1896 Marion Harris*
1913 Muddy Waters*
1913 Cecil Gant*
1929 John Dee Holeman*
1937 Robert Cage*
1948 Pick Withers*
1952 Gary Moore*
1956 Harry Martes*
1960 Sylvester Weaver+
1969 Billy Bizor*
1970 Rebekka Bakken*
1982 Jorge Salan*
Becky Tate*
1913 Muddy Waters*
1913 Cecil Gant*
1929 John Dee Holeman*
1937 Robert Cage*
1948 Pick Withers*
1952 Gary Moore*
1956 Harry Martes*
1960 Sylvester Weaver+
1969 Billy Bizor*
1970 Rebekka Bakken*
1982 Jorge Salan*
Becky Tate*
Happy Birthday
Cecil Gant *04.04.1913
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In den 1930er Jahren bis zum Zweiten Weltkrieg und seiner Einberufung zur US Army machte Gant in den Clubs seiner Heimat Musik, meist von einer Rhythmusgruppe begleitet. Noch in Uniform veröffentlichte er 1944 die Single I Wonder unter dem Namen "Pvt. Gant" ("Pvt." steht für "Private", d. h. Gefreiter). Das Stück wurde ein überwältigender Erfolg, Nummer 1 der "Harlem Hit Parade", den damaligen Charts für schwarze ("race") Musik, dem Rhythm and Blues.
Gant ging als "The G.I. Sing-sation" auf Tour. Er war eine Live-Attraktion, konnte aber den kommerziellen Erfolg von I Wonder nicht mehr wiederholen. Er gilt als der Großvater des Rock'n'Roll, war jedoch seiner Zeit voraus. Vielfach wird sein Song Rock Little Baby von 1951 als das erste Rock'n'Roll-Stück angesehen. Weitere bekannte Stücke von Gant waren Shot Gun Boogie, Train Time, Owl Stew, Ninth Street Jive, Special Delivery Blues, Cindy Lou, Someday You'll Be Sorry, My House Fell Down und I'm All Alone Now.
Gant starb 1951 in Nashville an den Folgen einer Lungenentzündung.
http://de.wikipedia.org/wiki/Cecil_Gant
Cecil Gant (April 4, 1913 - February 4, 1951[1]) was an American blues singer and pianist.
Biography
Gant was born in Nashville, Tennessee, where he worked as a musician from the mid-1930s until he joined the army at the start of World War II.[2] After performing at a War Bond rally in Los Angeles, California, he signed with the Gilt Edge record label. His recording of "I Wonder" (1944) was released under the name "Pvt. Cecil Gant."[2]
"I Wonder" sold well, and reached number one on the Billboard Harlem Hit Parade (the former name of the R&B chart). Gant toured as "The G.I. Sing-sation".[2] Gant also released material for King Records (1947), Bullet Records (1948–49), Downbeat/Swingtime (1949), and Imperial Records (1950).[1]
Gant died from pneumonia[3] in Nashville in 1951, at the age of 37. He is buried in Highland Park Cemetery in Cleveland, Ohio.
Biography
Gant was born in Nashville, Tennessee, where he worked as a musician from the mid-1930s until he joined the army at the start of World War II.[2] After performing at a War Bond rally in Los Angeles, California, he signed with the Gilt Edge record label. His recording of "I Wonder" (1944) was released under the name "Pvt. Cecil Gant."[2]
"I Wonder" sold well, and reached number one on the Billboard Harlem Hit Parade (the former name of the R&B chart). Gant toured as "The G.I. Sing-sation".[2] Gant also released material for King Records (1947), Bullet Records (1948–49), Downbeat/Swingtime (1949), and Imperial Records (1950).[1]
Gant died from pneumonia[3] in Nashville in 1951, at the age of 37. He is buried in Highland Park Cemetery in Cleveland, Ohio.
Cecil Gant I'm A Good Man But A Poor Man
Gary Moore *4.4.1952
Robert William Gary Moore (* 4. April 1952 in Belfast, Nordirland; † 6. Februar 2011 in Estepona, Spanien[1]) war ein nordirischer Blues- und Heavy-Metal- bzw. Hard-Rock-Gitarrist, Komponist und Sänger.
Leben und Karriere
Aufstieg in Dublin
Moore wuchs als Sohn eines Veranstalters mit vier Geschwistern in Ost-Belfast auf. In seiner Familie gab es viele Schwierigkeiten, und so verließ er mit 16 sein Elternhaus und ging nach Dublin. Ein Jahr darauf trennten sich seine Eltern.[2]
In Dublin verdiente sich Moore ab 1969 sein erstes Geld als Musiker, zusammen mit Phil Lynott. Die gemeinsame Band Skid Row veröffentlichte zwei Alben. Ende 1971 stieg Moore aus und unterstützte die Folkrock-Band Dr. Strangely Strange als Gastmusiker, um dann 1973 die erste Gary Moore Band zu gründen, bei der er auch den Gesang übernahm. Das einzige Album Grinding Stone (1973) blieb erfolglos, und die Band löste sich wieder auf. 1974 schloss sich Moore Thin Lizzy an und war wieder mit Phil Lynott in einer Band. Dort blieb er jedoch nur kurze Zeit. Danach arbeitete er als Studiomusiker, unter anderem für Eddie Howell.
1975 gründete Moore zusammen mit dem Schlagzeuger Jon Hiseman, dem Keyboarder Don Airey, dem Bassisten Neil Murray und dem Sänger Mike Starrs die Jazzrock-orientierte Formation Colosseum II. 1978 löste sich die Band nach drei Studioalben und vielen Konzerten auf. Moore arbeitete weiter als Studiomusiker und beteiligte sich an Alben von Andrew Lloyd Webber, Gary Boyle und Rod Argent. 1978 startete Moore erneut einen Soloversuch mit dem Album Back on the Streets, das die erfolgreiche Single Parisienne Walkways enthält, eine Zusammenarbeit mit Phil Lynott, die bis zuletzt Teil von Gary Moores Live-Repertoire war. 1979 spielte Moore mit Thin Lizzy das Album Black Rose ein. Danach gründete er mit Mark Nauseef das kurzlebige Projekt G-Force und wurde Gitarrist in der Band von Greg Lake.
Die Hardrock-Ära
In den nachfolgenden Jahren etablierte sich Moore allmählich als Gitarrenvirtuose in der Hardrock- bzw. Heavy-Metal-Szene. Das ehemalige UFO-Mitglied Neil Carter wurde 1983 zu einem wichtigen Co-Musiker für Gary Moore. Mit Corridors of Power (1982) und Victims of the Future (1983) etablierte sich Moore im Hardrock-Genre. Das Album Victims of the Future enthält mit der Ballade Empty Rooms eines seiner bekanntesten Stücke. Spätestens mit dem Album Run for Cover (1985) war Gary Moore eine feste Größe als Blues- und Rockgitarrist. Das Album enthält unter anderem die Single Out in the Fields, an der auch Phil Lynott beteiligt war.
Seine Position als stilistisch vielseitiger Hardrock-Gitarrist und versierter Sänger festigte Moore mit dem Album Wild Frontier (1987), das durch Irish-Folk-Einflüsse geprägt ist. Wild Frontier ist Phil Lynott gewidmet, wobei die Plattenhülle den Aufdruck „for Philip“ aufweist. Der auf dem Album enthaltene Song Johnny Boy ist ebenfalls ein Tribut an Phil Lynott. Wild Frontier blieb Gary Moores einziges Celtic-Rock-Album, auch wenn der Nachfolger After the War (1989) weitere irische Einflüsse (zum Beispiel im Lied Blood of Emeralds) widerspiegelt. Wild Frontier enthält mit der Single unter dem Titel Over the Hills and Far Away einen bekannten Song des Celtic Rock.
After the War (1989) beschäftigt sich thematisch unter anderem mit dem Nordirlandkonflikt (Blood of Emeralds) und dem Vietnamkrieg (After the War). Des Weiteren äußerte sich Moore in Led Clones (mit Ozzy Osbourne) kritisch über Rockbands, die sich zu sehr an Idolen wie Led Zeppelin orientieren, ohne eigene musikalische Identität zu entwickeln. Auch auf diesem Album erinnerte Moore an seinen verstorbenen Freund Lynott: „…the darkest son of Ireland, he was standin’ by my side.“ (Blood of Emeralds).
Wechsel zum Blues
Um 1990 änderte Moore seinen Stil von hartem Rock zu Blues und konnte mit dem Album Still Got the Blues und der Single Still Got the Blues (for You) einen weltweit großen Erfolg verbuchen. An dem Album wirkten mit Albert King und Albert Collins zwei einflussreiche Bluesgitarristen mit; auch George Harrison von den Beatles ist als Autor und Gitarrist bei einem Song vertreten. Das nachfolgende Album After Hours erschien 1992 und war ähnlich konzipiert, als Gastmusiker trat diesmal B. B. King auf. Allerdings konnten die Singles Cold Day in Hell sowie Separate Ways nicht ganz an den Erfolg von Still Got the Blues anknüpfen.
Neben weiteren Solo-Bluesalben tat sich Moore 1994 mit Ginger Baker und Jack Bruce, die in den 1960er Jahren mit Eric Clapton die Band Cream gebildet hatten, für das Album Around the Next Dream unter dem Namen BBM (steht für Bruce-Baker-Moore) zusammen, das zunächst als Soloalbum Moores geplant war. Obwohl von den Musikern selbst ein Zusammenhang bestritten wurde, klingt BBM wie eine Neuauflage von Cream, bei der Moore den Part von Clapton übernahm.[3]
Nach dem Peter-Green-Tribute-Album Blues for Greeny aus dem Jahr 1995 veröffentlichte Gary Moore 1997 Dark Days in Paradise. Auf diesem Album experimentierte Moore mit modernen Rocksounds. Im selben Jahr komponierte er die Titelmusik zum Film Middleton's Changeling, die er auch selbst einspielte. Mit A Different Beat folgte 1999 das vielleicht untypischste Album; so experimentierte Moore hier unter anderem mit Hip-Hop- und Drum-and-Bass-Sounds. Im Jahr 2001 wandte sich Moore mit dem passend Back to the Blues betitelten Album wieder dem Blues zu. 2002 gründete Gary Moore zusammen mit Cass Lewis (vorher Skunk Anansie) und Darrin Mooney (ehemals Primal Scream) das Bandprojekt Scars. Im Jahr 2003 war Gary Moore im Vorprogramm von Whitesnake während der „Monsters of Rock“-Tournee in Großbritannien unterwegs. Während dieser Tournee spielte er erstmals seit längeren Jahren wieder Stücke aus seiner Hardrockzeit. Im folgenden Jahr 2004 widmete sich Moore mit dem Album Power of the Blues erneut dem Blues.
Am 20. August 2005 wurde in Dublin eine Gedenkstatue an den 1986 verstorbenen Thin-Lizzy-Frontmann Phil Lynott enthüllt. Beim Gedächtniskonzert für Lynott bildete Gary Moore mit Brian Downey (Schlagzeug) und Jonathan Noyce (Bass) die Backingband für zahlreiche Lieder, Weggefährten und Bandkollegen. Mit Brian Robertson, Eric Bell und Scott Gorham spielte Gary Moore zahlreiche Hits aus der Geschichte der Band Thin Lizzy sowie einige seiner eigenen Lieder.
Mit Old New Ballads Blues (2006) orientierte sich Gary Moore stärker am Slow Blues. Gleich zwei der Stücke auf diesem Album sind Neuaufnahmen von Titeln seines bis dato erfolgreichsten Bluesalbums Still Got the Blues. Daneben sind Coversongs der Bluesveteranen Otis Rush und Willie Dixon vertreten.[4] Am 25. Oktober 2007 gab Gary Moore in London ein Jimi-Hendrix-Gedächtniskonzert, bei dem er bei drei Titeln von den Original-Hendrix-Musikern Mitch Mitchell und Billy Cox unterstützt wurde. 2007 und 2008 erschienen die Blues-Rock-Alben Close as You Get und Bad for You, Baby, die neben eigenen Kompositionen auch Coversongs enthalten und wieder etwas schnellere Bluesstücke wie beispielsweise Thirty Days aufgreifen. Das Album Bad for You, Baby wurde 2009 in der Kategorie „Best Rock Blues Album of the Year“ des „Blues Music Awards“ nominiert. Gary Moore bestritt zuletzt 2007 und 2009 Tourneen in Deutschland.
Die letzten Jahre
Ende 2009 erklärte Gary Moore in einem Interview in Budapest, dass er nur noch ein Blues-Album aufnehmen und damit die Verpflichtungen gegenüber seiner Plattenfirma Eaglerock erfüllen werde. Danach sollte ein Celtic-Rock-Album im Stil von Wild Frontier (1987) folgen. Dazu strebte er eine Zusammenarbeit mit der irischen Folkband The Chieftains an. Bereits 2005 erklärte Moore gegenüber dem japanischen Magazin Burrn, dass er einige Stücke verfasst habe, jedoch benötige ein Album eine längere Vorbereitungszeit. Drei dieser Stücke sind 2011 auf dem Album Live at Montreux 2010 in einer Liveversion veröffentlicht worden. Das für dasselbe Jahr geplante Album konnte er jedoch wegen seines frühen Todes nicht mehr fertigstellen.
Moore hatte ab 1970 in England gelebt. 2002 zog er nach Brighton, um nahe bei seinen beiden Söhnen zu sein, die aus einer von 1985 bis 1993 dauernden Ehe stammen. Seit 1997 lebte er mit einer Künstlerin zusammen; aus dieser Beziehung stammen zwei Töchter.[5]
Gary Moore wurde am 6. Februar 2011 im Alter von 58 Jahren tot in einem Hotelzimmer im spanischen Estepona (Costa del Sol) aufgefunden. Er starb im Schlaf an einem Herzinfarkt.[6]
Die DVD Live at Montreux 2010 wurde 2012 für den „Blues Music Award“ in der Kategorie „DVD of the Year“ nominiert.
Streit um Still Got the Blues
2001 wurde Moore von Jürgen Winter, dem Bassisten der Krautrock-Gruppe Jud’s Gallery (1970–1974), verklagt.[7] Moores Hit Still Got the Blues von 1990 sei ein Plagiat von Winters Stück Nordrach (1974 aufgenommen, jedoch bis 1999 nicht veröffentlicht): die Gitarrenpassage am Ende von Nordrach bilde das Hauptthema von Still Got the Blues. 2008 bekam Winter vom Landgericht München Recht.[8] Moore schloss 2009 mit Winter einen Vergleich, zahlte eine nicht genannte Summe und behielt die Rechte an Still Got the Blues.[9]
Equipment
Im Laufe der Jahre spielte Moore auf unterschiedlichen Gitarren. Neben den drei Gitarren, die er von dem Bluesbreakers- und Fleetwood-Mac-Gitarristen Peter Green erworben hatte (eine 1959er Gibson Les Paul, eine 1961er Fender Stratocaster sowie eine Gibson Les Paul Junior), spielte er auf Modellen von Charvel, Ibanez, Hamer, Jackson, PRS und Heritage. Für gewöhnlich setzte Moore Verstärker des Herstellers Marshall ein, auch Soldano Amps, die in Verbindung mit den Les-Paul-Gitarren den bekannten, druckvollen Klang erzeugen. In seiner späteren experimentellen Phase, als er synthetische Klangelemente hinzufügte, verwendete er Line-6-Vorverstärker.[10]
Gary Moore war Linkshänder, er spielte jedoch Rechtshänder-Gitarren, die er auch wie ein Rechtshänder bediente (Anschlag mit der rechten Hand, Griffhand links).
