1892 Mississippi John Hurt*
1905 Jimmy Walker*
1954 Bob Brozman*
2001 Robert Ealey+
2008 Igor Flach+
2009 Willie King+
1905 Jimmy Walker*
1954 Bob Brozman*
2001 Robert Ealey+
2008 Igor Flach+
2009 Willie King+
Jago Duckwitz*
Happy Birthday
Mississippi John Hurt *08.03.1892
John Smith Hurt, besser bekannt als Mississippi John Hurt (* 8. März 1892 [1] in Teoc, Carroll County, Mississippi; † 2. November 1966 in Grenada, Mississippi) war ein einflussreicher Blues-Sänger und Gitarrist.
Aufgewachsen in Avalon, Mississippi, lernte John Hurt mit etwa 10 Jahren Gitarre zu spielen. Während seiner Jugendzeit spielte er häufig für seine Freunde und auf Tanzveranstaltungen. Seinen Lebensunterhalt verdiente Hurt als Farmarbeiter.
1916 war er für fünf Monate Gleisbauarbeiter. Hier lernte er von einem Caller namens Walter Jackson eine A-cappella-Version des später aufgenommenen Spike Driver Blues – einer Variante der Ballade John Henry – kennen.
John Hurt musizierte bei einer Gelegenheit mit dem Fiddle-Spieler Willie Narmour, der ihn bei Okeh Records empfahl. In der Folge hatte Hurt 1928 zwei Aufnahmesitzungen für das Plattenlabel, und zwar im Februar in Memphis, Tennessee, und im Dezember in New York. Bei dieser Gelegenheit wurde von den Managern der Plattenfirma aus Werbegründen auch das „Mississippi“ vor den Namen des Musikers gestellt. Ursprünglich wurden nur sieben Titel veröffentlicht, die jedoch kommerziell wenig erfolgreich waren. Gleich wie bei vielen anderen Musikern auch beendete die Weltwirtschaftskrise seine Karriere als Musiker für lange Zeit. Hurt verschwand aus der Öffentlichkeit und arbeitete wieder als Landwirt und Landarbeiter. Auch spielte er weiter als Unterhaltungsmusiker bei lokalen Veranstaltungen.
In den 1950er und frühen 1960er Jahren kam es in den USA im Rahmen des "Folk Revivals" zu einem erneuten Interesse an den frühen Folk-, Blues- und Countryaufnahmen aus den 1920er Jahren. 1963 hörte der Musikforscher Tom Hoskins den im Jahre 1928 aufgenommenen Avalon Blues von John Hurt. Anhand des Textes konnte Hoskins vermuten, dass es sich bei Avalon um die Heimat des Musikers handelte: „Avalon's my hometown / Always on my mind ...“[2] Zu diesem Zeitpunkt war unbekannt, wo und ob der Musiker überhaupt noch lebte. Da damals aktuelle Karten den Ort Avalon nicht verzeichneten, machte Hoskins das Dorf mit Hilfe von historischen Landkarten ausfindig. Er konnte Hurt aufspüren und überredete ihn zu neuen Aufnahmen, die in Washington eingespielt wurden. Noch im gleichen Jahr trat Hurt auch auf dem Newport Folk Festival auf.
Hierauf genoss Mississippi John Hurt während seiner letzten drei Lebensjahre eine enorme Popularität, spielte in Konzerthallen, Hochschulen und Bars und nahm mehrere Alben auf. Der Musiker starb im 75. Lebensjahr am 2. November 1966 infolge eines Herzinfarktes.
Mississippi John Hurt gilt als bekannter Vertreter des Country-Blues, im Speziellen der stilistischen Variante des Delta Blues. Sein Stil wird auch als eine subtile Mischung aus Blues, Folk, Ragtime und Bluegrass beschrieben. Typisch für seine Musik sind sein virtuoses Fingerpicking-Gitarrenspiel, die Fähigkeit eine Basslinie und gleichzeitig Melodie und Rhythmus-Begleitung zu spielen, sowie sein leicht und freundlich wirkender Gesang.
Einige der von Hurt komponierten und interpretierten Titel zählen heute zu den Standards im Blues-Genre, so etwa der zum Klassiker gewordene Ragtime-Song Candy Man. Zu seinen Erfolgen ist auch das von unzähligen anderen Künstlern später ebenfalls interpretierte Lied Stagger Lee[3] zu zählen. Die auf einer wahren Begebenheit beruhende Geschichte von einem Mord in einem Saloon im Jahre 1895 existiert in verschiedenen Textversionen, doch die erstmals von Hurt im Jahre 1928 aufgenommene gilt noch heute als die „amtliche Version“.[4]
Mississippi John Hurt wurde 1988 in die Blues Hall of Fame aufgenommen.
http://de.wikipedia.org/wiki/Mississippi_John_Hurt
John Smith Hurt, better known as Mississippi John Hurt (July 3, 1893[1][2] or March 8, 1892[3] — November 2, 1966) was an American country blues singer and guitarist.[4]
Raised in Avalon, Mississippi, Hurt taught himself how to play the guitar around age nine. Singing to a melodious finger-picked accompaniment,[5] he began to play local dances and parties while working as a sharecropper. He first recorded for Okeh Records in 1928, but these recordings were commercial failures. Hurt then drifted out of the recording scene and continued to work as a farmer. Tom Hoskins, a blues enthusiast, located Hurt in 1963 and convinced him to relocate to Washington, D.C. where he was recorded by the Library of Congress in 1964. This helped further the American folk music revival, which had led to the rediscovery of many other bluesmen of Hurt's era. Hurt entered the university and coffeehouse concert circuit with other Delta blues musicians brought out of retirement. As well as playing concerts, he recorded several albums for Vanguard Records.
