1867 Johnny Watson (Daddy Stovepipe)*
1915 Hound Dog Taylor*
1921 Shakey Jake Harris*
1929 Andrew 'Blueblood' McMahon*
1929 John Lee Ziegler*
1945 Ann Rabson*
1945 Miller Anderson*
1954 Pat Travers*
1979 Pernell Charity+
Werner Rudigier*
Happy Birthday
Ann Rabson *12.04.1945
Ann Rabson (* 12. April 1945 in New York City; † 30. Januar 2013 in Fredericksburg, Virginia[1][2][3]) war eine US-amerikanische Blues-Pianistin, Sängerin und Gitarristin.
Bereits als Kind war sie dem Blues verfallen, nachdem sie zum ersten Mal eine Platte von Big Bill Broonzy gehört hatte. Mit 17 Jahren erhielt sie von ihrem Vater eine Gitarre und spielte seitdem als Berufsmusikerin. Mit dem Klavierspielen begann sie erst mit 35 Jahren, erreichte aber bald ein solches Niveau, dass sie in die Boogie Woogie Hall of Fame aufgenommen wurde. Für Aufnahmen von Jimmy Rogers,Robert Jr. Lockwood, Hubert Sumlin, Bob Margolin, Francine Reed, Carey Bell, Cephas and Wiggins, Johnny Shines, Levon Helm, John Jackson und Snooky Pryor spielte sie Klavier. Sie trat sowohl solo als auch als Mitglied verschiedenster Bands auf und war 25 Jahre Mitglied von Saffire—The Uppity Blues Women. Nach der Auflösung der Band Ende 2009 trat sie vermehrt solistisch auf.
Nach langer Krankheit verstarb Rabson am 30. Januar 2013 an Krebs. Sie hinterlässt ihren Ehemann George Newman, ihre Tochter und eine Enkeltochter.
http://de.wikipedia.org/wiki/Ann_Rabson
Ann Rabson (April 12, 1945 – January 30, 2013)[1][2] was an American blues vocalist, pianist and guitar player. She was a solo recording artist signed to Alligator Records and was a member of Saffire - The Uppity Blues Women, an acoustic blues band that disbanded amicably in 2009.
Life
Born in New York City in 1945, Rabson had been playing and singing the blues professionally since 1962. She also performed as a solo act and with various other bands.[1]
She had been nominated eight times for a Blues Music Award (formerly W.C. Handy Award) as Traditional Blues Female Artist of the Year.[3] Her first solo album, Music Makin' Mama, was nominated as Album of the Year in both the Traditional Blues and Acoustic Blues categories, and her composition "Elevator Man" was nominated as Song of the Year.
Rabson's second solo album, Struttin' My Stuff, was released by M.C. Records in September 2000.[1] Her joint album with Bob Margolin, Not Alone, won a Blues Music Award in 2013 in the 'Acoustic Album' category.[4]
Rabson died on January 30, 2013, in Fredericksburg, Virginia, after a long battle with cancer. She was 67.
Life
Born in New York City in 1945, Rabson had been playing and singing the blues professionally since 1962. She also performed as a solo act and with various other bands.[1]
She had been nominated eight times for a Blues Music Award (formerly W.C. Handy Award) as Traditional Blues Female Artist of the Year.[3] Her first solo album, Music Makin' Mama, was nominated as Album of the Year in both the Traditional Blues and Acoustic Blues categories, and her composition "Elevator Man" was nominated as Song of the Year.
Rabson's second solo album, Struttin' My Stuff, was released by M.C. Records in September 2000.[1] Her joint album with Bob Margolin, Not Alone, won a Blues Music Award in 2013 in the 'Acoustic Album' category.[4]
Rabson died on January 30, 2013, in Fredericksburg, Virginia, after a long battle with cancer. She was 67.
Hound Dog Taylor *12.04.1915
Hound Dog Taylor (* 12. April 1915 in Natchez, Mississippi; † 17. Dezember 1975 in Chicago, Illinois) war ein US-amerikanischer Sänger und spielte Piano und Gitarre in den Genres Chicago Blues und Boogie.
„Hound Dog“ Taylor, eigentlich Theodore Roosevelt Taylor, wurde mit einer Anomalie geboren: Er hatte an jeder Hand einen sechsten, sehr kleinen Finger.[1] Er wuchs um Tchule und Greenwood im Mississippi-Delta[Anm. 1] auf, wie auch etliche andere schwarze Bluesmusiker (B. B. King, Albert King, John Lee Hooker, Muddy Waters usw.). Seine ersten musikalischen Erfahrungen machte er beim Klavierspielen. Mit der Gitarre fing er erst mit 21 Jahren ernsthaft an. Sein Musikstil wurde stark vom damals aufsteigenden Elmore James geprägt. In seinen Zwanzigern spielte er im Raum Mississippi, wo er unter anderem auch mit Sonny Boy Williamson in der legendären Radiosendung „King Biscuit Time“ zu hören war. Doch Taylor wurde 1942 vom Ku-Klux-Klan aus Mississippi vertrieben, weil er ein Verhältnis mit einer Weißen hatte.
Bis Ende der Fünfziger Jahre arbeitete er in Chicago als Elektriker und in anderen Teilzeitjobs. Nebenbei trat er in schwülstigen Nachtbars Süd-Chicagos als Gitarrist auf. „Hound Dog“ nannte man ihn, weil er von Frauen so angetan war und ihnen steppenwölfisch hinterherjagte. In dieser Zeit änderte er seinen bisher klassischen E-Tuning- in einen energischen Bottleneck-Stil. 1957 widmete er sich endgültig nur noch seiner Musikkarriere.
