1904 Pete Johnson*
1906 Curley Weaver*
1933 Clarence Edwards*
1963 Bill Abel*
1966 Jeff Healey*
1906 Curley Weaver*
1933 Clarence Edwards*
1963 Bill Abel*
1966 Jeff Healey*
Happy Birthday
Curley Weaver *25.03.1906
also known as Slim Gordon
Curley Weaver (* 26. März 1906 in Covington, Georgia; † 20. September 1962 in Almon, Georgia), bekannt als der Georgia Guitar Wizard (Gitarrenhexer aus Georgia), war ein US-amerikanischer Blues-Gitarrist und Sänger. Bekannt wurde Weaver vor allem im Duo mit Blind Willie McTell. Beide waren Gitarrenvirtuosen, McTell auf der 12-saitigen, Weaver auf der 6-saitigen Gitarre.Als Kind lernte Weaver das Gitarrespielen von seiner Mutter Savanah Shepard, von der es auch die Brüder Charlie (bekannt als Laughing Charley Lincoln) und Robert Hicks (bekannt als Barbecue Bob) lernten. Von den legendären frühen Bluesmännern Nehemiah Smith und Blind Buddy Keith erlernte Weaver das Slidegitarrenspiel. Mit 19 Jahren zog er nach Atlanta, zusammen mit dem Mundharmonikaspieler Eddie Mapp. Die beiden taten sich mit den Hicks-Brüdern zusammen und musizierten in Bars und Clubs.
1928 machte Weaver auf Empfehlung von Barbecue Bob seine ersten Aufnahmen Sweet Petunia und No No Blues. Weitere Aufnahmen folgten, sowohl solo als auch mit Eddie Mapp, Barbecue Bob und den Georgia Cotton Pickers. Er lernte den erst 16-jährigen Mundharmonikaspieler Buddy Moss kennen, mit dem er als die Georgia Browns auftrat. Seine fruchtbarste, mehr als 20-jährige Zusammenarbeit hatte Weaver jedoch mit Blind Willie McTell.
Die 1930er waren schwere Jahre für Curley Weaver: die große Depression lähmte den Plattenmarkt, Barbecue Bob starb jung, Eddie Mapp wurde ermordet und der 21-jährige Moss ging für Jahre ins Gefängnis. Weaver machte weiterhin Musik, u. a. mit McTell, später wieder mit Moss. Ende der 1950er erblindete er.
Curley Weaver starb 1962 und erlebte das Bluesrevival der 1960er nicht mehr.
http://de.wikipedia.org/wiki/Curley_Weaver
Curley James Weaver (March 25, 1906 - September 20, 1962[2]) was an American blues musician, also known as Slim Gordon.
Biography
Early years
He was born in Covington, Georgia, United States,[2] and raised on a farm near Porterdale. His mother, Savannah "Dip" Shepard Weaver, was a well-respected pianist and guitarist, who taught Curley together with her friend's sons, "Barbecue Bob" Hicks and Charlie Hicks.[3] The three formed a group with harmonica player Eddie Mapp, and played in the local area.[3]
Early career
In 1925 Weaver moved to Atlanta, working as a laborer and playing on the streets and at various social events.[1] In 1928, he first recorded with Columbia Records, later releasing records on several different record labels. Although he recorded on his own during the 1920s and 1930s, first in the style taught by his mother and later with the spreading Piedmont style, he was best known for duets with Blind Willie McTell - with whom he worked until the 1950s - as well as Barbecue Bob, Fred McMullen, and harmonica and guitar player Buddy Moss.[3] He was also a member of the recording groups The Georgia Browns (Weaver, Moss, McMullen) and The Georgia Cotton Pickers (Bob, Weaver, Moss), examples of the sort of bands that played house parties in those days.[3]
Later years
After World War II he recorded in New York and Atlanta both solo, and with McTell.[3] His final recordings were in 1949. Weaver lost his sight in the 1950s after working on the railroad, and died of uremia[2] in Almon, Georgia,[4] in 1962, at the age of 56.
Children
His daughter Cora Mae Bryant (born May 1, 1926) continued in her father's tradition as a blues musician until her own death in late 2008.