Hurt died in Grenada, Mississippi. Material recorded by him has been re-released by many record labels over the years and his songs have been recorded by Bob Dylan, Jerry Garcia, Beck, Doc Watson, John McCutcheon, Taj Mahal, Bruce Cockburn, David Johansen, Bill Morrissey, Gillian Welch, Guthrie Thomas and Rory Block.[6]
Biography
Early years
Born John Smith Hurt in Teoc,[7] Carroll County, Mississippi and raised in Avalon, Mississippi, he learned to play guitar at age nine. He was completely self-taught, stealthily playing the guitar of a friend of his mother's, who often stayed at the Hurt home while courting a lady who lived nearby. He spent much of his youth playing old time music for friends and dances, earning a living as a farmhand into the 1920s.[8] His fast, highly syncopated style of playing made his music adept for dancing. On occasion, a medicine show would come through the area; Hurt recalls being wanted by one of them. "One of them wanted me, but I said no because I just never wanted to get away from home."[7] In 1923 he partnered with the fiddle player Willie Narmour as a substitute for his regular partner Shell Smith.[8]
First recordings
When Narmour got a chance to record for Okeh Records as a prize for winning first place in a 1928 fiddle contest, he recommended Hurt to Okeh Records producer Tommy Rockwell. After auditioning "Monday Morning Blues" at his home, he took part in two recording sessions, in Memphis and New York City (see Discography below).[8] While in Memphis, Hurt recalled seeing "many, many blues singers ... Lonnie Johnson, Blind Lemon Jefferson, Bessie Smith, and lots, lots more."[7] Hurt described his first recording session as such:
... a great big hall with only the three of us in it: me, the man [Rockwell], and the engineer. It was really something. I sat on a chair, and they pushed the microphone right up to my mouth and told me that I couldn't move after they had found the right position. I had to keep my head absolutely still. Oh, I was nervous, and my neck was sore for days after.[7]
Hurt attempted further negotiations with Okeh to record again, but after the commercial failure of the resulting records, and Okeh Records going out of business during the Great Depression, Hurt returned to Avalon and obscurity, working as a sharecropper and playing local parties and dances.[5]
Rediscovery
After Hurt's renditions of "Frankie" and "Spike Driver Blues" were included in The Anthology of American Folk Music in 1952, and an Australian man discovered a copy of "Avalon Blues", there became increased interest in finding Hurt himself.[9] In 1963, a folk musicologist, Tom Hoskins, supervised by Richard Spottswood, was able to locate Hurt near Avalon, Mississippi using the lyrics of "Avalon Blues":[9]
Avalon, my home town, always on my mind/Avalon, my home town.
While in Avalon, Hoskins convinced an apprehensive Hurt to perform several songs for him, to ensure that he was genuine.[9] Hoskins was convinced, and seeing that Hurt's guitar playing skills were still intact, Hoskins encouraged him to move to Washington, D.C., and begin performing on a wider stage. His performance at the 1963 Newport Folk Festival saw his star rise amongst the new folk revival audience.[5] Before his death he played extensively in colleges, concert halls, coffee houses and on The Tonight Show Starring Johnny Carson, as well as recording three further albums for Vanguard Records.[5] Much of his repertoire was recorded for the Library of Congress, also. His fans particularly liked the ragtime songs "Salty Dog" and "Candy Man", and the blues ballads "Spike Driver Blues" (a variant of "John Henry") and "Frankie".[5]
Hurt's influence spanned several music genres including blues, spirituals, country, bluegrass, folk and contemporary rock and roll. A soft-spoken man, his nature was reflected in the work, which consisted of a mellow mix of country, blues and old time music.[8]
Hurt died on November 2, 1966, of a heart attack in Grenada, Mississippi.[10]
Style
Hurt incorporated a fast, syncopated fingerpicking style that he taught himself. He was influenced by very few people; but did recall an elderly, unrecorded, blues singer from that area, Rufus Hanks, who played twelve-string guitar and harmonica.[7] He also recalled listening to the country singer Jimmie Rodgers. On occasion, Hurt would use an open tuning and a slide, as he did in his arrangement of "The Ballad of Casey Jones".[7][9] According to music critic Robert Christgau, "the school of John Fahey proceeded from his finger-picking, and while he's not the only quietly conversational singer in the modern folk tradition, no one else has talked the blues with such delicacy or restraint."[11]
Tributes
There is now a memorial in Avalon, Mississippi for Mississippi John Hurt. It is parallel to RR2, the rural road on which he grew up.