1960 traf er auf den Gitarristen Brewer Phillips. Die beiden wurden Freunde und gründeten die Band The HouseRockers. Mit den ersten Singles wie „Baby Is Coming Home“, „Take Five“ und „Christine“ stießen sie außerhalb von Chicago aber auf wenig Interesse. 1965 trat der Schlagzeuger Ted Harvey der Band bei. Mit ihm fanden die HouseRockers ihren typisch lauten, harten Bluesakzent mit Taylors rauer Stimme und seinem Slidespiel (Bottleneck) auf billigen japanischen Gitarren sowie Phillips’ Basslinien, die, auf einer Fender Telecaster gespielt, den fehlenden Bass ersetzten.
Bruce Iglauer, später Manager Taylors, bekam die Band 1969 im Chicagoer „Eddie Shaw’s“ erstmals zu hören. Allerdings wollte Iglauers Chef mit Taylor keinen Plattenvertrag abschließen. So ermöglichte Iglauer mit eigener finanzieller Unterstützung 1971 die Veröffentlichung von Taylors erster Platte unter dem Label Alligator Records. Ohne es zu ahnen, begründete er damit das heute weltbekannte Blueslabel. Das Album wurde mit 9.000 verkauften Platten zum Erfolg. Die Singles „Give Me Back My Wig“ und „It’s Alright“ wurden zu den bekanntesten Songs. 1973 kam die zweite Platte, „Natural Boogie“, auf den Markt.
Taylor war auf der Höhe seiner Karriere. Doch es kam zwischen den eigentlich gut befreundeten Gitarristen Phillips und Taylor 1975 zu einem handgreiflichen Streit. Auslöser war eine abfällige Bemerkung Phillips’ über Taylors Frau Fredda. Taylor schlug Phillips; infolgedessen erlitt dieser Verletzungen. Kurz danach erkrankte Taylor, ein leidenschaftlicher Raucher, an tödlichem Lungenkrebs. Seine letzte Bitte war, Phillips zu sprechen. Er vergab Phillips, dem zweiten Gitarristen seiner Band und seinem langjährigen Freund, seine Tat am Sterbebett. Theodore Roosevelt Taylor starb im Dezember 1975.
Nach seinem Tod wurde 1976 das letzte Alligator-Album Taylors, „Beware of the Dog“, herausgegeben.
1984 wurde er mit einem Eintrag in die Blues Hall of Fame für seine musikalischen Leistungen honoriert.
Andere Blueskünstler wie Eric Clapton oder Albert King ließen sich von Hound Dog Taylor inspirieren (z. B. für „Hideaway“). Er gehört zu den Klassikern des elektrischen Blues. Alligator Records veröffentlichte 2003 „Hound Dog Taylor-A Tribute“ in dem unter anderen Luther Allison, Sonny Landreth, Bob Margolin, Elvin Bishop, George Thorogood und Lil’ Ed and The Blues Imperials Werke Taylors interpretieren.
http://de.wikipedia.org/wiki/Hound_Dog_Taylor
Theodore Roosevelt "Hound Dog" Taylor[3] (April 12, 1915 – December 17, 1975)[4] was an American Chicago blues guitarist and singer.[1]
Biography
Taylor was born in Natchez, Mississippi in 1915 (although some sources say 1917). He originally played piano, but began playing guitar when he was 20. He moved to Chicago in 1942.
He became a full-time musician around 1957 but remained unknown outside of the Chicago area where he played small clubs in the black neighborhoods and also at the open-air Maxwell Street Market. He was known for his electrified slide guitar playing roughly styled after that of Elmore James, his cheap Japanese Teisco guitars, and his raucous boogie beats. He was also famed among guitar players for having six fingers on his left hand.[5] In 1967 Taylor toured Europe with the American Folk Blues Festival, performing with Little Walter and Koko Taylor.[6]
After hearing Taylor with his band, the HouseRockers (Brewer Phillips on second guitar and Ted Harvey on drums) in 1970 at Florence's Lounge on Chicago's South Side, Bruce Iglauer – at the time a shipping clerk for Delmark Records – tried to get him signed by his employer.[3] Having no success getting Delmark to sign Taylor, Iglauer formed a small record label with a $2500 inheritance and recorded Taylor's debut album, Hound Dog Taylor and the HouseRockers, on his fledgling Alligator Records in 1971.[3] It was the first release on Alligator Records, which became a major blues label.[4] It was recorded in a studio in just two nights. Iglauer began managing and booking the band, which toured nationwide and performed with Muddy Waters, Freddie King and Big Mama Thornton.[7] The band became particularly popular in the Boston area, where Taylor inspired a young protégé named George Thorogood. A live album Live at Joe's Place documented a Boston appearance from 1972.
Their second release, Natural Boogie, was recorded in late 1973, and led to greater acclaim and touring. In 1975, Taylor and his band toured Australia and New Zealand with Freddie King and Sonny Terry and Brownie McGhee. His third Alligator album, Beware of the Dog, was recorded live in 1974 but was only released after his death.[4] More posthumous releases occurred as well, including Genuine Houserocking Music and Release the Hound, on the Alligator label as well as some bootleg live recordings.
Taylor died of lung cancer in 1975, and was buried in Restvale Cemetery in Alsip, Illinois.
Taylor was posthumously inducted into the Blues Hall of Fame in 1984.
George Thorogood dedicated "The Sky Is Crying" (song 9) to "the memory of the late great Hound Dog Taylor" on his Live album (EMI America CDP 7 46329 2).
A scene in the 2011 film The Rum Diary features a loose depiction of Hound Dog Taylor performing at a raucous concert in 1950s San Juan, Puerto Rico.
