Frohe Ostern
Happy Easter
1905 Leroy Carr*
1915 Robert Lockwood junior*
1917 Rufus Thomas*
1924 Sarah Vaughan*
1937 Johnny Copeland*
1972 Eddie Taylor Jr.*
1999 Mighty Joe Young+
2007 Stefan Diestelmann+
Terry VunCannon*
Stefan Tillmann*
1915 Robert Lockwood junior*
1917 Rufus Thomas*
1924 Sarah Vaughan*
1937 Johnny Copeland*
1972 Eddie Taylor Jr.*
1999 Mighty Joe Young+
2007 Stefan Diestelmann+
Terry VunCannon*
Stefan Tillmann*
Happy Birthday
Johnny Copeland *27.03.1937
Johnny Copeland (* 27. März 1937 in Haynesville, Louisiana; † 3. Juli 1997 im New Yorker Stadtteil Harlem) war ein US-amerikanischer Bluesmusiker.[1]
Schon kurz nach seiner Geburt trennte sich seine Mutter von seinem Vater und zog mit dem Rest der Familie in die Nähe des Ortes Magnolia in Arkansas. Mit 13 Jahren zogen sie weiter nach Houston, Texas. Dort sah er dank seiner Geschwister erstmals T-Bone Walker, Roy Brown und Joe „Guitar“ Hughes. Zusammen mit Joe Hughes, Charles Godfrey, Pat Paterson und Steve Washington gründete er dann mit 14 Jahren die Band Duke of Rhythm. Mit dieser Besetzung traten sie dann die nächsten drei Jahre zusammen auf. Im Jahre 1954 verließ er dann die Band und tat sich erst mit dem Pianisten Earl Solomon und später dann mit dem Gitarristen Clarence Samuel zusammen. Während einer Tour hatte Copeland dann 1956 sein Studiodebüt. Er war auf der Single Chicken hearted woman als Gitarrist zu hören. Ab 1957 war Copeland bei der Plattenfirma Duke unter Vertrag und schrieb dort einige Söngs, unter anderem auch Farther up the road. 1958 wechselte er dann zu dem Platten-Label Mercury. Dort nahm er mit Rock and Roll Lilly seine erste eigene Single auf. 1963 landete er in den Südstaaten mit Down on bending knees einen Hit.
1979 zog er nach New York City. Dort traf er auf den Pianisten Ken Vangel und den Produzenten Dan Doyle. Zusammen mit den beiden nahm er in den nächsten zwei Jahre Songs auf, die 1981 auf dem Album Copeland special beim Rounder-Label veröffentlicht wurden. Diese Album sorgte in der Bluesszene für mächtigen Wirbel, schien es doch, als sei ein genialer Musiker scheinbar aus dem Nichts aufgetaucht. In den folgenden Jahre hatte Copeland viel zu tun. Es erschienen die Alben Make my home where I hang my hat (1982), Texas twister (1984) und Bring it all back home (1985). Für das Album Showdown! (mit Robert Cray und Albert Collins) erhielt er den Grammy 1987 für das beste zeitgenössische Bluesalbum. Zudem war er ständig auf Tournee, unter anderem auf dem Montreux Jazz Festival, wo er mit dem Grand Prix ausgezeichnet wurde. Nach dem Album Boom boom im Jahre 1989 trennt er sich vom Plattenlabel Rounder und gönnte sich eine Pause von zwei Jahren.
1991 veröffentlichte er das Album Flyin´ high, gefolgt von Catch up with the blues 1993. Zu diesem Zeitpunkt kamen allerdings schon gesundheitliche Probleme auf. So klagt er schon 1992 auf dem King Biscuit Blues Festival in Helena, Arkansas über Atemnot. 1995 kam er mit Herzversagen ins Krankenhaus, wurde allerdings gerettet. Ab diesem Zeitpunkt wartete er auf ein Spenderorgan, um wieder mit der Arbeit weitermachen zu können. Johnny Copeland verstarb dann am 3. Juli 1997 im Columbia Presbyterian Hospital in New York infolge von Komplikationen seiner Herztransplantation, der er sich sieben Monate zuvor unterzogen hatte.[2]
Seine Tochter Shemekia Copeland ist eine Sängerin, die u.a. schon mit Bluesgrößen wie Steve Cropper oder Dr. John zusammen gearbeitet hat.
http://de.wikipedia.org/wiki/Johnny_Copeland
Johnny Copeland (March 27, 1937 – July 3, 1997)[1] was an American Texas blues guitarist and singer.
Career
Copeland was born in Haynesville, Louisiana, United States. Influenced by T-Bone Walker, he formed the 'Dukes of Rhythm' in Houston, Texas, and made his recording debut in 1956, signing with Duke Records the following year. Although his early records met with little commercial success, he became a popular touring act over the next two decades.
His early recording career embraced blues, soul and rock and roll. He cut singles for Mercury, Golden Eagle and All Boy, amongst others. His first single was "Rock 'n' Roll Lily",[2] and he later cut successes such as "Down On Bending Knees" and "Please Let Me Know". For the most part, his singles featured Copeland as a vocalist more than a guitar player.
Driven by disco to rethink his future, he moved to New York in 1979,[3] and played extensively in the eastern cities. In 1981, he was signed by Rounder Records, releasing albums including Copeland Special (1981) and Bringing It All Back Home (1985), and touring widely. Copeland appeared at the 1983 Long Beach Blues Festival, and the 1988 San Francisco Blues Festival. He won a Grammy in 1987 for best traditional blues album for the album Showdown!, recorded with Albert Collins and Robert Cray.
Copeland also played at the 1985 Montreux Jazz Festival, as a guest with Stevie Ray Vaughan and Double Trouble. Vaughan and Copeland performed the Bob Geddins song, "Tin Pan Alley" together on Vaughan's Blues At Sunrise compilation album. He also played on the first edition of BRBF (Blues Peer Festival) later that year.
His later years were dogged by ill health due to a congenital heart defect. He died, aged 60, in Harlem, New York, from complications of heart surgery for a heart transplanted six months earlier.[4]
Copeland was a resident of Teaneck, New Jersey.[5] His daughter, Shemekia Copeland, established a successful career as a singer. He was also survived by his wife, son and two daughter.
Career
Copeland was born in Haynesville, Louisiana, United States. Influenced by T-Bone Walker, he formed the 'Dukes of Rhythm' in Houston, Texas, and made his recording debut in 1956, signing with Duke Records the following year. Although his early records met with little commercial success, he became a popular touring act over the next two decades.
His early recording career embraced blues, soul and rock and roll. He cut singles for Mercury, Golden Eagle and All Boy, amongst others. His first single was "Rock 'n' Roll Lily",[2] and he later cut successes such as "Down On Bending Knees" and "Please Let Me Know". For the most part, his singles featured Copeland as a vocalist more than a guitar player.
Driven by disco to rethink his future, he moved to New York in 1979,[3] and played extensively in the eastern cities. In 1981, he was signed by Rounder Records, releasing albums including Copeland Special (1981) and Bringing It All Back Home (1985), and touring widely. Copeland appeared at the 1983 Long Beach Blues Festival, and the 1988 San Francisco Blues Festival. He won a Grammy in 1987 for best traditional blues album for the album Showdown!, recorded with Albert Collins and Robert Cray.
Copeland also played at the 1985 Montreux Jazz Festival, as a guest with Stevie Ray Vaughan and Double Trouble. Vaughan and Copeland performed the Bob Geddins song, "Tin Pan Alley" together on Vaughan's Blues At Sunrise compilation album. He also played on the first edition of BRBF (Blues Peer Festival) later that year.
His later years were dogged by ill health due to a congenital heart defect. He died, aged 60, in Harlem, New York, from complications of heart surgery for a heart transplanted six months earlier.[4]
Copeland was a resident of Teaneck, New Jersey.[5] His daughter, Shemekia Copeland, established a successful career as a singer. He was also survived by his wife, son and two daughter.
Johnny Copeland - Live at the Lone Star Cafe, NYC [1991]
Track list:
Cut My Right Arm-
Honky Tonkin'-
Love Her With A Feeling-
Texas Party
I De Go Now
Nobody But You
Solo acoustic set
Bring Your Fine Self Home
-Down Home Blues
with Johnnie Johnson
-Medley:
That's Alright/Matchbox Blues/One Room Country Sack/Tin Pan Alley/Rock Me Baby
full-band with Johnnie Johnson
-Down Home Blues
Cut My Right Arm-
Honky Tonkin'-
Love Her With A Feeling-
Texas Party
I De Go Now
Nobody But You
Solo acoustic set
Bring Your Fine Self Home
-Down Home Blues
with Johnnie Johnson
-Medley:
That's Alright/Matchbox Blues/One Room Country Sack/Tin Pan Alley/Rock Me Baby
full-band with Johnnie Johnson
-Down Home Blues
Leroy Carr *27.3.1905
Schon die Boogie-Virtuosen wie Albert Ammons oder Meade Lux Lewis spielten vor allem für ein städtisches Publikum der gehobeneren Kreise. Besonders nachdem durch die zwei Konzerte „From Spirituals To Swing“ der Boogie Woogie zur Modeerscheinung geworden war, traten sie vor allem in recht feinen Cafes und Nachtclubs auf. Den Schritt vom rauen Blues des ländlichen Deltas hin zur Musik der großen Stadt hatte allerdings vorher schon Leroy Carr vorbereitet.
