1906 Little Brother Montgomery*
1924 Clarence Gatemouth Brown*
1946 Tommy Shannon*
1955 Lil' Ed Williams*
1974 Johnny "Man" Young+
1924 Clarence Gatemouth Brown*
1946 Tommy Shannon*
1955 Lil' Ed Williams*
1974 Johnny "Man" Young+
Happy Birthday
Clarence Gatemouth Brown *18.04.1924
Clarence „Gatemouth“ Brown (* 18. April 1924 in Vinton, Calcasieu Parish, Louisiana; † 10. September 2005 in Orange, Texas) war ein US-amerikanischer Blues-Gitarrist, der jedoch auch andere Instrumente und Musikstile beherrschte.
Neben der Gitarre spielte er auch Violine, Mundharmonika, Piano, Mandoline, Viola und Schlagzeug. Neben dem Blues war er auch im Jazz, Bluegrass, Zydeco, Cajun und Calypso zu Hause. Gatemouth Brown bezeichnete seine Musik selbst als „American music, Texas style“. Er beeinflusste so unterschiedliche Musiker wie Albert Collins, Frank Zappa, Lonnie Brooks, Eric Clapton und Joe Louis Walker.
Karriere
Brown begann seine musikalische Karriere während des Zweiten Weltkrieges als Schlagzeuger. Als Gitarrist fand er 1947 Beachtung, als er kurzfristig in einem Club in Houston für T-Bone Walker einsprang. Daraus ergaben sich Tourneen im Süden und Südwesten der Staaten und ein Plattenvertrag mit Peacock Records. Zu den Hits aus dieser Anfangszeit zählen u. a. Gatemouth Boogie, Okie Dokie Stomp, Boogie Rambler und Dirty Works At The Crossroad.
1960 nahm Brown in Nashville an einer Fernsehshow teil. Bei dieser Gelegenheit machte er eine Reihe von Country-Aufnahmen. Ende der 1960er-Jahre zog er sich jedoch aus dem Musikgeschäft zurück, zog nach New Mexico und arbeitete als Deputy Sheriff.
Im Rahmen des Blues- und Folk-Revivals in den 1970er-Jahren wurde auch Brown als Blues-Musiker wiederentdeckt. Zwölfmal ging er in Europa auf Tour und nahm neun Alben auf. Im Auftrag des US-Außenministeriums war er als Botschafter der amerikanischen Musik auf Tour, u. a. in Ostafrika.
1975 nahm er mit Canned Heat das Album "Gate's on the Heat" auf.
In den 1980er-Jahren wurde Brown auch in den Staaten wieder populärer. Er hatte im Schnitt 250 bis 300 Auftritte pro Jahr. 1983 wurde er mit einem Grammy für das Album Alright Again! ausgezeichnet und war für fünf weitere nominiert. Zudem erhielt er acht Handy Awards.
1999 wurde Clarence Gatemouth Brown in die Blues Hall of Fame aufgenommen. Im September 2004 wurde bei Brown Lungenkrebs diagnostiziert. Brown, der zuletzt in New Orleans gelebt hatte, verließ die Stadt im September 2005 vor dem nahenden Hurrikan Katrina. Wenig später verstarb der herzkranke Musiker in seinem texanischen Heimatort Orange.
http://de.wikipedia.org/wiki/Clarence_Gatemouth_Brown
Clarence "Gatemouth" Brown (April 18, 1924 - September 10, 2005) was an American musician from Louisiana and Texas.[1] He is best known for his work as a blues musician, but embraced other styles of music, having "spent his career fighting purism by synthesizing old blues, country, jazz, Cajun music and R&B styles".[2] His work also encompasses rock and roll, rock music, folk, electric blues, and Texas blues.[1]
He was an acclaimed multi-instrumentalist, who played an array of musical instruments such as guitar, fiddle, mandolin, viola as well as harmonica and drums. He won a Grammy Award for Best Traditional Blues Album in 1983 for his album, Alright Again!.[3] He is regarded as one of the most influential exponents of blues fiddle and has had enormous influence in American fiddle circles.