Biography
Taylor was born in Natchez, Mississippi in 1915 (although some sources say 1917). He originally played piano, but began playing guitar when he was 20. He moved to Chicago in 1942.
He became a full-time musician around 1957 but remained unknown outside of the Chicago area where he played small clubs in the black neighborhoods and also at the open-air Maxwell Street Market. He was known for his electrified slide guitar playing roughly styled after that of Elmore James, his cheap Japanese Teisco guitars, and his raucous boogie beats. He was also famed among guitar players for having six fingers on his left hand.[5] In 1967 Taylor toured Europe with the American Folk Blues Festival, performing with Little Walter and Koko Taylor.[6]
After hearing Taylor with his band, the HouseRockers (Brewer Phillips on second guitar and Ted Harvey on drums) in 1970 at Florence's Lounge on Chicago's South Side, Bruce Iglauer – at the time a shipping clerk for Delmark Records – tried to get him signed by his employer.[3] Having no success getting Delmark to sign Taylor, Iglauer formed a small record label with a $2500 inheritance and recorded Taylor's debut album, Hound Dog Taylor and the HouseRockers, on his fledgling Alligator Records in 1971.[3] It was the first release on Alligator Records, which became a major blues label.[4] It was recorded in a studio in just two nights. Iglauer began managing and booking the band, which toured nationwide and performed with Muddy Waters, Freddie King and Big Mama Thornton.[7] The band became particularly popular in the Boston area, where Taylor inspired a young protégé named George Thorogood. A live album Live at Joe's Place documented a Boston appearance from 1972.
Their second release, Natural Boogie, was recorded in late 1973, and led to greater acclaim and touring. In 1975, Taylor and his band toured Australia and New Zealand with Freddie King and Sonny Terry and Brownie McGhee. His third Alligator album, Beware of the Dog, was recorded live in 1974 but was only released after his death.[4] More posthumous releases occurred as well, including Genuine Houserocking Music and Release the Hound, on the Alligator label as well as some bootleg live recordings.
Taylor died of lung cancer in 1975, and was buried in Restvale Cemetery in Alsip, Illinois.
Taylor was posthumously inducted into the Blues Hall of Fame in 1984.
George Thorogood dedicated "The Sky Is Crying" (song 9) to "the memory of the late great Hound Dog Taylor" on his Live album (EMI America CDP 7 46329 2).
A scene in the 2011 film The Rum Diary features a loose depiction of Hound Dog Taylor performing at a raucous concert in 1950s San Juan, Puerto Rico.
Miller Anderson *12.04.1945
Miller Anderson (* 12. April 1945 in Houston, Renfrewshire, Schottland) ist ein britischer Blues- und Rockmusiker. Er wurde bekannt als Gitarrist und Sänger u. a. bei Keef Hartley und Savoy Brown.
Miller Anderson begann seine musikalische Karriere Mitte der 1960er bei Bands wie The Royal Crests, Karl Stuart & the Profiles und The Scenery. 1968 spielte Anderson bei At Last The 1958 Rock N Roll Show, die sich im selben Jahr in Charlie Woolfe umbenannten.
Im November 1968 schloss sich Anderson der Keef Hartley Band an, die 1969 beim Woodstock-Festival auftrat. Mit Keef Hartley nahm Anderson die Alben Halfbreed (1969), The Battle Of North West Six (1969), The Time Is Near (1970), Overdog (1971) und Little Big Band (1971) auf. Er schrieb auch einen Großteil der Songs. Auf den ersten beiden Alben schrieb er unter dem Pseudonym Hewitson, da er aus vertraglichen Gründen seinen Namen nicht benutzen durfte.
1971 verließ Anderson Keef Hartley und produzierte das Soloalbum Bright City. 1973 gründete er die Band Hemlock, mit der er ein Album aufnahm und im Vorprogramm von Uriah Heep tourte. 1974 ging Anderson zur Bluesband Savoy Brown, die mit Stan Webb und Kim Simmonds bereits zwei hervorragende Gitarristen hatte. Es entstand das Album Boogie Brothers, doch verließ Anderson die Band bereits Ende des gleichen Jahres.
1975 arbeitete Miller Anderson erneut mit Keef Hartley. Zusammen formierten sie die Band Dog Soldier, die ein Album gleichen Namens auf den Markt brachte.
Mitte 1976 wurde Anderson Bandmitglied bei T. Rex. Sänger Marc Bolan engagierte ihn als zweiten Gitarristen und Backgroundsänger für seine "Comeback-Band". Nachdem sie Zusammen das Album "Dandy In The Underworld" aufgenommen und erfolgreiche Tourneen durch Frankreich und Großbritannien absolviert hatten, verließ er die Band im Juni 1977. Er hatte genug von den zahlreichen Playback-Auftritten, wollte wieder "live" spielen und ging noch im selben Jahr mit Donovan auf Tournee. Darauf folgte eine Tour im Vorprogramm von Yes. 1979 war Anderson Mitbegründer der Band The Dukes, die ein Album aufnahm und u. a. mit Wishbone Ash auf Tour ging.
Es folgte ab 1982 eine Zusammenarbeit mit Stan Webb, zunächst in dessen Band Speedway, dann 1984 in der Neuauflage von Chicken Shack. Nach einem kurzen Intermezzo bei Mountain beteiligte sich Anderson an der Wiederbelebung der Spencer Davis Group. Mit deren Schlagzeuger Pete York, Sänger Chris Farlowe und weiteren Kollegen spielte er das Album Superblues ein. Miller Anderson gehörte außerdem zur Stammband von Pete Yorks erfolgreicher Fernsehreihe Superdrumming.