Zusammen mit seinem Partner Scrapper Blackwell gehörte der Sänger und Pianist Leroy Carr (1905-1935) zu den erfolgreichsten Bluesmusikern der 20er und 30er Jahre des 20. Jahrhunderts. Mit seinem lyrischen Stil prägte er den urbanen Blues und wurde Vorbild etwa für Nat King Cole und zahllose andere Pianisten. Eigentlich war er am Klavier nicht wirklich aufregend. Doch seine mit sehnsuchtsvoller Stimme vorgetragenen Lieder, effektiv an der Gitarre von Scrapper Blackwell begleitet, wurden zu den größten Blueshits zwischen den beiden Weltkriegen. „Blues before Sunrise“ oder „How Long How Long Blues“ sind nur die größten von ihnen. Der raue Deltablues war in diesen Nummern nicht mehr zu hören. Hier war ein Blues entstanden, der hervorragend in die großen Städte und in die neue Zeit passte: Es geht nicht um die Arbeit auf den Baumwollfeldern sondern vor allem um die Frauen, bzw. die Probleme mit oder auch ohne sie. Hier war der Blues ganz im Bereich der populären Musik der Zeit angekommen. Carrs Texte waren clever geschrieben und hatten einen oft trockenen Humor. Und seine Kompositionen hatten eine gehörige Portion Swing und waren oft kurz davor, in einen treibenden Boogie auszubrechen. Aber niemals verließen sie die gepflegte und polierte Basis gehobener Untrhaltungsmusik.
Leroy Carr, geboren 1905 in Nashville, brachte sich selbst das Klavierspiel bei und verließ die Schule, um sich einem Wanderzirkus als Musiker anzuschließen. Doch als er 16 war, ging er erstmal zur Armee. Danach lebte er als Klavierspieler bei House Rent Partys, bei Tanzveranstaltungen oder als Begleiter von Sängern. Und wenn da das Geld nicht reichte, brannte er schwarz Whiskey und brachte ihn unter die Leute. Wobei er bald hier zu einem seiner besten Kunden wurde.
Mitte der 20er Jahre schloss er sich mit Scrapper Blackwell zusammen und machte so das Duospiel von Klavier und Gitarre populär. Zahllose Aufnahmen des Duos entstanden trotz der Wirtschaftskrise bis 1935. Doch dann starb Carr an den Folgen seines Alkoholkonsums. Wahrscheinlich hatte er sich eine Nierenentzündung zugezogen. Scrapper Blackwell wurde allein nie wieder so erfolgreich. Er wurde 1962 in Indianapolis in den Rücken geschossen und starb.
Das lyrische Spiel, der zurückgehaltene, ja manchmal schmalzige Gesang – das wurde für viele Nachfolger bis in die Gegenwart zum Vorbild. Etwa für den später als Popsänger zu einem der ersten farbigen Superstars gewordenen Nat King Cole. Auch wenn der sich eigentlich eher als Jazzpianist sah, konnte er seine Wurzeln im Blues nie ganz verleugnen. Und mit seinem lyrischen Spiel auf den Tasten verknüpfte er gekonnt den Blues a la Carr mit dem Jazz und dem Swing der Großstadt.
Auch Swinggigant Count Basie, der auch mit seinem Orchester immer die Herkunft vom Blues deutlich machte, orientierte sich in seinem Klavierspiel an Carrs reduziertem Klavierstil.
Mindestens ebenso sehr wie von Carr wurde Charles Brown direkt von Cole beeinflusst. Mit seinem jazzigen Barblues wurde er zum Inbegriff des kalifornischen Westküstenblues. Und Cole und Brown wurden wiederum zu den großen Vorbildern für die ersten Schritte von Ray Charles am Klavier…
Leroy Carr (* 27. März 1905 in Nashville, Tennessee; † 29. April 1935 in Indianapolis) war ein einflussreicher US-amerikanischer Blues-Pianist und Sänger. Bekannt war er vor allem zusammen mit seinem langjährigen Partner, dem Gitarristen Francis "Scrapper" Blackwell, mit dem er als Duo auftrat und Aufnahmen machte.
Geboren in Nashville, kam Leroy Carr in jungen Jahren nach Indianapolis. Er brachte sich selbst das Klavierspielen bei. Er verließ die Schule, um sich auf der Straße durchzuschlagen. Da die Musik nicht genug einbrachte, musste er die verschiedensten Jobs annehmen. So war er auch beim Zirkus und bei der Armee. Zeitweise war er auch verheiratet.
1928 machten Carr und Blackwell erste Aufnahmen für Vocalion, darunter den Hit How Long How Long Blues. In den Jahren bis zu Carrs Tod gehörte das Duo zu den populärsten Blues-Interpreten in den Staaten und nahmen zahlreiche Bluesklassiker auf. Neben "How Long..." zählten noch "Midnight Hour Blues", "Blues Before Sunrise", "Hurry Down Sunshine", "Shady Lane Blues" und viele andere dazu. Carr erlag jedoch den Verlockungen des Alkohols. Seine Alkoholabhängigkeit führte schließlich im April 1935 zu seinem vorzeitigen Tod.
Leroy Carr gilt als der Komponist von über 200 Blues-Titeln, darunter How Long How Long Blues (später auch von T-Bone Walker sowie von Eric Clapton aufgenommen), We're Gonna Rock You (von Memphis Slim bearbeitet), Naptown Blues (von Wes Montgomery verjazzt), Prison Bound Blues, When The Sun Goes Down, Blues Before Sunrise und viele mehr. Allein für den How Long How Long Blues führt der All Music Guide 497 Treffer an. Er beeinflusste zahlreiche Blues-Musiker, darunter Größen wie Robert Johnson, Otis Spann und Champion Jack Dupree, um nur einige zu nennen.
1982 wurde Leroy Carr in die Blues Hall of Fame aufgenommen.
http://de.wikipedia.org/wiki/Leroy_Carr
http://wasser-prawda.de/musik/biografien/leroy-carr-1905-1935.html
http://wasser-prawda.de/musik/biografien/leroy-carr-1905-1935.html
Leroy Carr (March 27, 1905 – April 29, 1935)[1] was an American blues singer, songwriter and pianist who developed a laid-back, crooning technique and whose popularity and style influenced such artists as Nat King Cole and Ray Charles. He first became famous for "How Long, How Long Blues" on Vocalion Records in 1928.[2]
Life and career
Carr was born in Nashville, Tennessee, but raised in Indianapolis, Indiana. Although his recording career was cut short by an early death, Carr left behind a large body of work.[2] Some of his most famous songs include "Blues Before Sunrise" (1932), "Midnight Hour Blues" (1932), and "Hurry Down Sunshine" (1934). He had a long-time partnership with guitarist Scrapper Blackwell. His light bluesy piano combined with Blackwell's melodic jazz guitar worked to attract a sophisticated black audience. Carr's vocal style moved blues singing toward an urban sophistication, influencing such singers as T-Bone Walker, Charles Brown, Amos Milburn, Jimmy Witherspoon, Ray Charles among others.[3]
Count Basie and Jimmy Rushing used some of Carr's songs and Basie's band shows the influence of Carr's piano style.[4]
His music has been covered by artists such as Robert Johnson, Ray Charles, Big Bill Broonzy, Moon Mullican, Champion Jack Dupree, Lonnie Donegan and Memphis Slim.
Carr was an alcoholic and died of nephritis shortly after his thirtieth birthday.
Life and career
Carr was born in Nashville, Tennessee, but raised in Indianapolis, Indiana. Although his recording career was cut short by an early death, Carr left behind a large body of work.[2] Some of his most famous songs include "Blues Before Sunrise" (1932), "Midnight Hour Blues" (1932), and "Hurry Down Sunshine" (1934). He had a long-time partnership with guitarist Scrapper Blackwell. His light bluesy piano combined with Blackwell's melodic jazz guitar worked to attract a sophisticated black audience. Carr's vocal style moved blues singing toward an urban sophistication, influencing such singers as T-Bone Walker, Charles Brown, Amos Milburn, Jimmy Witherspoon, Ray Charles among others.[3]
Count Basie and Jimmy Rushing used some of Carr's songs and Basie's band shows the influence of Carr's piano style.[4]
His music has been covered by artists such as Robert Johnson, Ray Charles, Big Bill Broonzy, Moon Mullican, Champion Jack Dupree, Lonnie Donegan and Memphis Slim.
Carr was an alcoholic and died of nephritis shortly after his thirtieth birthday.
Even the boogie virtuosi like Albert Ammons and Meade Lux Lewis played especially for an urban audience of more elevated circles. Especially after the Boogie Woogie had become a fad by the two concerts "From Spirituals To Swing", they occurred mainly in pretty fine cafes and nightclubs. The step from the rough blues rural deltas to the music of the big city but Leroy Carr had previously prepared.
Together with his partner Scrapper Blackwell was the singer and pianist Leroy Carr (1905-1935) the most successful blues musicians of the 20s and 30s of the 20th century. With its lyrical style he coined the urban blues and became the model for about Nat King Cole and countless other pianists. Actually, he was not really exciting at the piano. But his presented with wistful voice songs, effectively accompanied on guitar by Scrapper Blackwell, were the largest Blue hits between the two World Wars. "Blues before Sunrise" or "How Long How Long Blues" are only the largest of them. The rough Delta Blues was no longer heard in these numbers. Here Blues had arisen, the excellent fit in the big cities and in the new era: It's not about the work in the cotton fields but especially to the women, and the problems with or without them. Here the Blues arrived completely in the field of popular music of the time. Carrs texts were written clever and had a dry sense of humor often. And his compositions had a good dose of swing and were often verge into a driving boogie. But they never left the groomed and polished base fine Untrhaltungsmusik.
Leroy Carr, born in 1905 in Nashville, playing the piano taught himself and left school to join a traveling circus as a musician. But when he was 16, he went first to the army. Then he lived as a piano player in House Rent parties, at dances, or as a companion of singers. And if there was not enough money, he burned black whiskey and brought him to the people. Whereby it here soon became one of its best customers.