Biography
Early years
He was born in Covington, Georgia, United States,[2] and raised on a farm near Porterdale. His mother, Savannah "Dip" Shepard Weaver, was a well-respected pianist and guitarist, who taught Curley together with her friend's sons, "Barbecue Bob" Hicks and Charlie Hicks.[3] The three formed a group with harmonica player Eddie Mapp, and played in the local area.[3]
Early career
In 1925 Weaver moved to Atlanta, working as a laborer and playing on the streets and at various social events.[1] In 1928, he first recorded with Columbia Records, later releasing records on several different record labels. Although he recorded on his own during the 1920s and 1930s, first in the style taught by his mother and later with the spreading Piedmont style, he was best known for duets with Blind Willie McTell - with whom he worked until the 1950s - as well as Barbecue Bob, Fred McMullen, and harmonica and guitar player Buddy Moss.[3] He was also a member of the recording groups The Georgia Browns (Weaver, Moss, McMullen) and The Georgia Cotton Pickers (Bob, Weaver, Moss), examples of the sort of bands that played house parties in those days.[3]
Later years
After World War II he recorded in New York and Atlanta both solo, and with McTell.[3] His final recordings were in 1949. Weaver lost his sight in the 1950s after working on the railroad, and died of uremia[2] in Almon, Georgia,[4] in 1962, at the age of 56.
Children
His daughter Cora Mae Bryant (born May 1, 1926) continued in her father's tradition as a blues musician until her own death in late 2008.
Jeff Healey Geb. 25.03.1966
Norman Jeffrey „Jeff“ Healey (* 25. März 1966 in Toronto, Ontario; † 2. März 2008 ebenda[1]) war ein kanadischer Blues-, Rock- und Jazzgitarrist, Trompeter und Sänger.
Als Einjähriger erblindete Healey an einem Retinoblastom (bösartiger Netzhauttumor).[2] Zwei Jahre später bekam er seine erste Gitarre, die er auf ungewöhnliche Weise spielte: Healey spielte meist sitzend, wobei er sich das Instrument flach auf seine Oberschenkel legte und die Gitarre wie eine Zither spielte. Mit sechs Jahren trat Healey erstmals öffentlich auf. Als er Teenager wurde, hatte er bereits in zahlreichen Bands verschiedenster Genres gespielt. In Brantford (Kanada) besuchte Healey eine Blindenschule, in deren Jazzband er Gitarre und Trompete spielte. Bereits mit vierzehn Jahren hatte er eine eigene Radioshow, in der er aus seiner 25.000 Tonträger starken Plattensammlung Songs auswählte. Später gründete er das Bluesunternehmen Blue Directions.
1985 lud sein Idol Albert Collins Healey zu einer Session und einem Auftritt mit Stevie Ray Vaughan ein; 1986 spielte er mit B. B. King. Durch solche Auftritte wurde er in Blueskreisen bekannt. Während dieser Zeit trafen sich sonntagnachts viele Rockgrößen Nordamerikas in Grossman’s Tavern in Toronto zu Jam Sessions. Healey spielte dort unter anderem mit Robbie Robertson, der Downchild Blues Band, Stevie Ray Vaughan und Bob Dylan. Bei solchen Sessions lernte Healey auch den Bassisten Joe Rockman und den Drummer Tom Stephen kennen, mit denen er 1986 die Jeff Healey Band gründete. Die Band spielte vornehmlich einen traditionsbewussten Bluesrock, der bei der Kritik sehr gut ankam. Healeys Live-Auftritte waren beliebt, da er dabei die Gitarre u. a. mit den Zähnen, über Kopf oder hinter dem Rücken spielte.
Auch in den Jahren vor seinem Tod war Jeff Healey auf Tour – mit dem Projekt Jeff Healey & The Jazz Wizards; in diesem Projekt profilierte er sich als Trompeter. Eine Jazz-Platte erschien unter dem Titel It’s Tight Like That. Sein letztes Blues-Album Mess Of Blues wurde am 20. März 2008 auf dem deutschen Label Ruf Records veröffentlicht.
Jeff Healey verstarb am Sonntagabend, dem 2. März 2008, im Alter von 41 Jahren, im St. Joseph’s Health Centre Krankenhaus, in seiner Geburtsstadt Toronto, an den Folgen des Retinoblastoms. Er litt zeit seines Lebens unter der Erkrankung, sie führte auch zu seiner frühen Erblindung (siehe oben). In den letzten Lebensjahren metastasierte der Tumor in seinen Lungen und Beinen. Healey hinterließ eine Ehefrau und zwei Kinder.
http://de.wikipedia.org/wiki/Jeff_Healey
Norman Jeffrey "Jeff" Healey (March 25, 1966 – March 2, 2008) was a blind Canadian jazz and blues-rock vocalist and guitarist who attained musical and personal popularity, particularly in the 1980s and 1990s.
Early life
Born in Toronto, Ontario, Healey was raised in the city's west end. He was adopted as an infant;[1] his adoptive father was a firefighter. When he was almost one year old, Healey lost his sight to retinoblastoma, a rare cancer of the eyes. His eyes had to be surgically removed, and he was given ocular prostheses.
