1894 Cow Cow Davenport*
1929 Calvin Owens*
1944 Marion Harris+
1980 Luca Giordano*
1995 Lonesome Sundown+
2011 Dutch Tilders+
2013 Bob Brozman+
1929 Calvin Owens*
1944 Marion Harris+
1980 Luca Giordano*
1995 Lonesome Sundown+
2011 Dutch Tilders+
2013 Bob Brozman+
Happy Birthday
Cow Cow Davenport *23.04.1894
,Charles Edward „Cow Cow“ Davenport (* 23. April 1894 in Anniston, Alabama; † 3. Dezember 1955 in Cleveland, Ohio) war ein US-amerikanischer Blues- und Boogie-Woogie-Pianist. Er spielte auch Hammondorgel, komponierte und sang.
Cow Cow Davenport spielte im Alter von zwölf Jahren Klavier und wollte Musiker werden. [1]. Seine Familie war jedoch mit seinen Karrierewünschen nicht einverstanden und schickte ihn ins Priesterseminar, wo er wegen Spielens von Ragtime hinausgeworfen wurde.
Davenports musikalische Karriere begann in den 1920er Jahren; er spielte bei einer Revue-Show, dem Banhoof's Traveling Carnival, einer Medicine Show. Ersten Ruhm erwarb er sich als Begleitmusiker der Bluessängerinnen Dora Carr und Ivy Smith; er trat auch mit Tampa Red auf. Aufnahmen machte Davenport auf den verschiedensten Labels, war außerdem ein Talentscout für Vocalion. Zu seinen bekanntesten frühen Aufnahmen (nach 1926) zählen „Chimes Blues“, „Slow Drag“ und „State Street Jive“. In den frühen 1930er Jahren hatte er einen Schlaganfall und konnte seine Hände nicht mehr bewegen. Er arbeitete als Spülhilfe, als er vom Jazzpianisten Art Hodes 1938 wiederentdeckt wurde. Hodes kümmerte sich um seine Rehabilitation und unterstützte ihn bei der Suche nach Aufnahmemöglichkeiten.
Sein bekanntester Song war der „Cow Cow Blues“. 1953 wurde „Cow Cow Blues“ von Ahmet Ertegün für Ray Charles' „Mess Around“ umgeschrieben; dieser Titel war Charles´ erster Schritt weg vom Nat Colehaften Stil hin zu der Musik, mit der er in den 50ern bei Atlantic aufnahm und berühmt wurde. Davenport war auch der Komponist von „Mama Don't Allow It“. Er behauptete, den Louis Armstrong Hit „I'll Be Glad When You're Dead (You Rascal You)“ geschrieben zu haben, aber die Rechte daran weiterverkauft zu haben. In Wirklichkeit stammte der Song von Sam Theard.
Cow Cow Davenport starb 1955 in Cleveland, Ohio und wurde nach seinem Tode in die Alabama Music Hall of Fame aufgenommen.
Der 1940er Hitsong „Cow Cow Boogie“ ist vermutlich nach ihm benannt, wurde aber nicht von ihm geschrieben.
Charles Edward "Cow Cow" Davenport (April 23, 1894 – December 3, 1955[1]) was an American boogie-woogie and piano blues player as well as a vaudeville entertainer. He also played the organ and sang.
Career
He was born in Anniston, Alabama. Arnold Caplin, on the liner notes to the album Hot Pianos 1926-1940, reports that Davenport started playing the piano at age 12. His family objected strongly to his musical aspirations and sent him to a theological seminary, where he was expelled for playing ragtime.
Davenport's career began in the 1920s when he joined Banhoof's Traveling Carnival, a medicine show. His first fame came as accompanist to blues musicians Dora Carr and Ivy Smith. Davenport and Carr performed as a vaudeville act as Davenport & Co.[2] He also performed with Tampa Red. Davenport recorded for many record labels, and was a talent scout and artist for Vocalion Records. Davenport suffered a stroke in the early 1930s and lost movement in his hands. He was washing dishes when he was found by the jazz pianist Art Hodes in 1938. Hodes assisted in his rehabilitation and helped him find new recording contracts.
His best-known tune was "Cow Cow Blues". In 1953, "Cow Cow Blues" was an influence on the Ahmet Ertegün-written "Mess Around" by Ray Charles, which was Charles's first step away from his Nat "King" Cole-esque style, and into the style he would employ throughout the 1950s for Atlantic Records.
"Cow-Cow Boogie (Cuma-Ti-Yi-Yi-Ay)" (1943) was probably named for him, but he did not write it. It was penned by Benny Carter, Gene de Paul and Don Raye. It combined the then popular "Western song" craze (exemplified by Johnny Mercer's "I'm an Old Cowhand") with the big-band boogie-woogie fad. The track was written for the Abbott and Costello film Ride 'Em Cowboy.
Davenport claimed to have been the composer of "Mama Don't Allow It". He also said he had written the Louis Armstrong hit "I'll be Glad When You're Dead (You Rascal You)", but sold the rights and credit to others.[1]
Cow Cow was known to have made recordings under the pseudonyms of Bat The Humming Bird, George Hamilton and The Georgia Grinder.[2]
Cow Cow Davenport, who died in 1955 in Cleveland, Ohio, of hardening of the arteries,[1] is a member of the Alabama Music Hall of Fame. Cripple Clarence Lofton called him a major influence.
He is buried at Evergreen Cemetery in Bedford Heights, Ohio.
Career
He was born in Anniston, Alabama. Arnold Caplin, on the liner notes to the album Hot Pianos 1926-1940, reports that Davenport started playing the piano at age 12. His family objected strongly to his musical aspirations and sent him to a theological seminary, where he was expelled for playing ragtime.
Davenport's career began in the 1920s when he joined Banhoof's Traveling Carnival, a medicine show. His first fame came as accompanist to blues musicians Dora Carr and Ivy Smith. Davenport and Carr performed as a vaudeville act as Davenport & Co.[2] He also performed with Tampa Red. Davenport recorded for many record labels, and was a talent scout and artist for Vocalion Records. Davenport suffered a stroke in the early 1930s and lost movement in his hands. He was washing dishes when he was found by the jazz pianist Art Hodes in 1938. Hodes assisted in his rehabilitation and helped him find new recording contracts.
His best-known tune was "Cow Cow Blues". In 1953, "Cow Cow Blues" was an influence on the Ahmet Ertegün-written "Mess Around" by Ray Charles, which was Charles's first step away from his Nat "King" Cole-esque style, and into the style he would employ throughout the 1950s for Atlantic Records.
"Cow-Cow Boogie (Cuma-Ti-Yi-Yi-Ay)" (1943) was probably named for him, but he did not write it. It was penned by Benny Carter, Gene de Paul and Don Raye. It combined the then popular "Western song" craze (exemplified by Johnny Mercer's "I'm an Old Cowhand") with the big-band boogie-woogie fad. The track was written for the Abbott and Costello film Ride 'Em Cowboy.
Davenport claimed to have been the composer of "Mama Don't Allow It". He also said he had written the Louis Armstrong hit "I'll be Glad When You're Dead (You Rascal You)", but sold the rights and credit to others.[1]
Cow Cow was known to have made recordings under the pseudonyms of Bat The Humming Bird, George Hamilton and The Georgia Grinder.[2]
Cow Cow Davenport, who died in 1955 in Cleveland, Ohio, of hardening of the arteries,[1] is a member of the Alabama Music Hall of Fame. Cripple Clarence Lofton called him a major influence.
He is buried at Evergreen Cemetery in Bedford Heights, Ohio.
https://www.youtube.com/watch?v=tJhLNyk86Q0
Luca Giordano *23.04.1980
Born in Teramo, Italy, 1980, Luca Giordano started to play his guitar when he was 20 years old, improving year by year his style with a deep passion for the Blues.