Mid-20s he teamed up with Scrapper Blackwell and so made the Duospiel of piano and guitar popular. Countless recordings of the duo emerged despite the economic crisis until 1935. But then Carr died as a result of his alcohol consumption. Probably he had suffered an inflammation of the kidneys. Scrapper Blackwell was alone ever again so successful. He was shot in 1962 in Indianapolis in the back and died.
The lyrical game, the restrained, sometimes schmaltzy song - which was for many successors to the present day as a model. Some of the later has become a pop singer to one of the first colored superstars Nat King Cole. Although the actually saw himself more as a jazz pianist, he could never quite deny its roots in blues. And with his lyrical playing the keys he combined skillfully blues a la Carr with jazz and swing the big city.
Also Swing giant Count Basie, always the source made clear with his orchestra from the Blues, oriented himself in his playing at Carrs reduced piano style.
Charles Brown is at least as much as by Carr was directly influenced by Cole. With its jazzy Barblues he became the epitome of the California West Coast Blues. And Cole and Brown were again to the great role models for the first steps of Ray Charles at the piano ...
http://wasser-prawda.eu/blues-piano-teil-5-leroy-carrTogether with his partner Scrapper Blackwell was the singer and pianist Leroy Carr (1905-1935) the most successful blues musicians of the 20s and 30s of the 20th century. With its lyrical style he coined the urban blues and became the model for about Nat King Cole and countless other pianists. Actually, he was not really exciting at the piano. But his presented with wistful voice songs, effectively accompanied on guitar by Scrapper Blackwell, were the largest Blue hits between the two World Wars. "Blues before Sunrise" or "How Long How Long Blues" are only the largest of them. The rough Delta Blues was no longer heard in these numbers. Here Blues had arisen, the excellent fit in the big cities and in the new era: It's not about the work in the cotton fields but especially to the women, and the problems with or without them. Here the Blues arrived completely in the field of popular music of the time. Carrs texts were written clever and had a dry sense of humor often. And his compositions had a good dose of swing and were often verge into a driving boogie. But they never left the groomed and polished base fine Untrhaltungsmusik.
Leroy Carr, born in 1905 in Nashville, playing the piano taught himself and left school to join a traveling circus as a musician. But when he was 16, he went first to the army. Then he lived as a piano player in House Rent parties, at dances, or as a companion of singers. And if there was not enough money, he burned black whiskey and brought him to the people. Whereby it here soon became one of its best customers.
Mid-20s he teamed up with Scrapper Blackwell and so made the Duospiel of piano and guitar popular. Countless recordings of the duo emerged despite the economic crisis until 1935. But then Carr died as a result of his alcohol consumption. Probably he had suffered an inflammation of the kidneys. Scrapper Blackwell was alone ever again so successful. He was shot in 1962 in Indianapolis in the back and died.
The lyrical game, the restrained, sometimes schmaltzy song - which was for many successors to the present day as a model. Some of the later has become a pop singer to one of the first colored superstars Nat King Cole. Although the actually saw himself more as a jazz pianist, he could never quite deny its roots in blues. And with his lyrical playing the keys he combined skillfully blues a la Carr with jazz and swing the big city.
Also Swing giant Count Basie, always the source made clear with his orchestra from the Blues, oriented himself in his playing at Carrs reduced piano style.
Charles Brown is at least as much as by Carr was directly influenced by Cole. With its jazzy Barblues he became the epitome of the California West Coast Blues. And Cole and Brown were again to the great role models for the first steps of Ray Charles at the piano ...
Alabama Woman Blues - Scrapper Blackwell and Leroy Carr
Robert Lockwood junior *27.03.1915
Robert Lockwood junior (* 27. März 1915 in Helena, Arkansas; † 21. November 2006 in Cleveland, Ohio) war ein US-amerikanischer Blues-Gitarrist und Sänger.Robert Lockwood Jr. begann mit acht Jahren, in der Kirche seines Vaters Orgel zu spielen. Nach der Scheidung der Eltern lebte seine Mutter zehn Jahre mit der Blues-Legende Robert Johnson zusammen. Von ihm lernte Lockwood das Gitarrespielen. Ab dem Alter von 15 Jahren trat Lockwood für einige Jahre mit Sonny Boy Williamson auf. Auch später arbeiteten die beiden immer wieder zusammen. Lockwood absorbierte vollständig den Stil von Johnson, in welchem er 1941 seine ersten Aufnahmen machte. Einige davon sind auf den Anthologien Lonesome road blues (USA: Yazoo 1038) und Windy city blues (USA: Nighthawk 101) zu hören. Nachdem Lockwood längere Zeit in Memphis und in Arkansas gelebt und mit Sonny Boy Williamson für die Radiosendung „King Biscuit Time“ gearbeitet hatte, ging er nach Chicago, wo er als Gitarrist bei vielen Aufnahmen bei J.O.B., Mercury Records und vor allem bei Chess Records teilnahm. Dabei löste sich Lockwood vom Stil Johnsons und entwickelte ein eigenes, komplexes, sehr am Jazz orientiertes Gitarrenspiel. Als Gitarrist begleitete er Musiker wie Sonny Boy Williamson, Otis Spann und Little Walter, mit dem Lockwood lange zusammengearbeitet hat.Bis 1971 produzierte Lockwood wenig eigene Aufnahmen. Erwähnenswert ist das sehr schöne Album Otis Spann is the blues (D: CrossCut 1003) mit Otis Spann am Klavier. 1961 zog Lockwood nach Cleveland in Ohio, wo er bis zu seinem Tod wohnte. Dort hatte er von 1970 an eine eigene Band, mit der er an vielen Konzerten und Festivals teilnahm und einige Alben einspielte, z. B. Steady rolling man (USA: Delmark 630); Blues live in Japan (USA: Advent 2806), wo er von den Aces begleitet wurde und er sich als Musiker aus dem Delta präsentierte. Sein volles Talent entwickelte er auf den beiden Alben Contrasts (USA: Trix 3307) und Does Twelve (USA: Trix 3317). Später schloss er sich mit Johnny Shines zusammen, einem anderen „Schüler“ von Johnson, mit dem er 1980 ein Album aufnahm: Hangin’ on (USA: Rounder 2023). 1989 wurde er in die Blues Hall of Fame aufgenommen. In den Neunziger Jahren ist es dann stiller um ihn geworden. Robert Lockwood Jr. erhielt 1998 für I Got To Find Me A Woman und 2000 für Delta Crossroads jeweils eine Grammy-Nominierung. 2005 wurde er mit dem Living Blues Award als bester männlicher Blueskünstler ausgezeichnetAm 21. November 2006 starb er im University Hospitals Case Medical Center, Cleveland, Ohio, an Ateminsuffizienz.
http://de.wikipedia.org/wiki/Robert_Lockwood_junior
Robert Lockwood, Jr. - Sweet Home Chicago
https://www.youtube.com/watch?v=x_7UkcMVzag
Robert Lockwood, Jr., also known as Robert Junior Lockwood, (March 27, 1915 – November 21, 2006)[1] was an American Delta blues guitarist,[2] who recorded for Chess Records among other Chicago labels in the 1950s and 1960s. The only direct student of Robert Johnson, he is well known as a longtime collaborator with Sonny Boy Williamson II and for his work in the mid-1950s with Little Walter.
Biography
Early life
Robert Lockwood was born in Turkey Scratch, Arkansas, a hamlet west of Helena, Arkansas. He started playing the organ in his father's church at the age of 8. The famous bluesman Robert Johnson lived with Lockwood's mother for 10 years off and on after his parents' divorce. Lockwood learned from Johnson not only how to play guitar, but timing and stage presence as well. Because of his personal and professional association with the music of Robert Johnson, he became known as "Robert Junior" Lockwood, a nickname by which he was known among fellow musicians for the rest of his life, although he later frequently professed his dislike for this appellation.
Early career
By age 15, Lockwood was playing professionally at parties in the Helena area. He often played with his quasi-stepfather figure Robert Johnson as well as with Sonny Boy Williamson II and Johnny Shines. Lockwood played at fish fries, juke joints, and street corners throughout the Mississippi Delta in the 1930s. On one occasion Robert Johnson played on one side of the Sunflower River, while Lockwood played on the other, with the people of Clarksdale, Mississippi milling about the bridge, supposedly unable to tell which guitarist was the real Robert Johnson.
Lockwood played with Sonny Boy Williamson II in the Clarksdale, Mississippi area in 1938 and 1939. He also played with Howlin' Wolf and others in Memphis, Tennessee around 1938. From 1939 to 1940 he split his time playing in St. Louis, Missouri, Chicago, Illinois and Helena.[3]
On July 1, 1941, Lockwood made his first recordings with Doctor Clayton for the Bluebird label in Aurora, Illinois and on July 30 he recorded the four songs which were released as the first two 78s under his own name: "Little Boy Blue" / "Take A Little Walk With Me" (Bluebird B-8820) and "I'm Gonna Train My Baby" / "Black Spider Blues" (Bluebird B-8877). These songs remained in his repertoire throughout his career.
Also in 1941, Lockwood and Williamson began their influential performances on the daily King Biscuit Time radio program on KFFA in Helena. For several years in the early 1940s the pair played together in and around Helena and continued to be associated with King Biscuit Time. From about 1944 to 1949 Lockwood played in West Memphis, Arkansas, St. Louis, Chicago and Memphis.[3] Lockwood was an early influence on B. B. King and played with King's band during his early career in Memphis.
