1919 Big Walter Horton*
1953 Gisbert „Pitti“ Piatkowski*
1955 Blind Mississippi Morris*
1960 Warren Haynes*
1968 Rosa Henderson+
1976 Andres Roots*
1981 Bob Hite+
Juzzie Smith*
Happy Birthday
Big Walter Horton *06.04.1919
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Big Walter Horton (* 6. April 1918 in Horn Lake, Mississippi; † 8. Dezember 1981 in Chicago, Illinois) war ein US-amerikanischer Blues-Musiker, ein Virtuose auf der Mundharmonika, bekannt als Mitglied der Band von Muddy Waters. Besondere Bedeutung hatte er auch für die Entwicklung der elektrisch verstärkten Harmonika.Obwohl er die gleiche Bedeutung für die Bluesmusik gehabt hat wie zum Beispiel Little Walter, ist er doch nicht so bekannt wie seine Zeitgenossen. Es ist darauf zurückzuführen, dass er als scheuer, schüchterner Mensch nie das Bedürfnis hatte eine eigene Band zu haben sondern es lieber hatte, wenn er als Mitspieler einen Beitrag zu einer Aufnahme leisten konnte[1] Willie Dixon nannte ihn einmal "den besten Harmonikaspieler, den ich jemals gehört habe.
Bereits mit fünf Jahren konnte Horton Mundharmonika spielen, die er sich selbst beibrachte nachdem er eine Harmonika von seinem Vater geschenkt bekommen hatte. Bald gewann er einen lokalen Talentewettbewerb.[3][4] Als Jugendlicher lebte er in Memphis, Tennessee, wo er Mitglied der Memphis Jug Band war, an deren Aufnahmen er möglicherweise beteiligt war. Hier lernte er auch neue Tricks für die Harmonika, was im von Will Shade, dem Harmonikaspieler der Jug Band, beigebracht wurde. Danach zog er durch die Lande und spielte mit seiner Musik gerade genug zum Überleben ein. In den Zeiten der Großen Depression spielte er mit Robert Johnson, Honeyboy Edwards und anderen.
Anfang der 1940ern ging er nach Chicago und machte dort seine ersten eigenen Aufnahmen, meistens begleitet von einem Gitarristen. Nach eigenen Aussagen begann er um diese Zeit auch mit verstärkter Mundharmonika zu experimentieren. Er soll Little Walter und Sonny Boy Williamson einige Mundharmonikakniffe beigebracht haben, das ist jedoch nicht bestätigt.
Aus gesundheitlichen Gründen zog Horton sich mehr oder weniger von der Musikszene zurück und nahm andere Jobs an. Gelegentlich kam er nach Memphis zurück und machte auch verschiedene Aufnahmen, darunter auch mit dem jungen B. B. King. [5] Später in den 1950ern schloss er sich in Chicago der Band von Muddy Waters an. In den 1950er-Jahren spielte er auch als Studiomusiker für Chess Records. In dieser Zeit nahm er, mit Willie Dixon als Produzenten, einige Singles für Chess auf.
Horton, dessen Spitzname wegen seiner Kopfbewegungen beim Spielen „Shakey“ war, wurde fester Bestandteil der Chicagoer Blues-Szene und genoss während des Folk-Revivals große Popularität. Erst 1964 nahm er seine erste eigene LP für Chess Records (The Soul of Blues Harmonica) auf. In den 1970ern tourte er in den Staaten und in Europa, oft mit Willie Dixon und seinen „Chicago Blues All-Stars“. Er spielte mit Bluesrock-Größen wie Fleetwood Mac und Johnny Winter. Zu empfehlen ist sein bei Alligator Records veröffentlichtes Album Big Walter Horton with Carey Bell, das auch als CD erschienen ist. Bei den Aufnahmen wirken neben Big Walter Horton auch Carey Bell und Eddie Taylor mit. Im Film The Blues Brothers trat er als Begleiter von John Lee Hooker in der Maxwell Street Szene auf. [6]
Big Walter Horton war ein ruhiger, unscheinbarer Mann, der als einer der begabtesten Bluesharmonika-Spieler in der Geschichte des Blues betrachtet wird. Er starb 1981 in Chicago und wurde in Alsip, Illinois, beigesetzt. 1982 erhielt er einen Platz in der Blues Hall of Fame.
http://de.wikipedia.org/wiki/Big_Walter_Horton
Walter Horton, better known as Big Walter Horton or Walter "Shakey" Horton, (April 6, 1918 – December 8, 1981[1])[2] was an American blues harmonica player. A quiet, unassuming and essentially shy man, Horton is remembered as one of the premier harmonica players in the history of blues.[1] Willie Dixon once called Horton "the best harmonica player I ever heard."[1]
Biography
Born Walter Horton in Horn Lake, Mississippi, he was playing a harmonica by the time he was five years old.[1] In his early teens, he lived in Memphis, Tennessee and claimed that his earliest recordings were done there in the late 1920s with the Memphis Jug Band,[1] although there is no documentation of it, and some blues researchers have stated that this story was most likely fabricated by Horton. (He also claimed to have taught some harmonica to Little Walter and the original Sonny Boy Williamson, although these claims are unsubstantiated, and in the case of the older Williamson, somewhat suspect).
As with many of his peers, he spent much of his career existing on a meager income and living with constant discrimination in a segregated United States of America. In the 1930s he played with various blues performers across the Mississippi delta region. It is generally accepted that his first recordings were made in Memphis backing guitarist Little Buddy Doyle on Doyle's recordings for the Okeh and Vocalion labels in 1939.[1][3] These recordings were in the acoustic duo format popularized by Sleepy John Estes with his harmonicist Hammie Nixon, among others. On these recordings, Horton's style is not yet fully realized, but there are clear hints of what is to come. He eventually stopped playing the harp for a living due to poor health, and worked mainly outside of the music industry in the 1940s.[1] By the early 1950s, he was playing music again, and was among the first to record for Sam Phillips at Sun Records in Memphis, who would later record Elvis Presley, Carl Perkins, and Johnny Cash. The early Big Walter recordings from Sun include performances from a young Phineas Newborn, Jr. on piano, who later gained fame as a jazz pianist. His instrumental track recorded around this time, "Easy", was based on Ivory Joe Hunter's "I Almost Lost My Mind".[4][5]
During the early 1950s he first appeared on the Chicago blues scene, where he frequently played with fellow Memphis and Delta musicians who had also moved north, including guitarists Eddie Taylor and Johnny Shines.[1] When Junior Wells left the Muddy Waters band at the end of 1952, Horton replaced him for long enough to play on one session, in January 1953.[1]
Also known as "Mumbles" and "Shakey" because of his head motion while playing the harmonica, Horton was active on the Chicago blues scene during the 1960s as blues music gained popularity with white audiences. From the early 1960s onward, he recorded and appeared frequently as a sideman with Eddie Taylor, Johnny Shines, Johnny Young, Sunnyland Slim, Willie Dixon and many others.[1] He toured extensively, usually as a backing musician, and in the 1970s he performed at blues and folk music festivals in the U.S. and Europe, frequently with Willie Dixon's Chicago Blues All-Stars.[4] He has also appeared as a guest on recordings by blues and rock stars such as Fleetwood Mac and Johnny Winter.[5]
In October 1968, while touring the United Kingdom, he recorded the album Southern Comfort with the former Savoy Brown and future Mighty Baby guitarist Martin Stone.[5] In the late 1970s he toured the U.S. with Homesick James Williamson, Guido Sinclair, Eddie Taylor, Richard Molina, Bradley Pierce Smith and Paul Nebenzahl, and appeared on National Public Radio broadcasts. Two of the best compilation albums of his own work are Mouth-Harp Maestro and Fine Cuts. Also notable is the Big Walter Horton and Carey Bell album, released by Alligator Records in 1972.[1]
He worked at blues festivals, and was often seen giving free shows at the Maxwell Street market inChicago.[1] In 1977, he worked on the Muddy Waters album I'm Ready, produced by Johnny Winter. He also recorded for Blind Pig Records during this period.[1] Horton accompanied John Lee Hooker in the 1980 film The Blues Brothers.[1] His final recordings were made in 1980.[5]
Horton died from heart failure in Chicago in 1981 at the age of 60,[1][6] and was buried in Restvale Cemetery in Alsip, Illinois.[7]
He was posthumously inducted into the Blues Hall of Fame in 1982.
Biography
Born Walter Horton in Horn Lake, Mississippi, he was playing a harmonica by the time he was five years old.[1] In his early teens, he lived in Memphis, Tennessee and claimed that his earliest recordings were done there in the late 1920s with the Memphis Jug Band,[1] although there is no documentation of it, and some blues researchers have stated that this story was most likely fabricated by Horton. (He also claimed to have taught some harmonica to Little Walter and the original Sonny Boy Williamson, although these claims are unsubstantiated, and in the case of the older Williamson, somewhat suspect).