Robert William Gary Moore (4 April 1952[1] – 6 February 2011), was a Northern Irish musician, most widely recognised as a singer and virtuoso guitarist.
In a career dating back to the 1960s, Moore played with musicians including Phil Lynott and Brian Downey during his teens, leading him to memberships with the Irish bands Skid Row and Thin Lizzy, and British Band Colosseum II. Moore shared the stage with such blues and rock musicians as B.B. King, Albert King, Jack Bruce, Albert Collins, George Harrison and Greg Lake, as well as having a successful solo career. He guested on a number of albums recorded by high-profile musicians.
Early life and career
Moore grew up on Castleview Road opposite Stormont Parliament Buildings, off the Upper Newtownards Road in east Belfast, as one of five children of a promoter named Bobby and housewife, Winnie. He left the city as a teenager, because of troubles in his family - his parents parted a year later - just as The Troubles were starting in Northern Ireland.[2]
Moore started performing at a young age, having picked up a battered acoustic guitar at the age of eight. He got his first quality guitar at the age of 14, learning to play the right-handed instrument in the standard way despite being left-handed.
Aiming to become a musician, he moved to Dublin at the age of 16. Moore's greatest influence in the early days was guitarist Peter Green of Fleetwood Mac who was a mentor to Moore when performing in Dublin. Green's continued influence on Moore was later repaid as a tribute to Green on his 1995 album Blues for Greeny, an album consisting entirely of Green compositions. On this tribute album, Moore played Green's 1959 Les Paul Standard guitar which Green had lent to Moore after leaving Fleetwood Mac. Moore ultimately purchased the guitar, at Green's request, so that "it would have a good home".[3] Other early musical influences were artists such as Albert King, Elvis Presley, The Shadows and The Beatles. Later, having seen Jimi Hendrix and John Mayall's Bluesbreakers in his home town of Belfast, his own style was developing into a blues-rock sound that would be the dominant form of his career in music.
Changing bands
In Dublin, Moore joined the group Skid Row with Noel Bridgeman and Brendan "Brush" Shiels. It was with this group that he earned a reputation in the music industry, and his association with Phil Lynott began.[4]
In 1970, Moore moved to England and remained there, apart from two short periods in the United States. In 1973, under the moniker "The Gary Moore Band" he released his first solo album in 1973, Grinding Stone . "Grinding Stone" was issued in North America on Neil Kempfer-Stocker's fledgling record label imprint Cosmos and received "Album of the Year" accolades on KTAC-FM/Seattle-Tacoma, Washington in 1974.
In 1974 he re-joined Lynott, when he first joined Thin Lizzy after the departure of founding member Eric Bell.
From 1975 to August 1978, he was a member of Colosseum II. With the band he also collaborated with Andrew Lloyd Webber on the composer's Variations album in 1978.
In 1977, Moore re-joined Thin Lizzy, first as a temporary replacement for Brian Robertson, and on a permanent basis a year later.
Solo career
In July 1979, he left the band permanently to focus on his solo career, again with help from Phil Lynott. The combination of Moore's blues-based guitar and Lynott's voice produced "Parisienne Walkways", which reached the Top Ten in the UK Singles Chart in April 1979 and the Thin Lizzy album Black Rose: A Rock Legend which reached number two in the UK album chart. Moore appears in the videos for "Waiting for an Alibi" and "Do Anything You Want To".
He experimented with many musical genres, including rock, jazz, blues, country, electric blues, hard rock and heavy metal.[5]
In 1987, he performed a guitar solo for a cover of the Beatles' "Let It Be". which was released under the group-name of Ferry Aid. The record raised substantial funds for the survivors of the MS Herald of Free Enterprise disaster. In 1990, he played the lead guitar solo on "She's My Baby" from Traveling Wilburys Vol. 3.
After a series of rock records, Moore returned to blues music with Still Got the Blues (1990), with contributions from Albert King, Albert Collins and George Harrison. The album was well received by fans. He stayed with the blues format until 1997 when he returned to the harder rock, but with a softer, more pop and ballad-oriented sound on Dark Days in Paradise followed with another change of direction in 1999, when he decided to experiment with modern dance beats on A Different Beat; this left many fans, as well as the music press, confused. He also contributed guitar sections to Richard Blackwood's 2000 album, You'll Love to Hate This.
With Back to the Blues, Moore returned to his tried and tested blues format in 2001: he continued with this style on Power of the Blues (2004), Old New Ballads Blues (2006), Close As You Get (2007) and Bad For You Baby (2008).
In January 2005, Moore joined the One World Project, which recorded a song for the 2004 Asian Tsunami relief effort. The group featured Russell Watson, Boy George, Steve Winwood, Barry Gibb, Brian Wilson, Cliff Richard, Dewey Bunnell, Gerry Beckley and Robin Gibb on vocals (in their order of appearance), and featured a guitar solo by Moore. The song, entitled "Grief Never Grows Old", was released in February 2005, reaching No. 4 on the UK Singles Chart.[6]
He also took part in a comedy skit entitled "The Easy Guitar Book Sketch" with comedian Rowland Rivron and fellow musicians Mark Knopfler, Lemmy from Motörhead, Mark King from Level 42, and David Gilmour.
Other collaborations included a broad range of artists including Trilok Gurtu, Dr. Strangely Strange, Jimmy Nail, Mo Foster, Ginger Baker, Jack Bruce, Jim Capaldi, B.B. King, Vicki Brown, Cozy Powell, Rod Argent, the Beach Boys, Paul Rodgers, Keith Emerson, Roger Daltrey, and Otis Taylor (musician).
Personal life
In 2003, he bought a five-bedroom detached Edwardian house in Hove, just west of Brighton, Sussex, to be near his sons, Jack and Gus, from his former marriage, which had lasted from 1985 to 1993. Since 1997, he was living with his partner, an artist named Jo, and their daughter Lily (b. 1999). His daughter Saoirse, was born from an earlier relationship while he was with Skid Row.[2] His residence was reported to be on Vallance Gardens in Hove, East Sussex.[7]
Death
Gary Moore died of a heart attack in his sleep at the age of 58 during the early hours of 6 February 2011. At the time, he was on holiday with a girlfriend at the Kempinski Hotel in Estepona, Spain. After a quiet dinner, they went for a walk on the beach before going up to their room. His girlfriend raised the alarm at 4:00 am, and tried to give him a heart massage. His death was confirmed by Thin Lizzy's manager Adam Parsons.[4][8][9]
Moore was laid to rest in St Margaret's Churchyard, Rottingdean, East Sussex, England, in a private ceremony, with only the family and close friends in attendance.
Legacy
While less successful in the US, Moore was popular in Europe.[10] Throughout his career, Moore was recognised as an influence by many notable guitarists including Martin Barre,[11] Vivian Campbell,[12] Patrick Rondat,[13] John Norum, Paul Gilbert,[14] Gus G, Slash, Orianthi, Joe Bonamassa, Adrian Smith, Doug Aldrich, Zakk Wylde,[15] Randy Rhoads, John Sykes, Gary W Suede and Kirk Hammett.[16]
Since his death, many fellow musicians have commented on Gary Moore's talents including Ozzy Osbourne,[17] Kirk Hammett,[18] Eric Singer,[19] Doug Aldrich,[20] Tony Iommi,[21] Bob Geldof,[22] Roger Taylor,[23] Brian May,[24] Brian Downey,[25][26] Andy DiGelsomina,[27] Ricky Warwick,[28] Glenn Hughes, Bryan Adams, Henry Rollins, Scott Gorham,[29] Ignacio Garay,[30] and Mikael Åkerfeldt.[31] On 18 April 2011, a number of musicians including Eric Bell and Brian Downey, Thunder rising, Silverbird and The Business blues band gathered for a tribute concert in Whelan's bar in Dublin, Ireland titled 'The Gig For Gary'.[32]
In March 2011 Guitarist produced a tribute special with unreleased footage from 2009. Twitter was flooded with tributes from fans for several days after his death.[33]
A large statue of Moore was erected on a small island outside Skånevik, following his many performances at the Skånevik Blues Festival. The statue still stands as of July 2013.
Gary Moore - Whiskey In The Jar (From "One Night In Dublin: A Tribute To Phil Lynott")
Gary Moore - Still Got The Blues last concert 2010
Gary Moore - The Blues Is Alright (Live at Montreux 2010)
John Dee Holeman *04.04.1929
John Dee Holman often misspelled "Holeman," (born April 4, 1929)[2] is an American Piedmont blues guitarist, singer, and songwriter.[1] His music includes elements of Texas blues, R&B and African American String Band music.[1] In his younger days he was also known for his proficiency as a 'buckdancer'.
Holman was born in Hillsborough, North Carolina, United States,[2] but since 1954 he has been based in Durham, North Carolina.[1] Inspired by Blind Boy Fuller, Holeman was both singing and playing his guitar at local parties and other events by his mid-teens. By his mid-twenties Holeman had bought his first electric guitar and relocated to Durham, where he played with the pianist, Fris Holloway.[1][4] The duo became adept at the Juba dance, also known as the hambone or buckdance.
"As a young man, Holman also listened to traveling bluesmen from other areas of the South, to recordings from Chicago and the Delta, and to black and white musicians on the radio. While still a teenager, he started playing music at house parties, Saturday night suppers, and community gatherings throughout his area of rural North Carolina. At country dances, Holman also learned the tradition of "patting juba." Juba, the use of complex hand rhythms to provide timing for dancers, is a centuries-old tradition among Africans and African Americans. Where Holman grew up, it was customary when party musicians took a break for males to engage in competitive solo dancing accompanied only by hand or "patting" rhythms. "Juba" refers to both the complex hand rhythms and the dance traditionally done to them. The dance done to the juba rhythm is also called "buckdance," "bust down," and "jigging." "Patting" is distinguished from clapping by virtue of the varied pitches the patting hand elicits from the arms, chest, thighs, and flanks." [3]
During his working lifetime, Holman had full-time employment was a construction worker, and music was a part-time pursuit.[3] However, Holman toured both in the United States and overseas in the 1980s, which included performances at New York's Carnegie Hall, and abroad on behalf of the United States Information Agency's 'Arts America' program.[1] In 1980, Holeman played at the 42nd National Folk Festival at Wolf Trap, Virginia.[5] He has performed yearly at the Black Banjo Festival in Boone North Carolina. His first album "Bull City After Dark" was nominated for a W.C. Handy award, the Blues equivalent of a Grammy, later renamed "Blues Music Awards." He recorded his album, Bull Durham Blues in 1988, which featured Taj Mahal. It was re-released on the Music Maker label in 1999. Also in 1988, the National Endowment for the Arts presented Holman with a National Heritage Fellowship.[1]
In 1994, Holman was presented with the North Carolina Folk Heritage Award.[2] A song he co-wrote with Kenny Wayne Shepherd, "Chapel Hill Boogie", was featured on the 2007 Grammy Award nominated album, 10 Days Out: Blues from the Backroads.[6]
In 2007, Music Maker also issued the John Dee Holeman & the Waifs Band album, where Holeman was backed by the Australian folk rock group, The Waifs.
Marion Harris *04.04.1896
Marion Harris (* 1896 in Indiana als Mary Ellen Harrison; † 23. April 1944 in New York City) war eine US-amerikanische Blues-, Pop und Jazzsängerin.
Marion Harris begann ihre Karriere um 1914 als Sängerin in Vaudeville-Truppen und Filmtheatern in Chicago. Der Tänzer Vernon Castle führte sie 1915 in die Theater von New York ein, wo sie in Irving Berlins Revue Stop! Look! Listen! debütierte.
1916 entstanden ihre ersten Schallplatten für Victor, als sie Songs wie „Everybody's Crazy 'bout the Doggone Blues, But I'm Happy“, „After You’ve Gone“, „A Good Man Is Hard to Find“ und „When I Hear that Jazz Band Play" einspielte. Ihr größter Erfolg war 1916 „I Ain't Got Nobody“.[1]
Nachdem ihr 1920 das Victor-Label nicht gestattete, W.C. Handys „St. Louis Blues“ aufzunehmen, wechselte sie zu Columbia, wo sie mit dem Song großen Erfolg hatte. Da sie häufig Jazz und Blues-beeinflusste Nummern sang, wurde sie manchmal The Queen of the Blues[2] genannt. Handy schrieb über die Sängerin: „sie sang den Blues so gut, dass die Leute dachten, die Sängerin wäre eine Farbige“. [3] Harris kommentierte das wie folgt: „You usually do best what comes naturally, so I just naturally started singing Southern dialect songs and the modern blues songs.“ [4]
Ab 1922 nahm sie Schallplatten für das Brunswick Label auf. Sie trat weiterhin in den 1920er Jahren in Broadway-Theatern auf und gastierte regelmäßig im Palace Theatre, trat in der Florenz Ziegfeld Revue Midnight Frolic auf und tourte mit Vaudevilleshows durch das Land. Marion Harris pausierte nach ihrer Heirat mehrere Jahre und kümmerte sich um ihre zwei Kinder; nach der Scheidung 1927 gastierte sie erneut in New Yorker Theatern, nahm für Victor auf und hatte einen Auftritt in einem achtminütigen Promotion-Film, Marion Harris, Songbird of Jazz. Nach ihrer Mitwirkung in einem frühen Hollywood-Musical (Devil-May-Care mit Ramon Navarro) trat sie eine Weile krankheitsbedingt nicht mehr auf.
Zwischen 1931 und 1933 war sie in NBC-Radioshows wie The Ipana Troubadors und Rudy Vallees The Fleischmann's Yeast Hourzu hören; dabei wurde sie von NBC als "The Little Girl with the Big Voice" angekündigt.[5]
Anfang 1931 gastierte sie in London und hatte ein längeres Engagement im Café de Paris. In London trat sie auch in dem Musical Ever Green und in Radiosendungen der BBC auf. Anfang der 1930er Jahre entstanden in England weitere Schallplatten; kurz darauf heiratete sie einen englischen Theateragenten. Ihr Haus wurde durch den Angriff der Deutschen bei der Luftschlacht um England 1941 zerstört; 1944 kehrte sie an einem Nervenleiden erkrankt nach New York zurück. Sie starb zwei Monate später bei einem Zimmerbrand, da sie rauchend im Bett eingeschlafen war.
http://de.wikipedia.org/wiki/Marion_Harris
Marion Harris - St.Louis Blues (1920)
https://www.youtube.com/watch?v=o4Qccz2qsHY
Marion Harris (April 4, 1896[1] – April 23, 1944)[2] was an American popular singer, most successful in the 1920s. She was the first widely known white singer to sing jazz and blues songs.[3]
Early life
Born Mary Ellen Harrison, probably in Indiana, she first played vaudeville and movie theaters in Chicago around 1914. Dancer Vernon Castle introduced her to the theater community in New York, where she debuted in a 1915 Irving Berlin revue, Stop! Look! Listen!