In 1950, Lockwood settled in Chicago. A 1951 78 featured "I'm Gonna Dig Myself A Hole" / "Dust My Broom" (Mercury 8260) and a 1954 release contained "Aw Aw (Baby)" / "Sweet Woman (From Maine)" (J.O.B 1107.) In 1954 he replaced Louis Myers as guitarist in Little Walter's band, and played on Walter's #1 hit "My Babe" in 1955. He left Little Walter's band shortly thereafter, and in the late '50s recorded several sessions with Sonny Boy Williamson for Chess Records, sessions which also included Willie Dixon and Otis Spann. Lockwood also performed and/or recorded with Sunnyland Slim, Eddie Boyd, Roosevelt Sykes, J.B. Lenoir, and Muddy Waters among others.
Later career
In 1960, Lockwood moved with Sonny Boy to Cleveland, Ohio where he resided for the second half of his life. In the early 1960s, as "Bob Lockwood, Jr., and Combo," he had a regular gig at Loving's Grill, located at 8426 Hough Avenue. From the 1970s through the 2000s, he performed regularly with his band the "All Stars" at numerous local venues, including Pirate's Cove, The Euclid Tavern, Peabody's, Wilbert's and for the last years of his career at Cleveland's Fat Fish Blue (corner of Prospect and Ontario in downtown) every Wednesday night at 8 p.m. where he played his regular three sets two days before the illness which led to his passing. The "All Stars" continued the Wednesday residency for two years after his death.
His studio albums as a band leader include: Steady Rollin' Man (rec. 1970-Delmark); Contrasts (rec.1973-Trix); ...Does 12 (rec. 1975-Trix); Hangin' On (rec. 1979-Rounder) with Johnny Shines; Mister Blues Is Back To Stay (rec. 1980-Rounder) with Johnny Shines; What's The Score (rec. 1990-Lockwood) and I Got To Find Me A Woman (rec. 1996-Verve). A 1972 45 included "Selfish Ways" / "Down Home Cookin'" (Big Star BB 020).
Solo guitar and vocal albums include: Plays Robert and Robert (rec. 1982-Evidence); Delta Crossroads (rec. 2000-Telarc) and The Legend Live (rec. 2003-M.C.). A duet session with pianist Otis Spann in 1960 resulted in Otis Spann Is the Blues and Walking the Blues on Candid.
At the age of sixty, in 1975, he discovered the 12-string guitar and preferentially played it almost exclusively for the latter third of his life. His most famous 12-string was a blue-colored one custom designed and made by the Japanese luthiers Moony Omote and Age Sumi. This instrument was acquired by the Rock and Roll Hall of Fame Museum in February 2013 and is displayed there.
A live recording with David "Honeyboy" Edwards, Joseph "Pinetop" Perkins and Henry "Mule" Townsend in Dallas in October 2004—Last of the Great Mississippi Delta Bluesmen: Live In Dallas—was awarded a Grammy for Best Traditional Blues Album. For Townsend and Lockwood it was their first Grammy win. Earlier in 2004 in Dallas he appeared at Eric Clapton's first Crossroads Guitar Festival.[4] His last known recording session was carried out at Ante Up Audio[5] studio in Cleveland; where he performed on the album The Way Things Go, with longtime collaborator Mark "Cleveland Fats" Hahn for Honeybee Entertainment.
Lockwood died at the age of 91 in Cleveland, having earlier suffered a cerebral aneurysm and a stroke. He is buried at Riverside Cemetery in Cleveland.
Biography
Early life
Robert Lockwood was born in Turkey Scratch, Arkansas, a hamlet west of Helena, Arkansas. He started playing the organ in his father's church at the age of 8. The famous bluesman Robert Johnson lived with Lockwood's mother for 10 years off and on after his parents' divorce. Lockwood learned from Johnson not only how to play guitar, but timing and stage presence as well. Because of his personal and professional association with the music of Robert Johnson, he became known as "Robert Junior" Lockwood, a nickname by which he was known among fellow musicians for the rest of his life, although he later frequently professed his dislike for this appellation.
Early career
By age 15, Lockwood was playing professionally at parties in the Helena area. He often played with his quasi-stepfather figure Robert Johnson as well as with Sonny Boy Williamson II and Johnny Shines. Lockwood played at fish fries, juke joints, and street corners throughout the Mississippi Delta in the 1930s. On one occasion Robert Johnson played on one side of the Sunflower River, while Lockwood played on the other, with the people of Clarksdale, Mississippi milling about the bridge, supposedly unable to tell which guitarist was the real Robert Johnson.
Lockwood played with Sonny Boy Williamson II in the Clarksdale, Mississippi area in 1938 and 1939. He also played with Howlin' Wolf and others in Memphis, Tennessee around 1938. From 1939 to 1940 he split his time playing in St. Louis, Missouri, Chicago, Illinois and Helena.[3]
On July 1, 1941, Lockwood made his first recordings with Doctor Clayton for the Bluebird label in Aurora, Illinois and on July 30 he recorded the four songs which were released as the first two 78s under his own name: "Little Boy Blue" / "Take A Little Walk With Me" (Bluebird B-8820) and "I'm Gonna Train My Baby" / "Black Spider Blues" (Bluebird B-8877). These songs remained in his repertoire throughout his career.
Also in 1941, Lockwood and Williamson began their influential performances on the daily King Biscuit Time radio program on KFFA in Helena. For several years in the early 1940s the pair played together in and around Helena and continued to be associated with King Biscuit Time. From about 1944 to 1949 Lockwood played in West Memphis, Arkansas, St. Louis, Chicago and Memphis.[3] Lockwood was an early influence on B. B. King and played with King's band during his early career in Memphis.
In 1950, Lockwood settled in Chicago. A 1951 78 featured "I'm Gonna Dig Myself A Hole" / "Dust My Broom" (Mercury 8260) and a 1954 release contained "Aw Aw (Baby)" / "Sweet Woman (From Maine)" (J.O.B 1107.) In 1954 he replaced Louis Myers as guitarist in Little Walter's band, and played on Walter's #1 hit "My Babe" in 1955. He left Little Walter's band shortly thereafter, and in the late '50s recorded several sessions with Sonny Boy Williamson for Chess Records, sessions which also included Willie Dixon and Otis Spann. Lockwood also performed and/or recorded with Sunnyland Slim, Eddie Boyd, Roosevelt Sykes, J.B. Lenoir, and Muddy Waters among others.
Later career
In 1960, Lockwood moved with Sonny Boy to Cleveland, Ohio where he resided for the second half of his life. In the early 1960s, as "Bob Lockwood, Jr., and Combo," he had a regular gig at Loving's Grill, located at 8426 Hough Avenue. From the 1970s through the 2000s, he performed regularly with his band the "All Stars" at numerous local venues, including Pirate's Cove, The Euclid Tavern, Peabody's, Wilbert's and for the last years of his career at Cleveland's Fat Fish Blue (corner of Prospect and Ontario in downtown) every Wednesday night at 8 p.m. where he played his regular three sets two days before the illness which led to his passing. The "All Stars" continued the Wednesday residency for two years after his death.
His studio albums as a band leader include: Steady Rollin' Man (rec. 1970-Delmark); Contrasts (rec.1973-Trix); ...Does 12 (rec. 1975-Trix); Hangin' On (rec. 1979-Rounder) with Johnny Shines; Mister Blues Is Back To Stay (rec. 1980-Rounder) with Johnny Shines; What's The Score (rec. 1990-Lockwood) and I Got To Find Me A Woman (rec. 1996-Verve). A 1972 45 included "Selfish Ways" / "Down Home Cookin'" (Big Star BB 020).
Solo guitar and vocal albums include: Plays Robert and Robert (rec. 1982-Evidence); Delta Crossroads (rec. 2000-Telarc) and The Legend Live (rec. 2003-M.C.). A duet session with pianist Otis Spann in 1960 resulted in Otis Spann Is the Blues and Walking the Blues on Candid.
At the age of sixty, in 1975, he discovered the 12-string guitar and preferentially played it almost exclusively for the latter third of his life. His most famous 12-string was a blue-colored one custom designed and made by the Japanese luthiers Moony Omote and Age Sumi. This instrument was acquired by the Rock and Roll Hall of Fame Museum in February 2013 and is displayed there.
A live recording with David "Honeyboy" Edwards, Joseph "Pinetop" Perkins and Henry "Mule" Townsend in Dallas in October 2004—Last of the Great Mississippi Delta Bluesmen: Live In Dallas—was awarded a Grammy for Best Traditional Blues Album. For Townsend and Lockwood it was their first Grammy win. Earlier in 2004 in Dallas he appeared at Eric Clapton's first Crossroads Guitar Festival.[4] His last known recording session was carried out at Ante Up Audio[5] studio in Cleveland; where he performed on the album The Way Things Go, with longtime collaborator Mark "Cleveland Fats" Hahn for Honeybee Entertainment.
Lockwood died at the age of 91 in Cleveland, having earlier suffered a cerebral aneurysm and a stroke. He is buried at Riverside Cemetery in Cleveland.
https://www.youtube.com/watch?v=x_7UkcMVzag
Rufus Thomas *27.03.1917
Rufus Thomas (* 26. März 1917 in Cayce, Mississippi; † 15. Dezember 2001 in Memphis, Tennessee) war ein US-amerikanischer Blues- und Soul-Sänger, Radiomoderator, Entertainer und Talentscout. Er ist der Vater der Soul-Sängerin Carla Thomas und des Stax-Pianisten Marvell Thomas.
Rufus Thomas begann seine Karriere in den 1930ern bei den Rabbit Foot Minstrels. In den 1940ern arbeitete er als Disc Jockey einer Radioshow bei WDIA in Memphis, einen der ersten schwarzen Radiostationen. Auf der Beale Street in Memphis betrieb er eine Talentshow, aus der unter anderem B. B. King, Bobby Blue Bland und Ike Turner hervorgingen.