American singer-songwriter Tom Paxton, who met Hurt and played on the same bill as him at the Gaslight in Greenwich Village around 1963, wrote and recorded a song about him in 1977 entitled "Did You Hear John Hurt?" Paxton still frequently plays this song at his live performances.
The first track of John Fahey's 1968 solo acoustic guitar album Requia is entitled "Requiem For John Hurt". Fahey's posthumous live album The Great Santa Barbara Oil Slick also features a version of the piece, there entitled "Requiem For Mississippi John Hurt".
British folk/blues artist Wizz Jones recorded a tribute song called "Mississippi John" for his 1977 album Magical Flight.
Delta blues artist Rory Block recorded an album called "Avalon - A Tribute to Mississippi John Hurt" released in 2013 as part of her "Mentor Series".
Raised in Avalon, Mississippi, Hurt taught himself how to play the guitar around age nine. Singing to a melodious finger-picked accompaniment,[5] he began to play local dances and parties while working as a sharecropper. He first recorded for Okeh Records in 1928, but these recordings were commercial failures. Hurt then drifted out of the recording scene and continued to work as a farmer. Tom Hoskins, a blues enthusiast, located Hurt in 1963 and convinced him to relocate to Washington, D.C. where he was recorded by the Library of Congress in 1964. This helped further the American folk music revival, which had led to the rediscovery of many other bluesmen of Hurt's era. Hurt entered the university and coffeehouse concert circuit with other Delta blues musicians brought out of retirement. As well as playing concerts, he recorded several albums for Vanguard Records.
Hurt died in Grenada, Mississippi. Material recorded by him has been re-released by many record labels over the years and his songs have been recorded by Bob Dylan, Jerry Garcia, Beck, Doc Watson, John McCutcheon, Taj Mahal, Bruce Cockburn, David Johansen, Bill Morrissey, Gillian Welch, Guthrie Thomas and Rory Block.[6]
Biography
Early years
Born John Smith Hurt in Teoc,[7] Carroll County, Mississippi and raised in Avalon, Mississippi, he learned to play guitar at age nine. He was completely self-taught, stealthily playing the guitar of a friend of his mother's, who often stayed at the Hurt home while courting a lady who lived nearby. He spent much of his youth playing old time music for friends and dances, earning a living as a farmhand into the 1920s.[8] His fast, highly syncopated style of playing made his music adept for dancing. On occasion, a medicine show would come through the area; Hurt recalls being wanted by one of them. "One of them wanted me, but I said no because I just never wanted to get away from home."[7] In 1923 he partnered with the fiddle player Willie Narmour as a substitute for his regular partner Shell Smith.[8]
First recordings
When Narmour got a chance to record for Okeh Records as a prize for winning first place in a 1928 fiddle contest, he recommended Hurt to Okeh Records producer Tommy Rockwell. After auditioning "Monday Morning Blues" at his home, he took part in two recording sessions, in Memphis and New York City (see Discography below).[8] While in Memphis, Hurt recalled seeing "many, many blues singers ... Lonnie Johnson, Blind Lemon Jefferson, Bessie Smith, and lots, lots more."[7] Hurt described his first recording session as such:
... a great big hall with only the three of us in it: me, the man [Rockwell], and the engineer. It was really something. I sat on a chair, and they pushed the microphone right up to my mouth and told me that I couldn't move after they had found the right position. I had to keep my head absolutely still. Oh, I was nervous, and my neck was sore for days after.[7]
Hurt attempted further negotiations with Okeh to record again, but after the commercial failure of the resulting records, and Okeh Records going out of business during the Great Depression, Hurt returned to Avalon and obscurity, working as a sharecropper and playing local parties and dances.[5]
Rediscovery
After Hurt's renditions of "Frankie" and "Spike Driver Blues" were included in The Anthology of American Folk Music in 1952, and an Australian man discovered a copy of "Avalon Blues", there became increased interest in finding Hurt himself.[9] In 1963, a folk musicologist, Tom Hoskins, supervised by Richard Spottswood, was able to locate Hurt near Avalon, Mississippi using the lyrics of "Avalon Blues":[9]
Avalon, my home town, always on my mind/Avalon, my home town.
While in Avalon, Hoskins convinced an apprehensive Hurt to perform several songs for him, to ensure that he was genuine.[9] Hoskins was convinced, and seeing that Hurt's guitar playing skills were still intact, Hoskins encouraged him to move to Washington, D.C., and begin performing on a wider stage. His performance at the 1963 Newport Folk Festival saw his star rise amongst the new folk revival audience.[5] Before his death he played extensively in colleges, concert halls, coffee houses and on The Tonight Show Starring Johnny Carson, as well as recording three further albums for Vanguard Records.[5] Much of his repertoire was recorded for the Library of Congress, also. His fans particularly liked the ragtime songs "Salty Dog" and "Candy Man", and the blues ballads "Spike Driver Blues" (a variant of "John Henry") and "Frankie".[5]
Hurt's influence spanned several music genres including blues, spirituals, country, bluegrass, folk and contemporary rock and roll. A soft-spoken man, his nature was reflected in the work, which consisted of a mellow mix of country, blues and old time music.[8]
Hurt died on November 2, 1966, of a heart attack in Grenada, Mississippi.[10]
Style
Hurt incorporated a fast, syncopated fingerpicking style that he taught himself. He was influenced by very few people; but did recall an elderly, unrecorded, blues singer from that area, Rufus Hanks, who played twelve-string guitar and harmonica.[7] He also recalled listening to the country singer Jimmie Rodgers. On occasion, Hurt would use an open tuning and a slide, as he did in his arrangement of "The Ballad of Casey Jones".[7][9] According to music critic Robert Christgau, "the school of John Fahey proceeded from his finger-picking, and while he's not the only quietly conversational singer in the modern folk tradition, no one else has talked the blues with such delicacy or restraint."[11]
Tributes
There is now a memorial in Avalon, Mississippi for Mississippi John Hurt. It is parallel to RR2, the rural road on which he grew up.