Early career and success
Healey began playing guitar when he was three, developing his unique style of playing the instrument flat on his lap. When he was 15,[2] Jeff Healey formed the band Blue Direction, a four-piece which primarily played bar-band cover tunes and featured bassist Jeremy Littler, drummer Graydon Chapman, and a schoolmate, Rob Quail on second guitar. This band played various local clubs in Toronto, including the Colonial Tavern.
Healey began hosting a jazz and blues show on radio station CIUT-FM where he became known for playing from his massive collection of vintage 78 rpm gramophone records.[3]
Shortly thereafter he was introduced to two musicians, bassist Joe Rockman and drummer Tom Stephen, with whom he formed a trio, The Jeff Healey Band. This band made their first public appearance at the Birds Nest, located upstairs at Chicago's Diner on Queen Street West in Toronto. They received a write-up in Toronto's NOW magazine, and soon were playing almost nightly in local clubs, such as Grossman's Tavern and the famed blues club Albert's Hall (where Jeff Healey was discovered by guitarists Stevie Ray Vaughan and Albert Collins).
After being signed to Arista Records in 1988, the band released the album See the Light, featuring the hit single "Angel Eyes" and the song "Hideaway", which was nominated for a Grammy Award for Best Rock Instrumental Performance. While the band was recording See the Light, they were also filming (and recording for the soundtrack of) the Patrick Swayze film Road House.[4] Healey had numerous acting scenes in the movie with Swayze, as his band was the house cover band for the bar featured in the movie. In 1990, the band won the Juno Award for Canadian Entertainer of the Year. The albums Hell to Pay and Feel This gave Healey 10 charting singles in Canada between 1990 and 1994, including a cover of The Beatles' While My Guitar Gently Weeps which featured George Harrison and Jeff Lynne on backing vocals and acoustic guitar.[5]
Later work and life
By the release of the 2000 album Get Me Some, Healey began to concentrate his talent in a different musical direction closer to his heart, the appreciation for another original American music form, jazz.
He went on to release three CDs of music of traditional American jazz from the 1920s and 1930s. He had been sitting in with these types of bands around Toronto since the beginning of his music career. Though known primarily as a guitarist, Healey also played trumpet during live performances. His main jazz group for touring and recording being Jeff Healey's Jazz Wizards.
Healey was an avid record collector and amassed a collection of well over 30,000 78 rpm records. He had, from time to time, hosted a CBC Radio program entitled My Kind of Jazz, in which he played records from his vast vintage jazz collection. He hosted a program with a similar name on Toronto jazz station CJRT-FM; as of 2010, the latter program continued to air in repeats.
For many years, Healey toured throughout North America and Europe and performed at his club, "Healey's" on Bathurst Street in Toronto, where he played with his blues band on Thursday nights and also with his jazz group on Saturday afternoons. The club moved to a bigger location at 56 Blue Jays Way and was rechristened "Jeff Healey's Roadhouse." Though he had lent his name to the club and often played there, Jeff Healey did not own or manage the bar. (The name came from the 1989 film, Road House, in which Healey appeared.)
At the time of his death, he had been planning to perform a series of shows in the United Kingdom, Germany, and the Netherlands with his other band, the 'Jeff Healey Blues Band' (aka the 'Healey's House Band') in April 2008.
Over the years, Healey toured and sat in with many legendary performers, including The Allman Brothers, Bonnie Raitt, Stevie Ray Vaughan, Buddy Guy, BB King, ZZ Top, Steve Lukather, Eric Clapton and many more. In 2006, Healey appeared on Deep Purple vocalist Ian Gillan's CD/DVD Gillan's Inn.
Healey discovered and helped develop the careers of other musical artists, including Terra Hazelton and Amanda Marshall.[6]
In early 2009, Healey's album Mess of Blues won in The 8th Annual Independent Music Awards for Best Blues Album.[7]
Illness and death
On January 11, 2007, Healey underwent surgery to remove metastatic tissue from both lungs. In the previous eighteen months, he had two sarcomas removed from his legs.[8]
On March 2, 2008, Healey died of cancer[9] at St. Joseph's Health Centre in his home town of Toronto.[10] He was 41 years old. His death came a month before the release of Mess of Blues, which was his first rock/blues album in eight years.[11]
Healey is survived by his wife, Cristie, and two children.[12] A tribute concert was held on May 3, 2008, to benefit Daisy's Eye Cancer Fund, which, according to Cristie Healey, had helped make major strides in research and future advances for people born with the same genetically inherited retinoblastoma[13] which led to Healey's blindness at eleven months of age. Cristie and Jeff Healey's son was born with the same disability.[14]
In 2009, Healey was inducted into the Terry Fox Hall of Fame.