After a period in Italy playing with his first band "Jumpin Eye Blues Quintet", he moves to Chicago where he starts many collaborations with several blues Artists. He plays with Les Getrex Band, guitar player for Fats Domino, with fantastic singer Sharon Lewis and her Texas Fire Band, with the legendary JW Williams for more than one month as substitution for his regular exceptional guitar player Shun Kikuta, who was touring with Koko Taylor.
In the same period he performs in many italian festivals and clubs toghether with Sax Gordon, Nellie Tiger Travis, and with some of the best italian musician, the drummer Mr Vince Vallicelli and incredible Hammond player Pippo Guarnera.
In 2008 he meets in Chicago Eric Guitar Davis, and they start a very good collaboration and friendship. They play toghether all over Italy and Lithuania with Luca's band and all over United States with Eric's band, The TroubleMakers. In few years Eric Davis is becoming one of the most exciting new generation performer, and they start to tour in many clubs in Illinois, Ohio, Missouri and Indiana and recently they played twice at the Chicago Blues Festival 2011 on the Crossroadstage and Windy City Blues Stage.
During this last period he performs in the best clubs and festivals in United States and Europe with his band and also as sideman for Chicago Blues Legends like Bob Stroger, Willie Big Eyes Smith, Jimmy Burns and JW Williams.
He also pays tribute to old school Chicago Blues toghether with his friend Quique Gomez playing in Europe and United States. Both focused on their first love, the old school traditional blues, they recorded two cds, one in Italy and one in Chicago with special guests Billy Branch, Eddie C Campbell, Jimmy Burns, Bob Stroger and they also performed for Chicago Blues Fest AfterParty at Rosa's Lounge Club backed up by Harlan Terson (Otis Rush, Lonnie Brooks) and Willie Big Eyes Smith (legendary Muddy Waters drummer).
He's also releasing his first solo album titled "My Kind Of Blues" featuring Chris Cain, Sax Gordon, Bob Stroger, Linda and fantastic italian hammond and piano player Pippo Guarnera.
In Italy Luca Giordano regularly performs with his full band , with Fabrizio Ginoble (keys), one of the most respected young talent in his region , fantastic and wellknown drummer Fabio Colella and Walter Cerasani (bass for Neil Zaza Band ). He also performs with his Deep Blues Trio when they like to get down with some jazzy blues.
He performed at Chicago Blues Festival 2008 (USA) with James Wheeler and 2011 with Eric Guitar Davis, at the legendary Virginia Beach Blues Fest (USA) with Willie Big Eyes Smith and Bob Stroger, Bejar Blues Festival (SPAIN) and Trasimeno Blues Festival (ITA) with Jimmy Burns, Casa del Jazz and Villa Celimontana (ITA) with JW Williams and many more.
After a period in Italy playing with his first band "Jumpin Eye Blues Quintet", he moves to Chicago where he starts many collaborations with several blues Artists. He plays with Les Getrex Band, guitar player for Fats Domino, with fantastic singer Sharon Lewis and her Texas Fire Band, with the legendary JW Williams for more than one month as substitution for his regular exceptional guitar player Shun Kikuta, who was touring with Koko Taylor.
In the same period he performs in many italian festivals and clubs toghether with Sax Gordon, Nellie Tiger Travis, and with some of the best italian musician, the drummer Mr Vince Vallicelli and incredible Hammond player Pippo Guarnera.
In 2008 he meets in Chicago Eric Guitar Davis, and they start a very good collaboration and friendship. They play toghether all over Italy and Lithuania with Luca's band and all over United States with Eric's band, The TroubleMakers. In few years Eric Davis is becoming one of the most exciting new generation performer, and they start to tour in many clubs in Illinois, Ohio, Missouri and Indiana and recently they played twice at the Chicago Blues Festival 2011 on the Crossroadstage and Windy City Blues Stage.
During this last period he performs in the best clubs and festivals in United States and Europe with his band and also as sideman for Chicago Blues Legends like Bob Stroger, Willie Big Eyes Smith, Jimmy Burns and JW Williams.
He also pays tribute to old school Chicago Blues toghether with his friend Quique Gomez playing in Europe and United States. Both focused on their first love, the old school traditional blues, they recorded two cds, one in Italy and one in Chicago with special guests Billy Branch, Eddie C Campbell, Jimmy Burns, Bob Stroger and they also performed for Chicago Blues Fest AfterParty at Rosa's Lounge Club backed up by Harlan Terson (Otis Rush, Lonnie Brooks) and Willie Big Eyes Smith (legendary Muddy Waters drummer).
He's also releasing his first solo album titled "My Kind Of Blues" featuring Chris Cain, Sax Gordon, Bob Stroger, Linda and fantastic italian hammond and piano player Pippo Guarnera.
In Italy Luca Giordano regularly performs with his full band , with Fabrizio Ginoble (keys), one of the most respected young talent in his region , fantastic and wellknown drummer Fabio Colella and Walter Cerasani (bass for Neil Zaza Band ). He also performs with his Deep Blues Trio when they like to get down with some jazzy blues.
He performed at Chicago Blues Festival 2008 (USA) with James Wheeler and 2011 with Eric Guitar Davis, at the legendary Virginia Beach Blues Fest (USA) with Willie Big Eyes Smith and Bob Stroger, Bejar Blues Festival (SPAIN) and Trasimeno Blues Festival (ITA) with Jimmy Burns, Casa del Jazz and Villa Celimontana (ITA) with JW Williams and many more.
Quique Gómez y Luca Giordano Blues Band - Travellin' Man
Calvin Owens *23.04.1929
An inventive and creative trumpeter, bandleader, and composer/arranger, Calvin Owens spent many years as musical director with B.B. King's various touring bands. But beginning in the late '90s, he led his own bands and recorded under his own name. Born on April 23, 1929, Owens grew up in Houston's Fifth Ward neighborhood, also known as Sawdust Alley because of a nearby sawmill. He became interested in learning to play the trumpet after hearing his New Orleans-raised mother talk about Louis Armstrong. He worked at a local bowling alley to save enough money to buy his first trumpet. As a 13-year-old, he took his first few trumpet lessons, at 25 cents per lesson, from a local trumpeter, Charles "Papa Charlie" Lewis.
Fortunately, Owens had a conscientious band director in high school, Sammy Harris, who took a bright, ambitious student and suggested to the young Owens that one day he too could be a band director for a high-school band. Harris promoted Owens to student director of the high-school band. After he graduated from Wheatley High School and after several years of playing in Houston's then-lively blues club scene, Owens joined guitarist and bandleader B.B. King on his tour bus in 1953. He stayed on the road with King's orchestra for four years, returning to Houston with the idea that he would finish his college education at Texas Southern University. That didn't happen, and Owens was called back to working in the clubs -- the gigs were there -- and working in the local Maxwell House Coffee factory to support his family. His nights were free, so he could play music in clubs and keep his chops together while earning the income needed at the factory to raise a family. In 1978, Owens rejoined King's band and stayed on the road, 200 nights a year, until 1984.
When Owens began playing trumpet professionally in and around Houston, trumpeters were the soloists, not guitarists. It wasn't until he first joined King's band in 1953 that he played with a guitarist who would solo and became aware of that instrument's possibilities for carrying on solos and helping to lead a band. Aside from Armstrong, Owens frequently cited white trumpet player Harry James as a huge influence during his formative years, even though Owens was raised in Houston's predominantly African-American Fifth Ward. Because of James' prominence in motion pictures and Armstrong's appearances in films from time to time, both musicians offered a model of inspiration for then-teenager Owens. Aside from working with King, at various times throughout his long career Owens played trumpet with T-Bone Walker, Amos Milburn, Big Joe Turner, Junior Parker, Johnny "Clyde" Copeland, and Otis Clay. He also worked with a long line of virtuoso blues-based jazz musicians from Texas, including saxophonists Arnett Cobb and David "Fathead" Newman.
