1895 Lizzie Miles*
1905 Big Maceo
Merriweather*
1913 Etta Baker*
1921 Lowell Fulson*
1946 Harmonica Shah*
1951 Henry Spinetti*
1960 Popa Chubby*
1969 Gerhard
Nimmervoll*
1982 Roxanne Potvin*
1982 Roxanne Potvin*
Giles Corey*
Happy Birthday
Big Maceo Merriweather *31.03.1905
Bereits in jungen Jahren spielte Merriweather Piano in Bars und auf Tanzveranstaltungen in Atlanta. Als er 19 war, zog die Familie nach Detroit, wo Merriweather bei Ford arbeitete.
Er heiratete Hattie Spruel, mit der er 1941 nach Chicago zog. Hier lernten sie Big Bill Broonzy und Tampa Red kennen, mit denen Merriweather seine ersten Aufnahmen machte. Unter den 14 aufgenommen Titeln war der Worried Life Blues, der das bekannteste Stück von Big Maceo Merriweather werden sollte. Viele Größen des Blues, etwa Eric Clapton, haben den Titel später in ihr Repertoire aufgenommen oder in ihren eigenen Stücken verarbeitet (wie z. B. Little Walter und Muddy Waters).
In der Folge spielten Merriweather und Tampa Red häufig zusammen, begleitet von einem Schlagzeug und einem Bass. Diese Formation wurde das Grundmodell zahlreicher nachfolgender Gruppen, nicht nur im Blues.
Mit Ausbruch des Zweiten Weltkriegs war die erfolgreiche Karriere zunächst beendet. Merriweather zog zurück nach Detroit, trat jedoch weiter hin und wieder mit seinen alten Kollegen in Chicago auf.
Nach dem Krieg begann er wieder vermehrt aufzutreten, erlitt jedoch 1946 einen Schlaganfall, der ihn rechtsseitig lähmte. Bei seinen weiteren Auftritten musste er am Piano unterstützt werden, etwa von Eddie Boyd oder Otis Spann.
1949 hatte Big Maceo Merriweather einen zweiten Schlaganfall. Er starb am 26. Februar 1953 nach einem Herzinfarkt in Chicago und wurde in Detroit beigesetzt. 2002 wurde Big Maceo Merriweather in die Blues Hall of Fame aufgenommen, auch sein Titel Worried Life Blues wurde in die Hall of Fame aufgenommen.
http://de.wikipedia.org/wiki/Big_Maceo_Merriweather
Big Maceo Merriweather - Worried Life Blues
https://www.youtube.com/watch?v=UMdnMkPW42I
Big Maceo Merriweather (March 31, 1905 – February 23, 1953), known as Big Maceo, was an American Chicago blues pianist and singer, active in Chicago in the 1940s.[1]
Career
Born Major Merriweather (or Merewether) in Atlanta, Georgia, United States,[2] he was a self-taught pianist. In the 1920s he moved to Detroit, Michigan to begin his music career. He moved to Chicago in 1941, where he made the acquaintance of Tampa Red.[3] Red introduced him to Lester Melrose of Bluebird Records, who signed him to a recording contract.[4]
His first record was "Worried Life Blues" (1941), which promptly became a blues hit and remained his signature piece. Other classic piano blues recordings such as "Chicago Breakdown", "Texas Stomp", and "Detroit Jump" followed.[4] His piano style developed from players like Leroy Carr and Roosevelt Sykes, as well as from the Boogie-woogie style of Meade Lux Lewis and Albert Ammons. He in turn influenced other musicians like Henry Gray, who credits Merriweather to helping him launch his career as a blues pianist.
His style had an impact on practically every post World War II blues pianist of note.[3] His most famous song, "Worried Life Blues" is a staple of the blues repertoire, with artists such as Eric Clapton featuring it regularly in concert.[5] "Worried Life Blues" was in the first batch of songs inducted into the Blues Hall of Fame "Classic Blues Recordings - Singles or Albums Tracks" alongside "Stormy Monday," 'Sweet Home Chicago," "Dust My Broom," and "Hellhound On My Trail."[6]
He suffered a stroke in 1946[3] and died of a heart attack on February 23, 1953 in Chicago, and was interred at the Detroit Memorial Cemetery in Warren, Michigan.[2]
His recordings for Bluebird were released in a double album set as Chicago Breakdown, in 1975. They have since been reissued on a variety of labels.[2]
In 2002 he was posthumously inducted into the Blues Hall of Fame.
On May 3, 2008 the White Lake Blues Festival took place at the Howmet Playhouse Theater in Whitehall, Michigan. The event was organized by executive producer, Steve Salter, of the nonprofit organization Killer Blues to raise monies to honor Merriweather's unmarked grave with a headstone. The concert was a success, and a headstone was placed in June, 2008.
Career
Born Major Merriweather (or Merewether) in Atlanta, Georgia, United States,[2] he was a self-taught pianist. In the 1920s he moved to Detroit, Michigan to begin his music career. He moved to Chicago in 1941, where he made the acquaintance of Tampa Red.[3] Red introduced him to Lester Melrose of Bluebird Records, who signed him to a recording contract.[4]
His first record was "Worried Life Blues" (1941), which promptly became a blues hit and remained his signature piece. Other classic piano blues recordings such as "Chicago Breakdown", "Texas Stomp", and "Detroit Jump" followed.[4] His piano style developed from players like Leroy Carr and Roosevelt Sykes, as well as from the Boogie-woogie style of Meade Lux Lewis and Albert Ammons. He in turn influenced other musicians like Henry Gray, who credits Merriweather to helping him launch his career as a blues pianist.
His style had an impact on practically every post World War II blues pianist of note.[3] His most famous song, "Worried Life Blues" is a staple of the blues repertoire, with artists such as Eric Clapton featuring it regularly in concert.[5] "Worried Life Blues" was in the first batch of songs inducted into the Blues Hall of Fame "Classic Blues Recordings - Singles or Albums Tracks" alongside "Stormy Monday," 'Sweet Home Chicago," "Dust My Broom," and "Hellhound On My Trail."[6]
He suffered a stroke in 1946[3] and died of a heart attack on February 23, 1953 in Chicago, and was interred at the Detroit Memorial Cemetery in Warren, Michigan.[2]
His recordings for Bluebird were released in a double album set as Chicago Breakdown, in 1975. They have since been reissued on a variety of labels.[2]
In 2002 he was posthumously inducted into the Blues Hall of Fame.