Recordings
In 1916, she began recording for Victor Records, singing a variety of songs, such as "Everybody's Crazy 'bout the Doggone Blues, But I'm Happy", "After You've Gone", "A Good Man Is Hard to Find" (later recorded by Bessie Smith), "When I Hear that Jazz Band Play" and her biggest success, "I Ain't Got Nobody".[4]
In 1920, after the Victor label would not allow her to record W.C. Handy's "St. Louis Blues", she joined Columbia Records, where she recorded the song successfully. Sometimes billed as "The Queen of the Blues,"[3] she tended to record blues- or jazz-flavored tunes throughout her career. Handy wrote of Harris that "she sang blues so well that people hearing her records sometimes thought that the singer was colored."[5] Harris commented, "You usually do best what comes naturally, so I just naturally started singing Southern dialect songs and the modern blues songs."[6]
She was briefly married to actor Robert Williams. They married in 1921 and divorced the following year. Harris and Williams had one daughter Mary Ellen, who later became a singer in her own right under the name Marion Harris Jr.
In 1922 she moved to the Brunswick label. She continued to appear in Broadway theatres throughout the 1920s. She regularly played the Palace Theatre, appeared in Florenz Ziegfeld's Midnight Frolic and toured the country with vaudeville shows.[2] After a marriage which produced two children, and her subsequent divorce, she returned in 1927 to New York theater, made more recordings with Victor and appeared in an eight-minute promotional film, Marion Harris, Songbird of Jazz. After a Hollywood movie, the early musical Devil-May-Care (1929) with Ramón Novarro, she temporarily withdrew from performing because of an undisclosed illness.
Radio
Between 1931 and 1933, when she performed on such NBC radio shows as The Ipana Troubadors and Rudy Vallee's The Fleischmann's Yeast Hour, she was billed by NBC as "The Little Girl with the Big Voice."[7]
In early 1931 she performed in London, returning for long engagements at the Café de Paris. In London she appeared in the musical Ever Green and broadcast on BBC radio. She also recorded in England in the early 1930s but retired soon afterwards and married an English theatrical agent. Their house was destroyed in a German rocket attack in 1941, and in 1944 she travelled to New York to seek treatment for a neurological disorder. Although she was discharged two months later, she died soon afterwards in a hotel fire that started when she fell asleep while smoking in bed.
Early life
Born Mary Ellen Harrison, probably in Indiana, she first played vaudeville and movie theaters in Chicago around 1914. Dancer Vernon Castle introduced her to the theater community in New York, where she debuted in a 1915 Irving Berlin revue, Stop! Look! Listen!
Recordings
In 1916, she began recording for Victor Records, singing a variety of songs, such as "Everybody's Crazy 'bout the Doggone Blues, But I'm Happy", "After You've Gone", "A Good Man Is Hard to Find" (later recorded by Bessie Smith), "When I Hear that Jazz Band Play" and her biggest success, "I Ain't Got Nobody".[4]
In 1920, after the Victor label would not allow her to record W.C. Handy's "St. Louis Blues", she joined Columbia Records, where she recorded the song successfully. Sometimes billed as "The Queen of the Blues,"[3] she tended to record blues- or jazz-flavored tunes throughout her career. Handy wrote of Harris that "she sang blues so well that people hearing her records sometimes thought that the singer was colored."[5] Harris commented, "You usually do best what comes naturally, so I just naturally started singing Southern dialect songs and the modern blues songs."[6]
She was briefly married to actor Robert Williams. They married in 1921 and divorced the following year. Harris and Williams had one daughter Mary Ellen, who later became a singer in her own right under the name Marion Harris Jr.
In 1922 she moved to the Brunswick label. She continued to appear in Broadway theatres throughout the 1920s. She regularly played the Palace Theatre, appeared in Florenz Ziegfeld's Midnight Frolic and toured the country with vaudeville shows.[2] After a marriage which produced two children, and her subsequent divorce, she returned in 1927 to New York theater, made more recordings with Victor and appeared in an eight-minute promotional film, Marion Harris, Songbird of Jazz. After a Hollywood movie, the early musical Devil-May-Care (1929) with Ramón Novarro, she temporarily withdrew from performing because of an undisclosed illness.
Radio
Between 1931 and 1933, when she performed on such NBC radio shows as The Ipana Troubadors and Rudy Vallee's The Fleischmann's Yeast Hour, she was billed by NBC as "The Little Girl with the Big Voice."[7]
In early 1931 she performed in London, returning for long engagements at the Café de Paris. In London she appeared in the musical Ever Green and broadcast on BBC radio. She also recorded in England in the early 1930s but retired soon afterwards and married an English theatrical agent. Their house was destroyed in a German rocket attack in 1941, and in 1944 she travelled to New York to seek treatment for a neurological disorder. Although she was discharged two months later, she died soon afterwards in a hotel fire that started when she fell asleep while smoking in bed.
https://www.youtube.com/watch?v=o4Qccz2qsHY
Muddy Waters *04.04.1913
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Muddy Waters (* 4. April 1913 in Rolling Fork, Mississippi; † 30. April 1983 in Westmont, Illinois; eigentlich McKinley Morganfield) war einer der einflussreichsten US-amerikanischen Bluesmusiker. Das Rolling Stone Magazine setzt ihn auf Platz 17 der 100 besten Künstler aller Zeiten.Kindheit und Jugend
Muddy Waters wurde als McKinley Morganfield geboren. Da die Familie in der Nähe eines kleinen Nebenflusses des Mississippi namens Deer Creek wohnte und er oft in diesem spielte und dabei dreckig wurde, bekam er von seiner Großmutter den Spitznamen Muddy Waters („schlammiges Wasser“).
1918 starb seine Mutter, und er wuchs fortan bei seiner Großmutter in Clarksdale auf. Als Jugendlicher brachte er sich das Mundharmonikaspiel bei, und um 1930 trat er zusammen mit Scott Bowhandle (Gitarre), Son Simms (Fiddle) und Louis Ford (Mandoline) auf Partys und in Juke Joints auf. 1932 kaufte er sich seine erste Gitarre, und Scott Bowhandle brachte ihm die Grundkenntnisse auf dem Instrument bei. Beeinflusst von Son House und Robert Johnson, entwickelte Muddy Waters in den nächsten Jahren eine Bottleneck-Technik.
Beginn als Musiker
Während Waters als Traktorfahrer auf der Stovall-Plantage arbeitete, nahm er 1941 einige Songs für die Musikforscher Alan Lomax und John Work auf, die damals im Auftrag der US-amerikanischen Library of Congress die Volksmusik in den US-Südstaaten dokumentierten. Zwei dieser Aufnahmen (Country Blues/I Be's Troubled) erschienen auf einer Schellackplatte, die jedoch nicht zum Verkauf bestimmt war, sondern lediglich Dokumentationszwecken diente. Weitere Aufnahmen folgten 1942 und zeigten Muddy Waters auch im Zusammenspiel mit dem Gitarristen Charles Berry sowie als Mitglied der Son Simms Four. Diese Aufnahmen waren – genauso wie die restlichen Einspielungen von 1941 – für das Archiv der Nationalbibliothek bestimmt und wurden erst 1966 teilweise von Pete Welding auf Testament Records veröffentlicht. Eine Komplettedition (The Complete Plantation Recordings) der Aufnahmen wurde 1993 von MCA Records vorgelegt.
1943 zog Waters, wie viele andere Afro-Amerikaner in dieser Zeit, Richtung Norden nach Chicago. Dort wohnte er zunächst bei seiner Schwester und fand Arbeit in einer Papierfabrik. Nebenher spielte er weiter Gitarre und festigte seinen Ruf als Bluesmusiker. Um sich in den oft überfüllten und daher sehr lauten Clubs behaupten zu können, tauschte er bald seine akustische gegen eine elektrische Gitarre ein. Durch Big Bill Broonzy gelangte er in einen Blues-Club namens Sylvio's, wo auch Musiker wie Sonny Boy Williamson II., Doctor Clayton oder Tampa Red auftraten. 1946 erhielt er seine erste Chance, eine Platte für ein kommerzielles, wenn auch obskures Plattenlabel (20th Century) einzuspielen. Das Resultat Mean Red Spider, wurde lediglich als B-Seite auf einer Single des Sängers James „Sweet Lucy“ Carter veröffentlicht. Eine weitere Aufnahmesession im September 1946 für Columbia Records blieb bis 1973 unveröffentlicht. 1947 spielte Muddy mit dem Pianisten Sunnyland Slim für das kurzlebige Label Tempo-Tone zusammen. Als dieser einen Termin bei der Plattenfirma „Aristocrat“ hatte, ließ er Muddy Waters suchen, damit der ihn begleiten konnte. Am Ende der Aufnahmesession konnte Waters zwei eigene Kompositionen einspielen: Gypsy Woman/Little Annie Mae, die sich nicht zum Hit entwickelten. 1948 erhielt er eine weitere Chance bei Aristocrat Records und nahm seine beiden Stücke I Can't Be Satisfied und I Feel Like Going Home auf (welche er schon Alan Lomax vorgespielt hatte).
Obwohl diese beiden Stücke völlig anders klangen als die gängigen Bluesstücke jener Zeit (Louis Jordan, Nat King Cole usw.), wurden sie ein regionaler Erfolg. Deshalb spielte Muddy Waters auf Drängen seiner Plattenfirma zunächst weitere Stücke in einer recht kargen Besetzung mit alleine E-Gitarre und Kontrabass ein. Auf seinen Konzerten trat Muddy Waters jedoch längst mit einer eigenen Band auf, der unter anderem damals Jimmy Rogers, Little Walter und Leroy Foster (ersetzt durch Elgin Evans) angehörten. Mittlerweile hatte auch Aristocrat Records (später Chess Records) das Potential der Band erkannt und brachte Platten mit erweiterter Besetzung heraus, die an den Erfolg von I Can't Be Satisfied und I Feel Like Going Home anknüpfen konnten. Hits aus dieser Zeit waren unter anderem Louisiana Blues (1951), Long Distance Call (1951), Still A Fool (1951) und She Moves Me (1952).
König des Chicago Blues
1953 stieß der Pianist Otis Spann zur Band, und der Sound änderte sich abermals. Waters spielte damals weniger Gitarre und konzentrierte sich dafür stärker auf seinen Gesang. Bassist Willie Dixon schrieb einige Hits für Muddy Waters und war bei den meisten Studiosessions mit dabei.[2] Die Besetzung der Band wechselte in den folgenden Jahren mehrmals bei wachsendem Erfolg. Einspielungen aus dieser Zeit – wie etwa I'm Your Hoochie Coochie Man (1954), Just Make Love To Me (1954), Mannish Boy (1955) oder Trouble No More (1956) – markierten einen Höhepunkt seiner Karriere und gelten heute als Klassiker des Chicago Blues. Waters galt als einer der erfolgreichsten Bluesmusiker und spielte auch außerhalb der USA. So tourte er 1958 mit Otis Spann und der Chris Barber Band durch England.
1960 trat Muddy Waters im Zuge des Folk-Revival auf dem Newport Jazz Festival auf. Für viele weiße Fans war es damals die erste Chance, eine Bluesband live zu erleben. Muddy selbst spielte auf dem Konzert ein wenig Slide-Gitarre, konzentrierte sich aber vor allem auf seinen immer expressiver werdenden Gesang. Die Band bestand damals aus James Cotton, Otis Spann, Pat Hare, Andrew Stephenson und Francis Clay. Der Live-Mitschnitt des Konzerts wurde als Album veröffentlicht und ermöglichte Waters, sich einem neuen Publikum – vor allem in Europa – zu präsentieren.
Weitere Karriere: Richtungssuche
Kommerziell und künstlerisch gesehen markierten die folgenden Jahre zunächst einen Tiefpunkt in Waters Karriere. Aufgrund des allgemein schwindenden Interesses an Blues-Musik in den USA, versuchte Chess Records neue Strategien zu finden, um Waters besser vermarkten zu können. Experimente mit modernen bläserorientierten Arrangements, Orgelbegleitung und Background-Sängerinnen blieben ebenso erfolglos, wie der Versuch, einen Twist-Song einzuspielen.
1963 wagte die Plattenfirma ein weiteres Experiment: Diesmal präsentierte sie Muddy Waters als Country Blues Musiker in einer rein akustischen Umgebung. Keine elektrisch verstärkten Instrumente mehr, lediglich akustische Gitarren, Kontrabass und ein kleines Schlagzeug bildeten das Rückgrat für Muddys intensiven Gesang. Musikalisch erwies sich dieses Experiment als erfolgreich und das daraus resultierende Album Folk Singer führte den Begriff unplugged ein, lange bevor dieser durch MTV Unplugged berühmt wurde.
Im Oktober 1963 tourte Muddy Waters mit dem American Folk Blues Festival durch Europa. Ausschnitte dieser Tournee wurden später in der von Joachim Ernst Berendt produzierten Fernsehsendung Jazz – gehört und gesehen gezeigt. 1964 folgte noch einmal eine Europatournee. Im Gegensatz zu den USA, wo das Interesse der jungen afro-amerikanischen Bevölkerung am Blues immer mehr nachließ, begann sich in Europa die Jugend für den Blues zu begeistern. Viele junge Musiker verehrten Muddy Waters als Vorbild und spielten seine Songs, beispielsweise die Rolling Stones, die auf ihren ersten Alben mehrere Muddy-Waters-Stücke coverten.
Das Publikum von Muddy Waters hatte sich mittlerweile völlig verändert. Seine neuen (weißen) Fans liebten und verlangten nunmehr den Sound der Muddy-Waters-Band der 1950er Jahre, der von den meisten Afro-Amerikanern in den 1960er Jahren als „alter Hut“ abgetan wurde. Chess Records – bislang nur darauf ausgerichtet, Blues für ein afro-amerikanisches Publikum zu produzieren – reagierte auf diesen Trend mit neuen Vermarktungs-Strategien. So erschien 1966 das Brass And The Blues Album, das ein „reifes“ Jazzpublikum ansprechen sollte. Das Album bestand aus Bluesstandards, die von Muddy Waters neu interpretiert wurden. Ein zugefügter Bläsersatz sollte das Produkt musikalisch aufwerten. Von den Fans wurde das Album jedoch größtenteils ignoriert. 1967 erschien dann das Super Blues-Album mit Muddy Waters, Bo Diddley und Little Walter. Dieses Album war als Jam-Session konzipiert und sollte ein Hippie-Publikum ansprechen. Obwohl das Ergebnis etwas chaotisch klang, war das Album erfolgreich genug, um einige Monate später das Super Super Blues-Projekt folgen zu lassen. Das Konzept war identisch; Little Walter wurde durch Howlin' Wolf ersetzt. 1968 bzw. 1969 folgten die vom Psychedelic Rock beeinflussten Konzept-Alben Electric Mud und After The Rain, die kontrovers diskutiert wurden.