In the 1980s he started his own band and settled in Belgium, the home of his second wife. In 1997 he returned to his native Houston. There, he released his first album under his own name, Another Concept, which fused the blues with everything from jazz to rap music. Owens' recordings for his own Sawdust Alley label include True Blue, That's Your Booty, Another Concept, The Best of Calvin Owens, and The House Is Burning. Of the lot, True Blue is a fine introduction to Owens' vast repository of trumpet-playing ideas. The album includes contributions from King, Copeland, and Newman. "True Blue" was also the nickname that Cobb had given to Owens many years earlier, for his steadfast dedication to and creativity within the realm of blues trumpet. Despite being diagnosed with liver cancer in the mid '2000's, Owens continued to perform and record appearing with saxophonist Evelyn Rubio on her album La Mujer que Canta Blues and releasing his own disc Houston is the Place To Be in 2007. Ultimately, Owens passed away at age 78 from kidney failure in Houston on February 21, 2008.
Fortunately, Owens had a conscientious band director in high school, Sammy Harris, who took a bright, ambitious student and suggested to the young Owens that one day he too could be a band director for a high-school band. Harris promoted Owens to student director of the high-school band. After he graduated from Wheatley High School and after several years of playing in Houston's then-lively blues club scene, Owens joined guitarist and bandleader B.B. King on his tour bus in 1953. He stayed on the road with King's orchestra for four years, returning to Houston with the idea that he would finish his college education at Texas Southern University. That didn't happen, and Owens was called back to working in the clubs -- the gigs were there -- and working in the local Maxwell House Coffee factory to support his family. His nights were free, so he could play music in clubs and keep his chops together while earning the income needed at the factory to raise a family. In 1978, Owens rejoined King's band and stayed on the road, 200 nights a year, until 1984.
When Owens began playing trumpet professionally in and around Houston, trumpeters were the soloists, not guitarists. It wasn't until he first joined King's band in 1953 that he played with a guitarist who would solo and became aware of that instrument's possibilities for carrying on solos and helping to lead a band. Aside from Armstrong, Owens frequently cited white trumpet player Harry James as a huge influence during his formative years, even though Owens was raised in Houston's predominantly African-American Fifth Ward. Because of James' prominence in motion pictures and Armstrong's appearances in films from time to time, both musicians offered a model of inspiration for then-teenager Owens. Aside from working with King, at various times throughout his long career Owens played trumpet with T-Bone Walker, Amos Milburn, Big Joe Turner, Junior Parker, Johnny "Clyde" Copeland, and Otis Clay. He also worked with a long line of virtuoso blues-based jazz musicians from Texas, including saxophonists Arnett Cobb and David "Fathead" Newman.
In the 1980s he started his own band and settled in Belgium, the home of his second wife. In 1997 he returned to his native Houston. There, he released his first album under his own name, Another Concept, which fused the blues with everything from jazz to rap music. Owens' recordings for his own Sawdust Alley label include True Blue, That's Your Booty, Another Concept, The Best of Calvin Owens, and The House Is Burning. Of the lot, True Blue is a fine introduction to Owens' vast repository of trumpet-playing ideas. The album includes contributions from King, Copeland, and Newman. "True Blue" was also the nickname that Cobb had given to Owens many years earlier, for his steadfast dedication to and creativity within the realm of blues trumpet. Despite being diagnosed with liver cancer in the mid '2000's, Owens continued to perform and record appearing with saxophonist Evelyn Rubio on her album La Mujer que Canta Blues and releasing his own disc Houston is the Place To Be in 2007. Ultimately, Owens passed away at age 78 from kidney failure in Houston on February 21, 2008.
Calvin Owens Jazz & Blues Orchestra
R.I.P.
Marion Harris +23.04.1944
Marion Harris (* 1896 in Indiana als Mary Ellen Harrison; † 23. April 1944 in New York City) war eine US-amerikanische Blues-, Pop und Jazzsängerin.
Marion Harris begann ihre Karriere um 1914 als Sängerin in Vaudeville-Truppen und Filmtheatern in Chicago. Der Tänzer Vernon Castle führte sie 1915 in die Theater von New York ein, wo sie in Irving Berlins Revue Stop! Look! Listen! debütierte.
1916 entstanden ihre ersten Schallplatten für Victor, als sie Songs wie „Everybody's Crazy 'bout the Doggone Blues, But I'm Happy“, „After You’ve Gone“, „A Good Man Is Hard to Find“ und „When I Hear that Jazz Band Play" einspielte. Ihr größter Erfolg war 1916 „I Ain't Got Nobody“.[1]Nachdem ihr 1920 das Victor-Label nicht gestattete, W.C. Handys „St. Louis Blues“ aufzunehmen, wechselte sie zu Columbia, wo sie mit dem Song großen Erfolg hatte. Da sie häufig Jazz und Blues-beeinflusste Nummern sang, wurde sie manchmal The Queen of the Blues[2] genannt. Handy schrieb über die Sängerin: „sie sang den Blues so gut, dass die Leute dachten, die Sängerin wäre eine Farbige“. [3] Harris kommentierte das wie folgt: „You usually do best what comes naturally, so I just naturally started singing Southern dialect songs and the modern blues songs.“ [4]
Ab 1922 nahm sie Schallplatten für das Brunswick Label auf. Sie trat weiterhin in den 1920er Jahren in Broadway-Theatern auf und gastierte regelmäßig im Palace Theatre, trat in der Florenz Ziegfeld Revue Midnight Frolic auf und tourte mit Vaudevilleshows durch das Land. Marion Harris pausierte nach ihrer Heirat mehrere Jahre und kümmerte sich um ihre zwei Kinder; nach der Scheidung 1927 gastierte sie erneut in New Yorker Theatern, nahm für Victor auf und hatte einen Auftritt in einem achtminütigen Promotion-Film, Marion Harris, Songbird of Jazz. Nach ihrer Mitwirkung in einem frühen Hollywood-Musical (Devil-May-Care mit Ramon Navarro) trat sie eine Weile krankheitsbedingt nicht mehr auf.
Zwischen 1931 und 1933 war sie in NBC-Radioshows wie The Ipana Troubadors und Rudy Vallees The Fleischmann's Yeast Hourzu hören; dabei wurde sie von NBC als "The Little Girl with the Big Voice" angekündigt.[5]
Anfang 1931 gastierte sie in London und hatte ein längeres Engagement im Café de Paris. In London trat sie auch in dem Musical Ever Green und in Radiosendungen der BBC auf. Anfang der 1930er Jahre entstanden in England weitere Schallplatten; kurz darauf heiratete sie einen englischen Theateragenten. Ihr Haus wurde durch den Angriff der Deutschen bei der Luftschlacht um England 1941 zerstört; 1944 kehrte sie an einem Nervenleiden erkrankt nach New York zurück. Sie starb zwei Monate später bei einem Zimmerbrand, da sie rauchend im Bett eingeschlafen war.
http://de.wikipedia.org/wiki/Marion_Harris
Marion Harris (April 4, 1896[1] – April 23, 1944)[2] was an American popular singer, most successful in the 1920s. She was the first widely known white singer to sing jazz and blues songs.[3]
Early life
Born Mary Ellen Harrison, probably in Indiana, she first played vaudeville and movie theaters in Chicago around 1914. Dancer Vernon Castle introduced her to the theater community in New York, where she debuted in a 1915 Irving Berlin revue, Stop! Look! Listen!