In June 2011, Woodford Park in Toronto was renamed Jeff Healey Park in his honour.
In October 2012, his family launched the 'all-new' official website at Jeffhealey.com.
Early life
Born in Toronto, Ontario, Healey was raised in the city's west end. He was adopted as an infant;[1] his adoptive father was a firefighter. When he was almost one year old, Healey lost his sight to retinoblastoma, a rare cancer of the eyes. His eyes had to be surgically removed, and he was given ocular prostheses.
Early career and success
Healey began playing guitar when he was three, developing his unique style of playing the instrument flat on his lap. When he was 15,[2] Jeff Healey formed the band Blue Direction, a four-piece which primarily played bar-band cover tunes and featured bassist Jeremy Littler, drummer Graydon Chapman, and a schoolmate, Rob Quail on second guitar. This band played various local clubs in Toronto, including the Colonial Tavern.
Healey began hosting a jazz and blues show on radio station CIUT-FM where he became known for playing from his massive collection of vintage 78 rpm gramophone records.[3]
Shortly thereafter he was introduced to two musicians, bassist Joe Rockman and drummer Tom Stephen, with whom he formed a trio, The Jeff Healey Band. This band made their first public appearance at the Birds Nest, located upstairs at Chicago's Diner on Queen Street West in Toronto. They received a write-up in Toronto's NOW magazine, and soon were playing almost nightly in local clubs, such as Grossman's Tavern and the famed blues club Albert's Hall (where Jeff Healey was discovered by guitarists Stevie Ray Vaughan and Albert Collins).
After being signed to Arista Records in 1988, the band released the album See the Light, featuring the hit single "Angel Eyes" and the song "Hideaway", which was nominated for a Grammy Award for Best Rock Instrumental Performance. While the band was recording See the Light, they were also filming (and recording for the soundtrack of) the Patrick Swayze film Road House.[4] Healey had numerous acting scenes in the movie with Swayze, as his band was the house cover band for the bar featured in the movie. In 1990, the band won the Juno Award for Canadian Entertainer of the Year. The albums Hell to Pay and Feel This gave Healey 10 charting singles in Canada between 1990 and 1994, including a cover of The Beatles' While My Guitar Gently Weeps which featured George Harrison and Jeff Lynne on backing vocals and acoustic guitar.[5]
Later work and life
By the release of the 2000 album Get Me Some, Healey began to concentrate his talent in a different musical direction closer to his heart, the appreciation for another original American music form, jazz.
He went on to release three CDs of music of traditional American jazz from the 1920s and 1930s. He had been sitting in with these types of bands around Toronto since the beginning of his music career. Though known primarily as a guitarist, Healey also played trumpet during live performances. His main jazz group for touring and recording being Jeff Healey's Jazz Wizards.
Healey was an avid record collector and amassed a collection of well over 30,000 78 rpm records. He had, from time to time, hosted a CBC Radio program entitled My Kind of Jazz, in which he played records from his vast vintage jazz collection. He hosted a program with a similar name on Toronto jazz station CJRT-FM; as of 2010, the latter program continued to air in repeats.
For many years, Healey toured throughout North America and Europe and performed at his club, "Healey's" on Bathurst Street in Toronto, where he played with his blues band on Thursday nights and also with his jazz group on Saturday afternoons. The club moved to a bigger location at 56 Blue Jays Way and was rechristened "Jeff Healey's Roadhouse." Though he had lent his name to the club and often played there, Jeff Healey did not own or manage the bar. (The name came from the 1989 film, Road House, in which Healey appeared.)
At the time of his death, he had been planning to perform a series of shows in the United Kingdom, Germany, and the Netherlands with his other band, the 'Jeff Healey Blues Band' (aka the 'Healey's House Band') in April 2008.
Over the years, Healey toured and sat in with many legendary performers, including The Allman Brothers, Bonnie Raitt, Stevie Ray Vaughan, Buddy Guy, BB King, ZZ Top, Steve Lukather, Eric Clapton and many more. In 2006, Healey appeared on Deep Purple vocalist Ian Gillan's CD/DVD Gillan's Inn.