Brown's two biggest musical influences were Louis Jordan and T-Bone Walker.[4]
Career
1940s and 1950s
Born in Vinton, Louisiana, Brown was raised in Orange, Texas. His professional musical career began in 1945, playing drums in San Antonio, Texas.[5] He was given the nickname "Gatemouth" by a high school teacher who said he had "voice like a gate".[1] His career was boosted while attending a 1947 concert by T-Bone Walker in Don Robey's Bronze Peacock Houston nightclub.[1] When Walker became ill, Brown took up his guitar and quickly wrote and played "Gatemouth Boogie," to the delight of the audience right on the spot.[4]
In 1949 Robey founded Peacock Records in order to showcase Brown's virtuoso guitar work.[1] Brown's "Mary Is Fine"/"My Time Is Expensive" was a hit for Peacock in 1949.[4] A string of Peacock releases in the 1950s were less successful commercially, but were nonetheless pioneering musically. Particularly notable was the 1954 instrumental "Okie Dokie Stomp",[4] in which Brown solos continuously over a punchy horn section (other instrumentals from this period include "Boogie Uproar" and "Gate Walks to Board").[1] Okie Dokie Stomp was also recorded by Cornell Dupree in the 1970s and he had success with it as well. As for his gutsy violin playing, Robey allowed him to record "Just Before Dawn", his final release on the Peacock label, in 1959.
1960s and 1970s
In the 1960s Brown moved to Nashville, Tennessee to participate in a syndicated R&B television show, and while he was there recorded several country singles.[5] He struck up a friendship with Roy Clark and made several appearances on the television show Hee Haw.[1] In 1966, Brown was the musical director for the house band on the short-lived television program, The !!!! Beat.[4]
However, in the early 1970s several countries in Europe had developed an appreciation for American roots music, especially the blues, and Brown was a popular and well-respected artist there.[5] He toured Europe twelve times, beginning in 1971 and continuing throughout the 1970s. He also became an official ambassador for American music, and participated in several tours sponsored by the U.S. State Department, including an extensive tour of Eastern Africa. Brown appeared at the 1973 Montreux Jazz Festival, where he jammed with American blues rock band Canned Heat.[5] In 1974, he recorded as a sideman with the New Orleans pianist Professor Longhair on his album, Rock 'N' Roll Gumbo (originally a Blue Star Records release). He moved to New Orleans in the late 1970s. In 1979, through his manager at the time, Jim Halsey, Brown embarked on a 6-week, 44 concert tour of the Soviet Union. This was an historic event as it marked the first time the Soviet Union made a contract with a U.S. private citizen (Jim Halsey) as regards a musical tour. All previous tours were under the auspices of the U.S. State Department. To date, this was by far the most extensive tour an American band had taken in the USSR.
Later years
In the 1980s, a series of releases on Rounder Records and Alligator Records revitalized his U.S. career,[5] and he toured extensively and internationally, usually playing between 250 and 300 shows a year. He won a Grammy in 1983 for the album Alright Again! and was nominated for five more. Alright Again! is credited with putting Brown back on the musical map. He also won eight W.C. Handy Awards
In 1999, Brown was inducted into the Blues Hall of Fame.[6]
In his last few years, he maintained a full touring schedule, including Australia, New Zealand, South America, Africa and Eastern Europe. His final record "Timeless" was released in 2004.
In September 2004, Brown was diagnosed with lung cancer. Already suffering from emphysema and heart disease, he and his doctors decided to forgo treatment. This greatly affected his musical career.[6] Later his home in Slidell, Louisiana was destroyed by Hurricane Katrina in 2005, and he was evacuated to his childhood home town of Orange, Texas, where he died on September 10, 2005 at the apartment of a niece, at the age of 81. Brown is buried in the Hollywood Cemetery in Orange, Texas. However, flooding caused by Hurricane Ike in September 2008 damaged his grave.[7] His casket was one of dozens that floated out of their burial sites. [8]His grave has since been refurbished and through the estate funds, a very impressive headstone has been erected in his honor.[9]A Texas Historical Commission marker honoring Brown is located next to the flagpole at Hollywood Cemetery. [8]
Rock composer, Frank Zappa credits Gatemouth, along with Guitar Slim and Johnny Guitar Watson, as important influences on his guitar playing (as written by Zappa in his autobiography, The Real Frank Zappa Book, 1989).
