[1] That same day, he played guitar on nine tracks by Alger "Texas" Alexander in the Okeh studio. On June 21, Okeh had Jones record four additional songs, and on June 14, 1930, Jones recorded six more. These three sessions represent the entirety of Jones's recorded output: ten songs of his own and nine with Texas Alexander.[1] Jones never recorded another song,[3] and died at the age of 81 in 1981, in Naples, Texas.[2]
Jones's style is marked by his tendency to start off songs quickly and then slow down once he began to sing.[1] Once a forgotten obscurity, Jones became better known later in the 20th century as historians began to explore the Okeh Records catalog, and his posthumous fame was boosted by the appearance of his song "Bye Bye Baby Blues" in the movie, Ghost World, in 2001.
Paul Joseph deLay (January 31, 1952 – March 7, 2007) was an American blues vocalist and harmonicist.
Life and career
Paul deLay was born in Portland, Oregon, United States.
His musical career started in the early 1970s with a band called "Brown Sugar", which played numerous West Coast gigs. In 1976, he and guitarist Jim Mesi formed the Paul deLay Blues Band, which performed well into the 1980s. The band also recorded several albums during that time.
By the late 1980s, deLay was suffering from alcohol and cocaine addiction. In 1990, he was arrested for drug trafficking, and served a 41-month prison sentence. He performed in Prison in Walla Walla with Michael Morey of Seattle's Alleged Perpetrators on bass. While he was incarcerated, his band continued without him, performing as the "No deLay Band" and featuring longtime Portland blueswoman Linda Hornbuckle as lead vocalist in lieu of deLay.[1] Upon his release from prison, deLay (now clean and sober) rejoined the band and recorded a series of critically acclaimed albums.
In 2002, deLay assembled the final version of his band, with David Vest sharing lead vocals and playing piano, Peter Dammann on guitar, and Jeff Minnick and Dave Kahl on drums and bass. A live CD[2] featuring this lineup was released in 2007, entering the Top Ten on Billboard's national blues chart.
Paul deLay continued touring and recording until his final illness. In March 2007, after returning to Portland from a gig in Klamath Falls, Oregon, deLay felt ill and sought medical treatment. It was discovered that he was suffering from end-stage leukemia; he soon lapsed into a coma from which he would not recover. He died in Portland on March 7, 2007, aged 55.[3]
An outgrowth of the memorial concerts is an annual event, a benefit for an scholarship at Ethos, a non-profit, Portland-based music education program, in deLay's name.
Awards and achievements
Over his career, deLay received a W.C. Handy Award for best instrumentalist, a recording of the year award from the Portland Music Association, and several awards from the Cascade Blues Association.
Life and career
Paul deLay was born in Portland, Oregon, United States.
His musical career started in the early 1970s with a band called "Brown Sugar", which played numerous West Coast gigs. In 1976, he and guitarist Jim Mesi formed the Paul deLay Blues Band, which performed well into the 1980s. The band also recorded several albums during that time.
By the late 1980s, deLay was suffering from alcohol and cocaine addiction. In 1990, he was arrested for drug trafficking, and served a 41-month prison sentence. He performed in Prison in Walla Walla with Michael Morey of Seattle's Alleged Perpetrators on bass. While he was incarcerated, his band continued without him, performing as the "No deLay Band" and featuring longtime Portland blueswoman Linda Hornbuckle as lead vocalist in lieu of deLay.[1] Upon his release from prison, deLay (now clean and sober) rejoined the band and recorded a series of critically acclaimed albums.
In 2002, deLay assembled the final version of his band, with David Vest sharing lead vocals and playing piano, Peter Dammann on guitar, and Jeff Minnick and Dave Kahl on drums and bass. A live CD[2] featuring this lineup was released in 2007, entering the Top Ten on Billboard's national blues chart.
Paul deLay continued touring and recording until his final illness. In March 2007, after returning to Portland from a gig in Klamath Falls, Oregon, deLay felt ill and sought medical treatment. It was discovered that he was suffering from end-stage leukemia; he soon lapsed into a coma from which he would not recover. He died in Portland on March 7, 2007, aged 55.[3]
An outgrowth of the memorial concerts is an annual event, a benefit for an scholarship at Ethos, a non-profit, Portland-based music education program, in deLay's name.
Awards and achievements
Over his career, deLay received a W.C. Handy Award for best instrumentalist, a recording of the year award from the Portland Music Association, and several awards from the Cascade Blues Association.