In den 1990ern war Anderson sowohl solo als auch mit bekannten Musikern wie Jon Lord und Roger Chapman unterwegs. Er spielte weiterhin mit der Spencer Davis Group, und es gab ein Revival seiner frühen Band The Scenery. 1997 erschien das Soloalbum Celtic Moon, produziert von dem deutschen Blues- und Rock-Gitarristen Frank Diez, und 2003 Bluesheart. Mit der Spencer Davis Group erschienen bisher 3 Livealben, auf denen Miller an der Gitarre und Gesang zu hören ist: 1997 Payin' My Dues To The Blues, 2002 Live In Manchester sowie 2006 Official Bootleg. Außerdem war er 2007 mit der Band The British Blues Quintet (mit Maggie Bell, Zoot Money, Colin Hodgkinson und Colin Allen) auf Tour, von der auch im November 2007 das Album Live in Glasgow (Recorded At The Ferry) erschienen ist.
2012 schloss er sich der Hamburg Blues Band an und ging mit ihnen im Herbst 2012 bzw. Frühjahr 2013 auf Deutschlandtournee.
http://de.wikipedia.org/wiki/Miller_Anderson
Miller Anderson (born 12 April 1945, Houston, Renfrewshire, Scotland) is a UK-based blues guitarist and singer.
Apart from pursuing his own solo career, he was a member of the Keef Hartley Band. Other groups Anderson has been associated with are; the Spencer Davis Group, Broken Glass, The Dukes, Mountain, Savoy Brown, T.Rex and Chicken Shack.[1] In early 2006, he joined The British Blues Quintet with Maggie Bell, Zoot Money, Colin Hodgkinson and Colin Allen.
Apart from pursuing his own solo career, he was a member of the Keef Hartley Band. Other groups Anderson has been associated with are; the Spencer Davis Group, Broken Glass, The Dukes, Mountain, Savoy Brown, T.Rex and Chicken Shack.[1] In early 2006, he joined The British Blues Quintet with Maggie Bell, Zoot Money, Colin Hodgkinson and Colin Allen.
Pat Travers *12.04.1954
Pat Travers (3. von links) - zusammen mit der weithin eher unbekannten US-amerikanischen Rock-Band „Azmyth“, 11. Juli 2009.
Pat Travers (* 12. April 1954 in Toronto, Ontario) ist ein kanadischer Bluesrock-Gitarrist.
Pat Travers fing bereits mit 12 Jahren an Gitarre zu spielen. Pat Travers faszinierten und inspirierten Künstler wie Jimi Hendrix, Jeff Beck und Eric Clapton. Die erforderliche E-Gitarre, in Form einer Gibson Les Paul, hatte er sich bald zugelegt. Schon sehr früh spielte Travers in Bands. „Red Hot“ war der Name seiner ersten Band.
Pat Travers spielt eine 1983er Double-Cutaway „Les Paul“, inklusive Kahler-Vibrato und EMG-Pickups. Er besitzt neben dieser Gitarre noch weitere Gibson-Modelle. Zu Hause spielt er meistens eine pinkfarbige 1986er Fender Reissue-Stratocaster, die er ebenfalls wie die Les Paul auf EMG-Pickups umrüstete. Die Stratocaster übernimmt auch die meisten „Clean-Sound Parts“ bei seinen Songs, da ihm der Clean-Sound der Stratocaster besser gefällt als der der Les Paul.
Meistens spielt Pat Travers einen 100-Watt Peavey Classic Amp. Auf Konzerten kommt aber auch des Öfteren ein Marshall 100-Watt Top aus der 900er Serie zum Einsatz.
http://de.wikipedia.org/wiki/Pat_Travers
Patrick Henry "Pat" Travers (born April 12, 1954) is a Canadian rock guitarist, keyboardist and singer who began his recording career with Polydor Records in the mid-1970s. Pat Thrall, Nicko McBrain, Mick Dyche, Tommy Aldridge, Peter "Mars" Cowling, Barry Dunaway, Jerry Riggs, Gunter Nezhoda, Carmine Appice and Michael Shrieve are some of the noted musicians who have been members of the Pat Travers Band through the years. Kirk Hammett of Metallica has cited him as one of his favorite guitar players.[1]
Early years
Pat Travers was born and raised in Toronto, Ontario. Soon after picking up the guitar at age 12, he saw Jimi Hendrix perform in Ottawa. Travers began playing in bands early in his teens; his first bands were the Music Machine (not to be confused with the Californian psychedelic/garage band of the same name), Red Hot, and Merge, which played in clubs in the Quebec area.
While performing with Merge, he was noticed by rock artist Ronnie Hawkins, who invited Travers to perform with him. In his early twenties Travers moved to London and signed a recording contract with the Polydor label. His self-titled debut album was released in 1976, and featured bassist Peter "Mars" Cowling, who would become a mainstay in Travers' band for several years. An appearance on the German TV show Rockpalast in November 1976 was later released on DVD under the title Hooked on Music. This performance showcases an early version of Travers' band featuring Cowling and drummer Nicko McBrain.
Rise to popularity
During 1977 Travers added a second guitarist to his band, changed drummers twice including using Clive Edwards, and by the time Heat in the Street was released in 1978 had put together the Pat Travers Band. This grouping featured Travers on vocals and guitar, Pat Thrall on guitar, Cowling on bass, and Tommy Aldridge on drums and percussion. The band toured heavily, also supporting Rush on their Drive til You Die tour in support of A Farewell to Kings.[2] The band's next release was a live album entitled Live! Go for What You Know, which charted in the Top 40 in the United States and included the tune "Boom Boom (Out Go The Lights)" (originally recorded by Little Walter, credited to Stan Lewis), which climbed even higher on the charts, entering the Top 20. "Snortin' Whiskey" was a major American radio hit from 1980s Crash and Burn and Travers began the 1980s as a hot item in the hard rock music scene.