American singer-songwriter Tom Paxton, who met Hurt and played on the same bill as him at the Gaslight in Greenwich Village around 1963, wrote and recorded a song about him in 1977 entitled "Did You Hear John Hurt?" Paxton still frequently plays this song at his live performances.
The first track of John Fahey's 1968 solo acoustic guitar album Requia is entitled "Requiem For John Hurt". Fahey's posthumous live album The Great Santa Barbara Oil Slick also features a version of the piece, there entitled "Requiem For Mississippi John Hurt".
British folk/blues artist Wizz Jones recorded a tribute song called "Mississippi John" for his 1977 album Magical Flight.
Delta blues artist Rory Block recorded an album called "Avalon - A Tribute to Mississippi John Hurt" released in 2013 as part of her "Mentor Series".
Stackolee
Mississippi John Hurt
Bob Brozman *08.03.1954
Bob Brozman (* 8. März 1954 in New York City; † 23. April 2013 in Santa Cruz, Kalifornien) war ein US-amerikanischer Gitarrist und Musikwissenschaftler, der sich neben Jazz und Blues auch der Weltmusik verpflichtet fühlte.Bereits in frühster Jugend wurde Bob mit der Musik konfrontiert. Mit sechs Jahren fing er an Gitarre zu spielen und empfand den Klang als große Herausforderung.[1] Als Student der Musik und Musikethnologie an der Universität von Washington arbeitete er mit einer großen, weltumspannenden Anzahl von Musikern zusammen, die von den Okinawa-Inseln bis Ghana reichte. Entsprechend groß war die Reihe von Musikstilen, die er zu Gehör brachte: Gypsy Jazz, Calypso, Blues, Ragtime, Hawaiian und karibische Musik. So wurde Brozman ein begehrter Begleit-Gitarrist und ein Fundus des 20. Jahrhunderts der Weltmusik. Brozman war über das ganzen Jahres zwischen Nordamerika und Europa unterwegs, wo er hauptsächlich auftrat, aber auch in Australien, Asien und Afrika. Am Ende seines Lebens besaß der Hawaii-Gitarrist eine beeindruckende Sammlung von Instrumenten, die er von seinen Reisen rund um die Erde mitgebracht hatte.
Er nahm zahlreiche Alben auf und wurde dreimal mit dem amerikanischen Guitar Player-Hörerpreis für den besten Blues ausgezeichnet. 1999 gründete Brozman und Woody Mann eine Gitarrenschule, die an den Standorten in Kalifornien, New York und in Kanada jährlich über 120 Studenten unterrichtete. In den Jahren 2000 bis 2005 landete er fünfmal in den Europäischen Top 10 für Weltmusik, so, wie er in seinen letzten zehn Jahren in Europa viel populärer geworden war als in seinem Heimatland.[2]
Bob Brozman wurde am Abend des 23. April 2013 in seinem Haus im kalifornischen Santa Cruz tot aufgefunden.[3] Er nahm sich das Leben, weil er nach Aussage seines langjährigen Produzenten und Mitarbeiters Daniel Thomas durch die Spätfolgen eines 1980 erlittenen Autounfalls seine Hände nur noch unter Schmerzen zum Gitarrenspiel bewegen konnte.
http://de.wikipedia.org/wiki/Bob_Brozman
Bob Brozman (March 8, 1954 – April 23, 2013) was an American guitarist and ethnomusicologist.
Brozman was born to a Jewish family living on Long Island, New York. He began playing the guitar when he was 6.[1]
He performed in a number of styles such as gypsy jazz, calypso, blues, ragtime, Hawaiian music, and Caribbean music. Brozman also collaborated with musicians from diverse cultural backgrounds such as India, Africa, Japan, Papua New Guinea and Réunion. He has been called "an instrumental wizard" and "a walking archive of 20th Century American music." Brozman maintained a steady schedule throughout the year, touring constantly throughout North America, Europe, Australia, Asia, and Africa. He recorded numerous albums and has won the Guitar Player Readers' Poll three times in the best blues, best world and best slide guitarist categories. In 1999, Brozman and Woody Mann founded International Guitar Seminars, which hosts over 120 students annually at sites in California, New York, and Canada. From 2000 to 2005 his collaborations landed in the European Top 10 for World Music five times.