Healey discovered and helped develop the careers of other musical artists, including Terra Hazelton and Amanda Marshall.[6]
In early 2009, Healey's album Mess of Blues won in The 8th Annual Independent Music Awards for Best Blues Album.[7]
Illness and death
On January 11, 2007, Healey underwent surgery to remove metastatic tissue from both lungs. In the previous eighteen months, he had two sarcomas removed from his legs.[8]
On March 2, 2008, Healey died of cancer[9] at St. Joseph's Health Centre in his home town of Toronto.[10] He was 41 years old. His death came a month before the release of Mess of Blues, which was his first rock/blues album in eight years.[11]
Healey is survived by his wife, Cristie, and two children.[12] A tribute concert was held on May 3, 2008, to benefit Daisy's Eye Cancer Fund, which, according to Cristie Healey, had helped make major strides in research and future advances for people born with the same genetically inherited retinoblastoma[13] which led to Healey's blindness at eleven months of age. Cristie and Jeff Healey's son was born with the same disability.[14]
In 2009, Healey was inducted into the Terry Fox Hall of Fame.
In June 2011, Woodford Park in Toronto was renamed Jeff Healey Park in his honour.
In October 2012, his family launched the 'all-new' official website at Jeffhealey.com.
Pete Johnson *25.03.1904
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Peter „Pete“ Johnson (* 24./25. März 1904[1] in Kansas City; † 23. März 1967 in Buffalo) war ein US-amerikanischer Boogie-Woogie-Pianist.
Er begann seine musikalische Karriere 1922 als Schlagzeuger in Kansas City (Missouri) und lernte erst mit 18 Jahren das Klavierspiel. Von 1926 bis 1938 arbeitete er als Pianist, oft zusammen mit Big Joe Turner. 1938 traten die beiden in der New Yorker Carnegie Hall auf. Dieses Konzert löste ein Boogie-Woogie-Fieber aus, und Johnson gehörte von da an mit Meade Lux Lewis und Albert Ammons, die ebenfalls bei dem Konzert gespielt hatten, zu den führenden Pianisten seiner Zeit. Die drei Musiker traten häufig auch als Trio auf. Im Gegensatz zu den zwei anderen fühlte er sich aber als Mitglied einer Band wohler als Solist.[2]
Johnson war zudem ein hervorragender Stride-, Swing- und Blues-Pianist, was zahlreiche Veröffentlichungen nachhaltig beweisen.
Im Mai 1949 trat er auf dem Pariser Festival International 1949 de Jazz auf. 1950 zog Johnson nach Buffalo und trat trotz gesundheitlicher Probleme weiterhin auf, vor allem mit Jimmy Rushing und Big Joe Turner. 1958 erlitt er einen Schlaganfall, der ihn teilweise lähmte. Als der deutsche Jazzfan H. Maurer, dessen The Pete Johnson Story 1965 herauskam, Geld für ihn sammelte, war er ziemlich verarmt. Pete Johnson starb im März 1967 in Buffalo, New York im Alter von 62 Jahren.
http://de.wikipedia.org/wiki/Pete_Johnson
Albert Ammons and Pete Johnson 1944
https://www.youtube.com/watch?v=c9X6xMkc6s8
http://www.allmusic.com/artist/clarence-edwards-mn0000109174
Pete Johnson (March 25, 1904 – March 23, 1967)[1] was an American boogie-woogie and jazz pianist.
Journalist Tony Russell stated in his book The Blues – From Robert Johnson to Robert Cray, that "Johnson shared with the other members of the 'Boogie Woogie Trio' the technical virtuosity and melodic fertility that can make this the most exciting of all piano music styles, but he was more comfortable than Meade Lux Lewis in a band setting; and as an accompanist, unlike Lewis or Albert Ammons, he could sparkle but not outshine his singing partner".[2] Fellow journalist, Scott Yanow (Allmusic) added "Johnson was one of the three great boogie-woogie pianists (along with Lewis and Ammons) whose sudden prominence in the late 1930s helped make the style very popular".[1]
Biography
Johnson was born in Kansas City, Missouri.[1] He was raised by his mother after his father deserted the family. Things got so bad financially, Pete was placed in an orphanage when he was three. He became so homesick, however, that he ran away and returned living at home. By the age of 12, he sought out work to ease some of the financial burden at home. He worked various jobs; in a factory, a print shop, and as a shoe-shiner. He dropped out of school in the fifth grade as a result of his efforts.[3]
Johnson began his musical career in 1922 as a drummer in Kansas City.[2] He began piano about the same time he was learning the drums. His early piano practices took place in a church, where he was working as a water boy for a construction company.[4] From 1926 to 1938 he worked as a pianist, often working with Big Joe Turner.[1] An encounter with record producer John Hammond in 1936 led to an engagement at the Famous Door in New York City. In 1938 Johnson and Turner appeared in the From Spirituals to Swing concert at Carnegie Hall. After this show the popularity of the boogie-woogie style was on the upswing. Johnson worked locally and toured and recorded with Turner, Meade Lux Lewis, and Albert Ammons during this period.[1] Lewis, Ammons, and Johnson appeared in the film short Boogie-Woogie Dream in 1941.[2]
The song "Roll 'Em Pete" (composed by Johnson and Turner),[5] featuring Turner on vocals and Johnson on piano, was one of the first rock and roll records. Another self-referential title was their "Johnson and Turner Blues." In 1949, he also wrote and recorded "Rocket 88 Boogie," a two-sided instrumental, which influenced the 1951 Ike Turner hit, "Rocket 88".