On May 3, 2008 the White Lake Blues Festival took place at the Howmet Playhouse Theater in Whitehall, Michigan. The event was organized by executive producer, Steve Salter, of the nonprofit organization Killer Blues to raise monies to honor Merriweather's unmarked grave with a headstone. The concert was a success, and a headstone was placed in June, 2008.
https://www.youtube.com/watch?v=UMdnMkPW42I
Etta Baker *31.03.1913
Etta Baker (* 31. März 1913 in Caldwell County, North Carolina; † 23. September 2006 in Fairfax, Virginia), geboren als Etta Lucille Reid, war eine US-amerikanische Blues-Sängerin und Gitarristin.
Sie spielte sowohl sechssaitige Akustikgitarren als auch 12-Saiten-Gitarren und fünfsaitige Banjos.
Baker erhielt verschiedene Auszeichnungen, u. a.
Folk Heritage Award, North Carolina Arts Council (1989)
National Endowment for the Arts, National Heritage Fellowship (1991)
North Carolina Award (2003)
Zusammen mit ihrer Schwester Cora Phillips erhielt sie durch die North Carolina Folklore Society im Jahre 1982 den Brown-Hudson Folklore Award.
Baker lebte zuletzt in Morganton, North Carolina, und starb im Alter von 93 Jahren während des Besuches bei einer Tochter, die einen Schlaganfall erlitten hatte.
http://de.wikipedia.org/wiki/Etta_Baker
Etta Baker (March 31, 1913 – September 23, 2006) was an American Piedmont blues guitarist and singer from North Carolina, United States.
Biography
She was born Etta Lucille Reid in Caldwell County, North Carolina, of African American, Native American, and European American heritage.[1] She played both the 6-string and 12-string forms of the acoustic guitar, as well as the five-string banjo. Baker played the Piedmont Blues for ninety years, starting at the age of three when she could not even hold the guitar properly. She was taught by her father, Boone Reid, who was also a longtime player of the Piedmont Blues on several instruments. Etta Baker was first recorded in the summer of 1956 when she and her father happened across folk singer Paul Clayton while visiting Cone Mansion in Blowing Rock, North Carolina, near their home in Morganton, NC. Baker's father asked Clayton to listen to his daughter playing her signature "One Dime Blues". Clayton was impressed and arrived at the Baker house with his tape recorder the next day, recording several songs.[2]
Over the years, Baker has shared her knowledge with many well known musical artists including Bob Dylan, Taj Mahal, and Kenny Wayne Shepherd. Baker received the North Carolina Folk Heritage Award from the North Carolina Arts Council in 1989, the National Endowment for the Arts' National Heritage Fellowship in 1991, and the North Carolina Award in 2003. Along with her sister, Cora Phillips, Baker received the North Carolina Folklore Society's Brown-Hudson Folklore Award in 1982.[3]
Baker had nine children, one of whom was killed in the Vietnam War in 1967, the same year her husband died. She last lived in Morganton, North Carolina, and died at the age of 93 in Fairfax, Virginia, while visiting a daughter who had suffered a stroke.
Biography
She was born Etta Lucille Reid in Caldwell County, North Carolina, of African American, Native American, and European American heritage.[1] She played both the 6-string and 12-string forms of the acoustic guitar, as well as the five-string banjo. Baker played the Piedmont Blues for ninety years, starting at the age of three when she could not even hold the guitar properly. She was taught by her father, Boone Reid, who was also a longtime player of the Piedmont Blues on several instruments. Etta Baker was first recorded in the summer of 1956 when she and her father happened across folk singer Paul Clayton while visiting Cone Mansion in Blowing Rock, North Carolina, near their home in Morganton, NC. Baker's father asked Clayton to listen to his daughter playing her signature "One Dime Blues". Clayton was impressed and arrived at the Baker house with his tape recorder the next day, recording several songs.[2]
Over the years, Baker has shared her knowledge with many well known musical artists including Bob Dylan, Taj Mahal, and Kenny Wayne Shepherd. Baker received the North Carolina Folk Heritage Award from the North Carolina Arts Council in 1989, the National Endowment for the Arts' National Heritage Fellowship in 1991, and the North Carolina Award in 2003. Along with her sister, Cora Phillips, Baker received the North Carolina Folklore Society's Brown-Hudson Folklore Award in 1982.[3]
Baker had nine children, one of whom was killed in the Vietnam War in 1967, the same year her husband died. She last lived in Morganton, North Carolina, and died at the age of 93 in Fairfax, Virginia, while visiting a daughter who had suffered a stroke.
Harmonica Shah *31.03.1946
Born in California, Shah also spent time in Somerville, Texas, with his blues harmonica and guitar playing grandfather, Sam Dawson.[3] Dawson had recorded for both Alan Lomax and Duke Records.[1] His mother, a beautician, encouraged him to be a salesman for Jet magazine in the latter part of the 1950s. This allowed Shah access to Oakland's bars and clubs, where he heard musicians such as Lowell Fulson, Jimmy McCracklin, Juke Boy Bonner and Big Mama Thornton.[2]
Shah told Living Blues magazine that his grandfather's passion for the blues inspired him. "Well see I picked it up from him, he'd be out in the fields singin' all that (sings in a slow moan) 'Tell me how long, whoa, tell me how long it's been since you've been away from home' Well, that's raw! That's a big damn difference from 'Good Golly Miss Molly'".[2]
He moved to Detroit in 1967, and worked for Ford Motors for fifteen years.[3] Shah bought himself a cheap harmonica in 1976 and, while operating as a taxicab driver, Shah was introduced to local blues jam sessions. "Hell, that was it, no turning back then", Shah recalled.[1][2]
Over the years, Shah has played alongside Bobo Jenkins, Eddie Kirkland, The Butler Twins and Willie D. Warren.[1] His debut album, Motor City Mojo was released by Blue Suit Records in 2000.