Die Veröffentlichung von Fathers and Sons im September 1969 markierte Muddys Rückkehr zu einem traditionelleren musikalischen Konzept auch im Studio. Für dieses Album hatte man Muddy Waters (als „Vater“) mit jungen US-amerikanischen Musikern – Mike Bloomfield, Paul Butterfield und Donald „Duck“ Dunn – zusammengebracht. Mit Unterstützung von Otis Spann am Klavier und Sam Lay am Schlagzeug entstanden hörenswerte Neuauflagen einiger seiner Klassiker. Die zweite LP des Doppelalbums war ein Mitschnitt eines Konzerts, das im Anschluss an die Studio-Sessions stattgefunden hatte. Im Oktober 1969 wurde Waters bei einem Autounfall schwer verletzt und war monatelang auf Krücken angewiesen. Ende 1970 konnte er jedoch schon wieder auf Europatournee gehen.
1970er Jahre
Da Muddy Waters seinen Ruf als mitreißender Live-Künstler weiterhin festigte, veröffentlichte seine Plattenfirma 1971 das Album Live At Mr. Kelly's. Es präsentierte Muddy live in einem Chicagoer Blues-Club. Zur Band gehörten damals Paul Oscher, Pinetop Perkins, Pee Wee Madison, Sammy Lawhorn, Calvin „Fuzz“ Jones und Willie „Big Eyes“ Smith. Obwohl Muddy Waters in den 1970er Jahren fast ständig auf Tournee war, widmete er sich weiteren Studioprojekten. 1972 erschien das Album London Sessions, das er zusammen mit britischen Musikern (Rory Gallagher, Steve Winwood, Georgie Fame und Mitch Mitchell) einspielte. Eine anschließende Europatournee führte auch auf das Montreux Jazz Festival. Der dortige Auftritt wurde teilweise auf der LP Blues Avalanche – Montreux 1972 veröffentlicht. Zwischendurch erschien das 1972 in Chicago eingespielte Album Can't Get No Grindin'. 1973 folgten Tourneen durch Australien und Neuseeland. Im Januar 1974 wurde ein weiteres Studioalbum in Chicago eingespielt – Unk In Funk. Im gleichen Jahr war er wieder in Europa unterwegs und trat bei den Jazzfestivals in Antibes sowie in Montreux auf. Sein letztes Album für Chess Records spielte er 1975 mit Mitgliedern von The Band ein. Das Jahr 1976 brachte eine weitere große Europatournee mit Stationen in Deutschland, Polen, Schweden, Italien und der Schweiz. Im gleichen Jahr unterzeichnete Waters einen Vertrag bei Blue Sky Records, einem Label, das Johnny Winters Manager Steve Paul gehörte.
Im Januar 1977 wurde das erste von Johnny Winter produzierte Album Hard Again für Blue Sky veröffentlicht. Das Album war im Oktober 1976 in lockerer Atmosphäre im Studio von Dan Hartman eingespielt worden und wurde ein großer Erfolg.[3] I’m Ready, Waters zweites Album für Blue Sky, wurde 1978 veröffentlicht. Von der Atmosphäre her ähnlich wie das Vorgängeralbum, konnten für diese Aufnahmesessions Jimmy Rogers und Big Walter Horton als Gastmusiker gewonnen werden, die bereits in den 1940er und 1950er Jahren in seiner Band gespielt hatten. Das dritte Blue Sky-Album Muddy „Mississippi“ Waters Live war ein Live-Album und bestand aus Titeln, die zum Teil bereits 1977 während einer Promotion-Tour für das Hard Again Album mitgeschnitten worden waren. Ergänzt wurden diese Aufnahmen durch Live-Mitschnitte von 1978. Die Aufnahmesessions für Muddys letztes Album King Bee im Mai 1980 standen unter keinem guten Stern. Es gab Spannungen zwischen Muddy, seiner Band und seinem Manager Scott Cameron wegen einer geschäftlichen Auseinandersetzung. Nach einer anschließenden zweiwöchigen Japantournee trennte sich die Band (Luther „Guitar Jr.“ Johnson, Bob Margolin, Jerry Portnoy, Calvin „Fuzz“ Jones, Pinetop Perkins, Willie „Big Eyes“ Smith) schließlich von Muddy. Alle Musiker hielten jedoch ihre persönliche Freundschaft zu Muddy bis zu seinem Tod 1983 aufrecht.
Die letzten Jahre
Mit einer neuen Band, die aus Lovie Lee, George „Mojo“ Buford, John Primer, Rick Kreher, Earnest Johnson und Ray Allison bestand, ging Muddy 1980 das letzte Mal auf Europatournee. Aufgrund seines schlechter werdenden Gesundheitszustandes mussten jedoch immer mehr Konzertauftritte abgesagt werden. 1981 spielte er zusammen mit den Rolling Stones in der Checkerboard Lounge in Chicago. Ein Videomitschnitt des Konzerts erschien zuerst auf einer Bootleg-LP und stellt das letzte bekannte Tondokument Muddy Waters' dar. Dieser Mitschnitt wurde später offiziell als DVD bzw. CD/DVD veröffentlicht.
Am 29. April 1983 feierte der Londoner Marquee Club sein 25-jähriges Jubiläum mit Künstlern wie Alexis Korner, Charlie Watts oder Bill Wyman von den Rolling Stones. Sie spielten an diesem Abend die Musik von Muddy Waters, ohne zu ahnen, dass dies bereits ein Nachruf auf ihn war. Am nächsten Tag wurde Muddy Waters’ Tod bekannt gegeben.
http://de.wikipedia.org/wiki/Muddy_Waters
http://mattizwoo.blogspot.de/2015/01/meilensteinalben-blues-in-dieser-reihe.html
Meilensteinalben Blues
Fathers and Sonshttp://mattizwoo.blogspot.de/2015/01/meilensteinalben-blues-in-dieser-reihe.html
McKinley Morganfield (April 4, 1913[2] – April 30, 1983), known by his stage name Muddy Waters, was an American blues musician. He is often considered the "father of modern Chicago blues".[3]
Muddy Waters grew up on Stovall Plantation near Clarksdale, Mississippi and by age seventeen was playing the guitar at parties, emulating local blues artists Son House and Robert Johnson.[4] He was recorded by Alan Lomax there for the Library of Congress in 1941.[5][6] In 1943, he headed to Chicago with the hope of becoming a full-time professional musician, eventually recording, in 1946, for first Columbia and then Aristocrat Records, a newly formed label run by brothers Leonard and Phil Chess.
In the early 1950s, Muddy and his band, Little Walter Jacobs on harmonica, Jimmy Rogers on guitar, Elgin Evans on drums and Otis Spann on piano, recorded a series of blues classics, some with bassist/songwriter Willie Dixon, including "Hoochie Coochie Man", "I Just Want to Make Love to You" and "I'm Ready". In 1958, Muddy headed to England, helping to lay the foundations of the subsequent blues boom there, and in 1960 performed at the Newport Jazz Festival, recorded and released as his first live album, At Newport 1960.
Muddy's influence is tremendous, not just on blues and rhythm and blues but on rock 'n' roll, hard rock, folk, jazz, and country; his use of amplification is often cited as the link between Delta blues and rock 'n' roll.[7][8]
Early life
Although in his later years Muddy usually said that he was born in Rolling Fork, Mississippi, in 1915, he was most likely born at Jug's Corner in neighboring Issaquena County in 1913.[9] Recent research has uncovered documentation showing that in the 1930s and 1940s, before his rise to fame, he reported his birth year as 1913 on his marriage license, recording notes and musicians' union card. A 1955 interview in the Chicago Defender is the earliest claim of 1915 as his year of birth, which he continued to use in interviews from that point onward. The 1920 census lists him as five years old as of March 6, 1920, suggesting that his birth year may have been 1914. The Social Security Death Index, relying on the Social Security card application submitted after his move to Chicago in the mid-1940s, lists him as being born April 4, 1913. Muddy's gravestone gives his birth year as 1915.
Muddy's grandmother, Della Grant, raised him after his mother died shortly following his birth. Della gave the boy the nickname "Muddy" at an early age because he loved to play in the muddy water of nearby Deer Creek.[10] Muddy later changed it to "Muddy Water" and finally "Muddy Waters".
The shack where Muddy Waters lived in his youth on Stovall Plantation is now located at the Delta Blues Museum in Clarksdale, Mississippi. He started out on harmonica, but by age seventeen he was playing the guitar at parties, emulating two blues artists in particular, Son House and Robert Johnson.
On November 20, 1932, Muddy married Mabel Berry. Guitarist Robert Nighthawk played at the wedding and the party reportedly got so wild the floor fell in.[11] Mabel left Muddy three years later when Muddy's first child was born; the child's mother was Leola Spain, 16 years old (Leola later used her maiden name, Brown), "married to a man named Steven" and "going with a guy named Tucker". Leola was the only one of his girlfriends with whom Muddy would stay in touch throughout his life; they never married. By the time he finally cut out for Chicago in 1943, there was another Mrs. Morganfield left behind, a girl called Sallie Ann.[12]
Early career
In August[6] of 1941, Alan Lomax went to Stovall, Mississippi on behalf of the Library of Congress to record various country blues musicians. "He brought his stuff down and recorded me right in my house," Muddy recalled in Rolling Stone, "and when he played back the first song I sounded just like anybody's records. Man, you don't know how I felt that Saturday afternoon when I heard that voice and it was my own voice. Later on he sent me two copies of the pressing and a check for twenty bucks, and I carried that record up to the corner and put it on the jukebox. Just played it and played it and said, 'I can do it, I can do it.'"[5] Lomax came back in July 1942 to record Muddy again. Both sessions were eventually released as Down On Stovall's Plantation on the Testament label.[13] The complete recordings were re-issued on CD as Muddy Waters: The Complete Plantation Recordings. The historic 1941-42 Library of Congress field recordings by Chess Records in 1993, and re-mastered in 1997.[14]
In 1943, Muddy headed to Chicago with the hope of becoming a full-time professional musician. He lived with a relative for a short period while driving a truck and working in a factory by day and performing at night. Big Bill Broonzy, then one of the leading blues-men in Chicago, helped Muddy break into the very competitive market by allowing him to open for his shows in the rowdy clubs.[15] In 1945, Muddy's uncle, Joe Grant, gave him his first electric guitar, which enabled him to be heard above the noisy crowds.[16]
In 1946, he recorded some tunes for Mayo Williams at Columbia but they were not released at the time. Later that year he began recording for Aristocrat Records, a newly formed label run by two brothers, Leonard and Phil Chess. In 1947, he played guitar with Sunnyland Slim on piano on the cuts "Gypsy Woman" and "Little Anna Mae." These were also shelved, but in 1948, "I Can't Be Satisfied" and "I Feel Like Going Home" became big hits and his popularity in clubs began to take off. Soon after, Aristocrat changed their label name to Chess Records and Muddy's signature tune "Rollin' Stone" also became a smash hit.
Commercial success
Initially, the Chess brothers would not allow Muddy to use his working band in the recording studio; instead he was provided with a backing bass by Ernest "Big" Crawford, or by musicians assembled specifically for the recording session, including "Baby Face" Leroy Foster and Johnny Jones. Gradually Chess relented, and by September 1953 he was recording with one of the most acclaimed blues groups in history: Little Walter Jacobs on harmonica, Jimmy Rogers on guitar, Elga Edmonds (a.k.a. Elgin Evans) on drums and Otis Spann on piano. The band recorded a series of blues classics during the early 1950s, some with the help of bassist/songwriter Willie Dixon, including "Hoochie Coochie Man" (Number 8 on the R&B charts), "I Just Want to Make Love to You" (Number 4), and "I'm Ready". These three were "the most macho songs in his repertoire," wrote Robert Palmer in Rolling Stone. "Muddy would never have composed anything so unsubtle. But they gave him a succession of showstoppers and an image, which were important for a bluesman trying to break out of the grind of local gigs into national prominence."[citation needed] Along with his former harmonica player Little Walter Jacobs and recent southern transplant Howlin' Wolf, Muddy reigned over the early 1950s Chicago blues scene, his band becoming a proving ground for some of the city's best blues talent. While Little Walter continued a collaborative relationship long after he left Muddy's band in 1952, appearing on most of Muddy's classic recordings throughout the 1950s, Muddy developed a long-running, generally good-natured rivalry with Wolf... The success of Muddy's ensemble paved the way for others in his group to break away and enjoy their own solo careers. In 1952 Little Walter left when his single "Juke" became a hit, and in 1955 Rogers quit to work exclusively with his own band, which had been a sideline until that time. Although he continued working with Muddy's band, Otis Spann enjoyed a solo career and many releases under his own name beginning in the mid-1950s. Around that time, Muddy Waters scored hits with songs "Mannish Boy"[1] and "Sugar Sweet" in 1955, followed by the R&B hits "Trouble No More," "Forty Days & Forty Nights" and "Don't Go No Farther" in 1956.[17]
England and low profile
Muddy headed to England in 1958 and shocked audiences (whose only previous exposure to blues had come via the acoustic folk/blues sounds of acts such as Sonny Terry and Brownie McGhee and Big Bill Broonzy) with his loud, amplified electric guitar and thunderous beat. His performance at the 1960 Newport Jazz Festival, recorded and released as his first live album, At Newport 1960, helped turn on a whole new generation to Muddy's sound. He expressed dismay when he realized that members of his own race were turning their backs on the genre while a white audience had shown increasing respect for the blues.
However, for the better part of twenty years (since his last big hit in 1956, "I'm Ready") Muddy was put on the back shelf by the Chess label and recorded albums with various "popular" themes: Brass And The Blues, Electric Mud, etc. In 1967, he joined forces with Bo Diddley, Little Walter and Howlin' Wolf to record the Super Blues and The Super Super Blues Band pair of albums of Chess blues standards. In 1972 he went back to England to record The London Muddy Waters Sessions with Rory Gallagher, Steve Winwood, Rick Grech and Mitch Mitchell — but their playing was not up to his standards. "These boys are top musicians, they can play with me, put the book before 'em and play it, you know," he told Guralnick. "But that ain't what I need to sell my people, it ain't the Muddy Waters sound. An' if you change my sound, then you gonna change the whole man."