Recordings
In 1916, she began recording for Victor Records, singing a variety of songs, such as "Everybody's Crazy 'bout the Doggone Blues, But I'm Happy", "After You've Gone", "A Good Man Is Hard to Find" (later recorded by Bessie Smith), "When I Hear that Jazz Band Play" and her biggest success, "I Ain't Got Nobody".[4]
In 1920, after the Victor label would not allow her to record W.C. Handy's "St. Louis Blues", she joined Columbia Records, where she recorded the song successfully. Sometimes billed as "The Queen of the Blues,"[3] she tended to record blues- or jazz-flavored tunes throughout her career. Handy wrote of Harris that "she sang blues so well that people hearing her records sometimes thought that the singer was colored."[5] Harris commented, "You usually do best what comes naturally, so I just naturally started singing Southern dialect songs and the modern blues songs."[6]
She was briefly married to actor Robert Williams. They married in 1921 and divorced the following year. Harris and Williams had one daughter Mary Ellen, who later became a singer in her own right under the name Marion Harris Jr.
In 1922 she moved to the Brunswick label. She continued to appear in Broadway theatres throughout the 1920s. She regularly played the Palace Theatre, appeared in Florenz Ziegfeld's Midnight Frolic and toured the country with vaudeville shows.[2] After a marriage which produced two children, and her subsequent divorce, she returned in 1927 to New York theater, made more recordings with Victor and appeared in an eight-minute promotional film, Marion Harris, Songbird of Jazz. After a Hollywood movie, the early musical Devil-May-Care (1929) with Ramón Novarro, she temporarily withdrew from performing because of an undisclosed illness.
Radio
Between 1931 and 1933, when she performed on such NBC radio shows as The Ipana Troubadors and Rudy Vallee's The Fleischmann's Yeast Hour, she was billed by NBC as "The Little Girl with the Big Voice."[7]
In early 1931 she performed in London, returning for long engagements at the Café de Paris. In London she appeared in the musical Ever Green and broadcast on BBC radio. She also recorded in England in the early 1930s but retired soon afterwards and married an English theatrical agent. Their house was destroyed in a German rocket attack in 1941, and in 1944 she travelled to New York to seek treatment for a neurological disorder. Although she was discharged two months later, she died soon afterwards in a hotel fire that started when she fell asleep while smoking in bed.
Early life
Born Mary Ellen Harrison, probably in Indiana, she first played vaudeville and movie theaters in Chicago around 1914. Dancer Vernon Castle introduced her to the theater community in New York, where she debuted in a 1915 Irving Berlin revue, Stop! Look! Listen!
Recordings
In 1916, she began recording for Victor Records, singing a variety of songs, such as "Everybody's Crazy 'bout the Doggone Blues, But I'm Happy", "After You've Gone", "A Good Man Is Hard to Find" (later recorded by Bessie Smith), "When I Hear that Jazz Band Play" and her biggest success, "I Ain't Got Nobody".[4]
In 1920, after the Victor label would not allow her to record W.C. Handy's "St. Louis Blues", she joined Columbia Records, where she recorded the song successfully. Sometimes billed as "The Queen of the Blues,"[3] she tended to record blues- or jazz-flavored tunes throughout her career. Handy wrote of Harris that "she sang blues so well that people hearing her records sometimes thought that the singer was colored."[5] Harris commented, "You usually do best what comes naturally, so I just naturally started singing Southern dialect songs and the modern blues songs."[6]
She was briefly married to actor Robert Williams. They married in 1921 and divorced the following year. Harris and Williams had one daughter Mary Ellen, who later became a singer in her own right under the name Marion Harris Jr.
In 1922 she moved to the Brunswick label. She continued to appear in Broadway theatres throughout the 1920s. She regularly played the Palace Theatre, appeared in Florenz Ziegfeld's Midnight Frolic and toured the country with vaudeville shows.[2] After a marriage which produced two children, and her subsequent divorce, she returned in 1927 to New York theater, made more recordings with Victor and appeared in an eight-minute promotional film, Marion Harris, Songbird of Jazz. After a Hollywood movie, the early musical Devil-May-Care (1929) with Ramón Novarro, she temporarily withdrew from performing because of an undisclosed illness.
Radio
Between 1931 and 1933, when she performed on such NBC radio shows as The Ipana Troubadors and Rudy Vallee's The Fleischmann's Yeast Hour, she was billed by NBC as "The Little Girl with the Big Voice."[7]
In early 1931 she performed in London, returning for long engagements at the Café de Paris. In London she appeared in the musical Ever Green and broadcast on BBC radio. She also recorded in England in the early 1930s but retired soon afterwards and married an English theatrical agent. Their house was destroyed in a German rocket attack in 1941, and in 1944 she travelled to New York to seek treatment for a neurological disorder. Although she was discharged two months later, she died soon afterwards in a hotel fire that started when she fell asleep while smoking in bed.
Lonesome Sundown +23.04.1995
Cornelius Green (December 12, 1928 – April 23, 1995), known professionally as Lonesome Sundown, was an American blues musician, best known for his recordings for Excello Records in the 1950s and early 1960s.
Biography
Green was born on the Dugas Plantation near Donaldsonville, Louisiana.[1] At the age of 18, he moved to New Orleans and worked in various jobs including as a porter at the New Southport Club, a casino in Jefferson Parish. He returned to Donaldsonville by 1948 and, inspired by Muddy Waters and John Lee Hooker, began taking guitar lessons from a cousin. In 1953, after a brief period as a truck driver in Jeanerette, Louisiana, he moved again to work at the Gulf Oil Refinery in Port Arthur, Texas. By this time he had begun to take his music more seriously, jamming at local clubs, and in 1955 was invited by Clifton Chenier to sit in with his new band, the Zydeco Ramblers, at the Blue Moon Club in Lake Charles. Chenier offered him the post of second guitarist in the band, alongside first guitarist Phillip Walker. Green toured with them as far as Chicago and Los Angeles, where Chenier's recording of "The Cat's Dreaming" was inspired by Green falling asleep during a session, and where Green auditioned for producer Bumps Blackwell but failed to get a contract.[1][2][3][4]
Green married later in 1955, left the Zydeco Ramblers, and moved to Opelousas, Louisiana where he began playing with Lloyd Reynauld and writing his own material. He recorded a demo tape, and took it to producer J. D. "Jay" Miller in Crowley. Miller was impressed, gave the singer/ guitarist the stage name "Lonesome Sundown", and recorded his debut single, "Leave My Money Alone" b/w "Lost Without Love", which he leased to Excello Records in 1956. The follow-up, "Lonesome Whistler" b/w "My Home Is A Prison", was more successful, and Sundown became one of Miller's south Louisiana stable of musicians. Although he never had a chart hit, he recorded for Miller for eight years, and his records sold in respectable quantities, his output including "Don't Say A Word" (featuring Lazy Lester on harmonica), "I'm a Mojo Man," "You Know I Love You," "I Stood By (And Watched Another Man Steal My Gal)," "My Home Ain't Here," and the much covered, "Gonna Stick To You Baby."[1][2][3][4] Unusually for Louisiana musicians, Sundown's style of the blues was more in keeping with the sound of Muddy Waters than that of Jimmy Reed,[2] and his sombre and melancholic recordings and instantly recognizable style were described by Miller as "the sound of the swamp".[3]
Sundown continued to work with Miller into the early 1960s, and in 1964 recorded "Hoo Doo Woman Blues" b/w "I've Got A Broken Heart", recordings which have been described as among "the last ethnic down-home blues 45s aimed exclusively at the Negro market".[1] However, by 1965 Sundown had become disillusioned with his lack of success, experienced a traumatic divorce, retired from the music industry to work as a laborer, and joined the Lord Jesus Christ of the Apostolic Faith Fellowship Throughout the World Church, where he eventually became a minister.[2][4] He was persuaded back to the recording studios in 1977, and recorded another blues album, Been Gone Too Long, co-produced by Bruce Bromberg and Dennis Walker, originally for Joliet Records.[2] Despite its quality, disappointing sales ensued, even after being reissued on Alligator.[2] His final single release was 1977's "I Betcha".[5]
Sundown did several concerts, including an appearance at the 1979 New Orleans Jazz & Heritage Festival, and tours of Sweden and Japan with Phillip Walker, but then walked away from the music business for good.[3][4] In 1994 he suffered a stroke, and he was no longer able to speak. Sundown died in Gonzales, Louisiana, in April 1995, aged 66.[6] He was posthumously inducted into the Louisiana Blues Hall of Fame in 2000.