As with many of his peers, he spent much of his career existing on a meager income and living with constant discrimination in a segregated United States of America. In the 1930s he played with various blues performers across the Mississippi delta region. It is generally accepted that his first recordings were made in Memphis backing guitarist Little Buddy Doyle on Doyle's recordings for the Okeh and Vocalion labels in 1939.[1][3] These recordings were in the acoustic duo format popularized by Sleepy John Estes with his harmonicist Hammie Nixon, among others. On these recordings, Horton's style is not yet fully realized, but there are clear hints of what is to come. He eventually stopped playing the harp for a living due to poor health, and worked mainly outside of the music industry in the 1940s.[1] By the early 1950s, he was playing music again, and was among the first to record for Sam Phillips at Sun Records in Memphis, who would later record Elvis Presley, Carl Perkins, and Johnny Cash. The early Big Walter recordings from Sun include performances from a young Phineas Newborn, Jr. on piano, who later gained fame as a jazz pianist. His instrumental track recorded around this time, "Easy", was based on Ivory Joe Hunter's "I Almost Lost My Mind".[4][5]
During the early 1950s he first appeared on the Chicago blues scene, where he frequently played with fellow Memphis and Delta musicians who had also moved north, including guitarists Eddie Taylor and Johnny Shines.[1] When Junior Wells left the Muddy Waters band at the end of 1952, Horton replaced him for long enough to play on one session, in January 1953.[1]
Also known as "Mumbles" and "Shakey" because of his head motion while playing the harmonica, Horton was active on the Chicago blues scene during the 1960s as blues music gained popularity with white audiences. From the early 1960s onward, he recorded and appeared frequently as a sideman with Eddie Taylor, Johnny Shines, Johnny Young, Sunnyland Slim, Willie Dixon and many others.[1] He toured extensively, usually as a backing musician, and in the 1970s he performed at blues and folk music festivals in the U.S. and Europe, frequently with Willie Dixon's Chicago Blues All-Stars.[4] He has also appeared as a guest on recordings by blues and rock stars such as Fleetwood Mac and Johnny Winter.[5]
In October 1968, while touring the United Kingdom, he recorded the album Southern Comfort with the former Savoy Brown and future Mighty Baby guitarist Martin Stone.[5] In the late 1970s he toured the U.S. with Homesick James Williamson, Guido Sinclair, Eddie Taylor, Richard Molina, Bradley Pierce Smith and Paul Nebenzahl, and appeared on National Public Radio broadcasts. Two of the best compilation albums of his own work are Mouth-Harp Maestro and Fine Cuts. Also notable is the Big Walter Horton and Carey Bell album, released by Alligator Records in 1972.[1]
He worked at blues festivals, and was often seen giving free shows at the Maxwell Street market inChicago.[1] In 1977, he worked on the Muddy Waters album I'm Ready, produced by Johnny Winter. He also recorded for Blind Pig Records during this period.[1] Horton accompanied John Lee Hooker in the 1980 film The Blues Brothers.[1] His final recordings were made in 1980.[5]
Horton died from heart failure in Chicago in 1981 at the age of 60,[1][6] and was buried in Restvale Cemetery in Alsip, Illinois.[7]
He was posthumously inducted into the Blues Hall of Fame in 1982.
Blind Mississippi Morris *06.04.1955
Blind Mississippi Morris (born Morris Cummings, April 6, 1955, Clarksdale, Mississippi, United States) is an American blues artist.[1]
Cummings lost his sight at the age of four, but that did not stop him from learning the blues. Morris has become a popular blues act on Beale Street. Morris and his band, the Pocket Rockets, are known as the "real deal from Beale". Morris has a talented lineage. His cousins, Robert and Mary Diggs, led the Memphis Sheiks, and his aunt, Mary Tanner, played with the Harps of Melody. Morris is also a cousin of the late Willie Dixon.
Morris is the very embodiment of the Delta bluesman. He has been called a new disciple of the Delta blues, he was rated one of the 10 best harmonica players in the world by Bluzharp magazine. He has performed with musicians such as B. B. King, Rufus Thomas, Muddy Waters, David Porter and many other Memphis, Tennessee artists.
http://en.wikipedia.org/wiki/Blind_Mississippi_Morris
Blind Mississippi Morris is a delta-blues musician who performs in the clubs on Beale Street.
I learned of Morris after reading a story in The Commercial Appeal about the theft of his harmonicas. Then I heard him perform at an anniversary screening of Craig Brewer's film "The Poor & Hungry", where Mr. Brewer held a collection to help Morris replace his instruments.
Being in a city like Memphis with my camera, I knew I had to capture some authentic delta blues, and Blind Mississippi Morris was serving it up.
https://www.youtube.com/watch?v=32jb5-p-G9g
I learned of Morris after reading a story in The Commercial Appeal about the theft of his harmonicas. Then I heard him perform at an anniversary screening of Craig Brewer's film "The Poor & Hungry", where Mr. Brewer held a collection to help Morris replace his instruments.
Being in a city like Memphis with my camera, I knew I had to capture some authentic delta blues, and Blind Mississippi Morris was serving it up.
https://www.youtube.com/watch?v=32jb5-p-G9g
Blind Mississippi Morris - "Dust My Broom" - Live at Beale Street Music Festival in Memphis, TN
Gisbert „Pitti“ Piatkowski *06.04.1953
Gisbert Piatkowski wuchs in der DDR auf und begann seine öffentliche Karriere als Gitarrist bei der 1963 gegründeten Band Klosterbrüder, die sich 1975 nach Lizenzentzug und Umbesetzung in Magdeburg umbenannte. Für die 1980 veröffentlichten LP Magdeburg komponierte Piatkowski die Stücke Harte Tage und Roter Wein. Einem breiteren Publikum bekannter wurde er 1980, als er der Band City beitrat. Mit dieser Band veröffentlichte er 1980 die englischsprachige LP Dreamer und 1981 die Single Efkaristo/Abschied, bei der Piatkowski den Titeltrack komponierte. Als es 1981 zu internen Spannungen in der Band kam, verließen Piatkowski und der 1974 zu City gekommene Bassgitarrist Georgi Gogow die Band und gründeten im Dezember 1981 die Band NO 55.
NO 55 veröffentlichte 1983 die LP Kopf oder Zahl, auf der Piatkowski das Stück Good bye, alte Zeit (DDR-Jahreshitparade 1983: Platz 37) mitkomponiert hatte. Auf der im Jahr 1983 veröffentlichten Single In der letzten Stunde des Tages (DDR-Jahreshitparade 1984: Platz 13) war auf der B-Seite das von Piatkowski mitkomponierte Karawane enthalten. Zu dieser Zeit nannte sich die Band vorübergehend Enno. 1987 erschien die LP Träume von gestern mit den von Piatkowski komponierten Stücken Schnittpunkt und Schlüsselkind (DDR-Jahreshitparade 1984: Platz 23). 1989 löste sich NO 55 auf.
Neben seinem Engagement in diesen Bands nahm Piatkowski an All-Star-Projekten teil, wie dem 1986 anlässlich der Aktion „Rock für den Frieden“ gegründeten Projekt Gitarreros, an dem zwölf Musiker teilnahmen. Die Musiker veröffentlichten die LP It´s Only Rock´n´Roll - Die Gitarreros live im Konzert, auf der Piatkowski nicht nur Gitarre spielte, sondern auch den Titel Kurzschluss sang. Im Mai 1989 wurde die LP Stormy Spring vom Mama-Blues-Projekt veröffentlicht. Es handelt sich dabei um eine weitere All-Star-Veröffentlichung, an der sich neben Piatkowski weitere 16 Musiker beteiligten.
1990 schloss sich Piatkowski der Modern Soul Band an, der er bis heute angehört. 2007 trat er zudem die Nachfolge des tödlich verunglückten Heinz Prüfer als Gitarrist bei der Klaus Renft Combo an. Ebenfalls absolviert er gelegentlich Auftritte als Gastmusiker mit der 1992 wiedergegründeten Band Magdeburg (seit 2000: Klosterbrüder) und der seit 1964 existierenden Band Kellergeister.