Muddy's sound was basically Delta blues electrified, but his use of microtones, in both his vocals and slide playing, made it extremely difficult to duplicate and follow correctly.[citation needed] "When I play on the stage with my band, I have to get in there with my guitar and try to bring the sound down to me. But no sooner than I quit playing, it goes back to another, different sound. My blues look so simple, so easy to do, but it's not. They say my blues is the hardest blues in the world to play."[18]
Comeback
Muddy's long-time wife Geneva died of cancer on March 15, 1973. A devastated Muddy was taken to a doctor and told to quit smoking, which he did. Gaining custody of some of his "outside kids", he moved them into his home, eventually buying a new house in Westmont, Illinois. Another teenage daughter turned up while Muddy was on tour in New Orleans; Big Bill Morganfield was introduced to his Dad after a gig in Florida. Florida was also where Muddy met his future wife, the 19-year-old Marva Jean Brooks whom he nicknamed "Sunshine".[19] Eric Clapton served as best man at their wedding in 1979.[20]
On November 25, 1976, Muddy Waters performed at The Band's farewell concert at Winterland in San Francisco. The concert was released as both a record and a film, The Last Waltz, featuring a performance of "Mannish Boy" with Paul Butterfield on harmonica.
In 1977 Johnny Winter convinced his label, Blue Sky, to sign Muddy, the beginning of a fruitful partnership. His "comeback" LP, Hard Again, was recorded in just two days and was a return to the original Chicago sound he had created 25 years earlier, thanks to Winter's production. Former sideman James Cotton contributed harmonica on the Grammy Award winning album and a brief tour followed.
The Muddy Waters Blues Band at the time included guitarists Sammy Lawhorn, Bob Margolin and Luther "Snake Boy" Johnson, pianist Pinetop Perkins, harmonica player Jerry Portnoy, bassist Calvin "Fuzz" Jones and drummer Willie "Big Eyes" Smith. On "Hard Again", Winter played guitar in addition to producing; Muddy asked James Cotton to play harp on the session, and Cotton brought his own bassist Charles Calmese. According to Margolin's liner notes, Muddy did not play guitar during these sessions. The album covers a broad spectrum of styles, from the opening of "Mannish Boy", with shouts and hollers throughout, to the old-style Delta blues of "I Can't Be Satisfied", with a National Steel solo by Winter, to Cotton's screeching intro to "The Blues Had a Baby", to the moaning closer "Little Girl". Its live feel harks back to the Chess Records days, and it evokes a feeling of intimacy and cooperative musicianship. The expanded reissue includes one bonus track, a remake of the 1950s single "Walking Through the Park". The other outtakes from the album sessions appear on King Bee. Margolin's notes state that the reissued album was remastered but that remixing was not considered to be necessary. Hard Again was the first studio collaboration between Muddy and Winter, who produced his final four albums, the others being I'm Ready, King Bee, and Muddy "Mississippi" Waters - Live, for Blue Sky, a Columbia Records subsidiary.
In 1978, Winter recruited two of Muddy's cohorts from the early 1950s, Big Walter Horton and Jimmy Rogers, and brought in the rest of his touring band at the time (harmonica player Jerry Portnoy, guitarist Luther "Guitar Junior" Johnson, and bassist Calvin "Fuzz" Jones) to record I'm Ready, which came close to the critical and commercial success of Hard Again.
The comeback continued in 1979 with the lauded LP Muddy "Mississippi" Waters Live. "Muddy was loose for this one," wrote Jas Obrecht in Guitar Player, "and the result is the next best thing to being ringside at one of his foot-thumping, head-nodding, downhome blues shows." On the album, Muddy is accompanied by his touring band, augmented by Johnny Winter on guitar. The set list contains most of his biggest hits, and the album has an energetic feel. King Bee the following year concluded Waters' reign at Blue Sky, and these last four LPs turned out to be his biggest-selling albums ever. King Bee was the last album Muddy Waters recorded. Coming last in a trio of studio outings produced by Johnny Winter, it is also a mixed bag. During the sessions for King Bee, Muddy, his manager and his band were involved in a dispute over money. According to the liner notes by Bob Margolin, the conflict arose from Muddy's health being on the wane and consequently playing fewer engagements. The bandmembers wanted more money for each of the fewer gigs they did play in order to make ends meet. Ultimately a split occurred and the entire band quit. Because of the tensions in the studio preceding the split, Winter felt the sessions had not produced enough solid material to yield an entire album, and filled out King Bee with outtakes from earlier Blue Sky sessions. The cover photograph is by David Michael Kennedy. For the listener, King Bee is a leaner and meaner record. Less of the good-time exuberance present on the previous two outings is present here. The title track, "Mean Old Frisco", "Sad Sad Day", and "I Feel Like Going Home", are all blues with ensemble work. The Sony Legacy issue features completely remastered sound and Margolin's notes, and also hosts two bonus tracks from the King Bee sessions that Winter did not see fit to release the first time.
In 1981, Muddy Waters was invited to perform at ChicagoFest, the city's top outdoor music festival. He was joined onstage by Johnny Winter—who had successfully produced his most recent albums—and played classics like "Mannish Boy," "Trouble No More" and "Mojo Working" to a new generation of fans. This historic performance was made available on DVD in 2009 by Shout! Factory. Later that year, Waters performed live with the Rolling Stones at the Checkerboard Lounge, with a DVD version of the concert released in 2012.[21]
In 1982, declining health dramatically curtailed Muddy's performance schedule. His last public performance took place when he sat in with Eric Clapton's band at a Clapton concert in Florida in autumn of 1982.[22]
Death
On April 30, 1983, Muddy Waters died in his sleep from heart failure, at his home in Westmont, Illinois. At his funeral at Restvale Cemetery in Alsip, Illinois, throngs of blues musicians and fans showed up to pay tribute to one of the true originals of the art form. "Muddy was a master of just the right notes," John P. Hammond, told Guitar World magazine. "It was profound guitar playing, deep and simple... more country blues transposed to the electric guitar, the kind of playing that enhanced the lyrics, gave profundity to the words themselves." Two years after his death, Chicago honored him by designating the one-block section between 900 and 1000 E. 43rd Street near his former home on the south side "Honorary Muddy Waters Drive".[23] The Chicago suburb of Westmont, where Muddy lived the last decade of his life, named a section of Cass Avenue near his home "Honorary Muddy Waters Way".[24] Following his death, fellow blues musician B.B. King told Guitar World, "It's going to be years and years before most people realize how greatly he contributed to American music". A Mississippi Blues Trail marker has been placed in Clarksdale, Mississippi, by the Mississippi Blues Commission designating the site of Muddy Waters' cabin.[25]
Influence
His influence is tremendous, over a variety of music genres: blues, rhythm and blues, rock 'n' roll, hard rock, folk, jazz, and country. He also helped Chuck Berry get his first record contract.
His 1958 tour of England marked possibly the first time amplified, modern urban blues was heard there, although on his first tour he was the only one amplified. His backing was provided by Englishman Chris Barber's trad jazz group.
His use of amplification is cited as "the technological missing link between Delta Blues and Rock 'N' Roll."[7] This is underlined in a 1968 article in Rolling Stone magazine: “There was a difference between Muddy’s instrumental work and that of House and Johnson, however, and the crucial difference was the result of Waters’ use of the electric guitar on his Aristocrat sides; he had taken up the instrument shortly after moving to Chicago in 1943.”[8]
The Rolling Stones named themselves after his 1950 song "Rollin' Stone" (also known as "Catfish Blues", which Jimi Hendrix covered as well). The magazine Rolling Stone also took its name from the same song. Hendrix recalled "the first guitar player I was aware of was Muddy Waters. I first heard him as a little boy and it scared me to death". Cream covered "Rollin' and Tumblin'" on their 1966 debut album Fresh Cream, as Eric Clapton was a big fan of Muddy Waters when he was growing up, and his music influenced Clapton's music career. The song was also covered by Canned Heat at the legendary Monterey Pop Festival and later adapted by Bob Dylan on the album Modern Times. One of Led Zeppelin's biggest hits, "Whole Lotta Love", is lyrically based upon the Muddy Waters hit "You Need Love", written by Willie Dixon. Dixon wrote some of Muddy Waters' most famous songs, including "I Just Want to Make Love to You" (a big radio hit for Etta James, as well as the 1970s rock band Foghat), "Hoochie Coochie Man", which The Allman Brothers Band famously covered (the song was also covered by Humble Pie and Steppenwolf), "Trouble No More" and "I'm Ready". In 1993, Paul Rodgers released the album Muddy Water Blues: A Tribute to Muddy Waters, on which he covered a number of Muddy Waters songs, including "Louisiana Blues", "Rollin' Stone", "Hoochie Coochie Man" and "I'm Ready" (among others) in collaboration with a number of famous guitarists including Gary Moore, Brian May and Jeff Beck.
Angus Young of the rock group AC/DC has cited Muddy Waters as one of his influences. The AC/DC song title "You Shook Me All Night Long" came from lyrics of the Muddy Waters song "You Shook Me", written by Willie Dixon and J. B. Lenoir. Earl Hooker first recorded it as an instrumental, which was then overdubbed with vocals by Muddy Waters in 1962. Led Zeppelin also covered it on their debut album.
Muddy Waters' songs have been featured in long-time fan Martin Scorsese's movies, including The Color of Money, Goodfellas and Casino. Muddy Waters' 1970s recording of his mid-'50s hit "Mannish Boy" (a.k.a. "I'm A Man") was used in Goodfellas, Better Off Dead, and the hit film Risky Business, and also features in the rockumentary The Last Waltz.
The song "Come Together" by The Beatles references Muddy Waters: "He roller coaster/he got Muddy Waters."
Van Morrison lyrics include "Muddy Waters singin', "I'm a Rolling Stone" from his 1982 song "Cleaning Windows", on the album Beautiful Vision.
American Stoner Metal band Bongzilla covered Muddy Water's song Champagne and Reefer on their album Amerijuanican.
In 2008, Jeffrey Wright portrayed Muddy in the biopic Cadillac Records, a film about the rise and fall of Chess Records and the lives of its recording artists. A second 2008 film about Leonard Chess and Chess Records, Who Do You Love, also covers Muddy's time at Chess Records.
In the 2009 film The Boat that Rocked (retitled Pirate Radio in the U.S) about pirate radio in the UK, the cryptic message that late-night DJ Bob gives to Carl to give to Carl's mother is: "Muddy Waters Rocks."
In 1990, the television show Doogie Howser, M.D. featured an episode called "Doogie Sings the Blues" with the main character, Blind Otis Lemon, based on Muddy Waters, with references to his influence on the Rolling Stones and Led Zeppelin, along with the performance of "Got My Mojo Working" by Blind Otis Lemon. He is also referred to as the original "Hoochie Coochie Man".
Muddy's son Larry "Mud" Morganfield is a professional blues singer and musician.
Muddy Waters grew up on Stovall Plantation near Clarksdale, Mississippi and by age seventeen was playing the guitar at parties, emulating local blues artists Son House and Robert Johnson.[4] He was recorded by Alan Lomax there for the Library of Congress in 1941.[5][6] In 1943, he headed to Chicago with the hope of becoming a full-time professional musician, eventually recording, in 1946, for first Columbia and then Aristocrat Records, a newly formed label run by brothers Leonard and Phil Chess.
In the early 1950s, Muddy and his band, Little Walter Jacobs on harmonica, Jimmy Rogers on guitar, Elgin Evans on drums and Otis Spann on piano, recorded a series of blues classics, some with bassist/songwriter Willie Dixon, including "Hoochie Coochie Man", "I Just Want to Make Love to You" and "I'm Ready". In 1958, Muddy headed to England, helping to lay the foundations of the subsequent blues boom there, and in 1960 performed at the Newport Jazz Festival, recorded and released as his first live album, At Newport 1960.
Muddy's influence is tremendous, not just on blues and rhythm and blues but on rock 'n' roll, hard rock, folk, jazz, and country; his use of amplification is often cited as the link between Delta blues and rock 'n' roll.[7][8]
Early life
Although in his later years Muddy usually said that he was born in Rolling Fork, Mississippi, in 1915, he was most likely born at Jug's Corner in neighboring Issaquena County in 1913.[9] Recent research has uncovered documentation showing that in the 1930s and 1940s, before his rise to fame, he reported his birth year as 1913 on his marriage license, recording notes and musicians' union card. A 1955 interview in the Chicago Defender is the earliest claim of 1915 as his year of birth, which he continued to use in interviews from that point onward. The 1920 census lists him as five years old as of March 6, 1920, suggesting that his birth year may have been 1914. The Social Security Death Index, relying on the Social Security card application submitted after his move to Chicago in the mid-1940s, lists him as being born April 4, 1913. Muddy's gravestone gives his birth year as 1915.
Muddy's grandmother, Della Grant, raised him after his mother died shortly following his birth. Della gave the boy the nickname "Muddy" at an early age because he loved to play in the muddy water of nearby Deer Creek.[10] Muddy later changed it to "Muddy Water" and finally "Muddy Waters".
The shack where Muddy Waters lived in his youth on Stovall Plantation is now located at the Delta Blues Museum in Clarksdale, Mississippi. He started out on harmonica, but by age seventeen he was playing the guitar at parties, emulating two blues artists in particular, Son House and Robert Johnson.
On November 20, 1932, Muddy married Mabel Berry. Guitarist Robert Nighthawk played at the wedding and the party reportedly got so wild the floor fell in.[11] Mabel left Muddy three years later when Muddy's first child was born; the child's mother was Leola Spain, 16 years old (Leola later used her maiden name, Brown), "married to a man named Steven" and "going with a guy named Tucker". Leola was the only one of his girlfriends with whom Muddy would stay in touch throughout his life; they never married. By the time he finally cut out for Chicago in 1943, there was another Mrs. Morganfield left behind, a girl called Sallie Ann.[12]
Early career
In August[6] of 1941, Alan Lomax went to Stovall, Mississippi on behalf of the Library of Congress to record various country blues musicians. "He brought his stuff down and recorded me right in my house," Muddy recalled in Rolling Stone, "and when he played back the first song I sounded just like anybody's records. Man, you don't know how I felt that Saturday afternoon when I heard that voice and it was my own voice. Later on he sent me two copies of the pressing and a check for twenty bucks, and I carried that record up to the corner and put it on the jukebox. Just played it and played it and said, 'I can do it, I can do it.'"[5] Lomax came back in July 1942 to record Muddy again. Both sessions were eventually released as Down On Stovall's Plantation on the Testament label.[13] The complete recordings were re-issued on CD as Muddy Waters: The Complete Plantation Recordings. The historic 1941-42 Library of Congress field recordings by Chess Records in 1993, and re-mastered in 1997.[14]
In 1943, Muddy headed to Chicago with the hope of becoming a full-time professional musician. He lived with a relative for a short period while driving a truck and working in a factory by day and performing at night. Big Bill Broonzy, then one of the leading blues-men in Chicago, helped Muddy break into the very competitive market by allowing him to open for his shows in the rowdy clubs.[15] In 1945, Muddy's uncle, Joe Grant, gave him his first electric guitar, which enabled him to be heard above the noisy crowds.[16]
In 1946, he recorded some tunes for Mayo Williams at Columbia but they were not released at the time. Later that year he began recording for Aristocrat Records, a newly formed label run by two brothers, Leonard and Phil Chess. In 1947, he played guitar with Sunnyland Slim on piano on the cuts "Gypsy Woman" and "Little Anna Mae." These were also shelved, but in 1948, "I Can't Be Satisfied" and "I Feel Like Going Home" became big hits and his popularity in clubs began to take off. Soon after, Aristocrat changed their label name to Chess Records and Muddy's signature tune "Rollin' Stone" also became a smash hit.