Ali Ibrahim "Farka" Touré (October 31, 1939 – March 7, 2006) was a Malian singer and multi-instrumentalist, and one of the African continent's most internationally renowned musicians.[1] His music is widely regarded as representing a point of intersection of traditional Malian music and its North American cousin, the blues. The belief that the latter is historically derived from the former is reflected in Martin Scorsese's often quoted characterization of Touré's tradition as constituting "the DNA of the blues".[2] Touré was ranked number 37 on Spin magazine's "100 Greatest Guitarists of All Time".[3]
Biography
He was born in 1939 in the village of Kanau, on the banks of the Niger River in Gourma-Rharous Cercle in the northwestern Malian region of Tombouctou. His family moved to the nearby village of Niafunké when he was still an infant.[4] He was the tenth son of his mother but the only one to survive past infancy. "The name I was given was Ali Ibrahim, but it's a custom in Africa to give a child a strange nickname if you have had other children who have died",[4] Touré was quoted as saying in a biography on his Record Label, World Circuit Records. His nickname, "Farka", chosen by his parents, means "donkey", an animal admired for its tenacity and stubbornness: "Let me make one thing clear. I'm the donkey that nobody climbs on!"[4] Ethnically, he was part Songrai, part Fula.[4]
As the first African bluesman to achieve widespread popularity on his home continent, Touré was often known as "the African John Lee Hooker".[5] Musically, the many superpositions of guitars and rhythms in his music were similar to John Lee Hooker's hypnotic blues style. He usually sang in one of several African languages, mostly Songhay, Fulfulde, Tamasheq or Bambara[4] as on his breakthrough album, Ali Farka Touré, which established his reputation in the world music community.
His first North American concert was in Harrison Hot Springs, British Columbia[citation needed]. 1994's Talking Timbuktu, a collaboration with Ry Cooder, sold promisingly well in Western markets, but was followed by a hiatus from releases in America and Europe. He reappeared in 1999 with the release of Niafunké, a more traditional album focusing on African rhythms and beats. Touré was the mentor and uncle of popular Malian musician Afel Bocoum.
Some of Ali Farka Touré's songs and tunes have been used in different programmes, films and documentaries.[6] For instance, his guitar riff on the song "Diaraby", from the album Talking Timbuktu, was selected for the Geo-quiz segment of The World PRI-BBC program, and was retained by popular demand when put to a vote of the listeners.[7] This song is likewise used in 1998 as a soundtrack for the film L'Assedio (Besieged) by the Italian director Bernardo Bertolucci[citation needed]. His songs Cinquante six, Goye Kur and Hawa Dolo from the album The Source are also used as a soundtrack in the French film Fin août, début septembre (Late August, Early September) directed in 1998 by Olivier Assayas.[6] The song "Lasidan" was featured in the award winning documentary "Sharkwater" by Rob Stewart.
In 2002 he appeared with Black American blues and reggae performer Corey Harris, on an album called Mississippi to Mali (Rounder Records). Toure and Harris also appeared together in Martin Scorsese's 2003 documentary film Feel Like Going Home,[6] which traced the roots of blues back to its genesis in West Africa. The film was narrated by Harris and features Ali's performances on guitar and njarka.
In 2004 Touré became mayor of Niafunké and spent his own money grading the roads, putting in sewer canals and fuelling a generator that provided the impoverished town with electricity.[4]
In September 2005, he released the album In the Heart of the Moon, a collaboration with Toumani Diabaté, for which he received a second Grammy award.[4] His last album, Savane, was posthumously released in July 2006. It was received with wide acclaim by professionals and fans alike and has been nominated for a Grammy Award in the category "Best Contemporary World Music Album".[citation needed] The panel of experts from the World Music Chart Europe (WMCE), a chart voted by the leading World Music specialists around Europe, chose Savane as their Album of the Year 2006, with the album topping the chart for three consecutive months (September to November 2006).[8] The album has also been listed as No. 1 in the influential Metacritic's "Best Albums of 2006" poll,[9] and No. 5 in its all-time best reviewed albums.[10] Ali Farka Touré has also been nominated for the BBC Radio 3 awards 2007.[11]
On March 7, 2006, the Ministry of Culture of Mali announced his death at age 66 in Bamako from bone cancer, against which he had been battling for some time. His record label, World Circuit, said that he recorded several tracks with his son, Vieux Farka Touré, for Vieux's debut album which was released in late 2006.