LONESOME SUNDOWN They call me sundown
https://www.youtube.com/watch?v=UozQmUs5Nog
Bob
Brozman (* 8. März 1954 in New York City; † 23. April 2013 in Santa
Cruz, Kalifornien) war ein US-amerikanischer Gitarrist und
Musikwissenschaftler, der sich neben Jazz und Blues auch der Weltmusik
verpflichtet fühlte.
Bereits in frühster Jugend wurde Bob mit der Musik konfrontiert. Mit sechs Jahren fing er an Gitarre zu spielen und empfand den Klang als große Herausforderung.[1] Als Student der Musik und Musikethnologie an der Universität von Washington arbeitete er mit einer großen, weltumspannenden Anzahl von Musikern zusammen, die von den Okinawa-Inseln bis Ghana reichte. Entsprechend groß war die Reihe von Musikstilen, die er zu Gehör brachte: Gypsy Jazz, Calypso, Blues, Ragtime, Hawaiian und karibische Musik. So wurde Brozman ein begehrter Begleit-Gitarrist und ein Fundus des 20. Jahrhunderts der Weltmusik. Brozman war über das ganzen Jahres zwischen Nordamerika und Europa unterwegs, wo er hauptsächlich auftrat, aber auch in Australien, Asien und Afrika. Am Ende seines Lebens besaß der Hawaii-Gitarrist eine beeindruckende Sammlung von Instrumenten, die er von seinen Reisen rund um die Erde mitgebracht hatte.
Er nahm zahlreiche Alben auf und wurde dreimal mit dem amerikanischen Guitar Player-Hörerpreis für den besten Blues ausgezeichnet. 1999 gründete Brozman und Woody Mann eine Gitarrenschule, die an den Standorten in Kalifornien, New York und in Kanada jährlich über 120 Studenten unterrichtete. In den Jahren 2000 bis 2005 landete er fünfmal in den Europäischen Top 10 für Weltmusik, so, wie er in seinen letzten zehn Jahren in Europa viel populärer geworden war als in seinem Heimatland.[2]
Bob Brozman wurde am Abend des 23. April 2013 in seinem Haus im kalifornischen Santa Cruz tot aufgefunden.[3] Er nahm sich das Leben, weil er nach Aussage seines langjährigen Produzenten und Mitarbeiters Daniel Thomas durch die Spätfolgen eines 1980 erlittenen Autounfalls seine Hände nur noch unter Schmerzen zum Gitarrenspiel bewegen konnte.
http://de.wikipedia.org/wiki/Bob_Brozman
Bob Brozman +23.04.2013
Bob
Brozman (* 8. März 1954 in New York City; † 23. April 2013 in Santa
Cruz, Kalifornien) war ein US-amerikanischer Gitarrist und
Musikwissenschaftler, der sich neben Jazz und Blues auch der Weltmusik
verpflichtet fühlte.Bereits in frühster Jugend wurde Bob mit der Musik konfrontiert. Mit sechs Jahren fing er an Gitarre zu spielen und empfand den Klang als große Herausforderung.[1] Als Student der Musik und Musikethnologie an der Universität von Washington arbeitete er mit einer großen, weltumspannenden Anzahl von Musikern zusammen, die von den Okinawa-Inseln bis Ghana reichte. Entsprechend groß war die Reihe von Musikstilen, die er zu Gehör brachte: Gypsy Jazz, Calypso, Blues, Ragtime, Hawaiian und karibische Musik. So wurde Brozman ein begehrter Begleit-Gitarrist und ein Fundus des 20. Jahrhunderts der Weltmusik. Brozman war über das ganzen Jahres zwischen Nordamerika und Europa unterwegs, wo er hauptsächlich auftrat, aber auch in Australien, Asien und Afrika. Am Ende seines Lebens besaß der Hawaii-Gitarrist eine beeindruckende Sammlung von Instrumenten, die er von seinen Reisen rund um die Erde mitgebracht hatte.
Er nahm zahlreiche Alben auf und wurde dreimal mit dem amerikanischen Guitar Player-Hörerpreis für den besten Blues ausgezeichnet. 1999 gründete Brozman und Woody Mann eine Gitarrenschule, die an den Standorten in Kalifornien, New York und in Kanada jährlich über 120 Studenten unterrichtete. In den Jahren 2000 bis 2005 landete er fünfmal in den Europäischen Top 10 für Weltmusik, so, wie er in seinen letzten zehn Jahren in Europa viel populärer geworden war als in seinem Heimatland.[2]
Bob Brozman wurde am Abend des 23. April 2013 in seinem Haus im kalifornischen Santa Cruz tot aufgefunden.[3] Er nahm sich das Leben, weil er nach Aussage seines langjährigen Produzenten und Mitarbeiters Daniel Thomas durch die Spätfolgen eines 1980 erlittenen Autounfalls seine Hände nur noch unter Schmerzen zum Gitarrenspiel bewegen konnte.
http://de.wikipedia.org/wiki/Bob_Brozman
Bob Brozman (March 8, 1954 – April 23, 2013) was an American guitarist and ethnomusicologist.
Brozman was born to a Jewish family living on Long Island, New York. He began playing the guitar when he was 6.[1]
He performed in a number of styles such as gypsy jazz, calypso, blues, ragtime, Hawaiian music, and Caribbean music. Brozman also collaborated with musicians from diverse cultural backgrounds such as India, Africa, Japan, Papua New Guinea and Réunion. He has been called "an instrumental wizard" and "a walking archive of 20th Century American music." Brozman maintained a steady schedule throughout the year, touring constantly throughout North America, Europe, Australia, Asia, and Africa. He recorded numerous albums and has won the Guitar Player Readers' Poll three times in the best blues, best world and best slide guitarist categories. In 1999, Brozman and Woody Mann founded International Guitar Seminars, which hosts over 120 students annually at sites in California, New York, and Canada. From 2000 to 2005 his collaborations landed in the European Top 10 for World Music five times.
He was formerly an Adjunct Professor at the Department of Contemporary Music Studies at Macquarie University, Sydney, Australia.
Brozman was well known for his use of National resonator instruments from the 1920s and 1930s, as well as National Resophonic resonator instruments. He also used Weissenborn style hollow neck acoustic steel guitars. Among his National instruments were a baritone version of the tricone guitar, which was designed in conjunction with him in the mid to late 1990s. This instrument is now part of National's range of products.
Brozman committed suicide on April 23, 2013.