In the late 1940s, Johnson recorded an early concept album, House Rent Party, in which he starts out playing alone, supposedly in a new empty house, and is joined there by J. C. Higgenbotham, J. C. Heard, and other Kansas City players. Each has a solo single backed by Johnson, and then the whole group plays a jam session together. On this album Johnson shows his considerable command of stride piano and his ability to work with a group.
At a nightclub in Niagara Falls, the piano was on a platform above the bar, and Johnson had to climb a ladder to get there.[2]
In 1950 he moved to Buffalo.[6] He encountered some health and financial problems in this period, including losing part of a finger in an accident and being partially paralyzed by a stroke. Between January and October 1953 he was employed by an ice cream company washing trucks, but supplemented his income by performing in a trio which played at the Bamboo Room in Buffalo on weekends. Johnson experienced more of the same the following year, 1954. He washed cars at a mortuary for $25 a week. In July, however, a nice job came his way at the St. Louis Forest Park Hotel, a six-week engagement as resident pianist at the Circus Snack Bar. Some broadcasts were made on Saturday afternoons in a program called Saturday at the Chase. Johnson was also privately recorded July 20 and August 1 at a pair of house parties arranged at the home of Bill Atkinson, a close friend (in print as of this writing). Things remained somewhat bleak for the next four years, except for three appearances in 1955 at the Berkshire Music Barn in Lenox, MA.[7] But he continued to record, and toured Europe in 1958 with the Jazz at the Philharmonic ensemble, despite the fact that he was not feeling well.[1][2][8] While in Europe he received an invitation to appear at the Newport Jazz Festival, which he did upon his return to the States, accompanying Big Joe Turner, Chuck Berry and Big Maybelle. Johnson underwent a physical examination in August which revealed a heart condition as well as diabetes. Several strokes followed, resulting in complete loss of mobility in both hands. Four years after the series of strokes he was still disabled and was beginning to lose his eyesight. Jazz Report magazine ran a series of record auctions to raise money for Pete. In 1964, a longtime correspondent of Johnson's, Hans Maurer, published The Pete Johnson Story. All sales proceeds went to Pete. After an article appeared in a 1964 issue of Blues Unlimited detailing Johnson's difficulty in receiving royalty payments other than from Blue Note and Victor, in June Pete was accepted as a member of ASCAP, which finally ensured that some of the royalties would be received on a regular basis.
His final live appearance was the Spirituals to Swing concert at Carnegie Hall in January 1967, his eighth and final appearance at this event.[9][10] A review of the concert by Dan Morgenstern of Down Beat: "Then for the concert's most moving moment, Lieberson (the MC) escorted Pete Johnson on stage and introduced him as one of the participants in the original Spirituals to Swing and the greatest boogie-woogie pianist. Johnson had suffered a series of paralytic strokes and had not played piano for many years. His old buddy, Turner, took him by the hand, and for a moment the two middle-aged men looked touchingly like little boys. Turner dedicated 'Roll 'Em Pete' to his old friend, as Lieberson and Johnson were about to leave the stage. Instead, they stopped and the pianist seated himself next to Bryant at the piano and began to play the treble part of his old showpiece, Bryant handling the bass. Johnson was a bit shaky but game, gaining in confidence as the number built in intensity."[11] Pete Johnson died two months later in Meyer Hospital, Buffalo, New York, in March 1967, at the age of 62.