Commercial success
Initially, the Chess brothers would not allow Muddy to use his working band in the recording studio; instead he was provided with a backing bass by Ernest "Big" Crawford, or by musicians assembled specifically for the recording session, including "Baby Face" Leroy Foster and Johnny Jones. Gradually Chess relented, and by September 1953 he was recording with one of the most acclaimed blues groups in history: Little Walter Jacobs on harmonica, Jimmy Rogers on guitar, Elga Edmonds (a.k.a. Elgin Evans) on drums and Otis Spann on piano. The band recorded a series of blues classics during the early 1950s, some with the help of bassist/songwriter Willie Dixon, including "Hoochie Coochie Man" (Number 8 on the R&B charts), "I Just Want to Make Love to You" (Number 4), and "I'm Ready". These three were "the most macho songs in his repertoire," wrote Robert Palmer in Rolling Stone. "Muddy would never have composed anything so unsubtle. But they gave him a succession of showstoppers and an image, which were important for a bluesman trying to break out of the grind of local gigs into national prominence."[citation needed] Along with his former harmonica player Little Walter Jacobs and recent southern transplant Howlin' Wolf, Muddy reigned over the early 1950s Chicago blues scene, his band becoming a proving ground for some of the city's best blues talent. While Little Walter continued a collaborative relationship long after he left Muddy's band in 1952, appearing on most of Muddy's classic recordings throughout the 1950s, Muddy developed a long-running, generally good-natured rivalry with Wolf... The success of Muddy's ensemble paved the way for others in his group to break away and enjoy their own solo careers. In 1952 Little Walter left when his single "Juke" became a hit, and in 1955 Rogers quit to work exclusively with his own band, which had been a sideline until that time. Although he continued working with Muddy's band, Otis Spann enjoyed a solo career and many releases under his own name beginning in the mid-1950s. Around that time, Muddy Waters scored hits with songs "Mannish Boy"[1] and "Sugar Sweet" in 1955, followed by the R&B hits "Trouble No More," "Forty Days & Forty Nights" and "Don't Go No Farther" in 1956.[17]
England and low profile
Muddy headed to England in 1958 and shocked audiences (whose only previous exposure to blues had come via the acoustic folk/blues sounds of acts such as Sonny Terry and Brownie McGhee and Big Bill Broonzy) with his loud, amplified electric guitar and thunderous beat. His performance at the 1960 Newport Jazz Festival, recorded and released as his first live album, At Newport 1960, helped turn on a whole new generation to Muddy's sound. He expressed dismay when he realized that members of his own race were turning their backs on the genre while a white audience had shown increasing respect for the blues.
However, for the better part of twenty years (since his last big hit in 1956, "I'm Ready") Muddy was put on the back shelf by the Chess label and recorded albums with various "popular" themes: Brass And The Blues, Electric Mud, etc. In 1967, he joined forces with Bo Diddley, Little Walter and Howlin' Wolf to record the Super Blues and The Super Super Blues Band pair of albums of Chess blues standards. In 1972 he went back to England to record The London Muddy Waters Sessions with Rory Gallagher, Steve Winwood, Rick Grech and Mitch Mitchell — but their playing was not up to his standards. "These boys are top musicians, they can play with me, put the book before 'em and play it, you know," he told Guralnick. "But that ain't what I need to sell my people, it ain't the Muddy Waters sound. An' if you change my sound, then you gonna change the whole man."
Muddy's sound was basically Delta blues electrified, but his use of microtones, in both his vocals and slide playing, made it extremely difficult to duplicate and follow correctly.[citation needed] "When I play on the stage with my band, I have to get in there with my guitar and try to bring the sound down to me. But no sooner than I quit playing, it goes back to another, different sound. My blues look so simple, so easy to do, but it's not. They say my blues is the hardest blues in the world to play."[18]
Comeback
Muddy's long-time wife Geneva died of cancer on March 15, 1973. A devastated Muddy was taken to a doctor and told to quit smoking, which he did. Gaining custody of some of his "outside kids", he moved them into his home, eventually buying a new house in Westmont, Illinois. Another teenage daughter turned up while Muddy was on tour in New Orleans; Big Bill Morganfield was introduced to his Dad after a gig in Florida. Florida was also where Muddy met his future wife, the 19-year-old Marva Jean Brooks whom he nicknamed "Sunshine".[19] Eric Clapton served as best man at their wedding in 1979.[20]
On November 25, 1976, Muddy Waters performed at The Band's farewell concert at Winterland in San Francisco. The concert was released as both a record and a film, The Last Waltz, featuring a performance of "Mannish Boy" with Paul Butterfield on harmonica.
In 1977 Johnny Winter convinced his label, Blue Sky, to sign Muddy, the beginning of a fruitful partnership. His "comeback" LP, Hard Again, was recorded in just two days and was a return to the original Chicago sound he had created 25 years earlier, thanks to Winter's production. Former sideman James Cotton contributed harmonica on the Grammy Award winning album and a brief tour followed.
The Muddy Waters Blues Band at the time included guitarists Sammy Lawhorn, Bob Margolin and Luther "Snake Boy" Johnson, pianist Pinetop Perkins, harmonica player Jerry Portnoy, bassist Calvin "Fuzz" Jones and drummer Willie "Big Eyes" Smith. On "Hard Again", Winter played guitar in addition to producing; Muddy asked James Cotton to play harp on the session, and Cotton brought his own bassist Charles Calmese. According to Margolin's liner notes, Muddy did not play guitar during these sessions. The album covers a broad spectrum of styles, from the opening of "Mannish Boy", with shouts and hollers throughout, to the old-style Delta blues of "I Can't Be Satisfied", with a National Steel solo by Winter, to Cotton's screeching intro to "The Blues Had a Baby", to the moaning closer "Little Girl". Its live feel harks back to the Chess Records days, and it evokes a feeling of intimacy and cooperative musicianship. The expanded reissue includes one bonus track, a remake of the 1950s single "Walking Through the Park". The other outtakes from the album sessions appear on King Bee. Margolin's notes state that the reissued album was remastered but that remixing was not considered to be necessary. Hard Again was the first studio collaboration between Muddy and Winter, who produced his final four albums, the others being I'm Ready, King Bee, and Muddy "Mississippi" Waters - Live, for Blue Sky, a Columbia Records subsidiary.
In 1978, Winter recruited two of Muddy's cohorts from the early 1950s, Big Walter Horton and Jimmy Rogers, and brought in the rest of his touring band at the time (harmonica player Jerry Portnoy, guitarist Luther "Guitar Junior" Johnson, and bassist Calvin "Fuzz" Jones) to record I'm Ready, which came close to the critical and commercial success of Hard Again.
The comeback continued in 1979 with the lauded LP Muddy "Mississippi" Waters Live. "Muddy was loose for this one," wrote Jas Obrecht in Guitar Player, "and the result is the next best thing to being ringside at one of his foot-thumping, head-nodding, downhome blues shows." On the album, Muddy is accompanied by his touring band, augmented by Johnny Winter on guitar. The set list contains most of his biggest hits, and the album has an energetic feel. King Bee the following year concluded Waters' reign at Blue Sky, and these last four LPs turned out to be his biggest-selling albums ever. King Bee was the last album Muddy Waters recorded. Coming last in a trio of studio outings produced by Johnny Winter, it is also a mixed bag. During the sessions for King Bee, Muddy, his manager and his band were involved in a dispute over money. According to the liner notes by Bob Margolin, the conflict arose from Muddy's health being on the wane and consequently playing fewer engagements. The bandmembers wanted more money for each of the fewer gigs they did play in order to make ends meet. Ultimately a split occurred and the entire band quit. Because of the tensions in the studio preceding the split, Winter felt the sessions had not produced enough solid material to yield an entire album, and filled out King Bee with outtakes from earlier Blue Sky sessions. The cover photograph is by David Michael Kennedy. For the listener, King Bee is a leaner and meaner record. Less of the good-time exuberance present on the previous two outings is present here. The title track, "Mean Old Frisco", "Sad Sad Day", and "I Feel Like Going Home", are all blues with ensemble work. The Sony Legacy issue features completely remastered sound and Margolin's notes, and also hosts two bonus tracks from the King Bee sessions that Winter did not see fit to release the first time.
In 1981, Muddy Waters was invited to perform at ChicagoFest, the city's top outdoor music festival. He was joined onstage by Johnny Winter—who had successfully produced his most recent albums—and played classics like "Mannish Boy," "Trouble No More" and "Mojo Working" to a new generation of fans. This historic performance was made available on DVD in 2009 by Shout! Factory. Later that year, Waters performed live with the Rolling Stones at the Checkerboard Lounge, with a DVD version of the concert released in 2012.[21]
In 1982, declining health dramatically curtailed Muddy's performance schedule. His last public performance took place when he sat in with Eric Clapton's band at a Clapton concert in Florida in autumn of 1982.[22]
Death
On April 30, 1983, Muddy Waters died in his sleep from heart failure, at his home in Westmont, Illinois. At his funeral at Restvale Cemetery in Alsip, Illinois, throngs of blues musicians and fans showed up to pay tribute to one of the true originals of the art form. "Muddy was a master of just the right notes," John P. Hammond, told Guitar World magazine. "It was profound guitar playing, deep and simple... more country blues transposed to the electric guitar, the kind of playing that enhanced the lyrics, gave profundity to the words themselves." Two years after his death, Chicago honored him by designating the one-block section between 900 and 1000 E. 43rd Street near his former home on the south side "Honorary Muddy Waters Drive".[23] The Chicago suburb of Westmont, where Muddy lived the last decade of his life, named a section of Cass Avenue near his home "Honorary Muddy Waters Way".[24] Following his death, fellow blues musician B.B. King told Guitar World, "It's going to be years and years before most people realize how greatly he contributed to American music". A Mississippi Blues Trail marker has been placed in Clarksdale, Mississippi, by the Mississippi Blues Commission designating the site of Muddy Waters' cabin.[25]
Influence
His influence is tremendous, over a variety of music genres: blues, rhythm and blues, rock 'n' roll, hard rock, folk, jazz, and country. He also helped Chuck Berry get his first record contract.
His 1958 tour of England marked possibly the first time amplified, modern urban blues was heard there, although on his first tour he was the only one amplified. His backing was provided by Englishman Chris Barber's trad jazz group.
His use of amplification is cited as "the technological missing link between Delta Blues and Rock 'N' Roll."[7] This is underlined in a 1968 article in Rolling Stone magazine: “There was a difference between Muddy’s instrumental work and that of House and Johnson, however, and the crucial difference was the result of Waters’ use of the electric guitar on his Aristocrat sides; he had taken up the instrument shortly after moving to Chicago in 1943.”[8]
The Rolling Stones named themselves after his 1950 song "Rollin' Stone" (also known as "Catfish Blues", which Jimi Hendrix covered as well). The magazine Rolling Stone also took its name from the same song. Hendrix recalled "the first guitar player I was aware of was Muddy Waters. I first heard him as a little boy and it scared me to death". Cream covered "Rollin' and Tumblin'" on their 1966 debut album Fresh Cream, as Eric Clapton was a big fan of Muddy Waters when he was growing up, and his music influenced Clapton's music career. The song was also covered by Canned Heat at the legendary Monterey Pop Festival and later adapted by Bob Dylan on the album Modern Times. One of Led Zeppelin's biggest hits, "Whole Lotta Love", is lyrically based upon the Muddy Waters hit "You Need Love", written by Willie Dixon. Dixon wrote some of Muddy Waters' most famous songs, including "I Just Want to Make Love to You" (a big radio hit for Etta James, as well as the 1970s rock band Foghat), "Hoochie Coochie Man", which The Allman Brothers Band famously covered (the song was also covered by Humble Pie and Steppenwolf), "Trouble No More" and "I'm Ready". In 1993, Paul Rodgers released the album Muddy Water Blues: A Tribute to Muddy Waters, on which he covered a number of Muddy Waters songs, including "Louisiana Blues", "Rollin' Stone", "Hoochie Coochie Man" and "I'm Ready" (among others) in collaboration with a number of famous guitarists including Gary Moore, Brian May and Jeff Beck.
Angus Young of the rock group AC/DC has cited Muddy Waters as one of his influences. The AC/DC song title "You Shook Me All Night Long" came from lyrics of the Muddy Waters song "You Shook Me", written by Willie Dixon and J. B. Lenoir. Earl Hooker first recorded it as an instrumental, which was then overdubbed with vocals by Muddy Waters in 1962. Led Zeppelin also covered it on their debut album.
Muddy Waters' songs have been featured in long-time fan Martin Scorsese's movies, including The Color of Money, Goodfellas and Casino. Muddy Waters' 1970s recording of his mid-'50s hit "Mannish Boy" (a.k.a. "I'm A Man") was used in Goodfellas, Better Off Dead, and the hit film Risky Business, and also features in the rockumentary The Last Waltz.
The song "Come Together" by The Beatles references Muddy Waters: "He roller coaster/he got Muddy Waters."
Van Morrison lyrics include "Muddy Waters singin', "I'm a Rolling Stone" from his 1982 song "Cleaning Windows", on the album Beautiful Vision.
American Stoner Metal band Bongzilla covered Muddy Water's song Champagne and Reefer on their album Amerijuanican.
In 2008, Jeffrey Wright portrayed Muddy in the biopic Cadillac Records, a film about the rise and fall of Chess Records and the lives of its recording artists. A second 2008 film about Leonard Chess and Chess Records, Who Do You Love, also covers Muddy's time at Chess Records.
In the 2009 film The Boat that Rocked (retitled Pirate Radio in the U.S) about pirate radio in the UK, the cryptic message that late-night DJ Bob gives to Carl to give to Carl's mother is: "Muddy Waters Rocks."
In 1990, the television show Doogie Howser, M.D. featured an episode called "Doogie Sings the Blues" with the main character, Blind Otis Lemon, based on Muddy Waters, with references to his influence on the Rolling Stones and Led Zeppelin, along with the performance of "Got My Mojo Working" by Blind Otis Lemon. He is also referred to as the original "Hoochie Coochie Man".
Muddy's son Larry "Mud" Morganfield is a professional blues singer and musician.