Nebenbei ist Piatkowski als Studiomusiker aktiv. So spielte er auf vielen Veröffentlichungen mit, wie der 1986 erschienenen LP Utkiek – Plattdeutsche Lieder von Piatkowski & Rieck, 1997 auf der Single Ich will immer bei Dir sein der Sängerin Catlén, der 2001 veröffentlichten CD Say It von Drew Sarich, der 2004 erschienenen CD Fairyland von Angelzoom, der 2005 erschienenen CD Rabenschwarz 2 von Frank Zander sowie CDs von Mitch Ryder, nämlich A Dark Caucasian Blue 2004, The Acquitted Idiot 2006 und You Deserve My Art 2008. Auf den Europa-Tourneen zu diesen Alben begleitete Piatkowski zusammen mit der Band Engerling Ryder als Gastmusiker. Auf einer dieser Tourneen entstand die Live-CD Air Harmonie - Live in Bonn 2008, auf deren Cover Piatkowski neben Ryder abgebildet ist.
Seit 1998 veröffentlichte Piatkowski mehrere Gitarrenschulen, teilweise gemeinsam mit anderen Musikern. Dazu gehören Guitar Masterclass, Bd. 1, Play In The Style Of Jimi Hendrix, Guitar Masterclass, Bd. 3, Play In The Style Of Billy Gibbons – ZZ Top, Guitar Masterclass, Bd. 9, Play In The Style Of Stevie Ray Vaughan, Einstieg Rockgitarre, Perfect Rock Rhythmguitar, Perfect Rock Leadguitar und Rockguitar Experience. Diese wurden teilweise unter seinem Spitznamen Pitti Piatkowski veröffentlicht.
Seit 1991 unterrichtet Piatkowski in Berlin an einer Yamaha-Musikschule.
http://www.renft.de/pages/band/gisbert-piatkowski.php
http://www.melodieundrhythmus.com/mr-2-2013/etwas-ganz-grosses-tun/
http://www.melodieundrhythmus.com/mr-2-2013/etwas-ganz-grosses-tun/
Warren Haynes *06.04.1960
Warren Haynes (* 6. April 1960) ist ein US-amerikanischer Rock- und Blues-Gitarrist, Sänger und Songwriter sowie langjähriges Mitglied der Allman Brothers Band. Um 1987 begann seine Zusammenarbeit mit Dickey Betts, die zu der Veröffentlichung des Albums Pattern Disruptive 1988 führte. Bei der Reunion der Allman Brothers 1989 nahm Betts ihn als zweiten Gitarristen mit. Es kam hier zu den ersten Aufnahmen mit den Allman Brothers, wie z. B. dem Album Where It All Begins. 1994 gründete Warren Haynes mit dem damaligen Allman-Brothers-Band-Bassisten Allen Woody und dem Dickey-Betts-Band-Drummer Matt Abts die Bluesrockband Gov't Mule. Haynes gründete auch die Plattenfirma Evil Teen Records. Zudem wurde Warren Haynes im „Rolling Stone“ bei der Wahl zu den 100 größten Gitarristen aller Zeiten auf Platz 23 gewählt [2].Seit 1997 hat Haynes an verschiedenen Bandprojekten ehemaliger Grateful Dead Musiker, wie z. B. Phil Lesh & Friends teilgenommen. Er singt und spielt außerdem auch seit 2004 Gitarre in der Nachfolgegruppe The Dead. Im Rahmen dieser Tätigkeit kam es auch zu einer Show für den damaligen US-Präsidentschaftskandidaten Barack Obama. Nach der Wahl traten The Dead bei einem der offiziellen Amtseinführungsbälle auf .
http://de.wikipedia.org/wiki/Warren_Haynes
Warren Haynes (born April 6, 1960) is an American rock and blues guitarist, vocalist and songwriter. Haynes is best known for his work as longtime guitarist with The Allman Brothers Band and as founding member of the jam band Gov't Mule.[1] Early in his career he was a guitarist for David Allan Coe and The Dickey Betts Band.[2] Haynes also is known for his associations with the surviving members of The Grateful Dead, including touring with Phil Lesh and Friends and The Dead.[3] In addition, Haynes founded and manages Evil Teen Records.[4]
Personal background and style
In addition to singing and playing acoustic and electric guitar, Haynes is also a songwriter. He spent his formative years in Asheville, North Carolina, where he was born, and lived with his two older brothers and his father, Edward Haynes. He began playing guitar at age 12. His primary guitar is a Gibson Les Paul '58 Reissue Electric Guitar. His choice of a '58 is most likely because of Duane Allman's famed '58 Les Paul and the tone he achieved with that, rather than the more commonly used '59 Les Paul model, popularized by guitarists such as Eric Clapton and Jimmy Page).
Haynes has referred to himself as a "Gibson man", often playing Gibson Firebird and Gibson ES-335 models as well as the Les Paul models. This was acknowledged by the American guitar maker Gibson Guitar Corp. which has included a limited edition Warren Haynes signature Les Paul in its product line. Built according to Haynes' specifications and modeled on his '58 Les Paul.[5] Haynes is married to Stefani Scamardo, a DJ for Sirius radio and the long-time manager of Gov't Mule.
Warren Haynes (born April 6, 1960) is an American rock and blues guitarist, vocalist and songwriter. Haynes is best known for his work as longtime guitarist with The Allman Brothers Band and as founding member of the jam band Gov't Mule.[1] Early in his career he was a guitarist for David Allan Coe and The Dickey Betts Band.[2] Haynes also is known for his associations with the surviving members of The Grateful Dead, including touring with Phil Lesh and Friends and The Dead.[3] In addition, Haynes founded and manages Evil Teen Records.[4]Personal background and style
In addition to singing and playing acoustic and electric guitar, Haynes is also a songwriter. He spent his formative years in Asheville, North Carolina, where he was born, and lived with his two older brothers and his father, Edward Haynes. He began playing guitar at age 12. His primary guitar is a Gibson Les Paul '58 Reissue Electric Guitar. His choice of a '58 is most likely because of Duane Allman's famed '58 Les Paul and the tone he achieved with that, rather than the more commonly used '59 Les Paul model, popularized by guitarists such as Eric Clapton and Jimmy Page).
Haynes has referred to himself as a "Gibson man", often playing Gibson Firebird and Gibson ES-335 models as well as the Les Paul models. This was acknowledged by the American guitar maker Gibson Guitar Corp. which has included a limited edition Warren Haynes signature Les Paul in its product line. Built according to Haynes' specifications and modeled on his '58 Les Paul.[5] Haynes is married to Stefani Scamardo, a DJ for Sirius radio and the long-time manager of Gov't Mule.
Influences
In a 2006 interview with Gibson.com's Backstage Pass Haynes explains his early influences:[6] "When I first started—chronologically speaking—Hendrix and Clapton and Johnny Winter were the first three people I got turned on to. That was the Cream era of Clapton. Then eventually, I heard the Allman Brothers and everybody else from that era that I stole something from (laughs). Of course, I would read interviews with all these people and find out who they listened to. And they all listened to B.B. King and Freddie King and Albert King and Howlin' Wolf and Muddy Waters and Elmore James, so I would go back and discover that stuff."
During the same 2006 interview, Haynes talked about his realization of how much the blues had influenced his one-time employer, David Allan Coe. "When I joined Coe’s band, I realized how much he loved blues. Whenever his voice was tired on tour, we would go out, just the two of us, and open up with a bunch of Jimmy Reed songs. Then segue that into the show. One by one, the drummer would walk on and the bass player would walk on, and eventually the whole band would be onstage. He was really influenced by Jimmy Reed and Lightnin’ Hopkins. That stuff was way back in his formative years, so whenever it came out, it was very genuine." [6]
Professional career
The early years and David Allan Coe
Warren Haynes joined David Allan Coe's touring and recording band in 1980 when he was 20 years old. He remained with Coe's band for four years.
After Coe, Haynes got a gig with The Nighthawks, while continuing to play with local musicians and doing session guitar and vocal work. One notable achievement of this period is a song he co-wrote[1] with Dennis Robbins and Bobby Boyd for country musician Garth Brooks, titled "Two of a Kind, Workin' on a Full House", which was released on the album No Fences and remained the number 1 single on Billboard's Hot Country Singles & Tracks chart for twenty weeks.
Dickey Betts Band and The Allman Brothers Band
Around 1987, Haynes got a call to perform backup vocals on a studio album by Dickey Betts, along with Dennis Robbins. Betts, who had concentrated on his solo career following the break-up of The Allman Brothers Band, decided to add Haynes to his band as his guitarist after the session. With Matt Abts on drums and Johnny Neel on keyboards, the now formed Dickey Betts Band released the 1988 album Pattern Disruptive. In the same year, Haynes also co-wrote the title track for Gregg Allman's solo album Just Before the Bullets Fly.