Brozman was born to a Jewish family living on Long Island, New York. He began playing the guitar when he was 6.[1]
He performed in a number of styles such as gypsy jazz, calypso, blues, ragtime, Hawaiian music, and Caribbean music. Brozman also collaborated with musicians from diverse cultural backgrounds such as India, Africa, Japan, Papua New Guinea and Réunion. He has been called "an instrumental wizard" and "a walking archive of 20th Century American music." Brozman maintained a steady schedule throughout the year, touring constantly throughout North America, Europe, Australia, Asia, and Africa. He recorded numerous albums and has won the Guitar Player Readers' Poll three times in the best blues, best world and best slide guitarist categories. In 1999, Brozman and Woody Mann founded International Guitar Seminars, which hosts over 120 students annually at sites in California, New York, and Canada. From 2000 to 2005 his collaborations landed in the European Top 10 for World Music five times.
He was formerly an Adjunct Professor at the Department of Contemporary Music Studies at Macquarie University, Sydney, Australia.
Brozman was well known for his use of National resonator instruments from the 1920s and 1930s, as well as National Resophonic resonator instruments. He also used Weissenborn style hollow neck acoustic steel guitars. Among his National instruments were a baritone version of the tricone guitar, which was designed in conjunction with him in the mid to late 1990s. This instrument is now part of National's range of products.
Brozman committed suicide on April 23, 2013.
Dutch Tilders +23.04.2011
Dutch
Tilders (29 August 1941 – 23 April 2011), born Mattheus Frederikus
Wilhelmus Tilders, anglicised as Matthew Tilders, was a Netherlands-born
Australian blues singer-songwriter and guitarist. He performed and
released material as a solo artist and also issued a blues-rock album
with Kevin Borich, The Blues Had a Baby and They Called It Rock'n'Roll
(November 1980). He has toured with John Mayall (1974), Brownie McGhee
(1976, 1980s), and Taj Mahal (1986, 1990s). Tilders was diagnosed with
oesophageal and liver cancer in May 2010 and died on 23 April 2011, aged
69. In May 2012 Australian Guitar magazine listed him in the top 40 on
their Definitive Australian Guitarists of All Time.
Biography
Dutch Tilders was born on 29 August 1941 as Mattheus Frederikus Wilhelmus Tilders (anglicised as Matthew Frederick William Tilders)[1] in Nijmegen, Netherlands.[2][3] His father was Frederikus Theodorus Tilders (born 25 July 1913) and his mother was Cathiarina Maria (née Luermans, born 7 November 1909), his younger siblings are Wilhelmus B F (born 2 October 1942); Johanna C (born 30 May 1944); Frederikus T J (born 17 December 1945); Johannes B M (born 30 December 1947); and Bartholomeus (born 27 October 1951).[2] From the age of ten, Tilders was a member of the local church choir, after his voice broke he sang baritone and falsetto, and joined his secondary school's choir.[3][4]
The Tilders family emigrated to Melbourne, Australia in 1955, aboard the SS Fairsea.[2][3] Frederikus worked as a furniture upholsterer.[5] The family spent about a year at the Brooklyn Migrant Hostel, where Tilders worked in a local timber yard, before they moved to Frankston.[3][4] As a child Tilders had sung choral music, but later he moved towards blues music, his first paying gig was on harmonica at Collingwood Town Hall at the age of 15, at a concert also featuring Johnny O'Keefe.[3][4]
In 1959 Tilders bought his first guitar, to be able to accompany himself when playing in cafes around Melbourne.[4][6] His early influences were Big Bill Broonzy, Mississippi John Hurt and Blind Blake.[3][5][7] In 1961 he recorded a 10" album at a friend's home studio.[8] The following year he formed a duo with Shane Duckham on harmonica and they worked in the Sydney folk and blues circuit.[8] During the mid-to-late 1960s Tilders performed less frequently.[4][8]
In September 1970 Tilders appeared on TV talent show, New Faces, and was signed by one of the judges, Ron Tudor, to his Bootleg Records label.[8] Tilders released his self-titled debut album in 1972 with Brian Cadd producing and backing provided by members of Chain.[8] Australian musicologist, Ian McFarlane, described the album, which "proved the man's mastery of the blues form. One side featured Tilders playing down-home Mississippi delta acoustic blues, the flip Chicago electric blues".[8]
Tilders performed at Sunbury Pop Festivals in both January 1973 and the following year.[8] Later in 1974 he toured the United Kingdom supporting John Mayall; he also issued a split album with fellow blues-folk artist, Margret RoadKnight, Australian Jazz of the 70s Vol. 5 The Blues Singers.[8] The Canberra Times 's Michael Foster described Tilders' contributions "[he] takes side one with a selection of eight blues, all but one his own work. Like Miss Roadknight he sings the basic, 12-bar blues and like her he gets well into the feeling and expression which gave birth to the form and feeling of the blues".[9]
In the next year he used a backing band of Phil Colson on guitar (The Foreday Riders); Keith Dubber on trumpet and flugel horn; Rick Lock on drums (The Foreday Riders); John Power on bass guitar (Company Caine) and Don Reid on saxophone. They recorded his following album, Break.[8] Tony Catterall for The Canberra Times noted his style "ranges from the intimate blues-in-a-smoke-filled-café-late-at-night feeling of 'Diddie Wa Diddie' and 'Just a Dream' ... to the sheer "happy picking" of his own '21st Birthday Rag'".[10] "I'm a Mean Mistreater" was issued as a single from the album.[8]
In 1976 Tilders supported tours by US blues duo, Sonny Terry and Brownie McGhee, and then by B.B. King.[8] At their first gig King heard Tilders from backstage but had not seen him, King assumed that he was black and expressed surprise when the two were introduced.[4] For Tilders' next album, Working Man, he used a backing band of Jim Conway on harmonica (The Captain Matchbox Whoopee Band); Ray Arnott on drums, John Dubois on bass guitar, and Kerryn Tolhurst on mandolin and dobro (all from The Dingoes); and Jeff King on dobro (The Foreday Riders).[8][11]
Julie Meldrum of The Canberra Times felt he "confirms his position as the top blues performer in Australia. He continues to show his remarkable talent, which has already earned him recognition from Sonny Terry and Brownie McGee ... [he] has added a rustic flavour which makes his style more accessible than before".[12] In February 1977 the album provided a single, "Goodnight, Irene", which is a cover version of the Lead Belly 1933 blues standard.[8]
In March 1978 he appeared on Australian Broadcasting Corporation (ABC) TV series, Rocturnal, following Richard Clapton. The Canberra Times 's Bradley Wynne was impressed by Clapton and felt the "second best feature of the show was the mellow electric blues guitar" of Tilders "with that whisky Leadbelly voice".[13] In January the following year Tilders recorded a direct to disc album, Direct, which appeared in May – it was the second Australian album issued using that process.[8][14] He used a backing group of Conway with Bob Bertles on alto and soprano saxophones and Peter Howell on bass guitar with Lee Simmonds producing.[8][14]
Luis Feliu's favourable review in The Canberra Times finds Direct has "a few instrumental [tracks], a couple of romping boogie rockers and some soothing blues stories. His style is studied, synthesised from that of the old masters".[14] He compared it positively with work by Ry Cooder, Leon Redbone and Leo Kottke, where Tilders has "a strong faith in his music that gives blues lovers in Oz faith in him".[14]