1953 hatte Thomas mit Bear Cat seinen ersten Hit, der als Antwort auf Big Mama Thorntons Hit Hound Dog zu verstehen ist. Die Aufnahme war der erste nationale Hit für Sun Records.[1] 1959 nahm er mit seiner Tochter Carla Cause I Love You auf. Vater und Tochter wurden damit die ersten Stars des Stax-Labels. Seine Tochter wurde der größere Star bei Stax und übertraf ihren Vater, der aber regelmäßig Platten veröffentlichte. Sein größter Hit war Walking The Dog, das später auch von den Rolling Stones und Aerosmith aufgenommen wurde und das zum Live-Programm von Grateful Dead und John Cale gehörte. Seine erfolgreichste Periode waren die frühen 1970er Jahre, in denen er mit Do the Funky Chicken, (Do The) Push and Pull, und The Breakdown Hitnummern in den R&B-Charts hatte. Der Konkurs von Stax-Records Mitte der 1970er Jahre beendete seine Karriere, ebenso wie die vieler anderer Künstler des Labels.
1992 wurde Rufus Thomas in die Rock and Roll Hall of Fame, 2001 in die Blues Hall of Fame aufgenommen. Er starb 2001 in Memphis an Herzversagen.
http://de.wikipedia.org/wiki/Rufus_Thomas
WATTSTAX - 1972 - Rufus Thomas - Breakdown
https://www.youtube.com/watch?v=QSxyU-AbF6M
Rufus Thomas, Jr. (March 26, 1917 – December 15, 2001) was an American rhythm and blues, funk and soul singer and comedian from Memphis, Tennessee, who recorded on Sun Records in the 1950s and on Stax Records in the 1960s and 1970s. He was the father of soul singer Carla Thomas and keyboard player Marvell Thomas. A third child, Vaneese, a former French teacher, has a recording studio in upstate New York and sings for television commercials.
Early life and education
Born a sharecropper's son in the rural community of Cayce, Mississippi, Thomas moved to Memphis with his family when he was two years old. His mother was “a church woman.” Thomas made his artistic debut at the age of six playing a frog in a school theatrical production. Much later in life, he would impersonate all kinds of animals: screeching cats, funky chickens and penguins, and mournful dogs. By age 10, he was a tap dancer, performing in amateur productions at Memphis' Booker T. Washington High School.
Thomas attended one semester at Tennessee A&I University, but due to economic constraints left to pursue a career as a professional entertainer, joining up in 1936 with the Rabbit Foot Minstrels, an all-black revue that toured the South. He then worked for 22 years at a textile plant and did not leave that job until about 1963, around the time of his “Dog” hits. He started at WDIA in 1951 (despite biographies placing his start a year earlier). At WDIA, he hosted an afternoon show called Hoot and Holler. WDIA, featuring an African-American format, was known as "the mother station of the Negroes" and became an important source of blues and R&B music for a generation, its audience consisting of white as well as black listeners. Thomas's mentor was Nat D. Williams, a pioneer black deejay at WDIA as well as Thomas's high school history teacher, columnist for black newspapers, and host of an amateur show at Memphis's Palace Theater. For years Thomas himself took hosting duties for the amateur show and, in that capacity, is credited with the discovery of B. B. King.[citation needed]
Professional singing career
He made his professional singing debut at the Elks Club on Beale Street in Memphis, filling in for another singer at the last minute. He made his first 78 rpm record in 1943 for the Star Talent label in Texas, "I'll Be a Good Boy", backed with "I'm So Worried."
He also became a long-standing on-air personality with WDIA, one of the first radio stations in the US to feature an all-black staff and programming geared toward blacks. His celebrity was such that in 1953 he recorded an "answer record" to Big Mama Thornton's hit, "Hound Dog" called "Bear Cat" released on Sun Records. Although the song was the label's first hit, a copyright-infringement suit ensued and nearly bankrupted Sam Phillips' record label. Later, Rufus was one of the African-American artists released by Sam Phillips as he oriented his label more toward white audiences and signed Elvis Presley.[1][2]
The prime of Rufus' recording career came in the 1960s and early 1970s, when he was on the roster of Memphis label, Stax, having one of the first hit sides at the historic soul and blues label, "Walking the Dog" (number 5 R&B, number 10 Pop), in 1963. Rufus is thus the first, and still the only, father to debut in the Hot 100's top 10 after his daughter debuted there. Rufus' daughter Carla also reached number 10, with "Gee Whiz (Look At His Eyes)" on 27 March 1961. At Stax, Rufus was often backed by Booker T. and the MG's or the Bar-Kays.
The early 1970s brought him three major hits, including "(Do The) Push and Pull" in 1970, his only number one R&B hit (number 25 Pop). Earlier that year, "Do the Funky Chicken" had reached number 5 R&B and number 28 Pop. A third dance-oriented release in 1971, "The Breakdown" climbed to number 2 R&B and number 31 Pop. He had several more less successful hits until Stax closed its doors in the mid-'70s.
Late in his career, for years, Rufus performed at the Porretta Soul Festival in Porretta Terme, Italy. The outdoor amphitheater in which he performed has been renamed "Rufus Thomas Park." Highlights of his career included calming an unruly crowd at the Wattstax Festival in 1972 and performing with James Brown's band.
He played an important part in the Stax reunion of 1988, and had a small role in the 1989 Jim Jarmusch film, Mystery Train. Thomas released an album of straight-ahead blues, That Woman is Poison!, with Alligator Records in 1990. In 1996, Rufus and William Bell headlined at the Olympics in Atlanta. In 1997, Rufus released an album, Rufus Live!, on Ecko Records.
Thomas was inducted into the Blues Hall of Fame in 2001. He was interviewed by the public radio program American Routes (aired in February 2002). His last appearance was in the D.A. Pennebaker-directed documentary Only the Strong Survive (2003), in which he co-starred with his daughter Carla.
Death
He died of heart failure in 2001, at the age of 84, at St. Francis Hospital in Memphis. A street is named in his honor, just off Beale Street in Memphis.[3] He is buried next to his wife at the New Park Cemetery in Memphis.
Early life and education
Born a sharecropper's son in the rural community of Cayce, Mississippi, Thomas moved to Memphis with his family when he was two years old. His mother was “a church woman.” Thomas made his artistic debut at the age of six playing a frog in a school theatrical production. Much later in life, he would impersonate all kinds of animals: screeching cats, funky chickens and penguins, and mournful dogs. By age 10, he was a tap dancer, performing in amateur productions at Memphis' Booker T. Washington High School.
Thomas attended one semester at Tennessee A&I University, but due to economic constraints left to pursue a career as a professional entertainer, joining up in 1936 with the Rabbit Foot Minstrels, an all-black revue that toured the South. He then worked for 22 years at a textile plant and did not leave that job until about 1963, around the time of his “Dog” hits. He started at WDIA in 1951 (despite biographies placing his start a year earlier). At WDIA, he hosted an afternoon show called Hoot and Holler. WDIA, featuring an African-American format, was known as "the mother station of the Negroes" and became an important source of blues and R&B music for a generation, its audience consisting of white as well as black listeners. Thomas's mentor was Nat D. Williams, a pioneer black deejay at WDIA as well as Thomas's high school history teacher, columnist for black newspapers, and host of an amateur show at Memphis's Palace Theater. For years Thomas himself took hosting duties for the amateur show and, in that capacity, is credited with the discovery of B. B. King.[citation needed]
Professional singing career
He made his professional singing debut at the Elks Club on Beale Street in Memphis, filling in for another singer at the last minute. He made his first 78 rpm record in 1943 for the Star Talent label in Texas, "I'll Be a Good Boy", backed with "I'm So Worried."
He also became a long-standing on-air personality with WDIA, one of the first radio stations in the US to feature an all-black staff and programming geared toward blacks. His celebrity was such that in 1953 he recorded an "answer record" to Big Mama Thornton's hit, "Hound Dog" called "Bear Cat" released on Sun Records. Although the song was the label's first hit, a copyright-infringement suit ensued and nearly bankrupted Sam Phillips' record label. Later, Rufus was one of the African-American artists released by Sam Phillips as he oriented his label more toward white audiences and signed Elvis Presley.[1][2]
The prime of Rufus' recording career came in the 1960s and early 1970s, when he was on the roster of Memphis label, Stax, having one of the first hit sides at the historic soul and blues label, "Walking the Dog" (number 5 R&B, number 10 Pop), in 1963. Rufus is thus the first, and still the only, father to debut in the Hot 100's top 10 after his daughter debuted there. Rufus' daughter Carla also reached number 10, with "Gee Whiz (Look At His Eyes)" on 27 March 1961. At Stax, Rufus was often backed by Booker T. and the MG's or the Bar-Kays.
The early 1970s brought him three major hits, including "(Do The) Push and Pull" in 1970, his only number one R&B hit (number 25 Pop). Earlier that year, "Do the Funky Chicken" had reached number 5 R&B and number 28 Pop. A third dance-oriented release in 1971, "The Breakdown" climbed to number 2 R&B and number 31 Pop. He had several more less successful hits until Stax closed its doors in the mid-'70s.
Late in his career, for years, Rufus performed at the Porretta Soul Festival in Porretta Terme, Italy. The outdoor amphitheater in which he performed has been renamed "Rufus Thomas Park." Highlights of his career included calming an unruly crowd at the Wattstax Festival in 1972 and performing with James Brown's band.