In 1989, The Allman Brothers Band decided to reunite, and Betts recruited Haynes to join the band. Also joining were Neel on keyboards and Allen Woody on bass guitar. Haynes has since played on four well-received studio albums, including the gold certified Where It All Begins (1994). He also has played on four official live releases from the band, including the 2003 DVD Live at the Beacon Theatre. Haynes and Woody left the group in March 1997 to focus solely on their side project Gov't Mule. Shortly after Woody's untimely death on August 26, 2000, Haynes began appearing with The Allman Brothers Band again in 2000 alongside young guitar prodigy Derek Trucks. He returned to the band as a full-time member a few months later and has remained active every year with the Allman Brothers since. On January 8, 2014, Haynes and Trucks jointly announced their respective plans to leave the ABB by the end of 2014, following the conclusion of the band's celebration of its 45th anniversary.[7]
Gov't Mule
In 1994, Haynes formed Gov't Mule with Abts and Woody. Haynes and Woody initially split time between Gov't Mule and The Allman Brothers Band, but after The Allman Brothers' last show of their 1997 run at New York's Beacon Theatre on March 26, 1997, both left the band to focus on Gov't Mule full-time. They released three albums and became known for their powerful live performances. Some of these performances have been released as official live albums (Live at Roseland Ballroom, Live ... With A Little Help From Our Friends and Mulennium; the latter two capture consecutive New Year's Eve shows).
On August 26, 2000, Allen Woody died unexpectedly. Following his death, a decision was made to finish the tour acoustically as the "Smile at Half-Mast" tour. Gov't Mule released two studio albums (The Deep End, Volume 1 and The Deep End, Volume 2) and a live album/DVD (The Deepest End, Live in Concert) featuring many of Woody's favorite bass players. In 2003, Andy Hess (bass) and Danny Louis (keyboard/organ) were added as permanent members to the group. Late the following year, this lineup released their first studio effort, Deja Voodoo, which later included an EP of newly recorded material titled Mo Voodoo. After recording 2006's High & Mighty, Gov't Mule also released a dub EP titled Mighty High and a DVD titled Tale of 2 Cities that contained two full performances recorded in 2004 and 2006. The two shows on the DVD captured the first show of the Deja Voodoo Tour and the last show of the High & Mighty Tour, serving to encapsulate what was created over those two years. In 2008, Andy Hess left Gov't Mule to pursue other projects and was replaced by relative unknown, Jorgen Carlsson. By a Thread, the first studio album from Gov't Mule featuring Carlsson, was released in 2009 on Haynes' own label, Evil Teen Records.
In 2010, they went back to the vault and released Mulennium, a three-disc recording of a show from New Year's Eve 1999 in Atlanta. This was the first official recording released of the original trio since the death of Allen Woody in 2000. It also featured an appearance by Little Milton, one of Haynes's guitar heroes from his youth.
The Dead
Since the death of Jerry Garcia in 1995, Haynes has performed and toured with many of the surviving members of the Grateful Dead. In 1997, Haynes and Abts came onstage to jam with Bob Weir and Rob Wasserman in a small club. The performance was being filmed for Robert Mugge's film on Robert Johnson, Hellhound On My Trail. Then in 1999, Phil Lesh approached him to play lead guitar and sing for his solo group Phil Lesh & Friends, where he played for 3 years. In 2004, when The Dead (remaining members of the Grateful Dead) were in need of a new guitarist, they called upon Haynes to come play lead and sing for that summer's "Wave That Flag Tour". His run with The Dead ended on a night where he came in with them, then performed a solo acoustic set, and then ended the night playing with The Allman Brothers Band and started out on his next tour with them. He played lead guitar for The Dead again in late 2008 when they performed at a benefit at Penn State for then-presidential candidate Barack Obama, later touring with them in the spring of 2009.
Solo artist and guest appearances
In 1993, Haynes released his first solo album, Tales of Ordinary Madness (album), which was produced by former Allman Brother keyboardist Chuck Leavell. He toured briefly in support of the record with various musicians, including Danny Louis.
In 2003 and 2004, Haynes released two solo acoustic albums, The Lone EP, a collection of live performances and Live From Bonnaroo which documents his solo performance (part acoustic, part electric) at the 2003 Bonnaroo Music Festival. When not touring with one of his electric bands, Haynes will often take time out to do solo acoustic shows, which include a variety of well-known and rare covers along with his own material. In 2004, Warren Haynes performed five full-length solo acoustic shows, as well as opened 23 times for The Dead and once for The Allman Brothers Band.
He has also made 45 song appearances and 28 concert appearances with Dave Matthews Band, including on two released live albums: Live at Central Park Concert in which he performed "Cortez the Killer", and "Jimi Thing", and Live at Piedmont Park where he performed "What Would You Say".
In 2005, Haynes performed a one time only show under the name Warren Haynes & Friends. The band included Abts on drums, Dave Schools of Widespread Panic on bass, John Medeski of Medeski Martin & Wood and Skerik, the avant-garde sax player of bands such as Critters Buggin' and Les Claypool's Fearless Flying Frog Brigade. The group played a selection of blues songs, including songs of Led Zeppelin, Jimi Hendrix, Tom Waits, and Gov't Mule standards. The band was also featured as the house band during a number of tapings of Last Call with Carson Daly in early February 2005. During one of these tapings, the scheduled musical act was absent, so Haynes performed an acoustic rendition of U2's One. The song also appeared on his Live from Bonnaroo album. In 2008, Haynes covered the Bob Dylan song "I Shall Be Released" with Coheed and Cambria, as part of an encore the band played during their shows in support of Neverender.
After recording Gov't Mule's By a Thread album, Haynes formed The Warren Haynes Band. The group included George Porter, Jr. on bass, Ivan Neville on keys and Raymond Weber on drums. Also joining them on keys was Ian McLagan, as well as vocalist Ruthie Foster and Ron Holloway on tenor sax. The Warren Haynes Band made their debut performance at Haynes' annual Christmas Jam in Asheville, North Carolina on December 11, 2010.[8] The album Man in Motion was released in May 2011 and debuted in the Billboard Top 20. An extensive tour occurred after the release through the rest of 2011; the touring version of the band included Holloway, drummer Terence Higgins of the Dirty Dozen Brass Band, bassist Ron Johnson, keyboardist Nigel Hall, and various vocalists, either Foster, Alfreda Gerald, or Alecia Chakour.[9]
The Warren Haynes Band's "Live at The Moody Theater" 2CD/1DVD package came out in April 2012 on Stax Records. The lineup on the recording consisted of Warren Haynes (lead vocals and guitar), Ron Holloway (saxophone), Ron Johnson (bass), Terence Higgins (drums), Nigel Hall (keyboards) and Alecia Chakour (backing vocals).
Haynes has stated that his further solo efforts might take him into still other fields. "There are other projects I want to do, too," he relates. "I'm interested in recording a singer-songwriter oriented album with more acoustic instruments, a jazzy instrumental CD and a straight-up blues record. But like Man In Motion, those albums will have to wait until the time is right." [10]
The Christmas Jam
Starting in 1988, Haynes put together an annual charity benefit show, inviting musicians originally from his home town of Asheville who were home for Christmas, the only time of year they would all be in town at the same time. The first show, held at the 45 Cherry club in Asheville on December 29, 1988, was dubbed "The Christmas Jam: Musician's X-Mas Reunion." Some of the artists at the first Christmas Jam were Warren Haynes, Mike Barnes, Crystal Zoo, The Stripp Band, Ronnie Burgin and the McBad Brothers Band.
In the initial years the proceeds from the concert were donated to various charities but eventually the organizers decided to focus on Habitat for Humanity,[11] a charity that builds houses for the disadvantaged. In tribute to his financial support of Habitat for Humanity, a subdivision in Lower Hominy, North Carolina, a suburban township near Asheville, has a street named after Haynes.[12] In 2002, Haynes was presented with the key to the city by Asheville mayor Charles Worley. In 2003, Worley proclaimed December 18 as "Warren Haynes Day" in Asheville.[13]
The event has continued to grow every year and is now dubbed "Warren Haynes Presents: The Christmas Jam." Due to increasing audience demand, the show was eventually moved to the Asheville Civic Center, and by then featured many well known artists and friends whom Haynes has played with over the years.
Some past performers include The Allman Brothers Band, Blues Traveler, Jackson Browne, Johnny Winter, Drive-By Truckers, DJ Logic, Peter Frampton, Gov't Mule, John Hiatt, Bruce Hornsby, Hot Tuna, John Paul Jones, Ray LaMontagne, Phil Lesh & Friends, Umphrey's McGee, Little Feat, Living Colour, Branford Marsalis, Dave Matthews, Neville Brothers, New Orleans Social Club, North Mississippi Allstars, Phish's Trey Anastasio and Mike Gordon, Grace Potter & The Nocturnals, Robert Randolph & The Family Band, John Scofield, Dr. Ralph Stanley, Marty Stuart, Taj Mahal Trio, Susan Tedeschi, The Derek Trucks Band,Bob Weir, Widespread Panic's John Bell, Dave Schools, John (Jo Jo) Herman, Todd Nance & Jimmy Herring, Kevn Kinney from Drivin' N Cryin', and Edwin McCain.