After an appearance before 35,000 people at the Reading Music Festival in England, both Thrall and Aldridge announced they were leaving the band to pursue other projects. Travers and Cowling teamed up with drummer Sandy Gennaro and released Radio Active that same year. A co-headlining tour with Rainbow followed, and the two bands performed in major arenas across North America. Although the tour was Travers' most successful road outing, the Radio Active album barely made it into the Top 40, reaching only number 37.[3] It was much different than Travers' previous work, with more emphasis on keyboards than heavy guitars. Disappointed with the lack of sales, Polydor dropped Travers from their roster, and he in turn sued the record company on grounds that he was under contract with them to record more material. He won the lawsuit, and was able to release Black Pearl in 1982.[which?] This release also featured more mainstream music rather than the hard-driving rock Travers had recorded earlier, and included the hit single "I La La La Love You", featured prominently on mainstream Top 40 and album oriented rock stations, and in the 1983 movie Valley Girl. Hot Shot was Travers' last major label release of original music, and was a return to a harder-edge style of rock than his previous two albums had been. One of Travers' best-recorded projects, it went basically unnoticed and is best remembered for the single "Killer". It was during this time that Travers also released Just Another Killer Day, a 30-minute home video featuring music from Hot Shot that was a sci-fi type short story about sexy alien women searching for information on music here on earth. In 1984, Travers was again supporting Rush--Alex Lifeson is one of Travers' many admirers.[4]
Before the release of Hot Shot, longtime bassist Cowling left the band, and Travers would work with several different bassists including Cliff Jordan and Dee Hughes until Cowling's return in 1989. Also at this time Jerry Riggs joined the Pat Travers Band, and he and Travers created a guitar team that fans considered difficult to rival. After Hot Shot's release in 1984, Polydor made plans to issue a greatest hits package, and then ended their relationship with Travers.
The latter half of the 1980s were quite grueling for Travers. Having entered the decade at the top of the music game, he found himself in 1986 without a record contract and being forced to earn a living once again playing nightclubs and touring constantly. By 1990, he had gained a deal with a small European label and released School of Hard Knocks. The project was totally ignored by radio. A full-length concert video Boom Boom – Live at the Diamond Club 1990 was shot in Toronto to be released in audio version as CD Boom Boom next year, but Travers was still not able to return to the success he had ten years earlier, working only on indie labels, as with Lemon Recordings.
1990s, return to form
Shortly after, Travers signed a deal with American-based Blues Bureau International Records, a company formed by noted producer Mike Varney. Travers' first recording for the label was Blues Tracks released in 1992. It earned positive reviews from critics. Several more releases on the BBI label followed during the 1990s. In 1993, Travers parted company with both Jerry Riggs and Peter "Mars" Cowling, and Riggs was briefly replaced by former Foghat guitarist Erik Cartwright. The relationship was very brief, and Travers has worked with a variety of musicians since that time.
Travers has not been able to regain the level of commercial success he once had, despite a very large and loyal fan base who call themselves "Hammer Heads". He tours regularly in the U.S. and has made several trips to Europe in the last decade as well. In 2001 he was part of the "Voices of Classic Rock" tour, and had a minor hit with Leslie West from the band Mountain called "Rock Forever". In 2004 he started a project with the veteran drummer Carmine Appice and started touring the U.S.A.; as of now there are 3 albums released. Travers recorded cover tunes from bands such as Led Zeppelin, Montrose, Queen, and Trapeze under the album name P.T. Power Trio 2, and they toured Europe in November 2006. Travers has lived in central Florida for several years, and is now married with two children. Travers is also a Black Belt in the style of Isshin Ryu Karate, and currently trains with 10 time World Champion, Mike Reeves Sensei in Apopka, FL
The Pat Travers Band (PTB) currently consists of Pat Travers (guitars, vocals, keyboards), Kirk McKim (guitars, vocals), Sandy Gennaro (drums), and Rodney O'Quinn (bass/vocals).
The Pat Travers Band put out the album "Fidelis" in late 2009. In July 2013, The Pat Travers Band put out new album "CAN DO" released by Frontiers Records, a major label based in Italy for numerous artists in the field of classic rock. The CAN DO album was supported by PTB tours of the U.S., the U.K., and Europe during the later half of 2013. In January 2015, Frontiers Records released Pat Travers Band Live at the Iridium NYC, recorded in February 2012, featuring Jon Paris playing blues harp on "If I Had Possession Over Judgment Day" and "Spoonful".
Travers also sang on Boston metal band Extreme's minor hit "Get the Funk Out," from their hugely successful 1990 Pornograffitti album.
Early years
Pat Travers was born and raised in Toronto, Ontario. Soon after picking up the guitar at age 12, he saw Jimi Hendrix perform in Ottawa. Travers began playing in bands early in his teens; his first bands were the Music Machine (not to be confused with the Californian psychedelic/garage band of the same name), Red Hot, and Merge, which played in clubs in the Quebec area.
While performing with Merge, he was noticed by rock artist Ronnie Hawkins, who invited Travers to perform with him. In his early twenties Travers moved to London and signed a recording contract with the Polydor label. His self-titled debut album was released in 1976, and featured bassist Peter "Mars" Cowling, who would become a mainstay in Travers' band for several years. An appearance on the German TV show Rockpalast in November 1976 was later released on DVD under the title Hooked on Music. This performance showcases an early version of Travers' band featuring Cowling and drummer Nicko McBrain.