His 2006 album, Listen at Me Good, was recorded in Toronto, and included contributions from the Blues Music Award winners Mel Brown on guitar, and Willie "Big Eyes" Smith playing the drums.[2]
He has toured across the United States, as well as in Europe, Russia, Japan and Australia.[1] Closer to his roots, Shah still occasionally performs for free at John's Carpet House in East Detroit.[4] He legally changed his birth name to Seward Shah.[5]
Shah's most recent release was the 2009 album, If All You Have Is a Hammer, on his current record label, Electro-Fi Records.
http://en.wikipedia.org/wiki/Harmonica_Shah
Harmonica Shah - "Blind Man Crying In The Middle Of Detroit"
https://www.youtube.com/watch?v=UWo9OXZKiYo
https://www.youtube.com/watch?v=UWo9OXZKiYo
Lowell Fulson *31.3.1921
Lowell Fulson (* 31. März 1921 bei Tulsa, Oklahoma; † 6. März 1999 in Long Beach, Kalifornien) war ein US-amerikanischer Blues-Gitarrist und -Sänger.
Fulson wurde in einem Reservat der Choctaw-Indianer bei Tulsa geboren; sein Großvater war ein Choctaw. Er spielte früh Musik, zunächst Gospels und Country, bevor er seine Liebe zum Blues entdeckte.
Mit 18 Jahren ersetzte Fulson den Bluesgitarristen Chester Burnett (besser bekannt als Howlin’ Wolf) in der Band von Texas Alexander. Während seines Dienstes bei der United States Navy ab 1943 gründete er in Guam seine erste Band. Nach dem Krieg zog Fulson nach Kalifornien, wo er eine Band gründete, in der auch der junge Ray Charles für einige Zeit spielte.Hier nahm Fulson im Juni 1946 in San Francisco seine erste Single Crying Blues auf. Im selben Monat entstanden in Oakland zwei Teile des River Blues als Fulson Trio mit Eldridge McCarty (Piano) und Big Dad (Bob Johnson) (Bass). Im Oktober 1948 hatte er seinen ersten Hit mit dem Three O’Clock Blues, der bis auf Rang drei der Rhythm & Blues-Hitparade gelangte. Eine erste Coverversion vom Bluesklassiker Everyday I Have the Blues wurde von Lowell Fulson am 18. Juli 1949 (Besetzung: Lloyd Glenn -Piano-, Billy Hadnott -Bass- und Bob Harvey -Schlagzeug-) aufgenommen, kam im Mai 1950 auf den Markt (Rang #3) und wurde vom Musikmagazin Billboard bei den am meisten verkauften Rhythm & Blues-Platten an Rang 10 geführt.[1] Es folgten weitere Hits wie Blues Shadows (August 1950; sein einziger Nummer-eins-Hit). Dieser Erfolg motivierte Fulson zur Gründung des Lowell Fulson Orchestra, einer siebenköpfigen Band, in der zeitweise Ray Charles am Piano mitspielte. Einer dieser Titel mit Ray Charles am Piano war The Snow Is Falling, aufgenommen im November 1951. Im Dezember 1953 wechselte Fulson zu Aladdin Records,[2] wo er nur bis 1954 blieb. Im September 1954 ging er zu Checker Records, wo er am 27. September 1954 das klassische Reconsider Baby aufnahm. Viele dieser Songs wurden etwa von B.B. King, Elvis Presley und Otis Redding gecovert, die zum Teil damit größere kommerzielle Erfolge erzielten.
1993 gewann Fulson fünf W. C. Handy Awards. Sein Album Them Update Blues (1995) war für einen Grammy nominiert. 1993 wurde er in die Blues Hall of Fame aufgenommen. Lowell Fulson starb 1999 an Nierenversagen als Folge seines Diabetes. Im Jahr 2010 fand sein Album Hung Down Head ebenfalls Aufnahme in der Blues Hall of Fame. Sein Song Reconsider Baby wird in der Rock and Roll Hall of Fame als einer der 500 Titel gelistet, die den Rock ’n’ Roll formten.
http://de.wikipedia.org/wiki/Lowell_Fulson
Lowell Fulson (March 31, 1921 – March 7, 1999)[1] was a big-voiced blues guitarist and songwriter, in the West Coast blues tradition. Fulson was born in Tulsa, Oklahoma. He also recorded for business reasons as Lowell Fullsom and Lowell Fulsom. After T-Bone Walker, Fulson was the most important figure in West Coast blues in the 1940s and 1950s.[2]
Career
According to some sources, Fulson was born on a Choctaw reservation in Oklahoma. Fulson stated that he was of Cherokee ancestry through his father, but he also claimed Choctaw ancestry. At the age of eighteen, he moved to Ada, Oklahoma, and joined Alger "Texas" Alexander for a few months in 1940,[1] but later moved to California, forming a band which soon included a young Ray Charles and tenor saxophone player, Stanley Turrentine. He recorded for Swing Time Records in the 1940s, Chess Records (on the Checker label) in the 1950s, Kent Records in the 1960s, and Rounder Records (Bullseye) in the 1970s.
Fulson was drafted in 1943, but left the United States Navy in 1945.[1] His most memorable and influential recordings included: "Three O'Clock Blues" (now a blues standard); the Memphis Slim-penned "Everyday I Have the Blues"; "Lonesome Christmas"; "Reconsider Baby" recorded in 1960 by Elvis Presley and in 1994 by Eric Clapton for his From the Cradle album as well as by Joe Bonamassa); and "Tramp" (co-written with Jimmy McCracklin and later covered by Otis Redding with Carla Thomas, ZZ Top (on 2003's Mescalero), Alex Chilton, and Tav Falco.
"Reconsider Baby" came from a long term contract agreed with Chess Records in 1954. It was recorded in Dallas under Stan Lewis' supervision with a saxophone section that included David "Fathead" Newman on tenor and Leroy Cooper on baritone.[1]
Jackie Brenston played in Fulson's band between 1952 and 1954.