In 2008, for its twentieth anniversary, "The Christmas Jam" consisted of two nights of music; including "The Christmas Jam By Day," [14] a series of events including daytime concerts, movie screenings, and art, photo, and poster exhibits taking place in downtown Asheville on the days leading up to the show. The event reverted to one night in 2009, but retained the "The Christmas Jam By Day," and included the new "Christmas Comedy Jam." [15] The same format was repeated in 2010.
Instructional videos
Haynes has recorded two instructional videos: Electric Blues & Slide Guitar [16] and Acoustic Slide and the art of Electric Improvisation.[17] He discusses his influences and shows an array of techniques such as "call and response", string bending, vibrato, slide guitar in standard tuning and some acoustic open tuning licks in G and E tunings. For the demonstrations of the electric improvisation section of the second video, he is accompanied by Allen Woody and Matt Abts.
Taping policy
All of Warren Haynes' projects allow audio taping and trading. He does not approve of video recording or photography of his performances and does not provide access to soundboard patches.[18] Pristine soundboard recordings are available in mp3 and lossless formats up to 24-bit "super high fidelity" for a nominal charge through the band's website and through livedownloads.com. The Allman Brothers Band also allows taping and trading, but does not allow distribution of their shows via the internet via applications such as BitTorrent. The reason given for this restriction is that it is more communal to trade person-to-person. In a 2005 USA Today article, Haynes stated that while tape-trading may cut into band profits, the benefits outweigh the drawbacks due to an increased fanbase.
In a 2006 interview with Gibson.com's Backstage Pass Haynes explains his early influences:[6] "When I first started—chronologically speaking—Hendrix and Clapton and Johnny Winter were the first three people I got turned on to. That was the Cream era of Clapton. Then eventually, I heard the Allman Brothers and everybody else from that era that I stole something from (laughs). Of course, I would read interviews with all these people and find out who they listened to. And they all listened to B.B. King and Freddie King and Albert King and Howlin' Wolf and Muddy Waters and Elmore James, so I would go back and discover that stuff."
During the same 2006 interview, Haynes talked about his realization of how much the blues had influenced his one-time employer, David Allan Coe. "When I joined Coe’s band, I realized how much he loved blues. Whenever his voice was tired on tour, we would go out, just the two of us, and open up with a bunch of Jimmy Reed songs. Then segue that into the show. One by one, the drummer would walk on and the bass player would walk on, and eventually the whole band would be onstage. He was really influenced by Jimmy Reed and Lightnin’ Hopkins. That stuff was way back in his formative years, so whenever it came out, it was very genuine." [6]
Professional career
The early years and David Allan Coe
Warren Haynes joined David Allan Coe's touring and recording band in 1980 when he was 20 years old. He remained with Coe's band for four years.
After Coe, Haynes got a gig with The Nighthawks, while continuing to play with local musicians and doing session guitar and vocal work. One notable achievement of this period is a song he co-wrote[1] with Dennis Robbins and Bobby Boyd for country musician Garth Brooks, titled "Two of a Kind, Workin' on a Full House", which was released on the album No Fences and remained the number 1 single on Billboard's Hot Country Singles & Tracks chart for twenty weeks.
Dickey Betts Band and The Allman Brothers Band
Around 1987, Haynes got a call to perform backup vocals on a studio album by Dickey Betts, along with Dennis Robbins. Betts, who had concentrated on his solo career following the break-up of The Allman Brothers Band, decided to add Haynes to his band as his guitarist after the session. With Matt Abts on drums and Johnny Neel on keyboards, the now formed Dickey Betts Band released the 1988 album Pattern Disruptive. In the same year, Haynes also co-wrote the title track for Gregg Allman's solo album Just Before the Bullets Fly.
In 1989, The Allman Brothers Band decided to reunite, and Betts recruited Haynes to join the band. Also joining were Neel on keyboards and Allen Woody on bass guitar. Haynes has since played on four well-received studio albums, including the gold certified Where It All Begins (1994). He also has played on four official live releases from the band, including the 2003 DVD Live at the Beacon Theatre. Haynes and Woody left the group in March 1997 to focus solely on their side project Gov't Mule. Shortly after Woody's untimely death on August 26, 2000, Haynes began appearing with The Allman Brothers Band again in 2000 alongside young guitar prodigy Derek Trucks. He returned to the band as a full-time member a few months later and has remained active every year with the Allman Brothers since. On January 8, 2014, Haynes and Trucks jointly announced their respective plans to leave the ABB by the end of 2014, following the conclusion of the band's celebration of its 45th anniversary.[7]
Gov't Mule
In 1994, Haynes formed Gov't Mule with Abts and Woody. Haynes and Woody initially split time between Gov't Mule and The Allman Brothers Band, but after The Allman Brothers' last show of their 1997 run at New York's Beacon Theatre on March 26, 1997, both left the band to focus on Gov't Mule full-time. They released three albums and became known for their powerful live performances. Some of these performances have been released as official live albums (Live at Roseland Ballroom, Live ... With A Little Help From Our Friends and Mulennium; the latter two capture consecutive New Year's Eve shows).
On August 26, 2000, Allen Woody died unexpectedly. Following his death, a decision was made to finish the tour acoustically as the "Smile at Half-Mast" tour. Gov't Mule released two studio albums (The Deep End, Volume 1 and The Deep End, Volume 2) and a live album/DVD (The Deepest End, Live in Concert) featuring many of Woody's favorite bass players. In 2003, Andy Hess (bass) and Danny Louis (keyboard/organ) were added as permanent members to the group. Late the following year, this lineup released their first studio effort, Deja Voodoo, which later included an EP of newly recorded material titled Mo Voodoo. After recording 2006's High & Mighty, Gov't Mule also released a dub EP titled Mighty High and a DVD titled Tale of 2 Cities that contained two full performances recorded in 2004 and 2006. The two shows on the DVD captured the first show of the Deja Voodoo Tour and the last show of the High & Mighty Tour, serving to encapsulate what was created over those two years. In 2008, Andy Hess left Gov't Mule to pursue other projects and was replaced by relative unknown, Jorgen Carlsson. By a Thread, the first studio album from Gov't Mule featuring Carlsson, was released in 2009 on Haynes' own label, Evil Teen Records.
In 2010, they went back to the vault and released Mulennium, a three-disc recording of a show from New Year's Eve 1999 in Atlanta. This was the first official recording released of the original trio since the death of Allen Woody in 2000. It also featured an appearance by Little Milton, one of Haynes's guitar heroes from his youth.
The Dead
Since the death of Jerry Garcia in 1995, Haynes has performed and toured with many of the surviving members of the Grateful Dead. In 1997, Haynes and Abts came onstage to jam with Bob Weir and Rob Wasserman in a small club. The performance was being filmed for Robert Mugge's film on Robert Johnson, Hellhound On My Trail. Then in 1999, Phil Lesh approached him to play lead guitar and sing for his solo group Phil Lesh & Friends, where he played for 3 years. In 2004, when The Dead (remaining members of the Grateful Dead) were in need of a new guitarist, they called upon Haynes to come play lead and sing for that summer's "Wave That Flag Tour". His run with The Dead ended on a night where he came in with them, then performed a solo acoustic set, and then ended the night playing with The Allman Brothers Band and started out on his next tour with them. He played lead guitar for The Dead again in late 2008 when they performed at a benefit at Penn State for then-presidential candidate Barack Obama, later touring with them in the spring of 2009.
Solo artist and guest appearances
In 1993, Haynes released his first solo album, Tales of Ordinary Madness (album), which was produced by former Allman Brother keyboardist Chuck Leavell. He toured briefly in support of the record with various musicians, including Danny Louis.
In 2003 and 2004, Haynes released two solo acoustic albums, The Lone EP, a collection of live performances and Live From Bonnaroo which documents his solo performance (part acoustic, part electric) at the 2003 Bonnaroo Music Festival. When not touring with one of his electric bands, Haynes will often take time out to do solo acoustic shows, which include a variety of well-known and rare covers along with his own material. In 2004, Warren Haynes performed five full-length solo acoustic shows, as well as opened 23 times for The Dead and once for The Allman Brothers Band.
He has also made 45 song appearances and 28 concert appearances with Dave Matthews Band, including on two released live albums: Live at Central Park Concert in which he performed "Cortez the Killer", and "Jimi Thing", and Live at Piedmont Park where he performed "What Would You Say".