He was an acclaimed multi-instrumentalist, who played an array of musical instruments such as guitar, fiddle, mandolin, viola as well as harmonica and drums. He won a Grammy Award for Best Traditional Blues Album in 1983 for his album, Alright Again!.[3] He is regarded as one of the most influential exponents of blues fiddle and has had enormous influence in American fiddle circles.
Brown's two biggest musical influences were Louis Jordan and T-Bone Walker.[4]
Career
1940s and 1950s
Born in Vinton, Louisiana, Brown was raised in Orange, Texas. His professional musical career began in 1945, playing drums in San Antonio, Texas.[5] He was given the nickname "Gatemouth" by a high school teacher who said he had "voice like a gate".[1] His career was boosted while attending a 1947 concert by T-Bone Walker in Don Robey's Bronze Peacock Houston nightclub.[1] When Walker became ill, Brown took up his guitar and quickly wrote and played "Gatemouth Boogie," to the delight of the audience right on the spot.[4]
In 1949 Robey founded Peacock Records in order to showcase Brown's virtuoso guitar work.[1] Brown's "Mary Is Fine"/"My Time Is Expensive" was a hit for Peacock in 1949.[4] A string of Peacock releases in the 1950s were less successful commercially, but were nonetheless pioneering musically. Particularly notable was the 1954 instrumental "Okie Dokie Stomp",[4] in which Brown solos continuously over a punchy horn section (other instrumentals from this period include "Boogie Uproar" and "Gate Walks to Board").[1] Okie Dokie Stomp was also recorded by Cornell Dupree in the 1970s and he had success with it as well. As for his gutsy violin playing, Robey allowed him to record "Just Before Dawn", his final release on the Peacock label, in 1959.
1960s and 1970s
In the 1960s Brown moved to Nashville, Tennessee to participate in a syndicated R&B television show, and while he was there recorded several country singles.[5] He struck up a friendship with Roy Clark and made several appearances on the television show Hee Haw.[1] In 1966, Brown was the musical director for the house band on the short-lived television program, The !!!! Beat.[4]
However, in the early 1970s several countries in Europe had developed an appreciation for American roots music, especially the blues, and Brown was a popular and well-respected artist there.[5] He toured Europe twelve times, beginning in 1971 and continuing throughout the 1970s. He also became an official ambassador for American music, and participated in several tours sponsored by the U.S. State Department, including an extensive tour of Eastern Africa. Brown appeared at the 1973 Montreux Jazz Festival, where he jammed with American blues rock band Canned Heat.[5] In 1974, he recorded as a sideman with the New Orleans pianist Professor Longhair on his album, Rock 'N' Roll Gumbo (originally a Blue Star Records release). He moved to New Orleans in the late 1970s. In 1979, through his manager at the time, Jim Halsey, Brown embarked on a 6-week, 44 concert tour of the Soviet Union. This was an historic event as it marked the first time the Soviet Union made a contract with a U.S. private citizen (Jim Halsey) as regards a musical tour. All previous tours were under the auspices of the U.S. State Department. To date, this was by far the most extensive tour an American band had taken in the USSR.
Later years
In the 1980s, a series of releases on Rounder Records and Alligator Records revitalized his U.S. career,[5] and he toured extensively and internationally, usually playing between 250 and 300 shows a year. He won a Grammy in 1983 for the album Alright Again! and was nominated for five more. Alright Again! is credited with putting Brown back on the musical map. He also won eight W.C. Handy Awards
In 1999, Brown was inducted into the Blues Hall of Fame.[6]
In his last few years, he maintained a full touring schedule, including Australia, New Zealand, South America, Africa and Eastern Europe. His final record "Timeless" was released in 2004.
In September 2004, Brown was diagnosed with lung cancer. Already suffering from emphysema and heart disease, he and his doctors decided to forgo treatment. This greatly affected his musical career.[6] Later his home in Slidell, Louisiana was destroyed by Hurricane Katrina in 2005, and he was evacuated to his childhood home town of Orange, Texas, where he died on September 10, 2005 at the apartment of a niece, at the age of 81. Brown is buried in the Hollywood Cemetery in Orange, Texas. However, flooding caused by Hurricane Ike in September 2008 damaged his grave.[7] His casket was one of dozens that floated out of their burial sites. [8]His grave has since been refurbished and through the estate funds, a very impressive headstone has been erected in his honor.[9]A Texas Historical Commission marker honoring Brown is located next to the flagpole at Hollywood Cemetery. [8]
Rock composer, Frank Zappa credits Gatemouth, along with Guitar Slim and Johnny Guitar Watson, as important influences on his guitar playing (as written by Zappa in his autobiography, The Real Frank Zappa Book, 1989).