During the late 1970s, Tilders also fronted bands such as the Elks, the Cyril 'B' Bunter Band, and Mickey Finn. Tilders had formed a friendship with McGhee, who considered Tilders a genuine bluesman.[4] McGhee was also collaborator and close friend of Big Bill Broonzy and the affinity between Tilders and McGhee led to several combined tours of Australian during the 1980s, generally accompanied by Conway.[4][15] In 1980 his backing band was the R&B Six, which included Mick Eliot on guitar; Charley Elul on drums; Peter Frazer on saxophone; Dave Murray on bass guitar and vocals; and Suzanne Petersen on flute and vocals.[4] Tilders and Petersen co-wrote "Tell Me How to Stop the Rain".[16]
In August 1980 Tilders worked with Kevin Borich on lead vocals and lead guitar, and his backing group The Express, to record another direct to disc album, The Blues Had a Baby and They Called It Rock'n'Roll, as a blues-rock crossover.[8] The Express line up were Michael Deep on bass guitar and John Watson on drums; they were joined in the studio by Bertles on saxophone.[8]
The Australian Women's Weekly 's Susan Moore described the album, which was issued in November, as "a vibrant blend of gruff, bluesy vocals and shivering, evocative guitar".[17] Borich told Moore that the recording process meant "[i]f you blow the last note, you have to go back and start all over again ... We didn't want a clinical sound, we wanted a completely live feeling".[17] The ensemble issued a single, "Bad Books", in April 1981.[8] In June that year Tilders opened for Scottish comedian, Billy Connolly.[18]
In September 1986, and again during the 1990s, Tilders toured with Taj Mahal.[3][19] In 1986, Tilders formed Dutch Tilders & The Blues Club with Martin Cooper on lead guitar; Winston Galea on drums and Barry Hills on bass guitar. In 1990, Cooper left the Blues Club and was replaced by Geoff Achison on lead guitar. In April 1990 they issued an album, The Blues Is My Life, which Foster noted displayed Tilders' "rough-edged voice and guitar, traditional blues from the darker side of life, but with a sometimes dour humour.[20] Also that year Tilders helped establish the Melbourne Blues Appreciation Society (MBAS) and later became its patron.[3][4] Dutch Tilders and The Blues Club followed with a live album, Live at the Station, in 1993, which was recorded at a gig at the Station Tavern and Brewery in Prahran in January.[8][21]
In 1994 his backing band were The Holey Soles with Ian Clarke on drums; Anthony Harkin on harmonica; and Hills on bass guitar.[8] The line up changed to Clarke; Peter Howell on bass guitar; and Luke Keoh on harmonica.[8] By 1996 he had formed the Dutch Tilders Band with former band mates, Galea and Hills, joined by Greg Dodd on guitar.[8] In 1998 he issued his next album, I'm a Bluesman, which was produced by Hills and included guest musicians: Steven Cepron on harmonica; Winston Galea on drums; Warren Hall on piano; David Lowry on guitar; Mick O’Connor on Hammond organ; and Suzanne Tilders on backing vocals.[8]
Tilders later worked with The Legends Band.[22] During the 2000s he issued three more albums, One More Time – Live at St Andrews (2001), Highlights of Bob Barnard's Jazz Party (2003) and Mine & Some I Adopted (2005). Tilders described his concept for the latter album, "[t]he idea was to show-case what I love to do best, playing solo, without the restrictions of an ensemble".[23] He categorised his style of music "[s]ome of it is not strictly blues but it has the basis of that genre. I like to think that the listener gets a good feeling and doesn't take me too seriously. I'm a little irreverent at times but tongue in cheek".[23]
In November 2009 Tilders performed at The Bridgetown Blues Festival, in Western Australia, front-lining "The Legends" tour of with seminal Australian Blues performers: Matt Taylor (harmonica, guitar & vocals); Barry "Little Goose" Harvey (drums); Martin Cooper (lead guitar); Bob Patient (keyboards)
In October 2010, Tilders reunited with Martin Cooper & Winston Galea from the Blues Club to perform at the 21st annual Wangaratta Festival of Jazz.[24] The following month he joined Barbara Blue, the "Queen of Memphis Blues", on her Australian tour.[6] Tilders curated a compilation album, Going on a Journey. Anthology of 50 Great Years Playing the Blues, in 2010.[25] On 23 April 2011 Matthew "Dutch" Tilders died, aged 69.[26][27]
Personal life
Dutch Tilders married four times.[22][28] One of his wives, Loma, is a school teacher and the mother of their son, Sonny.[29] The couple separated when Sonny was a child and Dutch had little contact with Sonny during his upbringing.[29] Tilders' solo album, Working Man (December 1976), was dedicated to Sonny and Sam Tilders.[11] Sonny was later a creative director for Creature Technology Company, which designs and builds animatronics.[29] Tilders' son Sam has a different mother.
In May 2010 Tilders' manager, Lynne Wright, announced that he had been diagnosed with oesophageal and liver cancer (although incorrectly reported in the media to be lung cancer).[26][27][30] Tilders wrote and recorded "Going on a Journey" after learning of his diagnosis, it became the title track of his final album.[30] In July that year a benefit concert was held with a line up of Tilders, Chain, Kevin Borich Express, Chris Finnen, Steve Russell, Geoff Achison, Lloyd Spiegel, Stevie Page, and Jeannie Lushes Band.[31][32] He retired from performing in January the following year due to the illness and ongoing treatment.
On 23 April 2011 Matthew "Dutch" Tilders died, aged 69.[26][27] Tilders was dubbed the "Godfather of Blues" in Australia, he is survived by two sons and four siblings.[22][28] Suzanne Petersen issued "Fine as Wine" in July 2011 as a tribute to Tilders.[33] In May 2012 Australian Guitar magazine listed Tilders in the top 40 on their Definitive Australian Guitarists of All Time.
Biography
Dutch Tilders was born on 29 August 1941 as Mattheus Frederikus Wilhelmus Tilders (anglicised as Matthew Frederick William Tilders)[1] in Nijmegen, Netherlands.[2][3] His father was Frederikus Theodorus Tilders (born 25 July 1913) and his mother was Cathiarina Maria (née Luermans, born 7 November 1909), his younger siblings are Wilhelmus B F (born 2 October 1942); Johanna C (born 30 May 1944); Frederikus T J (born 17 December 1945); Johannes B M (born 30 December 1947); and Bartholomeus (born 27 October 1951).[2] From the age of ten, Tilders was a member of the local church choir, after his voice broke he sang baritone and falsetto, and joined his secondary school's choir.[3][4]
The Tilders family emigrated to Melbourne, Australia in 1955, aboard the SS Fairsea.[2][3] Frederikus worked as a furniture upholsterer.[5] The family spent about a year at the Brooklyn Migrant Hostel, where Tilders worked in a local timber yard, before they moved to Frankston.[3][4] As a child Tilders had sung choral music, but later he moved towards blues music, his first paying gig was on harmonica at Collingwood Town Hall at the age of 15, at a concert also featuring Johnny O'Keefe.[3][4]
In 1959 Tilders bought his first guitar, to be able to accompany himself when playing in cafes around Melbourne.[4][6] His early influences were Big Bill Broonzy, Mississippi John Hurt and Blind Blake.[3][5][7] In 1961 he recorded a 10" album at a friend's home studio.[8] The following year he formed a duo with Shane Duckham on harmonica and they worked in the Sydney folk and blues circuit.[8] During the mid-to-late 1960s Tilders performed less frequently.[4][8]
In September 1970 Tilders appeared on TV talent show, New Faces, and was signed by one of the judges, Ron Tudor, to his Bootleg Records label.[8] Tilders released his self-titled debut album in 1972 with Brian Cadd producing and backing provided by members of Chain.[8] Australian musicologist, Ian McFarlane, described the album, which "proved the man's mastery of the blues form. One side featured Tilders playing down-home Mississippi delta acoustic blues, the flip Chicago electric blues".[8]