In 2005, Haynes performed a one time only show under the name Warren Haynes & Friends. The band included Abts on drums, Dave Schools of Widespread Panic on bass, John Medeski of Medeski Martin & Wood and Skerik, the avant-garde sax player of bands such as Critters Buggin' and Les Claypool's Fearless Flying Frog Brigade. The group played a selection of blues songs, including songs of Led Zeppelin, Jimi Hendrix, Tom Waits, and Gov't Mule standards. The band was also featured as the house band during a number of tapings of Last Call with Carson Daly in early February 2005. During one of these tapings, the scheduled musical act was absent, so Haynes performed an acoustic rendition of U2's One. The song also appeared on his Live from Bonnaroo album. In 2008, Haynes covered the Bob Dylan song "I Shall Be Released" with Coheed and Cambria, as part of an encore the band played during their shows in support of Neverender.
After recording Gov't Mule's By a Thread album, Haynes formed The Warren Haynes Band. The group included George Porter, Jr. on bass, Ivan Neville on keys and Raymond Weber on drums. Also joining them on keys was Ian McLagan, as well as vocalist Ruthie Foster and Ron Holloway on tenor sax. The Warren Haynes Band made their debut performance at Haynes' annual Christmas Jam in Asheville, North Carolina on December 11, 2010.[8] The album Man in Motion was released in May 2011 and debuted in the Billboard Top 20. An extensive tour occurred after the release through the rest of 2011; the touring version of the band included Holloway, drummer Terence Higgins of the Dirty Dozen Brass Band, bassist Ron Johnson, keyboardist Nigel Hall, and various vocalists, either Foster, Alfreda Gerald, or Alecia Chakour.[9]
The Warren Haynes Band's "Live at The Moody Theater" 2CD/1DVD package came out in April 2012 on Stax Records. The lineup on the recording consisted of Warren Haynes (lead vocals and guitar), Ron Holloway (saxophone), Ron Johnson (bass), Terence Higgins (drums), Nigel Hall (keyboards) and Alecia Chakour (backing vocals).
Haynes has stated that his further solo efforts might take him into still other fields. "There are other projects I want to do, too," he relates. "I'm interested in recording a singer-songwriter oriented album with more acoustic instruments, a jazzy instrumental CD and a straight-up blues record. But like Man In Motion, those albums will have to wait until the time is right." [10]
The Christmas Jam
Starting in 1988, Haynes put together an annual charity benefit show, inviting musicians originally from his home town of Asheville who were home for Christmas, the only time of year they would all be in town at the same time. The first show, held at the 45 Cherry club in Asheville on December 29, 1988, was dubbed "The Christmas Jam: Musician's X-Mas Reunion." Some of the artists at the first Christmas Jam were Warren Haynes, Mike Barnes, Crystal Zoo, The Stripp Band, Ronnie Burgin and the McBad Brothers Band.
In the initial years the proceeds from the concert were donated to various charities but eventually the organizers decided to focus on Habitat for Humanity,[11] a charity that builds houses for the disadvantaged. In tribute to his financial support of Habitat for Humanity, a subdivision in Lower Hominy, North Carolina, a suburban township near Asheville, has a street named after Haynes.[12] In 2002, Haynes was presented with the key to the city by Asheville mayor Charles Worley. In 2003, Worley proclaimed December 18 as "Warren Haynes Day" in Asheville.[13]
The event has continued to grow every year and is now dubbed "Warren Haynes Presents: The Christmas Jam." Due to increasing audience demand, the show was eventually moved to the Asheville Civic Center, and by then featured many well known artists and friends whom Haynes has played with over the years.
Some past performers include The Allman Brothers Band, Blues Traveler, Jackson Browne, Johnny Winter, Drive-By Truckers, DJ Logic, Peter Frampton, Gov't Mule, John Hiatt, Bruce Hornsby, Hot Tuna, John Paul Jones, Ray LaMontagne, Phil Lesh & Friends, Umphrey's McGee, Little Feat, Living Colour, Branford Marsalis, Dave Matthews, Neville Brothers, New Orleans Social Club, North Mississippi Allstars, Phish's Trey Anastasio and Mike Gordon, Grace Potter & The Nocturnals, Robert Randolph & The Family Band, John Scofield, Dr. Ralph Stanley, Marty Stuart, Taj Mahal Trio, Susan Tedeschi, The Derek Trucks Band,Bob Weir, Widespread Panic's John Bell, Dave Schools, John (Jo Jo) Herman, Todd Nance & Jimmy Herring, Kevn Kinney from Drivin' N Cryin', and Edwin McCain.
In 2008, for its twentieth anniversary, "The Christmas Jam" consisted of two nights of music; including "The Christmas Jam By Day," [14] a series of events including daytime concerts, movie screenings, and art, photo, and poster exhibits taking place in downtown Asheville on the days leading up to the show. The event reverted to one night in 2009, but retained the "The Christmas Jam By Day," and included the new "Christmas Comedy Jam." [15] The same format was repeated in 2010.
Instructional videos
Haynes has recorded two instructional videos: Electric Blues & Slide Guitar [16] and Acoustic Slide and the art of Electric Improvisation.[17] He discusses his influences and shows an array of techniques such as "call and response", string bending, vibrato, slide guitar in standard tuning and some acoustic open tuning licks in G and E tunings. For the demonstrations of the electric improvisation section of the second video, he is accompanied by Allen Woody and Matt Abts.
Taping policy
All of Warren Haynes' projects allow audio taping and trading. He does not approve of video recording or photography of his performances and does not provide access to soundboard patches.[18] Pristine soundboard recordings are available in mp3 and lossless formats up to 24-bit "super high fidelity" for a nominal charge through the band's website and through livedownloads.com. The Allman Brothers Band also allows taping and trading, but does not allow distribution of their shows via the internet via applications such as BitTorrent. The reason given for this restriction is that it is more communal to trade person-to-person. In a 2005 USA Today article, Haynes stated that while tape-trading may cut into band profits, the benefits outweigh the drawbacks due to an increased fanbase.
Allman Brothers, "Into The Mystic," 12/3/2011
Andres Roots *06.04.1976
Andres Roots aus Tartu dürfte nicht nur in der estnischen Bluesszene zu den virtuosesten Spielern auf diversen sechssaitigen Gitarren gehören. Ob er nun akustische Instrumente, eine Dobro oder elektrische in den Händen hat - was er spielt ist auf jeden Fall erdverbundener Blues ohne Politur. Und damit gehört er in eine Szene in Europa, die in den meisten Ländern eher in kleinen Clubs oder den kleineren Festivals stattfindet. In Estland allerdings ist Roots Musik auch seit Jahren gut für obere Hitparadenplätze. Was für den deutschen Fan immer ein Grund für Verwunderung und Bewunderung ist - anderswo ist der Musikgeschmack offensichtlich nicht so sehr von Belanglosigkeit und Mainstream geprägt. Oder sind das Quotenregelungen für einheimische Musik? Ich bin mir da nicht ganz sicher. Klar ist aber auch, dass die anarchischen Videos zum Erfolg von Songs wie "Redecoration Day" mit beigetragen haben.
Roots selbst ist hier der Gitarrist und Songschreiber, der für die Umsetzung seiner Songs anfangs immer wechselnde Besetzungen suchte. So ist auf 2010 erschienenen Debüt-Album "Roundabout" der amerikanische Sänger Eric Gebhard neben dem Black River Bluesman und dem aus Schweden stammenden Bottleneck John zu hören.
Dubbed an "ambassador of the guitar" by Estonia's Kitarr magazine, Andres Roots is a slide guitarist and a songwriter from Tartu, Estonia who currently leads his own band, Andres Roots Roundabout, while collaborating with harpists Steve Lury (UK), Ismo Haavisto (FIN) and many others in a variety of international projects. He has played with Honeyboy Edwards, toured with Eddie Baytos and topped the music charts on Estonian national television with Eric "Red Mouth" Gebhardt. As a producer, he has received four consecutive Best European Blues Album awards from Canada's Blues Underground Network; as a composer, his music has been aired on five continents and featured in many TV productions, the award-winning Estonian/Latvian/Belarusian film "Lonely Island" (2012), and the documentary "Estonian Tennis 100", both directed by the Berlinale-decorated Peeter Simm. A Walden Guitars artist since 2009, he has taught guitar and given lectures on the history of the blues. His writings about music have been published in music mags in Estonia, Finland, Sweden, the UK, Germany and the Netherlands, and he has worked with festivals such as Ugriblues, Pärnu Bluusipäevad, Augustibluus and UnderGround Blues.
"A name is an omen. Andres Roots is one of the most notable operators in our area," writes Finland's "Blues Minister" Esa Kuloniemi in the Blues News magazine (see sidebar: BN 3/12). "The undertakings of this Estonian guitarist/band leader have done a lot for blues and roots music, across borders and continents."