Little Brother Montgomery *18.04.1906
Anfang der 1920er Jahre spielte er zunächst solo in Holzfäller- und Terpentinarbeiter-Lagern in Louisiana und Mississippi, später tourte er mit den Orchestern von Clarence Desdunes und Buddy Petit. Nach Chicago wo er seine ersten Plattenaufnahmen machte, kam er im Jahre 1928. Von 1931 bis 1938 leitete er dann eine eigene Band in Jackson zog aber 1941 wieder zurück nach Chicago, wo er den Rest seines Lebens verbrachte. Von dort aus unternahm er ausgedehnte Tourneen durch die USA und nach Europa, u. a. anlässlich des American Folk Blues Festival 1966.
In der Nachkriegszeit hat er regelmäßig Plattenaufnahmen gemacht, und zwar auf den folgenden Plattenlabeln: 77 Records, Prestige, Bluesville, Folkways, Riverside, Adelphi, Blues Beacon, Delmark, Storyville, Aves, Takoma, JSP, Flyright, Magpie, Earwig und seiner eigenen Plattenfirma "FM".
http://de.wikipedia.org/wiki/Little_Brother_Montgomery
Eurreal Wilford "Little Brother" Montgomery (April 18, 1906 – September 6, 1985[2]) was an American jazz, boogie-woogie and blues pianist and singer.[1]
Largely self-taught, Montgomery is often thought of as just a blues pianist, but he was an important blues pianist with an original style. He was also quite versatile, however, and worked in jazz bands including larger ensembles that used written arrangements. Although he did not read music, he learned band routines by ear; once through an arrangement and he had it memorized.
Career
Montgomery was born in the town of Kentwood, Louisiana, a sawmill town near the Mississippi Border, across Lake Pontchartrain from the city of New Orleans, where he spent much of his childhood. As a child he looked like his father, Harper Montgomery, and was called Little Brother Harper. The name evolved into Little Brother Montgomery, a nickname which stuck. He started playing piano at the age of 4, and by age 11 he was playing at various barrelhouses in Louisiana. His own musical influence was Jelly Roll Morton, who used to visit the Montgomery household.
Early on he played at African American lumber and turpentine camps in Louisiana, Arkansas, and Mississippi, then with the bands of Clarence Desdunes and Buddy Petit. He first went to Chicago from 1928 to 1931, where he made his first recordings. From 1931 through 1938 he led a band in Jackson.
In 1942 Montgomery moved back to Chicago, which would be his base for the rest of his life, with various tours to other United States cities and Europe.[2] In the late 1950s he was "discovered" by wider white audiences. He toured briefly with Otis Rush in 1956.[3] His fame grew in the 1960s, and he continued to make many recordings, including on his own record label, FM Records (formed in 1969).[2] FM came from Floberg, his wife Jan's maiden name and Montgomery, his own surname.
Montgomery toured Europe several times in the 1960s, and recorded some of his albums there.[4] Montgomery appeared at many blues and folk festivals during the following decade and was considered a living legend, a link to the early days of blues and New Orleans.[3]
Among his original compositions are "Shreveport Farewell", "Farrish Street Jive", and "Vicksburg Blues". His instrumental "Crescent City Blues" served as the basis for a song of the same name by Gordon Jenkins, which in turn was adapted by Johnny Cash as "Folsom Prison Blues."[5]
In 1968, Montgomery contributed to two albums by Spanky and Our Gang; Like to Get to Know You and Anything You Choose b/w Without Rhyme Or Reason.
Montgomery died on September 6, 1985, in Champaign, Illinois, and is interred in the Oak Woods Cemetery.
In 2013, Montgomery was posthumously inducted to the Blues Hall of Fame.[6]
Paul Gayten is his nephew.
Largely self-taught, Montgomery is often thought of as just a blues pianist, but he was an important blues pianist with an original style. He was also quite versatile, however, and worked in jazz bands including larger ensembles that used written arrangements. Although he did not read music, he learned band routines by ear; once through an arrangement and he had it memorized.