Fulson stayed with the Checker label into 1962, when he moved to the Los Angeles-based Kent Records. 1965's "Black Nights" became his first hit in a decade, and "Tramp," did even better, restoring the guitarist to R&B stardom.[1]
In 1993 at the Paramount Theatre in Oakland, California a show entitled "California Blues - Swingtime Tribute" opened with Fulson plus Johnny Otis, Charles Brown, Jay McShann, Jimmy Witherspoon, Jimmy McCracklin and Earl Brown.[3] Fulson's last recording was a duet of "Every Day I Have the Blues" with Jimmy Rogers on the latter's 1999 Atlantic Records release, "The Jimmy Rogers All-Stars: Blues, Blues, Blues."
A resident of Los Angeles, Fulson died in Long Beach, California, in March 1999, at the age of 77. His companion Tina Mayfield stated that the causes of death were complications from kidney disease, diabetes, and congestive heart failure. He was the father of four and grandfather of thirteen.[4]
Fulson was interred in Inglewood Park Cemetery, in Inglewood, California.
Contemporary influences
In the 2004 film Ray, a biopic of Ray Charles, Fulson was portrayed by the blues musician Chris Thomas King. ZZ Top's 2003 release Mescalero included their version of "Tramp", citing Fulson's guitar prowess as an inspiration to recreate the song. Redman's 1993 single "Time 4 Sum Aksion" contains a sample from Fulson's song, "Tramp", as does "How I Could Just Kill A Man" from Cypress Hill. "Why Don't We Do It in the Road?", as performed by Fulson, appeared on the soundtrack to the 2007 crime film, American Gangster. Fulson originally covered The Beatles' song on his 1970 album, In A Heavy Bag.[5] Salt-n-Pepa recorded a contemporary version of "Tramp" in 1987, on their Hot, Cool & Vicious album. A cover of Fulson's song "Sinner's Prayer" appeared both on Eric Clapton's From the Cradle (1994) and on Ray Charles' first album Ray Charles (1957) and (with B.B. King and Billy Preston) on his final album, Genius Loves Company (2004).
Awards and recognition
1993 - Blues Foundation Hall of Fame: Lowell Fulson inducted
1993 - Blues Foundation Hall of Fame: "Reconsider Baby" (Classics of Blues Recording -
Singles or Album Tracks)
1993 - Blues Foundation Blues Music Award: Hold On (Traditional Album of the Year)
1993 - Rhythm and Blues Foundation: Pioneer Award
1995 - Grammy Awards: Them Update Blues (nominated for Best Traditional Blues Album
of the Year)
1995 - Rock and Roll Hall of Fame: "Reconsider Baby" (included "500 Songs That Shaped
Rock and Roll")
2010 - Blues Foundation Hall of Fame: Hung Down Head (Classics of Blues Recording -
Albums)
Career
According to some sources, Fulson was born on a Choctaw reservation in Oklahoma. Fulson stated that he was of Cherokee ancestry through his father, but he also claimed Choctaw ancestry. At the age of eighteen, he moved to Ada, Oklahoma, and joined Alger "Texas" Alexander for a few months in 1940,[1] but later moved to California, forming a band which soon included a young Ray Charles and tenor saxophone player, Stanley Turrentine. He recorded for Swing Time Records in the 1940s, Chess Records (on the Checker label) in the 1950s, Kent Records in the 1960s, and Rounder Records (Bullseye) in the 1970s.
Fulson was drafted in 1943, but left the United States Navy in 1945.[1] His most memorable and influential recordings included: "Three O'Clock Blues" (now a blues standard); the Memphis Slim-penned "Everyday I Have the Blues"; "Lonesome Christmas"; "Reconsider Baby" recorded in 1960 by Elvis Presley and in 1994 by Eric Clapton for his From the Cradle album as well as by Joe Bonamassa); and "Tramp" (co-written with Jimmy McCracklin and later covered by Otis Redding with Carla Thomas, ZZ Top (on 2003's Mescalero), Alex Chilton, and Tav Falco.
"Reconsider Baby" came from a long term contract agreed with Chess Records in 1954. It was recorded in Dallas under Stan Lewis' supervision with a saxophone section that included David "Fathead" Newman on tenor and Leroy Cooper on baritone.[1]
Jackie Brenston played in Fulson's band between 1952 and 1954.
Fulson stayed with the Checker label into 1962, when he moved to the Los Angeles-based Kent Records. 1965's "Black Nights" became his first hit in a decade, and "Tramp," did even better, restoring the guitarist to R&B stardom.[1]
In 1993 at the Paramount Theatre in Oakland, California a show entitled "California Blues - Swingtime Tribute" opened with Fulson plus Johnny Otis, Charles Brown, Jay McShann, Jimmy Witherspoon, Jimmy McCracklin and Earl Brown.[3] Fulson's last recording was a duet of "Every Day I Have the Blues" with Jimmy Rogers on the latter's 1999 Atlantic Records release, "The Jimmy Rogers All-Stars: Blues, Blues, Blues."
A resident of Los Angeles, Fulson died in Long Beach, California, in March 1999, at the age of 77. His companion Tina Mayfield stated that the causes of death were complications from kidney disease, diabetes, and congestive heart failure. He was the father of four and grandfather of thirteen.[4]
Fulson was interred in Inglewood Park Cemetery, in Inglewood, California.
Contemporary influences
In the 2004 film Ray, a biopic of Ray Charles, Fulson was portrayed by the blues musician Chris Thomas King. ZZ Top's 2003 release Mescalero included their version of "Tramp", citing Fulson's guitar prowess as an inspiration to recreate the song. Redman's 1993 single "Time 4 Sum Aksion" contains a sample from Fulson's song, "Tramp", as does "How I Could Just Kill A Man" from Cypress Hill. "Why Don't We Do It in the Road?", as performed by Fulson, appeared on the soundtrack to the 2007 crime film, American Gangster. Fulson originally covered The Beatles' song on his 1970 album, In A Heavy Bag.[5] Salt-n-Pepa recorded a contemporary version of "Tramp" in 1987, on their Hot, Cool & Vicious album. A cover of Fulson's song "Sinner's Prayer" appeared both on Eric Clapton's From the Cradle (1994) and on Ray Charles' first album Ray Charles (1957) and (with B.B. King and Billy Preston) on his final album, Genius Loves Company (2004).