He was formerly an Adjunct Professor at the Department of Contemporary Music Studies at Macquarie University, Sydney, Australia.
Brozman was well known for his use of National resonator instruments from the 1920s and 1930s, as well as National Resophonic resonator instruments. He also used Weissenborn style hollow neck acoustic steel guitars. Among his National instruments were a baritone version of the tricone guitar, which was designed in conjunction with him in the mid to late 1990s. This instrument is now part of National's range of products.
Brozman committed suicide on April 23, 2013.
Brozman was born to a Jewish family living on Long Island, New York. He began playing the guitar when he was 6.[1]
He performed in a number of styles such as gypsy jazz, calypso, blues, ragtime, Hawaiian music, and Caribbean music. Brozman also collaborated with musicians from diverse cultural backgrounds such as India, Africa, Japan, Papua New Guinea and Réunion. He has been called "an instrumental wizard" and "a walking archive of 20th Century American music." Brozman maintained a steady schedule throughout the year, touring constantly throughout North America, Europe, Australia, Asia, and Africa. He recorded numerous albums and has won the Guitar Player Readers' Poll three times in the best blues, best world and best slide guitarist categories. In 1999, Brozman and Woody Mann founded International Guitar Seminars, which hosts over 120 students annually at sites in California, New York, and Canada. From 2000 to 2005 his collaborations landed in the European Top 10 for World Music five times.
He was formerly an Adjunct Professor at the Department of Contemporary Music Studies at Macquarie University, Sydney, Australia.
Brozman was well known for his use of National resonator instruments from the 1920s and 1930s, as well as National Resophonic resonator instruments. He also used Weissenborn style hollow neck acoustic steel guitars. Among his National instruments were a baritone version of the tricone guitar, which was designed in conjunction with him in the mid to late 1990s. This instrument is now part of National's range of products.
Brozman committed suicide on April 23, 2013.
Sunnyland Slim (September 5, 1906 – March 17, 1995) and jimmy Walker ( right)
Jago Duckwitz *08.03.
Wir können mit, und auch ganz ohne Strom!
Ob als Tanzkapelle mit stampfenden Rhythmen zu Ihrer Feier, oder als musikalische Untermalung für Ihren Empfang. Wir bieten ein umfangreiches Repertoire aus Blues- und Jazzstandards. Entweder als Straßen-/Hausmusik (ganz ohne Strom), oder mit dem Anlass entsprechender elektrischer Verstärkung. Wie hätten Sie es gern?
Akustik-Blues aus Hannover vom Allerfeinsten
Kurzum: Acoustic-Blues vom Feinsten! Das Kleeblatt präsentiert die Spanne vom Delta-Blues bis zur modernen Bluesballade im klassischen Gewand mit Harp, Cajon, Gitarre und Kontrabass. Dabei lieben die vier es, ihr Publikum zu überrraschen - nomen est omen!
Hausmusik auf amerikanisch! Wenn die vier unplugged sagen, ist das auch so. Ganz ohne Strom und Kabel legen die vier dort los, wo sich ein gemütliches Plätzchen findet und präsentieren ihr abwechslungsreiches Programm aus Blues- und Jazzstandards.
Jago Duckwitz
Frösche, Knarren, Kisten, Schellen, Glocken, Hui-Maschinen, Blasinstrumente und Gesang
Heiko Kamann Band - Knast in Hamburg
R.I.P.
Igor Flach +08.03.2008
Igor Flach (* 12. März 1966 in Jena; † 8. März 2008 in Berlin) war ein deutscher Musiker und Bluesharp-Spieler. Flach galt als einer der besten „All-category-Harpspieler“ [1]. Ursprünglich vom authentischen Blues inspiriert, fühlte er sich später keinem musikalischen Genre zugehörig, spielte ebenso Rock-, Folk- oder Countrymusik und bot hervorragende afrikanische, griechische und russische Liveacts. Flach zeichnete sich durch eine unkonventionelle Art, einen hypnotischen Rhythmus und ein berauschendes Melodiespiel aus.[2] Er überzeugte mit einer speziellen Spielweise, indem er die Mundharmonika beim Ein- und Ausatmen mit einer ihm eigenen Technik spielte.
Flach erlernte im Alter von zehn Jahren autodidaktisch das Mundharmonikaspiel. Inspiriert wurde er von Stefan Diestelmann und dem französischen Bluesharp-Spieler Jean-Jacques Milteau. Nach einer Uhrmacherlehre schloss er sich 1984 der Jonathan Blues Band an und begann seine Karriere als Berufsmusiker. In der Ost-Berliner Bluesszene lernte er Hans die Geige kennen. Mit dessen Unterstützung komponierte und produzierte Flach deutschsprachige Bluessongs. Die Texte stammten von Michael Sellin. Von 1987 bis 1989 spielte er bei Passat, trat als Gastmusiker bei Pankow und der Tino Standhaft Band auf und war an der Einspielung verschiedener Langspielplatten beteiligt.