Career
Montgomery was born in the town of Kentwood, Louisiana, a sawmill town near the Mississippi Border, across Lake Pontchartrain from the city of New Orleans, where he spent much of his childhood. As a child he looked like his father, Harper Montgomery, and was called Little Brother Harper. The name evolved into Little Brother Montgomery, a nickname which stuck. He started playing piano at the age of 4, and by age 11 he was playing at various barrelhouses in Louisiana. His own musical influence was Jelly Roll Morton, who used to visit the Montgomery household.
Early on he played at African American lumber and turpentine camps in Louisiana, Arkansas, and Mississippi, then with the bands of Clarence Desdunes and Buddy Petit. He first went to Chicago from 1928 to 1931, where he made his first recordings. From 1931 through 1938 he led a band in Jackson.
In 1942 Montgomery moved back to Chicago, which would be his base for the rest of his life, with various tours to other United States cities and Europe.[2] In the late 1950s he was "discovered" by wider white audiences. He toured briefly with Otis Rush in 1956.[3] His fame grew in the 1960s, and he continued to make many recordings, including on his own record label, FM Records (formed in 1969).[2] FM came from Floberg, his wife Jan's maiden name and Montgomery, his own surname.
Montgomery toured Europe several times in the 1960s, and recorded some of his albums there.[4] Montgomery appeared at many blues and folk festivals during the following decade and was considered a living legend, a link to the early days of blues and New Orleans.[3]
Among his original compositions are "Shreveport Farewell", "Farrish Street Jive", and "Vicksburg Blues". His instrumental "Crescent City Blues" served as the basis for a song of the same name by Gordon Jenkins, which in turn was adapted by Johnny Cash as "Folsom Prison Blues."[5]
In 1968, Montgomery contributed to two albums by Spanky and Our Gang; Like to Get to Know You and Anything You Choose b/w Without Rhyme Or Reason.
Montgomery died on September 6, 1985, in Champaign, Illinois, and is interred in the Oak Woods Cemetery.
In 2013, Montgomery was posthumously inducted to the Blues Hall of Fame.[6]
Paul Gayten is his nephew.
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Tommy Shannon *18.04.1946
Tommy Shannon (born Thomas Lafitte Smedley; April 18, 1946) is an American bass guitarist, who is best known as a member of Double Trouble, a blues rock band led by Stevie Ray Vaughan. Born in Tucson, Arizona, Shannon moved to Dumas, Texas when he was nine, where he originally started as a guitarist, though he started playing bass at the age of 21. He appeared with Johnny Winter at Woodstock in 1969. He later joined Double Trouble in 1981 and became a permanent member of Double Trouble until Vaughan's death in 1990. Shannon and bandmate Chris Layton later formed supergroups such as the Arc Angels and Storyville.
Shannon was born in Tucson, Arizona, and moved to the Texas Panhandle when he was nine.[1] He grew up mainly in Dumas, Texas, north of Amarillo on Highway 287. Shannon joined his first band, The Avengers,[1] around age 13. The band members were Shannon (guitar), Tim Easley (vocals), Jim Love (guitar) and David Davis (drums). It would be a while before they realized the importance of the bass guitar, but eventually Shannon did. Their first gig paid them $80. That excited them so much, they gave half their paycheck back.
In high school Shannon was in the band Ekos. Soon after high school he moved to Dallas and joined a soul cover band in 1966, initially called The New Breed,[1] and later The Young Lads. Shannon recorded two 45s with this band, which featured Tim Easly on vocals and Uncle John Turner[1] on drums.
Early career
Shannon had the first of two important meetings at The Fog in Dallas in the late 1960s. There he first saw Johnny Winter. Shannon ended up backing Winter, and they formed a project known as The Progressive Blues Experiment in 1968. They cut one album for Sonobeat Records titled The Progressive Blues Experiment before being signed to Columbia Records by Clive Davis for $600,000 in 1969. Shannon appeared on both of these Columbia LP's, each released 1969; Johnny Winter (self-titled), and Second Winter. At Woodstock, Johnny's brother Edgar joined them onstage. Johnny Winter ended up moving to a band featuring Rick Derringer in early 1970 that already had a rhythm section,[2] and there was no room for Shannon or Turner. They landed in a San Francisco band called Krakerjack that comprised Uncle John Turner, drums; Mike Kindred, piano; Shannon, bass; Bruce Bowland, vocals; and John Stahely, guitar, Jesse "guitar" Taylor played lead guitar with the band as well for a time during 1970 (there is a band photo as proof). According to Tommy's website, Stevie Ray Vaughan, known as "Skeeter," was part of this band in its later Austin incarnation, along with Robin Syler on guitar. Krakerjack apparently remained a group from 1970 to 1971.