Muddy Waters & The Rolling Stones - Baby Please Don't Go - Live At Checkerboard Lounge
https://www.youtube.com/watch?v=z3Or7huOK7o
Muddy Waters - Got My Mojo Workin'
uddy Waters - Live Westfalenhallen, Dortmund, Germany 10/12/1978
01) Muddy Intro
02) Hoochie Coochie Man
03) Soon Forgotten (12th Of April)
04) Baby Please Don´t Go
05) They Call Me Muddy Waters
06) Walkin´ Thru The Park
07) Country Boy
08) Kansas City
09) Caledonia
10) Everything´s Gonna Be Alright
11) Mannish Boy
12) Hold It (instrumental)
13) Got My Mojo Working
14) Sweet Home Chicago
Personal:
Muddy Waters: Vocals, Electric Guitar
Pinetop Perkins: Piano
Jerry Portnoy: Harmonica
Luther "Guitar, Jr." Johnson: Guitar
Bob Margolin: Guitar
Calvin Jones: Bass
Willie "Big Eyes" Smith: Drums
02) Hoochie Coochie Man
03) Soon Forgotten (12th Of April)
04) Baby Please Don´t Go
05) They Call Me Muddy Waters
06) Walkin´ Thru The Park
07) Country Boy
08) Kansas City
09) Caledonia
10) Everything´s Gonna Be Alright
11) Mannish Boy
12) Hold It (instrumental)
13) Got My Mojo Working
14) Sweet Home Chicago
Personal:
Muddy Waters: Vocals, Electric Guitar
Pinetop Perkins: Piano
Jerry Portnoy: Harmonica
Luther "Guitar, Jr." Johnson: Guitar
Bob Margolin: Guitar
Calvin Jones: Bass
Willie "Big Eyes" Smith: Drums
Robert Cage *04.04.1937
There are different Dates about his Birthday in the WWW
Woodville bluesman Robert Cage was born in New Orleans on March 23, 1937, but his family, which has roots in southwestern Mississippi, soon moved to Natchez, where he spent his first six years. They then moved to the Percy Creek community, about ten miles west of Woodville near Lake Mary, where he lived for several decades. He recalls that the first time he heard blues was via records on the “autophone” at his mother Carrie’s juke joint, which was located next to their home. [“Autophone” was the brand name of an early coin-operated machine, though was used generically to refer to jukeboxes]. He recalls that there were other jukes in the area, including Nancy Green’s near Port Adams.
Cage particularly enjoyed the recordings of John Lee Hooker, and was also influenced by local performers who played at the juke, including guitarist Lee Baker and fiddler Nolan Cage, a relative. His most important influence, though, was the guitarist/vocalist Scott Dunbar [1904-1994], who worked as a fishing guide on Lake Mary and often performed solo at the juke. In the mid-‘50s folklorist Frederic Ramsey recorded Dunbar as well as several of his family members, and Folkways Records later issued the recordings; a photograph of Dunbar appears on the first edition of Ramsey’s 1960 book Been Here and Gone. Dunbar. Folklorist Bill Ferris later recorded Dunbar, and a 1970 LP of Dunbar’s music on the Ahura Mazda label, From Lake Mary, was later reissued on CD on Fat Possum.
Cage’s mother gave him a guitar when he was eleven, and he first encountered Dunbar when he was around thirteen by surreptitiously listening to him at the juke. He “studied the devil out of” Dunbar’s songs, and today still performs many of these in a style similar to that of Dunbar, including “Easy Rider,” “Who Been Fooling You,” and “Little Liza Jane.” By eighteen Cage formed his own band with his cousins Ray Trass and Little Miller, with a drummer beating on a beer box. Because of local alcohol prohibitions they performed mostly in clubs in nearby Louisiana including the State Line Club, where they were the house band, and the Black Cat.
He later led a band called the Blues Boys that featured saxophone and trumpet players, and recalls that they played a wide variety of music and that he often played just like Chuck Berry. From the late ‘80s until 2001 he often played at the Hilltop club just south of the border in Louisiana in a band that featured his son, Vincent “Buck” Cage, on bass, and C.L. Ward on drums.
In 1997 Fat Possum Records’ Bruce Watson and Matthew Johnson traveled to Woodville to try to locate Scott Dunbar, who had died several years earlier, and were referred to Cage. They recorded him and in 1998 issued the CD Can See What You’re Doing. Cage subsequently traveled to Japan and France to perform, and traveled on multiple national tours as part of the Fat Possum Juke Joint Caravan. In 2008 he appeared at the Deep Blues Festival in Minnesota together with Natchez drummer/harmonica player Hezekiah Early, and occasionally performed at events in the Miss-Lou area. For many decades Cage’s primary occupation was as a mechanic for large trucks, which he repaired at his home just west of downtown Woodville.
Cage passed away on July 23, 2012.
Cage particularly enjoyed the recordings of John Lee Hooker, and was also influenced by local performers who played at the juke, including guitarist Lee Baker and fiddler Nolan Cage, a relative. His most important influence, though, was the guitarist/vocalist Scott Dunbar [1904-1994], who worked as a fishing guide on Lake Mary and often performed solo at the juke. In the mid-‘50s folklorist Frederic Ramsey recorded Dunbar as well as several of his family members, and Folkways Records later issued the recordings; a photograph of Dunbar appears on the first edition of Ramsey’s 1960 book Been Here and Gone. Dunbar. Folklorist Bill Ferris later recorded Dunbar, and a 1970 LP of Dunbar’s music on the Ahura Mazda label, From Lake Mary, was later reissued on CD on Fat Possum.
Cage’s mother gave him a guitar when he was eleven, and he first encountered Dunbar when he was around thirteen by surreptitiously listening to him at the juke. He “studied the devil out of” Dunbar’s songs, and today still performs many of these in a style similar to that of Dunbar, including “Easy Rider,” “Who Been Fooling You,” and “Little Liza Jane.” By eighteen Cage formed his own band with his cousins Ray Trass and Little Miller, with a drummer beating on a beer box. Because of local alcohol prohibitions they performed mostly in clubs in nearby Louisiana including the State Line Club, where they were the house band, and the Black Cat.
He later led a band called the Blues Boys that featured saxophone and trumpet players, and recalls that they played a wide variety of music and that he often played just like Chuck Berry. From the late ‘80s until 2001 he often played at the Hilltop club just south of the border in Louisiana in a band that featured his son, Vincent “Buck” Cage, on bass, and C.L. Ward on drums.
In 1997 Fat Possum Records’ Bruce Watson and Matthew Johnson traveled to Woodville to try to locate Scott Dunbar, who had died several years earlier, and were referred to Cage. They recorded him and in 1998 issued the CD Can See What You’re Doing. Cage subsequently traveled to Japan and France to perform, and traveled on multiple national tours as part of the Fat Possum Juke Joint Caravan. In 2008 he appeared at the Deep Blues Festival in Minnesota together with Natchez drummer/harmonica player Hezekiah Early, and occasionally performed at events in the Miss-Lou area. For many decades Cage’s primary occupation was as a mechanic for large trucks, which he repaired at his home just west of downtown Woodville.
Cage passed away on July 23, 2012.
Becky Tate *04.04.
1: Was war Dein frühester Musikgeschmack und wie hast Du die Welt des Blues entdeckt?
Ich hab immer gern alle Arten von Musik gehört, von Klassik über Latin, Reggae, Americana, Country und Folk bis hin zu Rock und sogar Metal … immer aber Rootsmusik. Ich höre gern, wie Leute ihre Instrumente spielen und ich liebe es besonders live! Ich erbte ein Big Bill Broonzy Album von meinem Vater, konnte es aber nie wirklich würdigen, bis mir Trevor Steger vor etwa zehn Jahren den Blues wirklich nahegebracht hat. Ich bin von Herzen her eine Percussionistin, und da geht es immer um den Groove. Was ich gelernt hab, ist dass der Blues der eigentliche Groove ist. Ich bin komplett bekehrt, besonders zu den ganz frühen Sachen. Son House, Leadbelly, Lightnin’ Hopkins und Howling Wolf sind meine Blues-Heroen!
2: Wer waren die Künstler, die dich dazu brachten, dass Du diese Musik spielen wolltest. Und wann stelltest Du fest, dass Du dazu das Talent hast?
Das erste Mal, als ich Live-Musik erlebt hab, war in Paris. Ich war 13 Jahre alt und meine Eltern nahmen mich mit in ein russisches Restaurant, das damals ausgesprochen trendy war. Und dort begann eine Band, russische Folkmusik zu spielen. Das waren fantastische Musiker, die Gitarren und Balalaikas spielten. Und ich erinnere mich noch, wie ich dasaß und überlegte: Was würde mein Vater dazu sagen, wenn ich ihm mitteilte, dass ich genau das machen will … Ich war wesentlich älter, bevor ich zu Spielen begann, Mitte zwanzig etwa. Und es gibt einfach nichts, was ich lieber mache. Und BabaJack ist das aufregendste Projekt, bei dem ich je mitgemacht habe.
"BabaJack's sound combines slide, acoustic and 'winebox' guitars and harmonica from Trevor Steger with tribal rhythms, African drum, stomp, cahon & beautiful vocals from Becky Tate and double bass from Marc Miletitch. Trev and Bec met each other after well travelled lives (from Africa to Soviet Russia!) and have settled in Malvern, Worcestershire. Both experienced musicians, this couple is very special: not only do they share their lives, children and all, but they have the closest musical partnership. Their song writing reflects all they have, and all their varied influences. It is their powerful songs, their musicianship and sheer passion and energy that means they are always asked back wherever they go".
BABA JACK in Waffenrod 2014
Pick Withers *04.04.1948
David "Pick" Withers (* 4. April 1948 in Leicester, England) ist ein britischer Schlagzeuger.
Bekannt wurde er als Schlagzeuger der Band Dire Straits, deren Sound er zwischen 1977 und 1982 auf den ersten vier Alben maßgeblich beeinflusst hat.
Er bekam seine erste Trommel im Alter von 14 Jahren von der Boys Brigade, einer uniformierten christlichen Jugendorganisation. Dort erhielt er auch die einzige Unterweisung am Schlagzeug. Bald darauf schenkten ihm seine Eltern ein Schlagzeug, das er nutzte, um zu populärer Musik mitzuspielen. Während des Beatles-Booms ging er 1965 nach Deutschland und bereiste auch andere europäische Länder. Dabei spielte er unter anderem in einer Band namens The Primitives, bevor er für fünf Jahre als Studioschlagzeuger bei den Rockfield Studios in Südwales anheuerte, wo er auch Platten für Dave Edmunds, Del Shannon, Cuthbert Collins, Graham Bond, Andy Fairweather-Low und andere einspielte.
1975 zog es Withers nach London, wo er schließlich Mark Knopfler kennenlernte, mit dem er nun oft zusammenarbeitete. Als die Dire Straits 1977 ihren ersten Plattenvertrag erhielten, stieg Withers bei der Folkband Magna Carta aus, der er kurzzeitig angehörte und mit der er das Album Putting it back together eingespielt hatte.
Withers wurde von Mark Knopfler als sehr sensibler Schlagzeuger bezeichnet, was seinen Stil recht gut beschreibt. Sein Spiel bei den Dire Straits zeichnete sich durch gefühlvolle Hi-Hat- und Snaredrum-Kombinationen aus, die mit Knopflers meist blues- und folklastigem Spiel harmonierten. Withers spielte Paiste-Becken, wobei er ein Faible für Ridebecken aufwies. Bei den Schlagzeugen bevorzugte er Tama, Gretsch und Eddie Ryan Drums, handgefertigte Schlagzeuge aus London, die sich durch ihren dunklen Klang auszeichnen.
1982 verließ Withers Dire Straits, da ihm die Musik zu rocklastig geworden war. Danach wurde es erst einmal still um ihn. 1987 spielte er in der Band von Phil Carmen beim Montreux Jazz Festival mit.
David "Pick" Withers (born 4 April 1948 in Leicester) is an English rock drummer. He was the original drummer for the rock band Dire Straits and played on their first four albums, which included hit singles such as "Sultans of Swing," "Romeo and Juliet" and "Private Investigations."[1]
Withers first played a drum in the Boys Brigade taught by a childhood friend Richard Storer of now knocked-down Argyle Street in Leicester. He became a professional musician at the age of 17, in a band called the Primitives, followed by a band called Spring who had a record contract but little success. They recorded one album on the RCA label. In the mid-1970s he was a house drummer at Rockfield Studios in South Wales. He played on records by Dave Edmunds and Hobo amongst others, including the John Dummer Band, Magna Carta, and the Gary Fletcher Band.[2]
Pick has also studied at Drumtech drum school in London.
Equipment and technique
Withers's style with Dire Straits is distinct for being restrained, favouring spare snare drum and hi-hat combinations over heavy beats, speed and pyrotechnic flourishes. Like the guitar playing of the band's frontman, Mark Knopfler, Withers's style was blues-based. Pick Withers also plays on Prelude's 1973 album, 'How Long Is Forever." Knopfler met Withers in 1973 in London when he joined the blues band Brewers Droop, for which Withers was already playing. Withers continued to work regularly with Knopfler through the mid-1970s although he maintained his Rockfield affiliations and was briefly a member of folk-rock outfit Magna Carta in 1977. Once Dire Straits gained a recording contract, Withers turned to drumming for that band full-time.
Withers played on the Dire Straits albums Dire Straits (1978), Communiqué (1979), Making Movies (1980) and Love Over Gold (1982).
Withers left the band in the summer of 1982, soon after completing the Love Over Gold sessions, to spend more time with his family and to pursue jazz music. He reportedly told an interviewer that he had succumbed to a growing feeling that there was nothing left in the music for him and that he was in danger of "becoming a rock drummer."[citation needed] His replacement in Dire Straits was Terry Williams, also a Dave Edmunds sideman.
Withers first played a drum in the Boys Brigade taught by a childhood friend Richard Storer of now knocked-down Argyle Street in Leicester. He became a professional musician at the age of 17, in a band called the Primitives, followed by a band called Spring who had a record contract but little success. They recorded one album on the RCA label. In the mid-1970s he was a house drummer at Rockfield Studios in South Wales. He played on records by Dave Edmunds and Hobo amongst others, including the John Dummer Band, Magna Carta, and the Gary Fletcher Band.[2]
Pick has also studied at Drumtech drum school in London.
Equipment and technique
Withers's style with Dire Straits is distinct for being restrained, favouring spare snare drum and hi-hat combinations over heavy beats, speed and pyrotechnic flourishes. Like the guitar playing of the band's frontman, Mark Knopfler, Withers's style was blues-based. Pick Withers also plays on Prelude's 1973 album, 'How Long Is Forever." Knopfler met Withers in 1973 in London when he joined the blues band Brewers Droop, for which Withers was already playing. Withers continued to work regularly with Knopfler through the mid-1970s although he maintained his Rockfield affiliations and was briefly a member of folk-rock outfit Magna Carta in 1977. Once Dire Straits gained a recording contract, Withers turned to drumming for that band full-time.
Withers played on the Dire Straits albums Dire Straits (1978), Communiqué (1979), Making Movies (1980) and Love Over Gold (1982).