Seit den 1990er-Jahren war Flach vor allem solistisch tätig, tourte durch die USA, Frankreich und Russland und war als Gast an der Produktion verschiedener CDs beteiligt. Anfang der 1990er Jahre hatte er mehrere Gastauftritte bei Stefan Diestelmann und musizierte gemeinsam mit den Yardbirds, Alicia Levy, Louisiana Red, der Uwe-Ochsenknecht-Band, Abi Wallenstein, Buzz Dee (heute Knorkator), Rudi Howard und Guitar Crusher.
Gemeinsam mit Stefan Strahli Strahl gründete er die Niel Jang Band, eine deutschsprachige Neil Young - Coverband und gehörte der Gospel Unlimited an. Bis zu seinem Tod verband ihn eine intensive Zusammenarbeit mit Uwe Bluesrudi Haase als Duo „Igor Flach & Bluesman Rudi“.
Flach nahm zwischen 1994 und 2004 sechs Solo-Alben auf. Er gehörte zu den Förderern des Musikfestivals „Mundharmonika live“ in Klingenthal, arbeitete als Dozent verschiedener Workshops an der “Musik-Akademie Markneukirchen e.V.” und betrieb einen Harp-Shop.
Mit seiner Lebensgefährtin wurde er Vater zweier Töchter. Nach einem Herzleiden verstarb der Musiker wenige Tage vor seinem 42. Geburtstag an den Folgen der schweren Operation auf der Intensivstation des Berliner Herzzentrums.
http://de.wikipedia.org/wiki/Igor_Flach
http://www.tagesspiegel.de/berlin/nachrufe/igor-flach-geb-1966/1203100.html
Sadly Igor Flach passed away in 2008 an untimely age. He will be greatly missed by the Harmonica community.
- Igor Flach entered the DDR(East Germany)-Blues-Scene in 1984 as harpist for many well known German/European bands including the Jonathan Blues Band, Stefan Diestelmann, Passat, Pankow to name but but a few. He also featured on several recordings.
- 1987 saw the launch of his Solo-career with original material written by himself, going on to release a number of CD's
- Igor developed his own unique playing style (by using his tongue as a valve) and was considered an inherent part of the German Blues-Scene; performing at more than a hundred live shows per year.
- Igor told us at Suzuki that he was the very first Harmonica-Professional to adopt the Suzuki Overdrive as his primary performance instrument.
http://suzukiharmonicaworld.com/artists/flach.htm
http://worldofharmonica.blogspot.de/2011/05/igor-flach.html
http://www.tagesspiegel.de/berlin/nachrufe/igor-flach-geb-1966/1203100.html
Sadly Igor Flach passed away in 2008 an untimely age. He will be greatly missed by the Harmonica community.
- Igor Flach entered the DDR(East Germany)-Blues-Scene in 1984 as harpist for many well known German/European bands including the Jonathan Blues Band, Stefan Diestelmann, Passat, Pankow to name but but a few. He also featured on several recordings.
- 1987 saw the launch of his Solo-career with original material written by himself, going on to release a number of CD's
- Igor developed his own unique playing style (by using his tongue as a valve) and was considered an inherent part of the German Blues-Scene; performing at more than a hundred live shows per year.
- Igor told us at Suzuki that he was the very first Harmonica-Professional to adopt the Suzuki Overdrive as his primary performance instrument.
http://worldofharmonica.blogspot.de/2011/05/igor-flach.html
Igor Flach plays Blues Harp forever
Bonanza
Robert Ealey +08.03.2001
Robert Ealey (December 6, 1925 – March 8, 2001)[2] was an African American electric blues singer, who performed Texas blues. Among other releases, he recorded a couple of albums for Black Top Records in the 1990s, having earlier formed a duo with U.P. Wilson.[3] Ealey also worked with Tone Sommer, Mike Buck, and Mike Morgan.[1]
Ealey's best known work included "One Love One Kiss" and "Turn Out The Lights". He variously worked with the Boogie Chillun Boys, the Juke Jumpers and the Five Careless Lovers.
Robert Daniel Ealey was born in Texarkana, Texas, United States, and in his teens sang in a quartet in his local church.[1]
Following service in the Army in World War II, Ealey moved to Dallas in 1951,[4] having been singing professionally from the age of 20. In Fort Worth, he formed a duo, the Boogie Chillun Boys, with the guitarist U.P. Wilson.[1] The Boogie Chillun Boys provided inspiration to fellow Texan singer and guitarist Ray Sharpe.[3] The Bluebird Club in Fort Worth was Ealey's musical base for more than thirty years.[1] His involvement was such that he co-owned the club from 1977 to 1989.[4] His 1973 live album, Live at the New Bluebird Nightclub, was billed as by Robert Ealey and the Five Careless Lovers, and included contributions from Mike Buck. It was produced by T-Bone Burnett.