Awards and recognition
1993 - Blues Foundation Hall of Fame: Lowell Fulson inducted
1993 - Blues Foundation Hall of Fame: "Reconsider Baby" (Classics of Blues Recording -
Singles or Album Tracks)
1993 - Blues Foundation Blues Music Award: Hold On (Traditional Album of the Year)
1993 - Rhythm and Blues Foundation: Pioneer Award
1995 - Grammy Awards: Them Update Blues (nominated for Best Traditional Blues Album
of the Year)
1995 - Rock and Roll Hall of Fame: "Reconsider Baby" (included "500 Songs That Shaped
Rock and Roll")
2010 - Blues Foundation Hall of Fame: Hung Down Head (Classics of Blues Recording -
Albums)
Lowell Fulson & Lloyd Glenn - Reconsider Baby. 1984 L.A., Legends Of Rhythm & Blues -6
Popa Chubby *31.03.1960
Popa Chubby (* 31. März 1960 in New York City, bürgerlich Theodore Joseph Horowitz) ist ein US-amerikanischer Blues-Sänger und -Gitarrist, der nach Jahren der Auftritte im Manny’s Carwash, einem bekannten New Yorker Blues-Club, gemeinsam mit seiner Band Mitte der 1990er-Jahre weltweit populär wurde.
Popa Chubby wuchs in einem von Musik geprägten Umfeld auf. Auf der Hochzeit seiner Eltern soll der Jazz-Saxophonist Illinois Jacquet aufgetreten sein. Im Alter von sechs Jahren besuchte Popa Chubby mit seinem Vater ein Konzert von Chuck Berry. Daraufhin begann er, Gitarre zu spielen. In späteren Jahren hatte die Musik der Rock-Gitarristen Jimi Hendrix, Jeff Beck, Jimmy Page und Eric Clapton bedeutenden Einfluss auf Popa Chubbys künstlerische Entwicklung. Zuvor hatte er mit der CBS-Records-Punk-Band Chaos gespielt. Später folgte eine Zeit mit Richard Hell and The Voidoids.In den späten 1980er-Jahren trat Popa Chubby oft in der U-Bahn von New York City auf. Seine Auftritte im Blues-Club Manny’s Carwash ermöglichten es ihm, mit verschiedenen durchreisenden Blues-Künstlern zu spielen. Weil weiße Journalisten ihn als weißen Bluesmusiker kritisierten, behauptet er, das einzige große Hindernis, das ihm je begegnete, sei ein „umgekehrter Rassismus“ gewesen. Popa Chubby unternahm auch Tourneen mit Bluesmusikern wie Earl King, Albert King und James Cotton.
Sein 1995 erschienenes Debüt-Album bei OKeh Records, Booty & The Beast, befremdete viele Blues-Kenner. Manche ordneten ihn wegen seiner äußeren Erscheinung und wegen seines Pseudonyms als Rockmusiker ein. Tatsächlich entfernte sich Popa Chubbys Musik von der Tradition des Mainstream-Blues. Seine Musik enthält Hard-Rock-Elemente, die durch seine Vorliebe für die Led Zeppelin- und Black Sabbath-Aufnahmen aus der Mitte der 1970er-Jahre begründet sind.
http://de.wikipedia.org/wiki/Popa_Chubby
Theodore Joseph "Ted" Horowitz (born March 31, 1960, The Bronx, New York City, United States), who plays under the stage name of Popa Chubby (a play on the slang idiom "pop a chubby", meaning to get an erection), is an American electric blues singer, songwriter, and guitarist.
Life and career
Born the son of a candy store owner, at age thirteen Horowitz began playing drums; shortly thereafter, he began listening to the music of the Rolling Stones and started playing guitar. Although he grew up in the 1970s, Horowitz was influenced by artists of the 1960s, including Jimi Hendrix and Cream, among others. In his early twenties, although he mainly played blues music, he also worked as backing for punk rock poet Richard Hell. Horowitz first came to public attention after winning a national blues talent search sponsored by KLON, a public radio station in Long Beach, California. He won the New Artist of the Year award and as a result was chosen as the opening act at the Long Beach Blues Festival in 1992.
Horowitz played more than 200 club dates a year through the 1990s. His Sony/Okeh debut, Booty and the Beast, was produced by Atlantic Records engineer/producer Tom Dowd, who worked on recordings for artists such as Aretha Franklin, Ray Charles, and Wilson Pickett.
In 1994, Horowitz released several albums on his own Laughing Bear label, including It's Chubby Time and Gas Money, before he obtained a recording contract with Sony Music/Okeh Records for Booty and the Beast, his first major-label album, which was released in 1995. In 1996, was released a live recording of Horowitz's, Hit the High Hard One. Two years later, One Million Broken Guitars was released on Lightyear Records; Brooklyn Basement Blues followed in 1999.
In 2000, Horowitz signed with the Blind Pig label and released How'd a White Boy Get the Blues? in 2001. The disc turned out to be a slight departure from Horowitz's usual musical direction, incorporating elements of contemporary pop and hip-hop.[citation needed] The Good, the Bad and the Chubby, released in 2002, was an example of the development of Horowitz's songwriting skills and included the 9/11 commentary "Somebody Let the Devil Out." Blind Pig released a collection of early Horowitz recordings, The Hungry Years, in 2003. A year later, Horowitz released Peace, Love and Respect.
Two albums previously available only in France - Live at FIP and Wild - were compiled by the Blind Pig label and released as Big Man, Big Guitar in 2005, followed by Stealing the Devil's Guitar a year later. The Fight Is On, was Horowitz's first studio album after a two-year hiatus. It was released in February 2010 on the Provogue label in Europe, and Blind Pig in North America. A world tour followed.