Born in Tallinn, Estonia, USSR in 1976, Andres Roots made his first public appearance as a guitarist in Denmark in 1995 and his first recordings in Germany in 2000. After stints in several award-winning college bands in Tartu, Estonia around the turn of the century, he co-founded Bullfrog Brown in 2003. Quickly earning cult status in their native country, the alt.blues trio went on to play hundreds of shows from the Baltics to the UK, sharing stages with the likes of Deltahead, Havana Black and Gurf Morlix.
Roots’ solo debut “Roundabout” was released in November 2010 and featured collaborations with Eric “Red Mouth” Gebhardt (USA), Bottleneck John (SWE), Dave Arcari (UK), Black River Bluesman (FIN) and World Harmonica Festival bronze ’09 Jantso Jokelin (FIN). In Estonia, it produced several Eesti Top7 TV hits, including a #1 in “Redecoration Day”. In Britain, Andres Roots was voted 5th best international solo artist in Blues Matters magazine’s Writers Poll 2011 in a tie with Mississippi legend Jimmy “Duck” Holmes and Finland’s leading blues lady Erja Lyytinen.
Roundabout the band was born onstage the night the album was released and continued as a loose association of musicians. For the album "Leigh's Spider Jam", special guests Bert Deivert (USA/SWE) and L.R.Phoenix (UK/FIN) were brought in on mandolin and vocals. Roundabout was also featured on Phoenix' own album, recorded in Tartu and co-produced by Roots. By late 2011, the band was mainly touring as an instrumental trio with Roots, Eessalu and ex-Bullfrog Brown drummer Raul Terep, melding "traditional blues with dashes of Hawaiian, Western Swing and, of course, Dixie" (Blues In Britain). Album "Three!" added roots rock to the mix and was released in 2013 to positive acclaim; by 2014, Peeter Piik, another former member of Bullfrog Brown, had replaced Eessalu on bass. In February, Roots & Terep also started gigging as a duo, their first two shows producing the live album "Trad.alt.blues".
Festivals played by Roundabout and/or Andres Roots in 2011-2013 include: Shetland Blues Festival (UK), Stompin’ At The Savoy (FIN), Lahti Grand Blues (FIN), Saimaa Blues (FIN), Louisiana Cajun Party (FIN), Kaavi Blues (FIN), Leppävirta Blues Picnic (FIN), Jazzkaar (EST), Viru Folk (EST), Guitar Jamboree (EST), Pärnu Bluusipäevad (EST), Ugriblues (EST), Augustibluus (EST), UnderGround Blues (EST), Baltic-Nordic Harmonica (EST), Linna Pea Rock (EST), Fontaine Festival (LV), Sigulda Blues (LV), and Le Blues Autour du Zinc (FRA). With previous bands, Roots has also appeared at Puistoblues (FIN), Savonsolmu Beach & Blues Party (FIN), Suwalki Blues Festival (POL), Bliuzo Naktys (LT), InterContinental Resophonic Guitar Festival (CZ), Bob Dylan Acousticfest (UK), Bellshill Music Festival (UK) and Fiesta de la Guitarra (EST).
Juzzie Smith *06.04.
Juzzie Smith ist eine australische „One Man Band“ und spielt bis zu 5 Instrumente gleichzeitig. Er ist ein waschechter Straßenmusiker, der weltweit jeden Platz zum „Grooven“ bringt. Sein dreckig, groovender Sound ist unverwechselbar, erinnert mich teilweise an die ersten Alben der Black Keys. Bei „Keep Life Simple“ habe ich ein Déjà-vu mit Mobys „Honey“. Wenn man sich die zahlreichen Youtube Videos ansieht, hört man den Spass und die Leidenschaft, die er in seine Songs steckt, von der nötigen Koordination bei seinen Liveauftritten mal ganz abgesehen.
Juzzie is a walking, talking, singing example of how it pays to follow your heart. Not that money is the point here – far from it. The real point is that Juzzie is one of those truly creative souls who makes a living out of doing something he absolutely loves.
As a young father, tired of late nights on the pub circuit, Juzzie made a conscious decision to leave the pubs and take his music to the people and the streets. So he took up busking, mostly at local markets on the NSW north coast, drawing bigger and more enthusiastic crowds each time he played. In this way Juzzie created a reputation for himself, becoming a true grassroots phenomenon. He is now also a festival circuit favorite, loved for his energetic and awe-inspiring live performances.
A true musical virtuoso, Juzzie gives performances that are marked by an amazing ability to play guitar, harmonica and percussion at the same time using all of his body. “it is like dancing with music” he said. It seems he is at home holding anything that makes a sound, and he combines this with a real rhythmic talent and a raw, warm vocal style. The result is truly engaging, mesmerizing music that makes you want to move and leaves you feeling inspired.
So how many instruments does he play? Well, it’s a bit more of a matter of what doesn’t he play? For a start he straps 8 harmonicas to his belt so he has quick access to the one in the right key. Then there’s the guitar, slide guitar and Cigar box guitar, Dan Moi (which is like a jew’s harp but from Vietnam), ukulele, and a range of percussion instruments that is infinite. And he not only sings, but has also mastered the difficult art of harmonic singing, producing two tones simultaneously with his voice.
With many of these instruments an integral part of his usual set, it isn’t hard to see that Juzzie has his hands pretty full on stage. Just when you think he couldn’t possibly do any more then comes the ultimate crowd stopper. Percussive Juggling. Try juggling three shaker balls creating amazing grooves and then playing harmonica at the same time. Now this is fun to watch.
Or as Juzzie put it: ‘Percussive juggling allows me to be more playful and connect with the audience in a way that everyone is together and smiling”
Juzzie Smith - Train Ride
https://www.youtube.com/watch?v=4J23ysR3jXc
Juzzie Smith | Broadbeach Blues 2012 - 2/2
https://www.youtube.com/watch?v=yVlgp0gRuO8
juzzie smith one man band
https://www.youtube.com/watch?v=RcrujO7lKsA
R.I.P.
Bob Hite +06.04.1981
Bob Hite (links) mit Canned Heat (1979)
Eigentlich müsste man diesen Monat
eine Biographie über Muddy Waters (Geburtstag 04.04.1913 und
Todestag 30.04.1983) oder Alexis Korner (Geburtstag 19.04.1928)
machen. Ich habe mich für Bob Hite entschieden.
Einige werden sicher fragen Bob Wer?
Die eingefleischten Blueskenner wissen natürlich sofort, wer da
gemeint ist. Bob Hite – Gründungsmitglied von Canned Heat.
1965
gründete Bob mit Alan Wilson und Henry Vestine Canned Heat. Hite kam
auf den Namen, da eine seiner Schallplatten aus dem Jahr 1928 von
Tommy Johnson einen gleichnamigen Bluessong enthielt. Bei Canned Heat
übernahm er den Gesang und die Mundharmonika.
Über
Bob Hite zu schreiben ohne Canned Heat zu erwähnen geht nicht.
Übrigens, Canned Heat trat 1969 beim legendären Woodstock-Festival
auf.
„Der
Name (englisch canned „eingemacht“, heat „Hitze“) ist eine
Anspielung auf gelierten Brennspiritus. Das Produkt wird unter dem
Markennamen Sterno Canned Heat als Brennpaste in Blechdosen
ausgeliefert, die gleichermaßen als Verpackung und als Rechaud
dienen. Außerdem wird das Gel häufig mit Wasser verdünnt als
billiger Schnapsersatz missbraucht. Bei einem Interview in einer
amerikanischen Fernsehsendung sagte Bob Hite 1969, dass der Name eine
Anspielung auf den Canned Heat Blues von Tommy Johnson aus dem Jahre
1929 ist.“ 2)
Canned Heat war
auch die Band, die damals unsere Hymne „Going up the Country“
spielte, ein Titel entstanden nach dem Bull Doze Blues von Henry
Thomas 3) , ein Titel der unseren Sehnsüchten entsprach.
„I'm going to leave the city got
to get away
I 'm going to leave the city got to
get away
All this fussing and fighting
Man, you know I sure can't stay.
Ich Werde die Stadt verlassen, ich
muss hier Weg
All diese Aufregung und dieser Kampf
Mensch, mir ist
klar, dass ich mit Sicherheit nicht bleiben kann.“ 5),Seite
153
„Bob Hite wurde die Liebe zu der
Musik in die Wiege gelegt. Seine Mutter war Sängerin und sein Vater
spielte in einer Band in Pennsylvania. Im Alter von neun fing er an,
jede Schallplatte aus Jukeboxen zu sammeln, die er bekommen konnte.