Rise to popularity
During 1977 Travers added a second guitarist to his band, changed drummers twice including using Clive Edwards, and by the time Heat in the Street was released in 1978 had put together the Pat Travers Band. This grouping featured Travers on vocals and guitar, Pat Thrall on guitar, Cowling on bass, and Tommy Aldridge on drums and percussion. The band toured heavily, also supporting Rush on their Drive til You Die tour in support of A Farewell to Kings.[2] The band's next release was a live album entitled Live! Go for What You Know, which charted in the Top 40 in the United States and included the tune "Boom Boom (Out Go The Lights)" (originally recorded by Little Walter, credited to Stan Lewis), which climbed even higher on the charts, entering the Top 20. "Snortin' Whiskey" was a major American radio hit from 1980s Crash and Burn and Travers began the 1980s as a hot item in the hard rock music scene.
After an appearance before 35,000 people at the Reading Music Festival in England, both Thrall and Aldridge announced they were leaving the band to pursue other projects. Travers and Cowling teamed up with drummer Sandy Gennaro and released Radio Active that same year. A co-headlining tour with Rainbow followed, and the two bands performed in major arenas across North America. Although the tour was Travers' most successful road outing, the Radio Active album barely made it into the Top 40, reaching only number 37.[3] It was much different than Travers' previous work, with more emphasis on keyboards than heavy guitars. Disappointed with the lack of sales, Polydor dropped Travers from their roster, and he in turn sued the record company on grounds that he was under contract with them to record more material. He won the lawsuit, and was able to release Black Pearl in 1982.[which?] This release also featured more mainstream music rather than the hard-driving rock Travers had recorded earlier, and included the hit single "I La La La Love You", featured prominently on mainstream Top 40 and album oriented rock stations, and in the 1983 movie Valley Girl. Hot Shot was Travers' last major label release of original music, and was a return to a harder-edge style of rock than his previous two albums had been. One of Travers' best-recorded projects, it went basically unnoticed and is best remembered for the single "Killer". It was during this time that Travers also released Just Another Killer Day, a 30-minute home video featuring music from Hot Shot that was a sci-fi type short story about sexy alien women searching for information on music here on earth. In 1984, Travers was again supporting Rush--Alex Lifeson is one of Travers' many admirers.[4]
Before the release of Hot Shot, longtime bassist Cowling left the band, and Travers would work with several different bassists including Cliff Jordan and Dee Hughes until Cowling's return in 1989. Also at this time Jerry Riggs joined the Pat Travers Band, and he and Travers created a guitar team that fans considered difficult to rival. After Hot Shot's release in 1984, Polydor made plans to issue a greatest hits package, and then ended their relationship with Travers.
The latter half of the 1980s were quite grueling for Travers. Having entered the decade at the top of the music game, he found himself in 1986 without a record contract and being forced to earn a living once again playing nightclubs and touring constantly. By 1990, he had gained a deal with a small European label and released School of Hard Knocks. The project was totally ignored by radio. A full-length concert video Boom Boom – Live at the Diamond Club 1990 was shot in Toronto to be released in audio version as CD Boom Boom next year, but Travers was still not able to return to the success he had ten years earlier, working only on indie labels, as with Lemon Recordings.
1990s, return to form
Shortly after, Travers signed a deal with American-based Blues Bureau International Records, a company formed by noted producer Mike Varney. Travers' first recording for the label was Blues Tracks released in 1992. It earned positive reviews from critics. Several more releases on the BBI label followed during the 1990s. In 1993, Travers parted company with both Jerry Riggs and Peter "Mars" Cowling, and Riggs was briefly replaced by former Foghat guitarist Erik Cartwright. The relationship was very brief, and Travers has worked with a variety of musicians since that time.
Travers has not been able to regain the level of commercial success he once had, despite a very large and loyal fan base who call themselves "Hammer Heads". He tours regularly in the U.S. and has made several trips to Europe in the last decade as well. In 2001 he was part of the "Voices of Classic Rock" tour, and had a minor hit with Leslie West from the band Mountain called "Rock Forever". In 2004 he started a project with the veteran drummer Carmine Appice and started touring the U.S.A.; as of now there are 3 albums released. Travers recorded cover tunes from bands such as Led Zeppelin, Montrose, Queen, and Trapeze under the album name P.T. Power Trio 2, and they toured Europe in November 2006. Travers has lived in central Florida for several years, and is now married with two children. Travers is also a Black Belt in the style of Isshin Ryu Karate, and currently trains with 10 time World Champion, Mike Reeves Sensei in Apopka, FL
The Pat Travers Band (PTB) currently consists of Pat Travers (guitars, vocals, keyboards), Kirk McKim (guitars, vocals), Sandy Gennaro (drums), and Rodney O'Quinn (bass/vocals).
The Pat Travers Band put out the album "Fidelis" in late 2009. In July 2013, The Pat Travers Band put out new album "CAN DO" released by Frontiers Records, a major label based in Italy for numerous artists in the field of classic rock. The CAN DO album was supported by PTB tours of the U.S., the U.K., and Europe during the later half of 2013. In January 2015, Frontiers Records released Pat Travers Band Live at the Iridium NYC, recorded in February 2012, featuring Jon Paris playing blues harp on "If I Had Possession Over Judgment Day" and "Spoonful".
Travers also sang on Boston metal band Extreme's minor hit "Get the Funk Out," from their hugely successful 1990 Pornograffitti album.
Shakey Jake Harris *12.04.1921
Shakey Jake Harris (* 12. April 1921 in Earle (Arkansas); † 2. März 1990 in Forrest City[1]) war ein US-amerikanischer Bluessänger und Songschreiber.