Journalist Tony Russell stated in his book The Blues – From Robert Johnson to Robert Cray, that "Johnson shared with the other members of the 'Boogie Woogie Trio' the technical virtuosity and melodic fertility that can make this the most exciting of all piano music styles, but he was more comfortable than Meade Lux Lewis in a band setting; and as an accompanist, unlike Lewis or Albert Ammons, he could sparkle but not outshine his singing partner".[2] Fellow journalist, Scott Yanow (Allmusic) added "Johnson was one of the three great boogie-woogie pianists (along with Lewis and Ammons) whose sudden prominence in the late 1930s helped make the style very popular".[1]
Biography
Johnson was born in Kansas City, Missouri.[1] He was raised by his mother after his father deserted the family. Things got so bad financially, Pete was placed in an orphanage when he was three. He became so homesick, however, that he ran away and returned living at home. By the age of 12, he sought out work to ease some of the financial burden at home. He worked various jobs; in a factory, a print shop, and as a shoe-shiner. He dropped out of school in the fifth grade as a result of his efforts.[3]
Johnson began his musical career in 1922 as a drummer in Kansas City.[2] He began piano about the same time he was learning the drums. His early piano practices took place in a church, where he was working as a water boy for a construction company.[4] From 1926 to 1938 he worked as a pianist, often working with Big Joe Turner.[1] An encounter with record producer John Hammond in 1936 led to an engagement at the Famous Door in New York City. In 1938 Johnson and Turner appeared in the From Spirituals to Swing concert at Carnegie Hall. After this show the popularity of the boogie-woogie style was on the upswing. Johnson worked locally and toured and recorded with Turner, Meade Lux Lewis, and Albert Ammons during this period.[1] Lewis, Ammons, and Johnson appeared in the film short Boogie-Woogie Dream in 1941.[2]
The song "Roll 'Em Pete" (composed by Johnson and Turner),[5] featuring Turner on vocals and Johnson on piano, was one of the first rock and roll records. Another self-referential title was their "Johnson and Turner Blues." In 1949, he also wrote and recorded "Rocket 88 Boogie," a two-sided instrumental, which influenced the 1951 Ike Turner hit, "Rocket 88".
In the late 1940s, Johnson recorded an early concept album, House Rent Party, in which he starts out playing alone, supposedly in a new empty house, and is joined there by J. C. Higgenbotham, J. C. Heard, and other Kansas City players. Each has a solo single backed by Johnson, and then the whole group plays a jam session together. On this album Johnson shows his considerable command of stride piano and his ability to work with a group.
At a nightclub in Niagara Falls, the piano was on a platform above the bar, and Johnson had to climb a ladder to get there.[2]
In 1950 he moved to Buffalo.[6] He encountered some health and financial problems in this period, including losing part of a finger in an accident and being partially paralyzed by a stroke. Between January and October 1953 he was employed by an ice cream company washing trucks, but supplemented his income by performing in a trio which played at the Bamboo Room in Buffalo on weekends. Johnson experienced more of the same the following year, 1954. He washed cars at a mortuary for $25 a week. In July, however, a nice job came his way at the St. Louis Forest Park Hotel, a six-week engagement as resident pianist at the Circus Snack Bar. Some broadcasts were made on Saturday afternoons in a program called Saturday at the Chase. Johnson was also privately recorded July 20 and August 1 at a pair of house parties arranged at the home of Bill Atkinson, a close friend (in print as of this writing). Things remained somewhat bleak for the next four years, except for three appearances in 1955 at the Berkshire Music Barn in Lenox, MA.[7] But he continued to record, and toured Europe in 1958 with the Jazz at the Philharmonic ensemble, despite the fact that he was not feeling well.[1][2][8] While in Europe he received an invitation to appear at the Newport Jazz Festival, which he did upon his return to the States, accompanying Big Joe Turner, Chuck Berry and Big Maybelle. Johnson underwent a physical examination in August which revealed a heart condition as well as diabetes. Several strokes followed, resulting in complete loss of mobility in both hands. Four years after the series of strokes he was still disabled and was beginning to lose his eyesight. Jazz Report magazine ran a series of record auctions to raise money for Pete. In 1964, a longtime correspondent of Johnson's, Hans Maurer, published The Pete Johnson Story. All sales proceeds went to Pete. After an article appeared in a 1964 issue of Blues Unlimited detailing Johnson's difficulty in receiving royalty payments other than from Blue Note and Victor, in June Pete was accepted as a member of ASCAP, which finally ensured that some of the royalties would be received on a regular basis.