Biography
He was born in 1939 in the village of Kanau, on the banks of the Niger River in Gourma-Rharous Cercle in the northwestern Malian region of Tombouctou. His family moved to the nearby village of Niafunké when he was still an infant.[4] He was the tenth son of his mother but the only one to survive past infancy. "The name I was given was Ali Ibrahim, but it's a custom in Africa to give a child a strange nickname if you have had other children who have died",[4] Touré was quoted as saying in a biography on his Record Label, World Circuit Records. His nickname, "Farka", chosen by his parents, means "donkey", an animal admired for its tenacity and stubbornness: "Let me make one thing clear. I'm the donkey that nobody climbs on!"[4] Ethnically, he was part Songrai, part Fula.[4]
As the first African bluesman to achieve widespread popularity on his home continent, Touré was often known as "the African John Lee Hooker".[5] Musically, the many superpositions of guitars and rhythms in his music were similar to John Lee Hooker's hypnotic blues style. He usually sang in one of several African languages, mostly Songhay, Fulfulde, Tamasheq or Bambara[4] as on his breakthrough album, Ali Farka Touré, which established his reputation in the world music community.
His first North American concert was in Harrison Hot Springs, British Columbia[citation needed]. 1994's Talking Timbuktu, a collaboration with Ry Cooder, sold promisingly well in Western markets, but was followed by a hiatus from releases in America and Europe. He reappeared in 1999 with the release of Niafunké, a more traditional album focusing on African rhythms and beats. Touré was the mentor and uncle of popular Malian musician Afel Bocoum.
Some of Ali Farka Touré's songs and tunes have been used in different programmes, films and documentaries.[6] For instance, his guitar riff on the song "Diaraby", from the album Talking Timbuktu, was selected for the Geo-quiz segment of The World PRI-BBC program, and was retained by popular demand when put to a vote of the listeners.[7] This song is likewise used in 1998 as a soundtrack for the film L'Assedio (Besieged) by the Italian director Bernardo Bertolucci[citation needed]. His songs Cinquante six, Goye Kur and Hawa Dolo from the album The Source are also used as a soundtrack in the French film Fin août, début septembre (Late August, Early September) directed in 1998 by Olivier Assayas.[6] The song "Lasidan" was featured in the award winning documentary "Sharkwater" by Rob Stewart.
In 2002 he appeared with Black American blues and reggae performer Corey Harris, on an album called Mississippi to Mali (Rounder Records). Toure and Harris also appeared together in Martin Scorsese's 2003 documentary film Feel Like Going Home,[6] which traced the roots of blues back to its genesis in West Africa. The film was narrated by Harris and features Ali's performances on guitar and njarka.
In 2004 Touré became mayor of Niafunké and spent his own money grading the roads, putting in sewer canals and fuelling a generator that provided the impoverished town with electricity.[4]
In September 2005, he released the album In the Heart of the Moon, a collaboration with Toumani Diabaté, for which he received a second Grammy award.[4] His last album, Savane, was posthumously released in July 2006. It was received with wide acclaim by professionals and fans alike and has been nominated for a Grammy Award in the category "Best Contemporary World Music Album".[citation needed] The panel of experts from the World Music Chart Europe (WMCE), a chart voted by the leading World Music specialists around Europe, chose Savane as their Album of the Year 2006, with the album topping the chart for three consecutive months (September to November 2006).[8] The album has also been listed as No. 1 in the influential Metacritic's "Best Albums of 2006" poll,[9] and No. 5 in its all-time best reviewed albums.[10] Ali Farka Touré has also been nominated for the BBC Radio 3 awards 2007.[11]
On March 7, 2006, the Ministry of Culture of Mali announced his death at age 66 in Bamako from bone cancer, against which he had been battling for some time. His record label, World Circuit, said that he recorded several tracks with his son, Vieux Farka Touré, for Vieux's debut album which was released in late 2006.
George "Little Hat" Jones +07.03.1981
George "Little Hat" Jones (October 5, 1899 – March 7, 1981)[2] was an American Texas blues musician.
Jones, born in Bowie County, Texas, was a street busker in the 1920s in San Antonio, and he recorded one 78rpm for Okeh Records on June 15, 1929.[1] That same day, he played guitar on nine tracks by Alger "Texas" Alexander in the Okeh studio. On June 21, Okeh had Jones record four additional songs, and on June 14, 1930, Jones recorded six more. These three sessions represent the entirety of Jones's recorded output: ten songs of his own and nine with Texas Alexander.[1] Jones never recorded another song,[3] and died at the age of 81 in 1981, in Naples, Texas.[2]
Jones's style is marked by his tendency to start off songs quickly and then slow down once he began to sing.[1] Once a forgotten obscurity, Jones became better known later in the 20th century as historians began to explore the Okeh Records catalog, and his posthumous fame was boosted by the appearance of his song "Bye Bye Baby Blues" in the movie, Ghost World, in 2001.
bye bye baby blues........ George" little hat "Jones
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