Harris wurde als James D. Harris in Earle geboren und ging im Alter von sieben Jahren mit seinen Eltern nach Chicago, wo er dann in verschiedenen Bluesensemble spielte[3]. Nebenbei war er als Mechaniker und Glücksspieler aktiv.
Harris' erste Single veröffentlichte er im Jahre 1958 unter dem Label von "Artistic Records" und unter Zusammenarbeit mit Magic Sam, Syl Johnson und Willie Dixon[2]. Erst zwei Jahre später veröffentlichte er mit dem Label "Bluesville Records" sein erstes Album mit Jack McDuff.
Er besaß einen Nachtclub und sein eigenes Musiklabel, musste dieses aber aus Krankheitsgründen aufgeben und verstarb im Alter von 68 Jahren.
http://de.wikipedia.org/wiki/Shakey_Jake_Harris
http://www.pastblues.com/view-action-89.html?en=Andrew+%22Blueblood%22+McMahon
http://www.pastblues.com/view-action-89.html?en=George+Mitchell
http://www.musicmaker.org/artists/john-lee-zeigler/
https://www.youtube.com/watch?v=TlyZ15fmcOY
http://www.thebluestrail.com/artists/dstove.htm
b. 20 November 1920, Waverly, Virginia, USA, d. 12 April 1979, Waverly, Virginia, USA. Although Charity’s guitar playing and singing show many and varied influences, he appears to have spent most of his life in the town where he was born. His compositions, such as all the tracks on his 1972 album, suggest an awareness of the wider world, even if it was one in which he chose not to travel, and of the history of the blues and its practitioners as well as of the culture of the deep south: ‘War Blues’, ‘Pig Meat Mama’, ‘Mamie’, ‘Richmond Blues’, ‘Blind Man’ and ‘Blind Lemon’s Blues’.
Shakey Jake Harris (April 12, 1921 – March 2, 1990)[2] was an American Chicago blues singer, harmonicist and songwriter. Harris released five albums over a period of almost 25 years, and he was often musically associated with his nephew, Magic Sam.[1]
Biography
James D. Harris was born in Earle, Arkansas, but relocated with his family to Chicago, Illinois, at the age of seven. He played in several Chicago blues ensembles in the late 1940s.[3] He also worked as a mechanic, and a professional gambler (from whence his nickname came – "Shake 'em").[4] His debut recording did not take place until 1958. His single, "Call Me If You Need Me" / "Roll Your Moneymaker", was released by Artistic Records, featured Magic Sam and Syl Johnson on guitar, and was produced by Willie Dixon.[1][3] Harris was not paid for the session, but won $700 shooting craps with label owner Eli Toscano.[5]
In 1960, Bluesville Records teamed Harris with the jazz musicians Jack McDuff and Bill Jennings, for the album Good Times. His later recording of Mouth Harp Blues returned to more traditional blues ground.[1] Harris toured, and was part of the American Folk Blues Festival in 1962.[4]
Throughout the 1960s Harris and Sam appeared regularly in concert together around Chicago, and Harris's patronage of younger musicians helped secure Luther Allison's recording debut. Harris moved on in the late 1960s, and recorded with Allison in Los Angeles on Further on Up the Road.[3] He also played with other harmonica players, such as William Clarke.[6]
Harris subsequently recorded for World Pacific. He also owned his own nightclub and a record label, but was forced by ill health to eventually return to Arkansas, where he died, at the age of 68, in March 1990.
Biography
James D. Harris was born in Earle, Arkansas, but relocated with his family to Chicago, Illinois, at the age of seven. He played in several Chicago blues ensembles in the late 1940s.[3] He also worked as a mechanic, and a professional gambler (from whence his nickname came – "Shake 'em").[4] His debut recording did not take place until 1958. His single, "Call Me If You Need Me" / "Roll Your Moneymaker", was released by Artistic Records, featured Magic Sam and Syl Johnson on guitar, and was produced by Willie Dixon.[1][3] Harris was not paid for the session, but won $700 shooting craps with label owner Eli Toscano.[5]
In 1960, Bluesville Records teamed Harris with the jazz musicians Jack McDuff and Bill Jennings, for the album Good Times. His later recording of Mouth Harp Blues returned to more traditional blues ground.[1] Harris toured, and was part of the American Folk Blues Festival in 1962.[4]
Throughout the 1960s Harris and Sam appeared regularly in concert together around Chicago, and Harris's patronage of younger musicians helped secure Luther Allison's recording debut. Harris moved on in the late 1960s, and recorded with Allison in Los Angeles on Further on Up the Road.[3] He also played with other harmonica players, such as William Clarke.[6]
Harris subsequently recorded for World Pacific. He also owned his own nightclub and a record label, but was forced by ill health to eventually return to Arkansas, where he died, at the age of 68, in March 1990.
John Lee Ziegler *12.04.1929
+2008
John Lee Ziegler was born in Kathleen (Houston County), Georgia in April 12, 1929. He learned to play guitar at age 15. John Lee Ziegler was a left-handed guitarist who played upside down. John Lee Ziegler often played with spoon player Rufus Jones. In 1978 John Lee Ziegler was recorded by George Mitchell and in the 1990s by the Music Maker Foundation. May 2008, John Lee Ziegler passed away in Kathleen, Georgia after declining health issues.
http://www.bluessearchengine.com/bluesartists/z/johnleeziegler.html http://www.musicmaker.org/artists/john-lee-zeigler/
John Lee Ziegler - Poor Boy
https://www.youtube.com/watch?v=TlyZ15fmcOY
Johnny Watson (Daddy Stovepipe) *12.04.1867
Johnny Watson (April 12, 1867 – November 1, 1963)[1] was an African American blues singer, guitarist and harmonica player, best known for his recordings under the name Daddy Stovepipe. Watson also recorded as Jimmy Watson, Sunny Jim and Rev. Alfred Pitts. He may have been the earliest-born blues performer to record.