He played an important part in the Stax reunion of 1988, and had a small role in the 1989 Jim Jarmusch film, Mystery Train. Thomas released an album of straight-ahead blues, That Woman is Poison!, with Alligator Records in 1990. In 1996, Rufus and William Bell headlined at the Olympics in Atlanta. In 1997, Rufus released an album, Rufus Live!, on Ecko Records.
Thomas was inducted into the Blues Hall of Fame in 2001. He was interviewed by the public radio program American Routes (aired in February 2002). His last appearance was in the D.A. Pennebaker-directed documentary Only the Strong Survive (2003), in which he co-starred with his daughter Carla.
Death
He died of heart failure in 2001, at the age of 84, at St. Francis Hospital in Memphis. A street is named in his honor, just off Beale Street in Memphis.[3] He is buried next to his wife at the New Park Cemetery in Memphis.
https://www.youtube.com/watch?v=QSxyU-AbF6M
Sarah Vaughan *27.03.1924
Sarah Lois Vaughan (* 27. März 1924 in Newark, New Jersey; † 3. April 1990 in Los Angeles, Kalifornien) war eine US-amerikanische Jazz-Sängerin und Pianistin. Sie gilt neben Billie Holiday und Ella Fitzgerald als eine der bedeutendsten Vokalistinnen des Jazz.Kindheit und Jugend
Sarah Vaughans Vater, Asbury „Jake“ Vaughan, war Zimmermann und ein Amateurgitarrist. Ihre Mutter Ada war Wäscherin und sang im Kirchenchor. Jake und Ada Vaughan waren während des Ersten Weltkrieges von Virginia nach Newark gezogen. Sarah war ihr einziges Kind. Die Vaughans lebten in der Brunswick Street, wo Sarah ihre frühe Kindheit verbrachte. Jake Vaughan war tief religiös und die Familie in der New Mount Zion Baptist Church aktiv, die sich in 186 Thomas Street befand. Sarah hatte schon mit sieben Jahren Klavierstunden, sang im Kirchenchor und spielte gelegentlich bei Proben Klavier und Orgel.[Kunzler 1]
Vaughan entwickelte früh eine Vorliebe für die populäre Musik auf Schallplatten und am Radio. In den 1930er Jahren hatte Newark eine lebendige Livemusik-Szene und Vaughan sah regelmäßig lokale und tourende Bands, die in der Stadt auftraten. Obwohl das wegen ihres Alters illegal war, begann sie in Newarks Nachtclubs als Pianistin und gelegentlich auch als Sängerin aufzutreten, wie im Piccadilly Club und am Newarker Flughafen bei der USO.
Das Ende
Obwohl sich im Laufe des Jahres 1989 Sarah Vaughans Gesundheitszustand verschlechterte, trat sie weiterhin auf. Vaughan sagte mehrere Gastspiele in Europa ab, die für 1989 geplant waren. Trotz ihrer Arthritis in der Hand absolvierte sie noch eine Reihe von Konzerten in Japan. Während eines Gastspiels in New Yorks Blue Note Jazzclub erhielt sie die Diagnose Lungenkrebs (sie rauchte zwei Päckchen Zigaretten am Tag); dies waren ihre letzten öffentlichen Auftritte.
Vaughan kehrte in ihr Haus nach Kalifornien zurück, begann eine Chemotherapie und verbrachte die letzten Monate abwechselnd im Krankenhaus oder zu Hause. Als ihr Ende absehbar war, wollte Vaughan zu Hause bleiben, wo sie dann am Abend des 3. April 1990 verstarb, als sie gerade einen TV-Film zusammen mit ihrer Tochter sah.
Vaughans Leichnam wurde in der First Mount Zion Baptist Church in Newark aufgebahrt; nach der Zeremonie brachte ein von Pferden gezogener Leichenwagen den Sarg zum Glendale Cemetery in Bloomfield (New Jersey).[findagrave 1]
http://de.wikipedia.org/wiki/Sarah_Vaughan
INNER CITY BLUES- sarah Vaughan
https://www.youtube.com/watch?v=R0hQ2vuUiFc
Sarah Lois Vaughan (March 27, 1924 – April 3, 1990) was an American jazz singer, described by music critic Scott Yanow as having "one of the most wondrous voices of the 20th century."[1]
Nicknamed "Sassy", "The Divine One" and "Sailor" (for her salty speech),[2] Sarah Vaughan was a Grammy Award winner.[3] The National Endowment for the Arts bestowed upon her its "highest honor in jazz", the NEA Jazz Masters Award, in 1989.[4]
Early life
Sarah Vaughan's father, Asbury "Jake" Vaughan, was a carpenter by trade and played guitar and piano. Her mother, Ada Vaughan, was a laundress and sang in the church choir.[5] Jake and Ada Vaughan had migrated to Newark from Virginia during the First World War. Sarah was their only biological child, although in the 1960s they adopted Donna, the child of a woman who traveled on the road with Sarah Vaughan.[6]
The Vaughans lived in a house on Brunswick Street, in Newark, New Jersey, for Sarah's entire childhood.[6] Jake Vaughan was deeply religious and the family was very active in the New Mount Zion Baptist Church on 186 Thomas Street. Sarah began piano lessons at the age of seven, sang in the church choir and occasionally played piano for rehearsals and services.
Vaughan developed an early love for popular music on records and the radio. In the 1930s, Newark had a very active live music scene and Vaughan frequently saw local and touring bands that played in the city at venues like the Montgomery Street Skating Rink.[6] By her mid-teens, Vaughan began venturing (illegally) into Newark's night clubs and performing as a pianist and, occasionally, singer, most notably at the Piccadilly Club and the Newark Airport USO.
Vaughan initially attended Newark's East Side High School, later transferring to Newark Arts High School,[6] which had opened in 1931 as the United States' first arts "magnet" high school. However, her nocturnal adventures as a performer began to overwhelm her academic pursuits and Vaughan dropped out of high school during her junior year to concentrate more fully on music. Around this time, Vaughan and her friends also began venturing across the Hudson River into New York City to hear big bands at the Apollo Theater in Harlem.
Early career: 1942–1943
Biographies of Vaughan frequently stated that she was immediately thrust into stardom after a winning amateur night performance at Harlem's Zeus Theater. In fact, the story that biographer Renee relates seems to be a bit more complex. Vaughan was frequently accompanied by a friend, Doris Robinson, on her trips into New York City. Some time in the fall of 1942 (when Sarah was 18 years old), Vaughan suggested that Robinson enter the Apollo Theater Amateur Night contest. Vaughan played piano accompaniment for Robinson, who won second prize. Vaughan later decided to go back and compete herself as a singer. Vaughan sang "Body and Soul" and won, although the exact date of her victorious Apollo performance is uncertain. The prize, as Vaughan recalled later to Marian McPartland, was $10 and the promise of a week's engagement at the Apollo. After a considerable delay, Vaughan was contacted by the Apollo in the spring of 1943 to open for Ella Fitzgerald.
Some time during her week of performances at the Apollo, Vaughan was introduced to bandleader and pianist Earl "Fatha" Hines, although the exact details of that introduction are disputed. Billy Eckstine, Hines' singer at the time, has been credited by Vaughan and others with hearing her at the Apollo and recommending her to Hines. Hines also claimed later to have discovered her himself and offered her a job on the spot. Regardless, after a brief tryout at the Apollo, Hines officially replaced his current male singer with Vaughan on April 4, 1943.
Nicknamed "Sassy", "The Divine One" and "Sailor" (for her salty speech),[2] Sarah Vaughan was a Grammy Award winner.[3] The National Endowment for the Arts bestowed upon her its "highest honor in jazz", the NEA Jazz Masters Award, in 1989.[4]
Early life
Sarah Vaughan's father, Asbury "Jake" Vaughan, was a carpenter by trade and played guitar and piano. Her mother, Ada Vaughan, was a laundress and sang in the church choir.[5] Jake and Ada Vaughan had migrated to Newark from Virginia during the First World War. Sarah was their only biological child, although in the 1960s they adopted Donna, the child of a woman who traveled on the road with Sarah Vaughan.[6]
The Vaughans lived in a house on Brunswick Street, in Newark, New Jersey, for Sarah's entire childhood.[6] Jake Vaughan was deeply religious and the family was very active in the New Mount Zion Baptist Church on 186 Thomas Street. Sarah began piano lessons at the age of seven, sang in the church choir and occasionally played piano for rehearsals and services.
Vaughan developed an early love for popular music on records and the radio. In the 1930s, Newark had a very active live music scene and Vaughan frequently saw local and touring bands that played in the city at venues like the Montgomery Street Skating Rink.[6] By her mid-teens, Vaughan began venturing (illegally) into Newark's night clubs and performing as a pianist and, occasionally, singer, most notably at the Piccadilly Club and the Newark Airport USO.
Vaughan initially attended Newark's East Side High School, later transferring to Newark Arts High School,[6] which had opened in 1931 as the United States' first arts "magnet" high school. However, her nocturnal adventures as a performer began to overwhelm her academic pursuits and Vaughan dropped out of high school during her junior year to concentrate more fully on music. Around this time, Vaughan and her friends also began venturing across the Hudson River into New York City to hear big bands at the Apollo Theater in Harlem.
Early career: 1942–1943
Biographies of Vaughan frequently stated that she was immediately thrust into stardom after a winning amateur night performance at Harlem's Zeus Theater. In fact, the story that biographer Renee relates seems to be a bit more complex. Vaughan was frequently accompanied by a friend, Doris Robinson, on her trips into New York City. Some time in the fall of 1942 (when Sarah was 18 years old), Vaughan suggested that Robinson enter the Apollo Theater Amateur Night contest. Vaughan played piano accompaniment for Robinson, who won second prize. Vaughan later decided to go back and compete herself as a singer. Vaughan sang "Body and Soul" and won, although the exact date of her victorious Apollo performance is uncertain. The prize, as Vaughan recalled later to Marian McPartland, was $10 and the promise of a week's engagement at the Apollo. After a considerable delay, Vaughan was contacted by the Apollo in the spring of 1943 to open for Ella Fitzgerald.