By the 1990s Ealey, and his guitarist Tone Sommer, started touring more widely, and their authentic Texas blues found a wider audience in the US and Europe. Television advertisement work also expanded the recognition of Ealey's music. His 1996 album, Turn Out the Lights, issued by Black Top Records, saw Ealey work with blues accompanists including Morgan and Sommer on guitar. The 1997 follow-up, I Like Music When I Party was similarly successful.[1]
Ealey died in Fort Worth on March 8, 2001, of undisclosed causes following an automobile accident the previous December. He was aged 75.[2] He was interred with military honors at the Dallas-Fort Worth National Cemetery.[4]
In 2003, Aristokraft issued the compilation album, Robert Ealey: Blues That Time Forgot.
http://en.wikipedia.org/wiki/Robert_Ealey
http://www.smokestacklightnin.com/Bios/Willie%20King.htm
Willie King
a charismatic preacher of the blues
a charismatic preacher of the blues
Willie
King isn't just one of them bluesguys, who play the blues only for the
fun of it. King is one hundred percent heart and soul and he combines
good solid soulful blues with a strong social and political envolvement.
Willie
King was born in 1943 in Prairie Point, deeply into the cotton fields
of Mississippi. He was raised by his grandparents who taught him the
rules of life and, with his hand on his butt, King says he can still
feel those lessons. Lord have mercy....
Young Willie grew up in
rather poor circumstances since his grandparents were sharecroppers and
as a young black man he experienced the hate and the humiliation of
deeply rooted racism. His mother was only fourteen when she gave birth
to him. Nevertheless he had the luck of growing up with blues and gospel
and thus became interested in music at a young age. His grandmother had
a jook house where the blues was played at parties and at age 13 he got
his first acoustic guitar, a Gibson.
Speaking about his musical
influences King refers to Muddy Waters, Howlin' Wolf and John Lee
Hooker. Howlin' Wolf, from nearby West Point, in particular has been a
great inspiration for King and Wolf's influence on his work is very
obvious. King also mentions Jesse Daniels a bluesman who has gathered
only local fame, but meant a lot for King's musical development.
At
age 24 King lives in Chicago for about a year trying to earn some
money, like so many others did. And just like R.L. Burnside and some
others he turned his back upon the Windy City and returned to the South.
King settled in rural Old Memphis near Aliceville, back in the woods of
western Alabama, just across the Mississippi state line. There he
concentrated on working for the local community and through his
organization, The Rural Members Association, he is supporting all kinds
of social relief programs and educational projects. "We continue to work
together and reach out to help others in need. It is not about how much
we can put in our pocket and walk away with, it is about helping
people". Furthermore he plays an important role in the activities of the
Alabama Blues Project, an organization that is set out to pass on the
blues torch to younger generations, black and white.
In many of
his songs King speaks about his social and political beliefs. 'Clean up
the ghetto' and 'Stand up and speak the truth' are some of the titles
that illustrate his strong commitment. In his performances as well as in
daily life Willie King preaches (and practices) the message of love,
peace and understanding. He considers the blues a gift from heaven and
through his music he wants to bring people together and give them hope
and inspiration. "The blues is a healer", King says.
Willie King
lives in an old trailer and since 1998 he is the driving spirit behind
the Freedom Creek Blues Festival that is held on the grounds behind his
trailer. This charismatic artist brings his very danceable blues to many
stages throughout the South and gradually his star is rising nationally
and abroad. But his most favorite venue is Bettie's Place, a small juke
joint in Prairie Point, Mississippi, where King can be found almost
every Sunday playing and preaching the blues.
Update 03-09-2009:
On
the day he turned 66 years old, March 8, 2009, Willie King died of a
massive heart attack. A great loss for blues culture and the local
community for which he meant so much. A tribute:
Willie King & The Liberators - Spoonful
Bugs Henderson +08.03.2012
Leben
Henderson wuchs in Tyler (Texas) auf. Im Alter von sechs Jahren begann er mit dem Gitarrenspiel und gründete mit 16 seine erste Band namens The Sensores. Die Musik ermöglichte ihm jedoch keinen Lebensunterhalt und so arbeitete er in einem Plattenladen und später als Studiomusiker. 1966 schloss er sich der Formation Mouse and the Traps an bevor er seine eigene Band The Shuffle Kings in Fort Worth gründete. Er lebte mit seiner Familie in Garland. Er war Vater von vier Kindern. Mit den The Shuffle Kings hatte er auch seine größten Erfolge. In Europa trat die Band meist als Trio (Gitarre, Schlagzeug, Bass) auf. In den USA wurde sie häufig noch durch einen Keyboarder ergänzt. Henderson prägte den neueren Texas Blues.
Wirken
Zu Beginn seiner musikalischen Laufbahn spielte Henderson progressiven Rock wie mit Mouse and the Traps und als Studiomusiker. Hinzu kamen Country ebenfalls als Studiomusiker. Zu Beginn der 1970er orientierte er sich zunehmend auf den Blues in dem er schließlich seine musikalische Heimat fand. Freddie King, ein Vertreter des sogenannten "Elektrischen Blues" der die E-Gitarre betont, wurde sein Mentor. Henderson war in Europa – besonders in Deutschland und Österreich, wo er häufig auf Festivals auftrat – immer populärer als in seiner Heimat Texas. Henderson spielte mit Musikern wie B. B. King, Eric Clapton, Ted Nugent, Muddy Waters, Stevie Ray Vaughan und Don Wise. Der große kommerzielle Durchbruch stellte sich jedoch nie ein. Die Liveauftritte sicherten ihm jedoch insbesondere in Europa eine treue Fangemeinde. Besonders das erste Album At Last ein Livemitschnitt aus Texas mit zum teils sehr eigenwilligen Interpretationen von Elvis Presley – begründete seinen Erfolg.