Aufgrund dieser Sammelleidenschaft eröffnete er später einen
eigenen Plattenladen und brachte das Sammler-Journal Rhythm&Blues
Collector heraus. Seine Sammlung erreichte 1973 einen Bestand von
über 70.000 Schallplatten. Er soll oft in Plattenläden sämtliche
Kopien einer Platte aufgekauft und sie bis auf ein Exemplar
vernichtet haben, um den Wert seiner Sammlung zu erhöhen. Nach
seinem Tod 1981 wurde die Sammlung zerschlagen, er hatte aber vorher
schon aufgrund finanzieller Probleme große Teile verkaufen müssen.
Einen Großteil seiner Sammlung besitzen heute Fito DeLaParra und
Walter De Paduwa. Dieser veröffentlichte 2007 in Zusammenarbeit mit
Adolfo „Fito“ De La Parra einige Aufnahmen aus der Sammlung auf
dem Sampler Rarities From The Bob Hite Vaults.“ 4)
„Zum
Erfolg von Hitze in Dosen, so die wortgetreue deutsche Übersetzung,
trugen zwei markante Stimmen bei: die tiefe, raspelige des 260 Pfund
schweren Leadsängers Bob Hite und die merkwürdig hohe des
Gitarristen Al Wilson, dessen Mundharmonikaspiel ebenfalls
unverwechselbar war.“ 6)
Seinen Spitznamen „The Bear“ soll
er wegen seines grossen,massigen Körpers bekommen haben.
„Neben seiner Rolle als Musiker
(co-)produzierte Hite auch Alben von Canned Heat und anderen
Interpreten. Über seine Sammlerleidenschaft traf er 1969 Albert
Collins und half ihm, seine Karriere aufzuwerten. Collins widmete ihm
daraufhin die Single Love Can Be Found Anywhere, dessen Namen aus dem
von Hite geschriebenen Song Fried Hockey Boogie stammt.
1968 war er Co-Produzent des Albums
Slim's Got His Thing Going On von Sunnyland Slim, an dem er neben
Alan Wilson auch musikalisch mitwirkte. Als Gage erhielt er ein
Piano, welches bei dem Song Turpentine Moan auf dem Album Boogie With
Canned Heat zu hören ist.
Im selben Jahr produzierte er zusammen
mit Skip Taylor das Album Hooker ’n Heat, das Canned Heat mit ihrem
großen Idol John Lee Hooker aufnahmen.
Daneben wirkte und produzierte er mit
Musikern wie Little Richard, Clarence Gatemouth Brown, Memphis Slim
und Ronnie Barron.
Nach dem Tod seines Mitstreiters
und Bandgründers Alan Wilson ließ der Erfolg der Gruppe rapide nach
und Hite verfiel mehr und mehr harten Drogen.“ 4)
Das Album „Hooker ´n Heat“ ist
sicherlich eines der wichtigsten und besten Alben der Bluesgeschichte
und Bob hatte einen riesigen Anteil am Erfolg des Albums.
Canned Heat ist die Band, die
wahrscheinlich die meisten Mitgliederwechsel zu verzeichnen hat, aber
auch die meisten verstorbenen Bandmitglieder und das nicht wegen des
hohen Alters.
Sex and
Drugs and Rock and Roll gehörten genau so zu der Band wie guter
Blues. Sie hetzten nicht nur von Konzert zu Konzert sondern auch von
Vollrausch zu Vollrausch. Ein Wunder, dass da überhaupt noch jemand
lebt. (Eine gute Darstellung der Mitglieder ist unter 7) zu finden.)
Bob Hite hat es
jedenfalls nicht geschafft.
Die Drogenexzesse verbunden mit
Alkoholkonsum waren wahrscheinlich die Ursache für Bobs
Gesundheitszustand.
„Am 5. April 1981 spielten Canned Heat im Palmino Club in Los Angeles unter anderem mit Henry Vestine einen laut ihrem Schlagzeuger Adolfo „Fito“ De La Parra sehr guten Gig, was zu dieser Zeit für die Band nicht selbstverständlich war, da sie aufgrund enormer Drogenprobleme und oft wechselnden Besetzungen viele Reinfälle erlebte. In der Pause zwischen den beiden Sets boten ein paar Junkies Hite Heroin an, welches dieser sofort komplett inhalierte. Von dem Heroin völlig weggetreten war Hite nicht mehr in der Lage, das zweite Set zu singen. Um ihn wieder auf die Beine zu bekommen, gaben ihm ein paar Roadies der Band etwas Kokain, doch das knockte ihn völlig aus und die Band musste ohne ihn weiter spielen. Sie kümmerte sich nicht weiter um ihn, da sie so was öfters mit ihm erlebten. Während des zweiten Sets brachten ihn Freunde nach Hause, wo er einen Herzanfall hatte. Als nach langer Wartezeit endlich der Krankenwagen eintraf konnte er zwar noch einmal reanimiert werden doch der stark übergewichtige Hite verstarb einige Minuten darauf. Seine letzte Aufnahme war das Lied "Hell's just on down the line" für das Album "Kings of the Boogie", das ohne ihn fertiggestellt wurde. Zu seinem Gedenken brachte der ehemalige Canned Heat-Bassist Tony De La Barreda ein 1980 aufgenommenes, auf Hites ausdrücklichen Wunsch unveröffentlicht gebliebenes Album mit dem Titel "In Memory of Bob „The Bear“ Hite - Don't forget to boogie" heraus. Bis dato hatte er jedes Konzert mit den Worten "Don't forget to boogie" beendet.“ 1)
5)Die Deutsche Bibliothek - CIP-Einheitsaufnahme
de la Parra, Fito:
Living The Blues, Canned Heat's Story
zwischen Musik,
Drogen, Tod, Sex und Überleben / Fito
de la Parra.
Lindewerra: Little Big Beat
Musikverlag, 2001
ISBN 3-00-007020-6
Originalausgabe: Living The Blues,
Canned Heat's Story
of Music, Drugs, Death, Sex and
Survival
Copyright © 2000 Fito de la Parra
Deutsche Ausgabe: Copyright © 2001
Little Big Beat Musikverlag,
Ludwig-Wagner-Straße 31a, 37318
Lindewerra
Lektorat: Thomas Gutberlet, Berlin
Übersetzung aus dem Amerikanischen:
Uli Twelker, Gütersloh
Herstellung und Gestaltung: Christian
Wiesner-Stippel, Berlin
Druck: Fuldaer Verlagsanstalt GmbH,
Fulda
ISBN 3-O0-007020-6
Discografie
Robert Ernest "Bob" Hite (February 26, 1943 – April 6, 1981) was the American lead singer of the blues-rock band, Canned Heat, from 1965 to his death in 1981. His nickname was "The Bear".
Biography
Hite was introduced to Alan Wilson by Henry Vestine and the two of them helped convince blues pianist Sunnyland Slim (1906-1995) to get back into the recording studio to record. In 1965, aged 22, he formed a band with Wilson. Vestine joined soon after and this trio formed the core of Canned Heat. The trio were eventually joined by Larry Taylor (bass) and Frank Cook (drums).
Canned Heat appeared on a November 1969 episode of Playboy After Dark. Hite was invited to talk with Hugh Hefner after the performance, along with other guests Sonny and Cher, Vic Damone, Dick Shawn and Larry Storch. A 20-year-old Lindsay Wagner, playing the part of one of Hefner's party guests, sat on Hite's lap and played a party game. When asked by Hefner what kind of animal Hite would be if he were an animal, Wagner claimed he'd be a bear. Hite told her she got it right, that people called him "The Bear." It was also on this episode that Bob Hite informed Hugh Hefner that he had over 15,000 78s.[1]
Hite performed with Canned Heat at Woodstock in August 1969. The performances were not included in the original (1970) film Woodstock, but are in the 1994 "Director's Cut" version.
He produced the John Lee Hooker/Canned Heat album, Hooker 'N Heat (1971).
Death
On April 5, 1981, during a break between sets at The Palomino Club in North Hollywood, Hite was handed a drug vial by a fan. Thinking it contained cocaine, Hite stuck a straw into the vial and snorted it. The drug turned out to be heroin and Hite turned blue and collapsed. Some roadies put Hite in the band's van, and drove him to a nearby home where he died of an overdose.
Canned Heat - On The Road Again (Live)
This is an amazing and rare version from The Boogie House Tapes Vol. 3 (Disc 01). Late 69' or maybe early 70's.
R.I.P. Alan C. Wilson, Henry Vestine and Bob Hite.
R.I.P. Alan C. Wilson, Henry Vestine and Bob Hite.
Canned Heat - Let's Work Together
Canned Heat - Going up the Country (1968)
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