Many of his recordings were jug band duets with his wife, Sarah Watson, who was usually credited as Mississippi Sarah.
Life
Watson was born in Mobile, Alabama.[1] His career began before 1900 in Mexico as a twelve-string guitarist in early mariachi bands. He then established himself as an entertainer with the Rabbit's Foot Minstrels touring around the southern states.[2][3]
By the 1920s, he was working as a one-man band on Maxwell Street in Chicago, where he acquired the name "Daddy Stovepipe" from the characteristic top hat he wore.[4] He first recorded in 1924, in Richmond, Indiana, recording "Sundown Blues" which is regarded as one of the most primitive blues on record.[5] In 1927 he made more recordings, this time in Birmingham, Alabama for Gennett Records, as one half of the duo "Sunny Jim and Whistlin' Joe".[2][3]
He made more recordings back in Chicago in 1931 for the Vocalion label with his wife, "Mississippi Sarah", a singer and jug player. The couple's humorous banter made their recordings unique.[5] They recorded together again in 1935 for Bluebird Records, by which time they were living in Greenville, Mississippi, but Sarah's death in 1937 sent her husband back out on the road.[2] He then worked for a while around Texas, playing in cajun bands and, again, with Mexican mariachi bands.[5]
By 1948 he had returned to work as a street musician in Chicago, and was recorded in 1960, aged 93, with his repertoire having widened to include traditional popular music tunes such as "The Tennessee Waltz".[5] He died in Chicago in 1963, from bronchial pneumonia[1] after a gall bladder operation, aged 96.
On May 5, 2012 the fifth annual White Lake Blues Festival took place at the Howmet Playhouse Theater in Whitehall, Michigan. The event was organized by Steve Salter of the nonprofit organization Killer Blues to raise monies to honor Watson's unmarked grave with a headstone. The concert was a success, and a headstone was placed in July, 2012.
Similarly named musicians
Daddy Stovepipe should not be confused with two other musicians:
Stovepipe No.1 – (real name Sam Jones), who also first recorded as a one-man band in 1924.[6] Daddy Stovepipe and Stovepipe No.1 were deemed to be the first blues one-man bands ever to be recorded on disc.[7]
Sweet Papa Stovepipe – (real name McKinley Peebles) who recorded "All Birds Look Like Chicken to Me," and "Mama's Angel Child" (both circa 1926).
Many of his recordings were jug band duets with his wife, Sarah Watson, who was usually credited as Mississippi Sarah.
Life
Watson was born in Mobile, Alabama.[1] His career began before 1900 in Mexico as a twelve-string guitarist in early mariachi bands. He then established himself as an entertainer with the Rabbit's Foot Minstrels touring around the southern states.[2][3]
By the 1920s, he was working as a one-man band on Maxwell Street in Chicago, where he acquired the name "Daddy Stovepipe" from the characteristic top hat he wore.[4] He first recorded in 1924, in Richmond, Indiana, recording "Sundown Blues" which is regarded as one of the most primitive blues on record.[5] In 1927 he made more recordings, this time in Birmingham, Alabama for Gennett Records, as one half of the duo "Sunny Jim and Whistlin' Joe".[2][3]
He made more recordings back in Chicago in 1931 for the Vocalion label with his wife, "Mississippi Sarah", a singer and jug player. The couple's humorous banter made their recordings unique.[5] They recorded together again in 1935 for Bluebird Records, by which time they were living in Greenville, Mississippi, but Sarah's death in 1937 sent her husband back out on the road.[2] He then worked for a while around Texas, playing in cajun bands and, again, with Mexican mariachi bands.[5]
By 1948 he had returned to work as a street musician in Chicago, and was recorded in 1960, aged 93, with his repertoire having widened to include traditional popular music tunes such as "The Tennessee Waltz".[5] He died in Chicago in 1963, from bronchial pneumonia[1] after a gall bladder operation, aged 96.
On May 5, 2012 the fifth annual White Lake Blues Festival took place at the Howmet Playhouse Theater in Whitehall, Michigan. The event was organized by Steve Salter of the nonprofit organization Killer Blues to raise monies to honor Watson's unmarked grave with a headstone. The concert was a success, and a headstone was placed in July, 2012.
Similarly named musicians
Daddy Stovepipe should not be confused with two other musicians:
Stovepipe No.1 – (real name Sam Jones), who also first recorded as a one-man band in 1924.[6] Daddy Stovepipe and Stovepipe No.1 were deemed to be the first blues one-man bands ever to be recorded on disc.[7]
Sweet Papa Stovepipe – (real name McKinley Peebles) who recorded "All Birds Look Like Chicken to Me," and "Mama's Angel Child" (both circa 1926).
Werner Rudigier *12.04.
Livin´ the Blues / Boogie chillen
R.I.P.
Pernell Charity +12.04.1979
b. 20 November 1920, Waverly, Virginia, USA, d. 12 April 1979, Waverly, Virginia, USA. Although Charity’s guitar playing and singing show many and varied influences, he appears to have spent most of his life in the town where he was born. His compositions, such as all the tracks on his 1972 album, suggest an awareness of the wider world, even if it was one in which he chose not to travel, and of the history of the blues and its practitioners as well as of the culture of the deep south: ‘War Blues’, ‘Pig Meat Mama’, ‘Mamie’, ‘Richmond Blues’, ‘Blind Man’ and ‘Blind Lemon’s Blues’.
Pernell Charity Blind Lemon's Blues (1972)
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