Der Begriff Texas-Blues wurde meist in einem Atemzug mit Bugs Henderson genannt. Das wird sich auch nach dem Tod des Gitarristen und Sängers nicht ändern, mit seiner Band erspielte er sich vor allem in Europa eine treue Fangemeinde. Hierzulande waren Bugs Henderson & The Shuffle Kings meist als Trio unterwegs, zur US-Band zählte hingegen noch ein Keyboarder. Der große Durchbruch blieb Henderson allerdings verwehrt, womit der sympathische Künstler aber stets ohne jegliche Bitternis umging. "Meine Musik ist unglaublich wichtig für mich und Berühmtheit ist ja nicht unbedingt mit Glück gleichzusetzen", sagte er in einem Interview mit bluesnews. Buddy Henderson wurde am 20. Oktober 1943 in Palm Springs (Kalifornien) geboren, lebte aber seit frühester Kindheit im Osten von Texas. Ein früherer Bandkollege gab ihm den Spitzenamen Bugs und vor allem durch die Intensität seiner Auftritte genoss er bei seinen Fans großes Ansehen. Nicht umsonst wurde der knochentrockene Bluesrock von Bugs Henderson & The Shuffle Kings immer wieder auf Live-Produktionen dokumentiert. Rund 20 Titel umfasst die Diskografie, das Debüt "At Last" (1978) war eines von sieben Alben, die von Taxim veröffentlicht wurden. Zuletzt brachte die norddeutschen Plattenschmiede die Doppel-CD "Vienna Calling" (2009) heraus.
Vor nicht einmal einem halben Jahr wurde bei Bugs Henderson Krebs diagnostiziert. Um Geld für die Behandlungskosten zu sammeln, organisierten Fans und Veranstalter in den USA und Europa unter anderem Benefiz-Veranstaltungen. Am 9. März 2012 verlor der Musiker seinen Kampf gegen die Krankheit.
Buddy Henderson (October 20, 1943 – March 8, 2012), better known as "Bugs" Henderson, was a blues guitarist who was popular in Europe and from the 1970s was based in Dallas-Fort Worth, Texas, where he was known as a local blues guitar legend.[1] He was born in Palm Springs, California, and spent his early life in Tyler, Texas, where he formed a band called the Sensores at age 16, and later joined Mouse and the Traps. In Dallas-Fort Worth during the early 1970s, he was lead guitarist for the blues/rock band Nitzinger[2] before forming the Shuffle Kings and later a band that was eponymously named.
Henderson played with blues legends such as B. B. King, Eric Clapton, Muddy Waters and Stevie Ray Vaughan, also with Rhythm and Blues saxophonist Don Wise and rock guitarist Ted Nugent. [3] He died from complications of liver cancer just four days after a benefit concert in his name.[4] The performers at the 11-hour “Benefit Bugs” event included Ray Wylie Hubbard, Smokin’ Joe Kubek & Bnois King, and Mouse & the Traps, the band from early in his career with the hit songs, “A Public Execution” and “Maid of Sugar – Maid of Spice” that featured his guitar solos.
Vor nicht einmal einem halben Jahr wurde bei Bugs Henderson Krebs diagnostiziert. Um Geld für die Behandlungskosten zu sammeln, organisierten Fans und Veranstalter in den USA und Europa unter anderem Benefiz-Veranstaltungen. Am 9. März 2012 verlor der Musiker seinen Kampf gegen die Krankheit.
Buddy Henderson (October 20, 1943 – March 8, 2012), better known as "Bugs" Henderson, was a blues guitarist who was popular in Europe and from the 1970s was based in Dallas-Fort Worth, Texas, where he was known as a local blues guitar legend.[1] He was born in Palm Springs, California, and spent his early life in Tyler, Texas, where he formed a band called the Sensores at age 16, and later joined Mouse and the Traps. In Dallas-Fort Worth during the early 1970s, he was lead guitarist for the blues/rock band Nitzinger[2] before forming the Shuffle Kings and later a band that was eponymously named.
Henderson played with blues legends such as B. B. King, Eric Clapton, Muddy Waters and Stevie Ray Vaughan, also with Rhythm and Blues saxophonist Don Wise and rock guitarist Ted Nugent. [3] He died from complications of liver cancer just four days after a benefit concert in his name.[4] The performers at the 11-hour “Benefit Bugs” event included Ray Wylie Hubbard, Smokin’ Joe Kubek & Bnois King, and Mouse & the Traps, the band from early in his career with the hit songs, “A Public Execution” and “Maid of Sugar – Maid of Spice” that featured his guitar solos.
BUGS HENDERSON - BUGS' BLUES
Bugs Henderson - At Last: Live at the Armadillo
Bugs Henderson & The Shuffle Kings 8 10 11 at Fair-Café Schortens
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