During the 1970s, Shannon became involved with drugs, and began a cycle of jail, probation and rehab that would last for some time.[1] He played with the Austin band The Fools briefly. Due to recurring drug arrests and failure of rehab in San Antonio and other locations, Shannon was finally sent to a "farm" in Buda and, as a result of his probation on release, he was not allowed join any bands because of the pervasiveness of drugs in the music scene. Shannon became a bricklayer for a few years until he was eventually able to return to music in 1977. He played in a few unknown bands, then received a call from Rocky Hill, brother of ZZ Top's Dusty Hill. He moved to Houston to play with Hill and Uncle John, and in the late 1970s went on to play with Alan Haynes in the "Texas Boogie Band" (Shannon later played on Haynes' well received 1994 release, "Wishing Well"). Shannon also toured, opening for Bachman–Turner Overdrive and for KISS at the Warehouse in New Orleans.
With Stevie Ray Vaughan
Shannon moved between Dallas and Austin, and saw Stevie Ray Vaughan at The Fog with Vaughan's group Blackbird. Vaughan later formed a group called Double Trouble, and in 1980 Shannon wound up taking the place of the bass player, Jackie Newhouse, after seeing Double Trouble at Rockefellers in Houston. The group could have been short-lived—Vaughan was tapped to do some guitar tracks for David Bowie (the haunting guitar on "Let's Dance", for instance), and was then offered the chance to tour with Bowie. Ultimately, Vaughan's manager turned down the offer. Vaughan, Shannon and drummer Chris Layton would stay together as Stevie Ray Vaughan & Double Trouble—and become one of the most famous blues bands of all time.
After joining Double Trouble, Shannon met his future wife Kumi and they eventually married in 1986. He had returned to ever-increasing drug use, this time with the band leader. Eventually both realized that they wouldn't last if that lifestyle continued, so they checked into rehabilitation in separate cities and both became clean and sober.[1] Things seemed like they couldn't be better, with the band being healthier, making popular music, and gaining fame and fortune—until the helicopter carrying Vaughan crashed into a hillside after a show at Alpine Valley Music Theater, near East Troy, Wisconsin, on August 27, 1990, and all aboard died.
Later career
After a period of mourning, Shannon's musical career eventually continued. He played with Doyle Bramhall, Denny Freeman and Chris Layton in The Mighty Zor. Shannon was asked by The Rolling Stones to audition to replace Bill Wyman, but did not get the role.[3] Other notable projects included the Arc Angels with Doyle Bramhall II and Charlie Sexton, and Storyville with Malford Milligan. He toured with Susan Tedeschi and, along with Chris Layton, toured and recorded with Kenny Wayne Shepherd. He and Layton played on Jimmy D. Lane's "It's Time". He has played with other notable musicians, including Eric Clapton, The Rolling Stones, Little Richard, Hubert Sumlin, Mike McCready, Jonny Lang, Buddy Guy, Jimmie Vaughan, Eric Johnson, David Grissom, Mato Nanji, Jeff Beck, Lou Gramm and John Mayer.
In 2001, Double Trouble reformed, releasing their only album without Vaughan. Titled "Been a Long Time", it featured many guest performers (including Tedeschi) filling Vaughan's frontman role.
His primary bass was a battered Arctic White 1962 Fender Jazz Bass with a red tortoise shell pickguard. He has been seen playing Yamaha BB's, Music Man StingRays, other Fender Precision and Jazz basses (mostly American, American Deluxe and Custom Shop models) and custom Fodera basses.
Shannon was born in Tucson, Arizona, and moved to the Texas Panhandle when he was nine.[1] He grew up mainly in Dumas, Texas, north of Amarillo on Highway 287. Shannon joined his first band, The Avengers,[1] around age 13. The band members were Shannon (guitar), Tim Easley (vocals), Jim Love (guitar) and David Davis (drums). It would be a while before they realized the importance of the bass guitar, but eventually Shannon did. Their first gig paid them $80. That excited them so much, they gave half their paycheck back.