Some time during her week of performances at the Apollo, Vaughan was introduced to bandleader and pianist Earl "Fatha" Hines, although the exact details of that introduction are disputed. Billy Eckstine, Hines' singer at the time, has been credited by Vaughan and others with hearing her at the Apollo and recommending her to Hines. Hines also claimed later to have discovered her himself and offered her a job on the spot. Regardless, after a brief tryout at the Apollo, Hines officially replaced his current male singer with Vaughan on April 4, 1943.
https://www.youtube.com/watch?v=R0hQ2vuUiFc
Terry VunCannon *27.03.
Lawyers Guns & Money is a North Carolina band with a unique sound that is clean and balanced. They perform Blues, R&B, Rock & Roll and their own originals, showcasing guitar, lap steel, and strong vocals. With a new single "I'm Walkin" just released, LGM has already had one CD, "Make Up Another Lie", and has had two singles to reach #1 on the Cashbox Magazine Roadhouse Blues Charts. Lawyers Guns & Money are past winners of the Piedmont Blues Preservation Society "Blues Challenge", & the Cape Fear Blues Challenge as #1 in the Band contest. They have competed two times in the International Blues Challenge in Memphis TN.
The band has a healthy dose of Instrumentals mixed in their live show to go along with its vocal tunes. With material ranging from BB King to Jeff Beck, to their own original tunes, they have something for everyone. Lawyers Guns & Money are Steven Headen/Bass & Vocals, Mike Thomas/Drums & Vocals, and Terry VunCannon/Guitar & Lap Steel.
For Maximum Rhythm & Blues...it's Lawyers Guns & Money.
Lansing NC Blues Festival-Lawyers Guns & Money 2/18/16
Stefan Tillmann *27.03.
Vocals, Bluesharp, Perkussion bei der Blue Brand Blues Band http://www.blue-brand.com/
Stefan ist die "Stimme" der Band. Zusammen mit seiner unverwechselbaren Gestik singt er die Stücke mit viel Ausdruck, Engagement und "aus dem Bauch heraus".
Die genauen Umstände, wie Stefans musikalischer Werdegang als Sänger begann, lassen sich nicht mehr zweifelsfrei klären.
(Nach Aussage von Stefan begann alles in einer Kneipe in Eslohe)
Um 1987 fanden sich in Eslohe einige Leute zu einer Band zusammen, die erst einmal ohne Konzept und ohne Namen einfach nur "rocken" wollten.
Nach zwei Jahren stand ein Programm, und die Band nannte sich "Southern Comford".
1989 - der erste öffentliche Auftritt in Eslohe im Vorprogramm von "Hob Goblin".
1990 - Vorprogramm in Meschede von "Roger Chapman & the Shortlist".
Um 1992 löste sich die Band auf.
Neben Familie und Beruf war nur noch zeit für gelegentliche Mitarbeit in verschiedenen Musikprojekten.
Im Jahr 2000 kam der Zeitpunkt sich mehr zu engagieren.
Stefan und Rainer gründeten "Blue-Brand"
Harp: Hohner
Eddie Taylor Jr. *27.03.1972
Eddie Taylor Jr. wurde zum Bluesman geboren, und wenn man der Genetik trauen kann, dann ist er mit äusserst vielversprechenden Anlagen gesegnet. Sein Vater war Eddie Taylor (1923-1985), ein grossartiger Gitarrist der Chicago-Tradition und massgeblicher Mitgestalter der Songs von Jimmy Reed, seine Mutter Vera Taylor, eine wenig bekannte Sängerin. Allerdings ist es das Schicksal von Eddie Taylor Senior, selten als eigenständiger Musiker wahrgenommen zu werden. Obwohl er mit Big Walter Horton und John Lee Hooker spielte, bleibt er vornehmlich als Begleitung Jimmy Reeds in Erinnerung, obwohl der etwas ältere Taylor den Freund aus Jugendtagen Reed in seine Band aufnahm, und ihm auch riet, sich auf Gesang und Harmonika zu konzentrieren und die Gitarrenarbeit ihm überlassen. Eddie Taylor ermöglichte im Hintergrund als Bandleader und Arrangeur den Erfolg von Jimmy Reed als Frontman und Liedschreiber.
Damit ein solches Schicksal seinen jüngsten Sohn Eddie Taylor Jr. (* 27.3.1972) möglichst nicht ereilt, hat dieser bereits zwei CDs unter seinem Namen veröffentlicht, das Erstlingswerk Mind Game von 2006 und die letztjährige Veröffentlichung I Got to Make This Money, Baby (aufgenommen im Herbst 2007), die hier nun besprochen wird. Auf beiden CDs gibt es einen Anteil von selbst geschriebenen Liedern und Coverversionen von in der Regel weniger bekannten Titeln. Wenn auch Eddie Jr. auch nicht der einzige der Familie ist, der sich als Musiker versucht (Schlagzeuger Tim Taylor spielte in den 1980ern mit dem Vater, Demetria hat auf dieser CD einen Gastauftritt), so setzt er doch ein deutliches Zeichen als Verbindung zu seinem Vater: Er spielt die ES-355 seines Vaters, und er spielt sie so, dass sein Vater stolz sein kann. Durch die Wahl des identischen Instruments macht sich Eddie Jr. als legitimer Erbe hörbar.
Allmählich wird auch sein sein Name bekannter, so trat Taylor im April 2008 in Bern mit Lurrie Bell anlässlich des «Jazz Festival» auf und auch für den Soundtrack von Cadillac Records ist seine Gitarre zu hören. Ohne Zweifel ist der junge Eddie Taylor mit seinen Kontakten und der intimen Kenntnis der Bluesszene eine kommende Grösse im Blues-Betrieb der «Windy City», aber auch der Blueswelt allgemein.
Eddie Taylor Jr. hat den Blues à la Chicago so sehr verinnerlicht, dass er aus ihm herauszuströmen scheint. Ähnlich wie Nick Moss den harten Chicago-Blues vollkommen authentisch spielt, klingt bei Taylor die feinere, den Ursprüngen im Country Blues noch stärker verpflichtete Variante an. Seine Songs leben von Stimme, Harmonika und Gitarre, die auf einer soliden Grundlage von Bass (Greg McDaniel) und Schlagzeug (Tim Taylor) stehen.
So spielt er beim Titelsong zu Eröffnung der CD ein erstes Solo mit perfekter Slide-Gitarre, aber verhalten, dem Song dienlich und nicht als kreischender Effekt. Ansonsten ist dies ein zeitloser, wirklich aufmerksam gespielter Shuffle. Die Stimme von Taylor ist eher hoch, also weit entfernt von einem «Growl» oder einer kratzigen «Bluesröhre». Und es ist gut, dass er nicht eine solche Stimme hat. Die Musik von Eddie Taylor Jr. ist ein Gesamtkunstwerk, dein Teameffort, bei dem alle Mitglieder der Band harmonieren und bei der es keinen Leithengst zu geben scheint.
Interessant ist auch die Hommage an seinen Vater Salute to Eddie Taylor, in der er nüchtern feststellt «If you mention Eddie Taylor, his name don't mean a thing». Dieser Feststellung aber hält er entgegen «But he influenced everybody, from Magic Sam to Freddie King». Dieser Song erinnert überdeutlich an den Sound seines Vaters, also an denjenigen Jimmy Reeds: einfach verstärkte Gitarre ohne Verzerrung, transparent gespielter Shuffle und der Einsatz der Harp an den richtigen Stellen. Er lobt ihm Rest des Lieds den Charakter und die Hilfsbereitschaft seines Vaters, beklagt aber auch, dass dieser viel arbeitete.
b. Edward Taylor, c. 1971, Chicago, Illinois, USA. His father, Eddie Taylor, played blues guitar and sang mainly in Chicago and was for some years a valued sideman in Jimmy Reed’s band. Taylor Jnr. also took up guitar, teaching himself to play on an old instrument discarded by his father. Playing and singing contemporary Chicago blues, Taylor gradually developed his own name and reputation, building a repertoire that owes much to the traditions of the place and genre. These older songs include Robert Johnson’s ‘Stop Breakin’ Down’, Muddy Waters’ ‘Clouds In My Heart’, Syl Johnson’s ‘Sock It To Me’, Ricky Allen’s ‘Cut You Loose’, Magic Sam’s ‘Easy Baby’ and Taylor Snr.’s ‘I Feel So Bad’. He also writes original material, with notable tracks including ‘Red Hot Mama’, ‘Groovin’ With Eddie’, ‘Worried About My Baby’, ‘Can’t Take It No More’ and ‘Trying To Play A Mind Game’. Taylor’s older brothers, Tim and Larry, both play drums and three sisters, Edna, Brenda and Demetria, all sing as did their late mother, Vera Taylor. All five siblings appear with Taylor on his 2006 release Mind Game. In 2002, his youngest brother, Milton, was supportive in a markedly different way, donating a kidney when Taylor suffered serious illness.
Among other musicians who have worked in Taylor’s band are blues harpist Martin Lane and guitarist Johnny B. Moore. In addition to leading his own band, Taylor has also played in support of artists such as Moore, Little Arthur Duncan, Easy Baby, Willie Kent and Hubert Sumlin. Following his kidney transplant, Taylor resumed his very busy live schedule.