In 2008, Horowitz and his life partner Galea, recorded Vicious Country, which was released on the Dixiefrog label. Vicious Country was chosen as 'Record of the Week' by the French Canal+ television station in March 2009.[1]
Current line up Erik Boyd on bass and Sim Cain on drums.
Theodore Joseph "Ted" Horowitz (born March 31, 1960, The Bronx, New York City, United States), who plays under the stage name of Popa Chubby (a play on the slang idiom "pop a chubby", meaning to get an erection), is an American electric blues singer, songwriter, and guitarist.Life and career
Born the son of a candy store owner, at age thirteen Horowitz began playing drums; shortly thereafter, he began listening to the music of the Rolling Stones and started playing guitar. Although he grew up in the 1970s, Horowitz was influenced by artists of the 1960s, including Jimi Hendrix and Cream, among others. In his early twenties, although he mainly played blues music, he also worked as backing for punk rock poet Richard Hell. Horowitz first came to public attention after winning a national blues talent search sponsored by KLON, a public radio station in Long Beach, California. He won the New Artist of the Year award and as a result was chosen as the opening act at the Long Beach Blues Festival in 1992.
Horowitz played more than 200 club dates a year through the 1990s. His Sony/Okeh debut, Booty and the Beast, was produced by Atlantic Records engineer/producer Tom Dowd, who worked on recordings for artists such as Aretha Franklin, Ray Charles, and Wilson Pickett.
In 1994, Horowitz released several albums on his own Laughing Bear label, including It's Chubby Time and Gas Money, before he obtained a recording contract with Sony Music/Okeh Records for Booty and the Beast, his first major-label album, which was released in 1995. In 1996, was released a live recording of Horowitz's, Hit the High Hard One. Two years later, One Million Broken Guitars was released on Lightyear Records; Brooklyn Basement Blues followed in 1999.
In 2000, Horowitz signed with the Blind Pig label and released How'd a White Boy Get the Blues? in 2001. The disc turned out to be a slight departure from Horowitz's usual musical direction, incorporating elements of contemporary pop and hip-hop.[citation needed] The Good, the Bad and the Chubby, released in 2002, was an example of the development of Horowitz's songwriting skills and included the 9/11 commentary "Somebody Let the Devil Out." Blind Pig released a collection of early Horowitz recordings, The Hungry Years, in 2003. A year later, Horowitz released Peace, Love and Respect.
Two albums previously available only in France - Live at FIP and Wild - were compiled by the Blind Pig label and released as Big Man, Big Guitar in 2005, followed by Stealing the Devil's Guitar a year later. The Fight Is On, was Horowitz's first studio album after a two-year hiatus. It was released in February 2010 on the Provogue label in Europe, and Blind Pig in North America. A world tour followed.
In 2008, Horowitz and his life partner Galea, recorded Vicious Country, which was released on the Dixiefrog label. Vicious Country was chosen as 'Record of the Week' by the French Canal+ television station in March 2009.[1]
Current line up Erik Boyd on bass and Sim Cain on drums.
Popa Chubby & Band | Live at Leverkusener Jazztage 2011 | Rockpalast full concert
Popa Chubby - Sweet Goddess of Love and Beer
Henry Spinetti *31.03.1951
Henry Anthony George Spinetti (* 31. März 1951 in South Wales) ist ein britischer Schlagzeuger und Studiomusiker. Er spielte auf zahlreichen Alben bekannter Künstler. Er ist der jüngere Bruder des 2012 verstorbenen Schauspielers Victor Spinetti.
Henry Anthony George Spinetti (born 31 March 1951) is a Welsh-born session drummer whose playing has featured on a large number of prominent rock and pop albums. He is the younger brother of actor Victor Spinetti (1929-2012).
Career
Born in Cwm, near Ebbw Vale, South Wales, Spinetti began his recording career with the band Scrugg, which recorded on the Pye label. Band members included fellow Welshman Jack Russell, Chris Dee and the South African singer-songwriter, John Kongos. In the early 1970s, Spinetti appeared with Kongos on BBC Television's Top of The Pops performing Kongos' chart hit single, "He's Gonna Step On You Again".[1] After leaving Scrugg, Spinetti's early work included spells with The Herd and Judas Jump, who were the opening act at the Isle of Wight Festival 1970.[2]
Spinetti played on eight of the ten tracks on Gerry Rafferty's album City to City (including the hit "Baker Street"),[3] and also played in the 2002 memorial concert for George Harrison, "The Concert For George".
Career
Born in Cwm, near Ebbw Vale, South Wales, Spinetti began his recording career with the band Scrugg, which recorded on the Pye label. Band members included fellow Welshman Jack Russell, Chris Dee and the South African singer-songwriter, John Kongos. In the early 1970s, Spinetti appeared with Kongos on BBC Television's Top of The Pops performing Kongos' chart hit single, "He's Gonna Step On You Again".[1] After leaving Scrugg, Spinetti's early work included spells with The Herd and Judas Jump, who were the opening act at the Isle of Wight Festival 1970.[2]
Spinetti played on eight of the ten tracks on Gerry Rafferty's album City to City (including the hit "Baker Street"),[3] and also played in the 2002 memorial concert for George Harrison, "The Concert For George".
ERIC CLAPTON - Since You Said Goodbye - LIVE Baloise Session - Basel, Switzerland (2013)
Eric Clapton - Since You Said Goodbye
Baloise Session
Basel, Switzerland (11-14-13)
Eric Clapton: Vocals, Guitar
Andy Fairweather-Low: Vocals, Guitar
Paul Carrack: Vocals, Keyboards
Henry Spinetti: Drums
Chris Stainton: Keyboards
Dave Bronze: Bass
Michelle John: Backing Vocals
Sharon White: Backing Vocals
Baloise Session
Basel, Switzerland (11-14-13)
Eric Clapton: Vocals, Guitar
Andy Fairweather-Low: Vocals, Guitar
Paul Carrack: Vocals, Keyboards
Henry Spinetti: Drums
Chris Stainton: Keyboards
Dave Bronze: Bass
Michelle John: Backing Vocals
Sharon White: Backing Vocals
Lizzie Miles *31.03.1895
Lizzie Miles (* 31. März 1895 in New Orleans; † 17. März 1963 ebenda; auch Lizzy Miles geschrieben; eigentlicher Name Elizabeth Mary Landreaux) war eine US-amerikanische Sängerin vor allem von Blues und Jazz.