In high school Shannon was in the band Ekos. Soon after high school he moved to Dallas and joined a soul cover band in 1966, initially called The New Breed,[1] and later The Young Lads. Shannon recorded two 45s with this band, which featured Tim Easly on vocals and Uncle John Turner[1] on drums.
Early career
Shannon had the first of two important meetings at The Fog in Dallas in the late 1960s. There he first saw Johnny Winter. Shannon ended up backing Winter, and they formed a project known as The Progressive Blues Experiment in 1968. They cut one album for Sonobeat Records titled The Progressive Blues Experiment before being signed to Columbia Records by Clive Davis for $600,000 in 1969. Shannon appeared on both of these Columbia LP's, each released 1969; Johnny Winter (self-titled), and Second Winter. At Woodstock, Johnny's brother Edgar joined them onstage. Johnny Winter ended up moving to a band featuring Rick Derringer in early 1970 that already had a rhythm section,[2] and there was no room for Shannon or Turner. They landed in a San Francisco band called Krakerjack that comprised Uncle John Turner, drums; Mike Kindred, piano; Shannon, bass; Bruce Bowland, vocals; and John Stahely, guitar, Jesse "guitar" Taylor played lead guitar with the band as well for a time during 1970 (there is a band photo as proof). According to Tommy's website, Stevie Ray Vaughan, known as "Skeeter," was part of this band in its later Austin incarnation, along with Robin Syler on guitar. Krakerjack apparently remained a group from 1970 to 1971.
During the 1970s, Shannon became involved with drugs, and began a cycle of jail, probation and rehab that would last for some time.[1] He played with the Austin band The Fools briefly. Due to recurring drug arrests and failure of rehab in San Antonio and other locations, Shannon was finally sent to a "farm" in Buda and, as a result of his probation on release, he was not allowed join any bands because of the pervasiveness of drugs in the music scene. Shannon became a bricklayer for a few years until he was eventually able to return to music in 1977. He played in a few unknown bands, then received a call from Rocky Hill, brother of ZZ Top's Dusty Hill. He moved to Houston to play with Hill and Uncle John, and in the late 1970s went on to play with Alan Haynes in the "Texas Boogie Band" (Shannon later played on Haynes' well received 1994 release, "Wishing Well"). Shannon also toured, opening for Bachman–Turner Overdrive and for KISS at the Warehouse in New Orleans.
With Stevie Ray Vaughan
Shannon moved between Dallas and Austin, and saw Stevie Ray Vaughan at The Fog with Vaughan's group Blackbird. Vaughan later formed a group called Double Trouble, and in 1980 Shannon wound up taking the place of the bass player, Jackie Newhouse, after seeing Double Trouble at Rockefellers in Houston. The group could have been short-lived—Vaughan was tapped to do some guitar tracks for David Bowie (the haunting guitar on "Let's Dance", for instance), and was then offered the chance to tour with Bowie. Ultimately, Vaughan's manager turned down the offer. Vaughan, Shannon and drummer Chris Layton would stay together as Stevie Ray Vaughan & Double Trouble—and become one of the most famous blues bands of all time.
After joining Double Trouble, Shannon met his future wife Kumi and they eventually married in 1986. He had returned to ever-increasing drug use, this time with the band leader. Eventually both realized that they wouldn't last if that lifestyle continued, so they checked into rehabilitation in separate cities and both became clean and sober.[1] Things seemed like they couldn't be better, with the band being healthier, making popular music, and gaining fame and fortune—until the helicopter carrying Vaughan crashed into a hillside after a show at Alpine Valley Music Theater, near East Troy, Wisconsin, on August 27, 1990, and all aboard died.