Withers left the band in the summer of 1982, soon after completing the Love Over Gold sessions, to spend more time with his family and to pursue jazz music. He reportedly told an interviewer that he had succumbed to a growing feeling that there was nothing left in the music for him and that he was in danger of "becoming a rock drummer."[citation needed] His replacement in Dire Straits was Terry Williams, also a Dave Edmunds sideman.
British Blues All Stars bei den Rother Bluestagen
Mit beachtlicher Power haben die neuen British Blues all Stars mit Dave
Kelly, Bernie Marsden, Pick Withers, Zoot Money und Gary Fletcher die
Rother Bluestage 2014 eröffnet.
British Blues Allstars - Blues Garage - 16.10.14
Jorge Salan *04.04.1982
Jorge Salan ( Madrid , Spanien , 4. April von 1982 ) ist ein Gitarrist und Sänger Spanisch.
Biografie
Mit 19 veröffentlichte er sein erstes Album und hat sieben Solo-Alben, aber auch, ist der Lead-Gitarrist der Band von Jeff Scott Soto .
Jorge Salan wurde ein Stipendium der renommierten Berklee College in ausgezeichnet Boston und wird als eine der besten Rock-Musiker heute, sowohl von Kritikern und Publikum anerkannt.
Er hat weltweit auf Tournee präsentiert seine Solo oder andere Künstler begleiten, Hervorhebung ihrer Konzerte in Mexiko-Stadt , Öffnung für Michael Schenker (UFO, Scorpions) oder dem Festival de Jazz de San Javier in Murcia , eine der renommiertesten in Spanien und in dem er seine Solo-Album aufgenommen: Live at San Javier.
Mit Jeff Scott Soto hat bereist Brasilien , Argentinien und in ganz Europa , spielen Festivals Rock- größte in dem alten Kontinent, vor allem Bang Your Head und Rock of Ages , sowohl in Deutschland , teilte die Bühne mit Bands wie Alice Cooper , Helloween oder Slayer .
Es war Gitarrist der amerikanischen Sängern Fiona und Robin Beck in Firefest Notthingam Festival neben Gotthard, Tyketto oder Gefahr Gefahr, weiterhin Robin Beck in jedem Konzert ihrer Europa-Tournee.
Ende 2014 an die neuen Label unterschrieb er Rock State Datensätze zur Bearbeitung im Jahr 2015 ihre achte Referenz, die sich als eine Rückkehr zu seinen musikalischen Wurzeln Rechnungen über Blues-Klassiker mit Persönlichkeit unter Jorge Salan & The Majestic Projekt versioniert Jaywalkers.
Jorge Salán (born April 4, 1982) is a Spanish rock lead guitarist, singer, producer and songwriter. He is most well known for being the lead guitar for the Metal Rock solo singer Jeff Scott Soto (leading voice of Journey, Yngwie Malmsteen) and the Jeff Scott Soto Band (now SOTO) from 2009 till today, the lead guitar on Robin Beck's European Tour 2013, and for having collaborated with a long list of legendary rock musicians such as Fiona Flanagan or bass guitar player Bob Daisley.
Career
Jorge Salán is a renowned rock guitarist both by critics and audiences [1] as one of the most valuable and impressive guitarist in the rock scene nowadays. He was awarded a scholarship by the prestigious Berklee College of Music in Boston, Massachusetts at the age of 17 and recorded his first solo album at the age of 19, "The Utopian Sea of Clouds". This album drew in a lot of attention within the Spanish rock scene and earned him the label of best guitarist player for several magazines and radio shows.[2] He is also well known for being the leading guitar for the Spanish metal rock band Mägo de Oz from 2004 till 2008. In 2014 he was awarded for 10th time in a row with the "Best rock solo guitarist award" in the RockReferendum,[3] the most important Spanish contest for rock musicians.
He has toured throughout the world presenting his solo work or accompanying other artists. With Jeff Scott Soto he has toured Brazil, Argentina and throughout Europe playing in the most prestigious Rock festivals, most notably Graspop Metal Meeting, Bang Your Head!!! and Rock Of Ages, both in Germany, sharing the stage with bands like Alice Cooper, Helloween and Slayer.
Jorge Salán often plays guitar for American singers Fiona and Robin Beck. Played for Beck[4] at the Firefest Festival in Nottingham, England, alongside Gotthard, Tyketto and Danger Danger. He continued playing for Robin Beck on every concert of his European tours including Hard Rock Hell and Aor Festival and Sweden Rock, sharing stage with Black Sabbath, Alter Bridge and Billy Idol. Many of these prestigious artists highlight his skills and personality on a 2014 music documentary based on his life and career, No looking Back.
Career
Jorge Salán is a renowned rock guitarist both by critics and audiences [1] as one of the most valuable and impressive guitarist in the rock scene nowadays. He was awarded a scholarship by the prestigious Berklee College of Music in Boston, Massachusetts at the age of 17 and recorded his first solo album at the age of 19, "The Utopian Sea of Clouds". This album drew in a lot of attention within the Spanish rock scene and earned him the label of best guitarist player for several magazines and radio shows.[2] He is also well known for being the leading guitar for the Spanish metal rock band Mägo de Oz from 2004 till 2008. In 2014 he was awarded for 10th time in a row with the "Best rock solo guitarist award" in the RockReferendum,[3] the most important Spanish contest for rock musicians.
He has toured throughout the world presenting his solo work or accompanying other artists. With Jeff Scott Soto he has toured Brazil, Argentina and throughout Europe playing in the most prestigious Rock festivals, most notably Graspop Metal Meeting, Bang Your Head!!! and Rock Of Ages, both in Germany, sharing the stage with bands like Alice Cooper, Helloween and Slayer.
Jorge Salán often plays guitar for American singers Fiona and Robin Beck. Played for Beck[4] at the Firefest Festival in Nottingham, England, alongside Gotthard, Tyketto and Danger Danger. He continued playing for Robin Beck on every concert of his European tours including Hard Rock Hell and Aor Festival and Sweden Rock, sharing stage with Black Sabbath, Alter Bridge and Billy Idol. Many of these prestigious artists highlight his skills and personality on a 2014 music documentary based on his life and career, No looking Back.
Jorge Salan & Jordi Pinyol playing a blues
R.I.P.
Sylvester Weaver +04.04.1960
Sylvester Weaver (* 25. Juli 1897 in Louisville, Kentucky; † 4. April 1960 ebenda) war ein US-amerikanischer Bluesgitarrist und Pionier des Country Blues.
Am 23. Oktober 1923 spielte er gemeinsam mit der Bluessängerin Sara Martin in New York die 78er „Longing for Daddy Blues“ / „I've Got to Go and Leave My Daddy Behind“ ein, zwei Wochen darauf als Solist die Platte „Guitar Blues“ / „Guitar Rag“; beide Aufnahmen wurden auf Okeh veröffentlicht. Diese Aufnahmen stellen die ersten Country Blues-Aufnahmen überhaupt dar. Insbesondere das (eigentlich auf einem Gitarrenbanjo eingespielte) Stück „Guitar Rag“ zählt bis heute zu den Klassikern des frühen Blues, eine Bearbeitung aus den 1930er Jahren von Bob Wills and the Texas Playboys wurde als „Steel Guitar Rag“ zu einem Country-Standard.
Bis 1927 nahm Weaver, teils mit Sara Martin, teils als Solist, rund 50 weitere Stücke auf, bei einigen Aufnahmen aus dem Jahr 1927 wurde er von einem weiteren Gitarristen, Walter Beasley, sowie der Sängerin Helen Humes begleitet. Weaver bediente sich häufig des Bottleneck-Stils, wobei er ein Taschenmesser verwendete. Seine Einspielungen waren auf dem Schallplattenmarkt erfolgreich, 1927 jedoch zog er sich aus dem Geschäft zurück nach Louisville, wo er bis zu seinem Tod 1960 lebte. Obgleich viele Interpreten des Country Blues ab den 1950er Jahren ein wieder zunehmendes Interesse an ihrer Musik erfuhren, starb Weaver in Vergessenheit.[1] Erst 1992 erschien sein Gesamtwerk auf 2 CDs, im selben Jahr erhielt sein (zuvor anonymes) Grab auf Betreiben der in Louisville ansässigen Kentucky Blues Society einen Grabstein. Die KBS verleiht des Weiteren seit 1989 jedes Jahr den Sylvester Weaver Award an Personen, die sich um den Blues verdient gemacht haben.
http://de.wikipedia.org/wiki/Sylvester_Weaver
Sylvester Weaver - Guitar Blues (1923)
https://www.youtube.com/watch?v=j00yl_EJUGQ
http://www.findagrave.com/cgi-bin/fg.cgi?page=gr&GRid=13913461
Sylvester Weaver (July 25, 1897 – April 4, 1960[1]) was an American blues guitar player and pioneer of country blues.[2]
Biography
On October 23, 1923, he recorded in New York City with the blues singer Sara Martin "Longing for Daddy Blues" / "I've Got to Go and Leave My Daddy Behind" and two weeks later as a soloist "Guitar Blues" / "Guitar Rag". Both recordings were released on Okeh Records. These recordings are the very first country-blues recordings and the first known recorded songs using the slide guitar style. "Guitar Rag" (played on a Guitjo) became a blues classic and was covered in the 1930s by Bob Wills and the Texas Playboys as "Steel Guitar Rag" and became a country music standard too.
Weaver recorded until 1927, sometimes accompanied by Sara Martin, about 50 additional songs. On some recordings from 1927 he was accompanied by Walter Beasley and the singer Helen Humes. Weaver often used the bottleneck-style method, playing his guitar with a knife. His recordings were quite successful but in 1927 he retired and went back to Louisville until his death in 1960. Though many country blues artists had a revival from the 1950s on, Weaver died almost forgotten.
In 1992 his complete works were released on two CDs, the same year his (up to then anonymous) grave got a headstone by engagement of the Louisville-based Kentuckiana Blues Society (KBS). Furthermore the KBS has annually honored since 1989 persons who rendered outstanding services to the blues with their Sylvester Weaver Award.
Biography
On October 23, 1923, he recorded in New York City with the blues singer Sara Martin "Longing for Daddy Blues" / "I've Got to Go and Leave My Daddy Behind" and two weeks later as a soloist "Guitar Blues" / "Guitar Rag". Both recordings were released on Okeh Records. These recordings are the very first country-blues recordings and the first known recorded songs using the slide guitar style. "Guitar Rag" (played on a Guitjo) became a blues classic and was covered in the 1930s by Bob Wills and the Texas Playboys as "Steel Guitar Rag" and became a country music standard too.
Weaver recorded until 1927, sometimes accompanied by Sara Martin, about 50 additional songs. On some recordings from 1927 he was accompanied by Walter Beasley and the singer Helen Humes. Weaver often used the bottleneck-style method, playing his guitar with a knife. His recordings were quite successful but in 1927 he retired and went back to Louisville until his death in 1960. Though many country blues artists had a revival from the 1950s on, Weaver died almost forgotten.
In 1992 his complete works were released on two CDs, the same year his (up to then anonymous) grave got a headstone by engagement of the Louisville-based Kentuckiana Blues Society (KBS). Furthermore the KBS has annually honored since 1989 persons who rendered outstanding services to the blues with their Sylvester Weaver Award.
https://www.youtube.com/watch?v=j00yl_EJUGQ
Billy Bizor +04.04.1969
Billy Bizor (* 3. September 1913 in Centerville, Texas; † 4. April 1969 in Houston, Texas) war ein US-amerikanischer Blues-Sänger und -Bluesharp-Spieler. Er gilt als Vertreter des Texas Blues und war musikalisch wie verwandtschaftlich eng mit dem Blues-Sänger Lightnin' Hopkins verbunden.
Leben und Musik
Billy Bizor wurde ebenso wie sein Cousin Lightnin' Hopkins in Centerville geboren. Im Gegensatz zu diesem war er jedoch kein professioneller Musiker. Seine frühesten Aufnahmen stammen aus den frühen sechziger Jahren, bei denen er als Begleitmusiker für seinen Cousin fungierte. Diese Aufnahmen wurden bei Prestige Records für den damals blühenden Folk-Markt produziert. Die sporadische Zusammenarbeit mit Hopkins bescherte Bizor nur bescheidenen Erfolg: So trat er zusammen mit Hopkins in dem Film des Dokumentarfilmers Les Blank The Blues According To Lightning Hopkins auf und nahm im gleichen Zeitraum 1968/69 seine einzigen Solo-Aufnahmen für den in Houston, Texas ansässigen Schallplatten-Produzenten Roy Ames auf. Noch ehe diese Aufnahmen unter dem Titel „Blowing my Blues away“ veröffentlicht wurden, verstarb Bizor an den Folgen von Wassersucht. Bei diesen Sessions wurde Billy Bizor u.a. von Lightnin' Hopkins, Donald Dunn und Clarence Holliman begleitet.
http://de.wikipedia.org/wiki/Billy_Bizor Leben und Musik
Billy Bizor wurde ebenso wie sein Cousin Lightnin' Hopkins in Centerville geboren. Im Gegensatz zu diesem war er jedoch kein professioneller Musiker. Seine frühesten Aufnahmen stammen aus den frühen sechziger Jahren, bei denen er als Begleitmusiker für seinen Cousin fungierte. Diese Aufnahmen wurden bei Prestige Records für den damals blühenden Folk-Markt produziert. Die sporadische Zusammenarbeit mit Hopkins bescherte Bizor nur bescheidenen Erfolg: So trat er zusammen mit Hopkins in dem Film des Dokumentarfilmers Les Blank The Blues According To Lightning Hopkins auf und nahm im gleichen Zeitraum 1968/69 seine einzigen Solo-Aufnahmen für den in Houston, Texas ansässigen Schallplatten-Produzenten Roy Ames auf. Noch ehe diese Aufnahmen unter dem Titel „Blowing my Blues away“ veröffentlicht wurden, verstarb Bizor an den Folgen von Wassersucht. Bei diesen Sessions wurde Billy Bizor u.a. von Lightnin' Hopkins, Donald Dunn und Clarence Holliman begleitet.
The blues revival of the 1960s allowed the spotlight to finally fall on performers like Billy Bizor, an otherwise obscure harpist best known in conjunction with his recordings in support of his cousin, the renowned Lightnin' Hopkins. Born in Centerville, Texas in 1917, Bizor (also, variously, Bizer and Biser) dwelled in almost total obscurity prior to the 1960s, developing a spare, haunted sound largely unaffected by the passage of time, making him a prime candidate for rediscovery by purists. Among his first recordings were a series of unheralded early-1960s dates backing Hopkins; between 1968 and 1969, Bizor cut his only solo session in Houston with producer Roy Ames, revealing him to be an intense, emotionally charged singer. Eventually issued as Blowing My Blues Away, the end result went unreleased for several years; tragically, Bizor himself never saw the recordings come to light -- he died April 4, 1969.
http://www.allmusic.com/artist/billy-bizor-mn0000085250/biography
Billy Bizor - I Miss You So
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