Miles wurde im Faubourg Marigny Stadtteil von New Orleans in eine französisch sprechende kreolische Familie geboren. Ihr Vater J.C.Miles leitete eine „Colored Show“ im Zirkus Cole Brothers, wo sie schon als Teenager auftrat, ebenso wie in Minstrel Shows. In New Orleans trat sie mit King Oliver, Kid Ory und Armand Piron auf. 1919 sang sie bei George Thomas, zog Anfang der 1920er Jahre nach Chicago, wo sie mit „Elgars Creole Orchestra“, Freddie Keppard und King Oliver´s Creole Jazz Band auftrat. 1922 zog sie nach New York City, wo sie mit dem Sam Wooding Orchestra und Pirons New Orleans Orchestra in Clubs auftrat und 1922 ihre ersten Aufnahmen machte. Ab 1924 war sie in Europa und trat eine Weile in Paris im Club von Louis Mitchell („Chez Mitchell“) auf. 1927 war sie wieder in New York. Nach einer schweren Krankheit spielte sie in den 1930er Jahren u.a. mit Fats Waller und Paul Barbarin. Ende der 1930er Jahre ging sie wieder nach New Orleans. Bei Auftritten mied sie aber die Bühne und sang von der Seite oder vor der Bühne, da sie das nach eigenen Worten in einem Gebet als Dank für ihre Genesung versprochen hatte. Anfang der 1950er Jahre ging sie nach San Francisco, bevor sie wieder nach New Orleans zurückkehrte und dort regelmäßiger mit Dixieland-Bands wie denen von Bob Scobey und George Lewis auftrat und auch aufnahm. Sie war regelmäßig im Radio und 1957 in der Fernsehshow „Crescendo“ zu hören. 1958 gastierte sie auf dem Monterey Jazz Festival. Ab 1959 gab sie den Gesang mit Ausnahme von Gospelmusik auf und begann Theologie zu studieren. Sie starb 1963 an einem Herzanfall.
Sie ist auch auf Aufnahmen mit King Oliver, Jelly Roll Morton und Clarence Williams zu hören. Zu ihren Klavierbegleitern zählten neben Morton und Williams auch Joe Robichaux, Clarence Johnson und Cliff Jackson.
Ihre Halbschwester Edna Hicks war auch Blues-Sängerin und ihr Halbbruder Herb Morand Trompeter des New Orleans Jazz. Bei einigen ihrer Aufnahmen benutzte sie die Pseudonyme Mandy Smith und Jane Howard.
Miles wurde im Faubourg Marigny Stadtteil von New Orleans in eine französisch sprechende kreolische Familie geboren. Ihr Vater J.C.Miles leitete eine „Colored Show“ im Zirkus Cole Brothers, wo sie schon als Teenager auftrat, ebenso wie in Minstrel Shows. In New Orleans trat sie mit King Oliver, Kid Ory und Armand Piron auf. 1919 sang sie bei George Thomas, zog Anfang der 1920er Jahre nach Chicago, wo sie mit „Elgars Creole Orchestra“, Freddie Keppard und King Oliver´s Creole Jazz Band auftrat. 1922 zog sie nach New York City, wo sie mit dem Sam Wooding Orchestra und Pirons New Orleans Orchestra in Clubs auftrat und 1922 ihre ersten Aufnahmen machte. Ab 1924 war sie in Europa und trat eine Weile in Paris im Club von Louis Mitchell („Chez Mitchell“) auf. 1927 war sie wieder in New York. Nach einer schweren Krankheit spielte sie in den 1930er Jahren u.a. mit Fats Waller und Paul Barbarin. Ende der 1930er Jahre ging sie wieder nach New Orleans. Bei Auftritten mied sie aber die Bühne und sang von der Seite oder vor der Bühne, da sie das nach eigenen Worten in einem Gebet als Dank für ihre Genesung versprochen hatte. Anfang der 1950er Jahre ging sie nach San Francisco, bevor sie wieder nach New Orleans zurückkehrte und dort regelmäßiger mit Dixieland-Bands wie denen von Bob Scobey und George Lewis auftrat und auch aufnahm. Sie war regelmäßig im Radio und 1957 in der Fernsehshow „Crescendo“ zu hören. 1958 gastierte sie auf dem Monterey Jazz Festival. Ab 1959 gab sie den Gesang mit Ausnahme von Gospelmusik auf und begann Theologie zu studieren. Sie starb 1963 an einem Herzanfall.
Sie ist auch auf Aufnahmen mit King Oliver, Jelly Roll Morton und Clarence Williams zu hören. Zu ihren Klavierbegleitern zählten neben Morton und Williams auch Joe Robichaux, Clarence Johnson und Cliff Jackson.
Ihre Halbschwester Edna Hicks war auch Blues-Sängerin und ihr Halbbruder Herb Morand Trompeter des New Orleans Jazz. Bei einigen ihrer Aufnahmen benutzte sie die Pseudonyme Mandy Smith und Jane Howard.
Lizzie Miles was the stage name taken by Elizabeth Mary Landreaux (March 31, 1895 – March 17, 1963),[1] an Creole African-American blues singer.[2]
Career
Miles was born in the Faubourg Marigny neighborhood of New Orleans, Louisiana, United States, in a dark-skinned Francophone Creole ("Creole of Color") family. She traveled widely with minstrel and circus shows in the 1910s, and made her first phonograph recordings in New York of blues songs in 1922 – although she did not like to be referred to as a "blues singer", since she sang a wide repertoire of music.