Later career
After a period of mourning, Shannon's musical career eventually continued. He played with Doyle Bramhall, Denny Freeman and Chris Layton in The Mighty Zor. Shannon was asked by The Rolling Stones to audition to replace Bill Wyman, but did not get the role.[3] Other notable projects included the Arc Angels with Doyle Bramhall II and Charlie Sexton, and Storyville with Malford Milligan. He toured with Susan Tedeschi and, along with Chris Layton, toured and recorded with Kenny Wayne Shepherd. He and Layton played on Jimmy D. Lane's "It's Time". He has played with other notable musicians, including Eric Clapton, The Rolling Stones, Little Richard, Hubert Sumlin, Mike McCready, Jonny Lang, Buddy Guy, Jimmie Vaughan, Eric Johnson, David Grissom, Mato Nanji, Jeff Beck, Lou Gramm and John Mayer.
In 2001, Double Trouble reformed, releasing their only album without Vaughan. Titled "Been a Long Time", it featured many guest performers (including Tedeschi) filling Vaughan's frontman role.
His primary bass was a battered Arctic White 1962 Fender Jazz Bass with a red tortoise shell pickguard. He has been seen playing Yamaha BB's, Music Man StingRays, other Fender Precision and Jazz basses (mostly American, American Deluxe and Custom Shop models) and custom Fodera basses.
Johnny Winter - Be Careful With A Fool
Johnny Winter from Danish TV in 1970 with Tommy Shannon on bass and Uncle John Turner on Drums
R.I.P.
Johnny "Man" Young +18.04.1974
:format(jpeg):mode_rgb():quality(96)/discogs-images/R-3697412-1340772384-3842.jpeg.jpg)
http://www.discogs.com/Johnny-Young-3-Big-Walter-Chicago-Blues/release/3697412
Johnny
Young (January 1, 1918 – April 18, 1974)[1] was an American blues
singer, mandolin player and guitarist, significant as one of the first
of the new generation of electric blues artists to record in Chicago
after the Second World War, and as one of the few mandolin players to
have been active in blues music in the post-war era. His nickname,
"Man", came from his use of the mandolin.
Young was born in Vicksburg, Mississippi,[2] and played in string bands in Mississippi in the 1930s. He also claimed to have worked with Sleepy John Estes in Tennessee before moving to Chicago in 1940. By 1943 he was working with John Lee "Sonny Boy" Williamson and Muddy Waters and in the late 1940s he became a regular player on Maxwell Street, often with his cousin, guitarist Johnny Williams, as well as playing in clubs with Williams and Little Walter. His first recording was made in 1947 for the Ora Nelle label and featured Young singing "Money Taking Woman" on the A-side, accompanied by Williams, who sang "Worried Man Blues" on the B-side. A second session in late 1948, with Young and Williams joined by Snooky Pryor on harmonica, resulted in a single being released under the name "Man Young" on the Planet label. A further session for the J.O.B. label was unissued, and after a session playing guitar behind Snooky Pryor for Vee-Jay Young retired from performance for a time in the 1950s.[3][4]
The rise of white interest in blues in the early 1960s resulted in Young emerging from retirement in 1963, and he recorded for a number of labels including Vanguard, Testament, Arhoolie and Blue Horizon in the 1960s and early 1970s.Young died in Chicago in 1974 from a heart attack and was buried in Lincoln cemetery, Urbana, Illinois.
Young was born in Vicksburg, Mississippi,[2] and played in string bands in Mississippi in the 1930s. He also claimed to have worked with Sleepy John Estes in Tennessee before moving to Chicago in 1940. By 1943 he was working with John Lee "Sonny Boy" Williamson and Muddy Waters and in the late 1940s he became a regular player on Maxwell Street, often with his cousin, guitarist Johnny Williams, as well as playing in clubs with Williams and Little Walter. His first recording was made in 1947 for the Ora Nelle label and featured Young singing "Money Taking Woman" on the A-side, accompanied by Williams, who sang "Worried Man Blues" on the B-side. A second session in late 1948, with Young and Williams joined by Snooky Pryor on harmonica, resulted in a single being released under the name "Man Young" on the Planet label. A further session for the J.O.B. label was unissued, and after a session playing guitar behind Snooky Pryor for Vee-Jay Young retired from performance for a time in the 1950s.[3][4]
The rise of white interest in blues in the early 1960s resulted in Young emerging from retirement in 1963, and he recorded for a number of labels including Vanguard, Testament, Arhoolie and Blue Horizon in the 1960s and early 1970s.Young died in Chicago in 1974 from a heart attack and was buried in Lincoln cemetery, Urbana, Illinois.
Johnny "Man" Young - Let Me Ride Your Mule
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