His final live appearance was the Spirituals to Swing concert at Carnegie Hall in January 1967, his eighth and final appearance at this event.[9][10] A review of the concert by Dan Morgenstern of Down Beat: "Then for the concert's most moving moment, Lieberson (the MC) escorted Pete Johnson on stage and introduced him as one of the participants in the original Spirituals to Swing and the greatest boogie-woogie pianist. Johnson had suffered a series of paralytic strokes and had not played piano for many years. His old buddy, Turner, took him by the hand, and for a moment the two middle-aged men looked touchingly like little boys. Turner dedicated 'Roll 'Em Pete' to his old friend, as Lieberson and Johnson were about to leave the stage. Instead, they stopped and the pianist seated himself next to Bryant at the piano and began to play the treble part of his old showpiece, Bryant handling the bass. Johnson was a bit shaky but game, gaining in confidence as the number built in intensity."[11] Pete Johnson died two months later in Meyer Hospital, Buffalo, New York, in March 1967, at the age of 62.
https://www.youtube.com/watch?v=c9X6xMkc6s8
Clarence Edwards *25.03.1933
Clarence Edwards (March 25, 1933 – May 20, 1993) was an American blues musician from Louisiana, best known for his recordings of "Lonesome Bedroom Blues" and "I Want Somebody".[1] It was not until the late 1980s that Edwards was able to establish his reputation as a blues performer, assisted by his producer and manager Stephen Coleridge.
Edwards was born in Lindsay, Louisiana, one of fourteen children, and relocated with his family at the age of twelve to Baton Rouge. He joined the Boogie Beats, a local blues band, alongside one of his brothers, Cornelius, in the mid-1950s, and later played in the Bluebird Kings. Apart from playing on the local blues circuit, Edwards was shot in his leg during a fracas outside a club in Alsen.[3]
Initially, Edwards found full-time employment on a farm, but later worked for thirty years at Thomas Scrap.[3] Dr. Harry Oster recorded Edwards between 1959 and 1961, with Cornelius, and attendant violin player Butch Cage.[2] By 1970, when he next recorded for Mike Vernon, Edwards had moved from an older styling to a more contemporary approach.[4] Largely unknown until the late 1980s, his localised playing quickly spilled over to the national blues festival circuit.[3]
Swampin' (1991), and Louisiana Swamp Blues, Vol. 4 (1993), showcased the variety of Edwards' work and style, which garnered appreciation in the blues circles. However in May 1993, he died in Louisiana, at the age of 60.[3]
Following his demise, Edwards' earlier work, Swamps the Word, was remastered and reissued on CD.[3] In 2003 the compilation album, I Looked Down That Railroad was released.
Edwards was born in Lindsay, Louisiana, one of fourteen children, and relocated with his family at the age of twelve to Baton Rouge. He joined the Boogie Beats, a local blues band, alongside one of his brothers, Cornelius, in the mid-1950s, and later played in the Bluebird Kings. Apart from playing on the local blues circuit, Edwards was shot in his leg during a fracas outside a club in Alsen.[3]
Initially, Edwards found full-time employment on a farm, but later worked for thirty years at Thomas Scrap.[3] Dr. Harry Oster recorded Edwards between 1959 and 1961, with Cornelius, and attendant violin player Butch Cage.[2] By 1970, when he next recorded for Mike Vernon, Edwards had moved from an older styling to a more contemporary approach.[4] Largely unknown until the late 1980s, his localised playing quickly spilled over to the national blues festival circuit.[3]
Swampin' (1991), and Louisiana Swamp Blues, Vol. 4 (1993), showcased the variety of Edwards' work and style, which garnered appreciation in the blues circles. However in May 1993, he died in Louisiana, at the age of 60.[3]
Following his demise, Edwards' earlier work, Swamps the Word, was remastered and reissued on CD.[3] In 2003 the compilation album, I Looked Down That Railroad was released.
Clarence Edwards-Done Got Over It
Bill Abel
One-Man Band
If you’ve ever been to one of the many blues festivals in the Mississippi Delta, you’re likely to have come across Bill Abel. If not booked as a solo performer on the festival or backing one of the great Delta blues musicians, he’s sure to be found playing in a nearby club or performing in a downtown street or park. This Belzoni, Mississippi native has been a fixture in the Delta and Hill Country for the past couple of decades. Growing up in Belzoni, he befriended a neighborhood welder and blues guitarist, Paul “Wine” Jones, who became his mentor. He’s frequently backed Big George Brock, Cadillac John Nolden, T-Model Ford and the late Paul ‘Wine’ Jones in performance and recorded with Big George Brock, Hubert Sumlin, Odell Harris, Sam Carr and Cadillac John Nolden, among many others.One-Man Band
In his latest release “One-Man Band,” Bill brings you into the world of the Delta blues as a solo act, playing as many instruments as possible in a “live” setting. He accomplishes this by playing both lead and rhythm on a multitude of guitar setups, switching between electric guitar, dobro, and his own homemade cigar-box guitars while playing hi-hat and snare with one foot and bass drum with another, all the while accompanying himself vocally with his signature coarse growl. The end result is a raw, undiluted adaptation of largely electric blues rooted deep in the Mississippi delta tradition.
Bill Abel at The crossroad, Olen Belgium
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