In the mid-1920s Miles spent time performing in Paris, before returning to the United States. She suffered a serious illness and retired from the music industry in the 1930s.[2] Not before she recorded "My Man O' War", described by one music journalist as "a composition stuffed with rococo suggestiveness".[3] In the 1940s she returned to New Orleans, where Joe Mares encouraged her to sing again—which she did, but always from in front of, or beside the stage, since she said she had vowed in a prayer not to go on stage again if she recovered from her illness. Miles was based in San Francisco, California, in the early 1950s, then again returned to New Orleans where she recorded with several Dixieland and traditional jazz bands and made regular radio broadcasts, often performing with Bob Scobey or George Lewis.[1]
In 1958, Miles appeared at the Monterey Jazz Festival. In 1959 she quit singing, except for gospel music. She died in New Orleans, from a heart attack, in March 1963.[4]
Woody Allen included her version of "A Good Man is Hard to Find" on the soundtrack of his 2013 film Blue Jasmine.[5]
Her half-sister Edna Hicks was also a blues singer.
http://en.wikipedia.org/wiki/Lizzie_MilesCareer
Miles was born in the Faubourg Marigny neighborhood of New Orleans, Louisiana, United States, in a dark-skinned Francophone Creole ("Creole of Color") family. She traveled widely with minstrel and circus shows in the 1910s, and made her first phonograph recordings in New York of blues songs in 1922 – although she did not like to be referred to as a "blues singer", since she sang a wide repertoire of music.
In the mid-1920s Miles spent time performing in Paris, before returning to the United States. She suffered a serious illness and retired from the music industry in the 1930s.[2] Not before she recorded "My Man O' War", described by one music journalist as "a composition stuffed with rococo suggestiveness".[3] In the 1940s she returned to New Orleans, where Joe Mares encouraged her to sing again—which she did, but always from in front of, or beside the stage, since she said she had vowed in a prayer not to go on stage again if she recovered from her illness. Miles was based in San Francisco, California, in the early 1950s, then again returned to New Orleans where she recorded with several Dixieland and traditional jazz bands and made regular radio broadcasts, often performing with Bob Scobey or George Lewis.[1]
In 1958, Miles appeared at the Monterey Jazz Festival. In 1959 she quit singing, except for gospel music. She died in New Orleans, from a heart attack, in March 1963.[4]
Woody Allen included her version of "A Good Man is Hard to Find" on the soundtrack of his 2013 film Blue Jasmine.[5]
Her half-sister Edna Hicks was also a blues singer.
Gerhard Nimmervoll *31.03.1969
Er spielte auch Bass und fiel damals durch seine außergewöhnliche Stimme und seine extreme Bühnenshow auf. Es folgen verschiedene Bandprojekte, u. a. mit dem Jazz-Saxophonisten Peter Natterer, mit dem er 1998 das HipHop/ Independent-Musical "Rattengift - Die letze Suche auf dem Müllberg" schrieb. In der Inszenierung (Regie: Klaus Haberl) dieses unkonventionellen Underground-Stücks spielte er selbst die Hauptrolle. Auch als Filmmusik-Komponist trat er in Erscheinung ("MAH JONGG" mit Stermann/ Grissemann).
Gerhard Nimmervoll ist ein Multitalent: Er ist nicht nur Musiker, sondern auch Schilderhersteller, Lehrer der HTL-Malerschule Baden und freischaffender maler.
LAZY DIAMONDS - Policeman (2011)
Giles Corey *31.03.
Andrew Osis came to Chicago to study at the University of Chicago but was already into music, having played in a power trio in his home town of Trumbull, Connecticut. That band was called The Giles Corey Band, the name taken from a character in “The Crucible” which Andrew and his pals were reading at the time. As Andrew fronted the band he was often referred to as “Giles” and the name stuck.
For this project Giles decided on a play on words about the fate that awaited the character in “The Crucible” – he was stoned to death! Joining Giles (as we will now refer to him) here are Marty Sammon on keys, Joewaun Scott on bass and Rick King on drums. Pat Otto adds mandola to four tracks and a trio of backing singers (Diane Madison, Mae Koen, Nanette Frank) add colour to two tracks. Giles wrote eight of the songs here, Marty Sammon wrote two (one with Rick King) and there are three covers.
Giles has played with a number of Chicago greats, including spells with Otis Rush, Billy Branch and Mississippi Heat amongst others. His first solo venture was Lubriphonic, a jam band with which all four main participants here were involved at one time or another. Giles speaks of wanting to link the jam band scene to the blues as there is much common ground and there are certainly some links on display here as the band covers a wide variety of roots music.
Opening track “Oh, Mademoiselle” has a funky base courtesy of some percolating keyboard work and lashings of slide from Giles. The upbeat “Morning Train” follows, with Pat’s mandola set against Giles’ guitar. The first cover is an intriguing run through the country classic “Don’t Let The Green Grass Fool You”. It starts out as an attractive cover with fine harmony vocals from the female trio and good piano and guitar solos. Giles’ solo morphs into a frenetic upbeat section before he returns to the original melody with some acapella vocals and the trio then take the song home; a version that takes a little getting used to!
Giles Corey combines grainy, passionate vocals and leaping guitar lines in a performance that is earthy and unique. As a veteran of the Chicago music scene, has toured and recorded with blues greats like Billy Branch, Magic Slim, Otis Rush, Eddie “The Chief” Clearwater, and Syl Johnson.
Since Giles began his career at age 18 in 1992, he has played concerts and festivals across North America, Central America, Europe, and Japan, and lent his guitar stylings to over a dozen recordings. Currently, Giles fronts the up-and-coming Chicago roots rock band Lubriphonic (www.lubriphonic.com).
He has been a member of Mississippi Heat since 2006.
Since Giles began his career at age 18 in 1992, he has played concerts and festivals across North America, Central America, Europe, and Japan, and lent his guitar stylings to over a dozen recordings. Currently, Giles fronts the up-and-coming Chicago roots rock band Lubriphonic (www.lubriphonic.com).
He has been a member of Mississippi Heat since 2006.
Mississippi Heat "Look A Here, Look A Here"
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