"Hideaway" Eddie Taylor Jr. @ Buddy Guy's Legends,Chicago 6-4-2015
R.I.P.
Mighty Joe Young *27.03.1999
Mighty Joe Young (* 23. September 1927 in Shreveport, Louisiana; † 25. März 1999 in Chicago, Illinois) war ein US-amerikanischer Blues-Gitarrist, Sänger und Songschreiber.
Young, geboren in Louisiana, wuchs in Milwaukee auf. Ab Mitte der 1950er spielte er in Chicago u. a. bei „Joe Little & his Heart Breakers“, Billy Boy Arnold, Jimmy Rogers und Otis Rush.
1961 erschien seine erste Soloaufnahme Why Baby. Weitere Singles während der 1960er waren u. a. I Want a Love, Voo Doo Dust, Sweet Kisses, Henpecked und Guitar Star. Youngs Debütalbum als Solist, Blues With a Touch of Soul, erschien 1971.
Ende der 1980er ließ Young einen eingeklemmten Nerv im Halswirbelbereich operieren. Komplikationen beeinträchtigten seine Fähigkeit, Gitarre zu spielen. Dennoch veröffentlichte er 1997 das Album Mighty Man, an dem er über die Jahre, auch als Teil seiner Therapie, gearbeitet hatte.
1999 starb Mighty Joe Young in Chicago.
http://de.wikipedia.org/wiki/Mighty_Joe_Young
Mighty Joe Young (September 23, 1927 – March 27, 1999[2]) was an American Chicago blues guitarist.[1] Born Joseph Young in Shreveport, Louisiana, he died in Chicago, Illinois.[2] Though born in Louisiana, Young was raised in Milwaukee. He first began playing in the early 1950s by singing in Milwaukee nightclubs. By the mid-1950s, Young had recorded his first song for Jiffy Records in Louisiana.
Before Young became known for his contributions to blues, he was training to become a boxer.
Young worked as a sidemen in Chicago starting the 1950s.[3] He worked with Otis Rush and his band in the 1960s, and played on Magic Sam's albums, West Side Soul and Black Magic.[3] His album Blues with a Touch of Soul came out on Delmark Records in 1971.[3] Young also worked with Billy Boy Arnold, Jimmy Rogers, and Willie Dixon.[3] Young's song, "Turning Point", appeared in the Michael Mann feature film, Thief (1981).
Mr. Young died from pneumonia at the age of 71, which developed after he underwent spinal surgery meant to relieve numbness in his fingers preventing him from playing the guitar.
Before Young became known for his contributions to blues, he was training to become a boxer.
Young worked as a sidemen in Chicago starting the 1950s.[3] He worked with Otis Rush and his band in the 1960s, and played on Magic Sam's albums, West Side Soul and Black Magic.[3] His album Blues with a Touch of Soul came out on Delmark Records in 1971.[3] Young also worked with Billy Boy Arnold, Jimmy Rogers, and Willie Dixon.[3] Young's song, "Turning Point", appeared in the Michael Mann feature film, Thief (1981).
Mr. Young died from pneumonia at the age of 71, which developed after he underwent spinal surgery meant to relieve numbness in his fingers preventing him from playing the guitar.
http://en.wikipedia.org/wiki/Mighty_Joe_Young_%28musician%29
https://www.youtube.com/watch?v=h1xBf8nYMHk
Mighty Joe Young Big Talk (1974)
https://www.youtube.com/watch?v=h1xBf8nYMHk
Stefan Diestelmann *27.03.2007
Stefan Diestelmann (* 29. Januar 1949 in München; † 27. März 2007[1] in Tutzing) war ein Sänger, Gitarrist, Mundharmonikaspieler, Textautor, Komponist und Filmproduzent. Von 1961 bis 1984 lebte er in der DDR. Seine jahrelange praktische Erfahrung, die intensive Beschäftigung mit den Ausdrucksformen im Blues und Jazz und die gemeinsamen Auftritte mit Bluesmusikern wie Louisiana Red, Memphis Slim, Alexis Korner und Phil Wiggins machten ihn zu einem versierten Bluesmusiker.
Stefan Diestelmann kam 1949 als Sohn des Schauspielerehepaares Hildegard und Jochen Diestelmann zur Welt. Er beschäftigte sich schon frühzeitig mit dem Blues und brachte sich seine Fähigkeiten autodidaktisch bei. 1961 siedelte er auf Wunsch der Eltern, die beide für die DEFA arbeiteten, zusammen mit ihnen in die DDR um.[2] Als Zwölfjähriger erhielt er von seinen Eltern die erste Gitarre geschenkt und begann zu spielen, sammelte Schallplatten und studierte Literatur über das Leben und Wirken afroamerikanischer Bluesinterpreten. Seine ersten Auftritte hatte Stefan Diestelmann bei den Teddys. Danach spielte er in verschiedenen Amateurbands, bis ihn 1975 Axel Stammberger in dessen Band Vai hu holte. Seiner Neigung zu authentischem, urwüchsigem Blues konnte er jedoch bei Stammberger nicht entsprechen. So gründete er im Mai 1977, nach einem kurzen Zwischenspiel bei der Bluesband Engerling, seine eigene Band. Zur Gründungsbesetzung der Stefan Diestelmann Folk Blues Band gehörten:
Stefan Diestelmann (Gitarre, Gesang, Mundharmonika)
Dietrich Petzold (Violine, Perkussion)
Rüdiger Phillipp (Bass)
Bernd Kleinow (Mundharmonika).
Dietrich Petzold hatte sein Handwerk bei Klaus Lenz und Uschi Brüning erlernt, bevor er mit Diestelmann zusammen spielte. Rüdiger Phillipp kam ebenfalls von Uschi Brüning zunächst zu Vai hu. Obwohl sich die Stefan Diestelmann Folk Blues Band durch ihre betonte Anlehnung an die afroamerikanischen Bluesmusiker (T-Bone Walker, Muddy Waters, B. B. King) und stilistisch (zum Beispiel durch den Verzicht auf ein Schlagzeug) deutlich von anderen Bands wie Engerling, Monokel oder Freygang unterschied, fand sie in der Blueserszene der DDR großen Anklang. Die Nähe zum Publikum und seine Texte brachten Stefan Diestelmann zunehmend den Unmut der DDR-Staatsmacht ein und führte in einigen DDR-Bezirken zu Auftrittsverboten. Bereits am 5. März 1967 war Stefan Diestelmann wegen „Staatsverleumdung“ und „Vorbereitung zur Republikflucht“ zu einer Bewährungsstrafe verurteilt worden. Seine Texte (Der Alte und die Kneipe oder Hof vom Prenzlauer Berg) spiegelten den Alltag wider und erzählten von verfallenen Häusern, dem Kohlenmann, Kneipen und Besoffenen, und passten nicht in das offizielle Bild der DDR.
Anfang Oktober 1977 trat er auch im Rahmen eines Jugendgottesdienstes der oppositionellen „Offenen Arbeit“ um Pfarrer Christoph Wonneberger in der Dresdner Weinbergsgemeinde sowie 1980 gemeinsam mit „Holly“ Holwas bei der Blues-Messe in der Ost-Berliner Auferstehungskirche auf.
Dennoch erhielt Stefan Diestelmann die Möglichkeit zu Rundfunkproduktionen, Auslandsgastspielen und Auftrittsmöglichkeiten bei offiziellen Veranstaltungen, beispielsweise im Berliner Palast der Republik[4], wo er am 25. Mai 1978 gemeinsam mit Memphis Slim auf der Bühne stand. 1978 erschien bei Amiga seine erste LP, auf der als Gäste Wolfgang Fiedler und Volker Schlott von der Jazz-Rock-Band Fusion zu hören sind. Ein Jahr später trat er in Der Mann aus Colorado 2 erstmals im DDR-Fernsehen auf, und 1981 spielt Diestelmann an der Seite von Dean Reed im DEFA-Film Sing, Cowboy, sing einen Barkeeper. 1984 erhielt Stefan Diestelmann, allerdings ohne die Band, die Möglichkeit, in Hildesheim in der Bundesrepublik Deutschland aufzutreten. Von diesem Konzert kehrte der „Blueskönig der DDR“ nicht mehr in die DDR zurück.
Er lebte seitdem am Ammersee in Bayern. In der Bundesrepublik konnte er nicht an seine Erfolge in der DDR anknüpfen. Mitte der 1990er Jahre beendete er seine musikalische Laufbahn, um die Firma Diestelfilm zu gründen. Diestelfilm produzierte Präsentations- und Dokumentarfilme.
Diestelmann starb 2007. Sein Tod wurde erst Ende 2011 durch einen Artikel des Journalisten Steffen Könau bekannt.
http://de.wikipedia.org/wiki/Stefan_Diestelmann
Stefan Diestelmann was born on January 29, 1949 in Munich, Bavaria, Germany. Stefan was a singer, guitarist, harmonica player, lyricist, composer and film producer. From 1961 to 1984 he lived in East Germany. He had years of practical experience, with intensive study of the forms of expression in the blues and jazz. He performed with such blues musicians as Louisiana Red, Memphis Slim, Alexis Korner and Phil Wiggins which helped make him an accomplished blues musician. He later lived in Ammersee in Bavaria. In the Federal Republic, he was unable to repeat his success in the GDR. In the mid-1990s, he ended his musical career and founded the company Diestel Film, where he produced film presentations and documentaries.
Diestelmann died in obscurity on March 7, 2007 in Tutzing, Bavaria, Germany. He was only 58. The news was not released until 2012 nearly five years after his passing.
Diestelmann died in obscurity on March 7, 2007 in Tutzing, Bavaria, Germany. He was only 58. The news was not released until 2012 nearly five years after his passing.
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