Tilders performed at Sunbury Pop Festivals in both January 1973 and the following year.[8] Later in 1974 he toured the United Kingdom supporting John Mayall; he also issued a split album with fellow blues-folk artist, Margret RoadKnight, Australian Jazz of the 70s Vol. 5 The Blues Singers.[8] The Canberra Times 's Michael Foster described Tilders' contributions "[he] takes side one with a selection of eight blues, all but one his own work. Like Miss Roadknight he sings the basic, 12-bar blues and like her he gets well into the feeling and expression which gave birth to the form and feeling of the blues".[9]
In the next year he used a backing band of Phil Colson on guitar (The Foreday Riders); Keith Dubber on trumpet and flugel horn; Rick Lock on drums (The Foreday Riders); John Power on bass guitar (Company Caine) and Don Reid on saxophone. They recorded his following album, Break.[8] Tony Catterall for The Canberra Times noted his style "ranges from the intimate blues-in-a-smoke-filled-café-late-at-night feeling of 'Diddie Wa Diddie' and 'Just a Dream' ... to the sheer "happy picking" of his own '21st Birthday Rag'".[10] "I'm a Mean Mistreater" was issued as a single from the album.[8]
In 1976 Tilders supported tours by US blues duo, Sonny Terry and Brownie McGhee, and then by B.B. King.[8] At their first gig King heard Tilders from backstage but had not seen him, King assumed that he was black and expressed surprise when the two were introduced.[4] For Tilders' next album, Working Man, he used a backing band of Jim Conway on harmonica (The Captain Matchbox Whoopee Band); Ray Arnott on drums, John Dubois on bass guitar, and Kerryn Tolhurst on mandolin and dobro (all from The Dingoes); and Jeff King on dobro (The Foreday Riders).[8][11]
Julie Meldrum of The Canberra Times felt he "confirms his position as the top blues performer in Australia. He continues to show his remarkable talent, which has already earned him recognition from Sonny Terry and Brownie McGee ... [he] has added a rustic flavour which makes his style more accessible than before".[12] In February 1977 the album provided a single, "Goodnight, Irene", which is a cover version of the Lead Belly 1933 blues standard.[8]
In March 1978 he appeared on Australian Broadcasting Corporation (ABC) TV series, Rocturnal, following Richard Clapton. The Canberra Times 's Bradley Wynne was impressed by Clapton and felt the "second best feature of the show was the mellow electric blues guitar" of Tilders "with that whisky Leadbelly voice".[13] In January the following year Tilders recorded a direct to disc album, Direct, which appeared in May – it was the second Australian album issued using that process.[8][14] He used a backing group of Conway with Bob Bertles on alto and soprano saxophones and Peter Howell on bass guitar with Lee Simmonds producing.[8][14]
Luis Feliu's favourable review in The Canberra Times finds Direct has "a few instrumental [tracks], a couple of romping boogie rockers and some soothing blues stories. His style is studied, synthesised from that of the old masters".[14] He compared it positively with work by Ry Cooder, Leon Redbone and Leo Kottke, where Tilders has "a strong faith in his music that gives blues lovers in Oz faith in him".[14]
During the late 1970s, Tilders also fronted bands such as the Elks, the Cyril 'B' Bunter Band, and Mickey Finn. Tilders had formed a friendship with McGhee, who considered Tilders a genuine bluesman.[4] McGhee was also collaborator and close friend of Big Bill Broonzy and the affinity between Tilders and McGhee led to several combined tours of Australian during the 1980s, generally accompanied by Conway.[4][15] In 1980 his backing band was the R&B Six, which included Mick Eliot on guitar; Charley Elul on drums; Peter Frazer on saxophone; Dave Murray on bass guitar and vocals; and Suzanne Petersen on flute and vocals.[4] Tilders and Petersen co-wrote "Tell Me How to Stop the Rain".[16]
In August 1980 Tilders worked with Kevin Borich on lead vocals and lead guitar, and his backing group The Express, to record another direct to disc album, The Blues Had a Baby and They Called It Rock'n'Roll, as a blues-rock crossover.[8] The Express line up were Michael Deep on bass guitar and John Watson on drums; they were joined in the studio by Bertles on saxophone.[8]
The Australian Women's Weekly 's Susan Moore described the album, which was issued in November, as "a vibrant blend of gruff, bluesy vocals and shivering, evocative guitar".[17] Borich told Moore that the recording process meant "[i]f you blow the last note, you have to go back and start all over again ... We didn't want a clinical sound, we wanted a completely live feeling".[17] The ensemble issued a single, "Bad Books", in April 1981.[8] In June that year Tilders opened for Scottish comedian, Billy Connolly.[18]
In September 1986, and again during the 1990s, Tilders toured with Taj Mahal.[3][19] In 1986, Tilders formed Dutch Tilders & The Blues Club with Martin Cooper on lead guitar; Winston Galea on drums and Barry Hills on bass guitar. In 1990, Cooper left the Blues Club and was replaced by Geoff Achison on lead guitar. In April 1990 they issued an album, The Blues Is My Life, which Foster noted displayed Tilders' "rough-edged voice and guitar, traditional blues from the darker side of life, but with a sometimes dour humour.[20] Also that year Tilders helped establish the Melbourne Blues Appreciation Society (MBAS) and later became its patron.[3][4] Dutch Tilders and The Blues Club followed with a live album, Live at the Station, in 1993, which was recorded at a gig at the Station Tavern and Brewery in Prahran in January.[8][21]
In 1994 his backing band were The Holey Soles with Ian Clarke on drums; Anthony Harkin on harmonica; and Hills on bass guitar.[8] The line up changed to Clarke; Peter Howell on bass guitar; and Luke Keoh on harmonica.[8] By 1996 he had formed the Dutch Tilders Band with former band mates, Galea and Hills, joined by Greg Dodd on guitar.[8] In 1998 he issued his next album, I'm a Bluesman, which was produced by Hills and included guest musicians: Steven Cepron on harmonica; Winston Galea on drums; Warren Hall on piano; David Lowry on guitar; Mick O’Connor on Hammond organ; and Suzanne Tilders on backing vocals.[8]
Tilders later worked with The Legends Band.[22] During the 2000s he issued three more albums, One More Time – Live at St Andrews (2001), Highlights of Bob Barnard's Jazz Party (2003) and Mine & Some I Adopted (2005). Tilders described his concept for the latter album, "[t]he idea was to show-case what I love to do best, playing solo, without the restrictions of an ensemble".[23] He categorised his style of music "[s]ome of it is not strictly blues but it has the basis of that genre. I like to think that the listener gets a good feeling and doesn't take me too seriously. I'm a little irreverent at times but tongue in cheek".[23]
In November 2009 Tilders performed at The Bridgetown Blues Festival, in Western Australia, front-lining "The Legends" tour of with seminal Australian Blues performers: Matt Taylor (harmonica, guitar & vocals); Barry "Little Goose" Harvey (drums); Martin Cooper (lead guitar); Bob Patient (keyboards)
In October 2010, Tilders reunited with Martin Cooper & Winston Galea from the Blues Club to perform at the 21st annual Wangaratta Festival of Jazz.[24] The following month he joined Barbara Blue, the "Queen of Memphis Blues", on her Australian tour.[6] Tilders curated a compilation album, Going on a Journey. Anthology of 50 Great Years Playing the Blues, in 2010.[25] On 23 April 2011 Matthew "Dutch" Tilders died, aged 69.[26][27]
Personal life
Dutch Tilders married four times.[22][28] One of his wives, Loma, is a school teacher and the mother of their son, Sonny.[29] The couple separated when Sonny was a child and Dutch had little contact with Sonny during his upbringing.[29] Tilders' solo album, Working Man (December 1976), was dedicated to Sonny and Sam Tilders.[11] Sonny was later a creative director for Creature Technology Company, which designs and builds animatronics.[29] Tilders' son Sam has a different mother.
In May 2010 Tilders' manager, Lynne Wright, announced that he had been diagnosed with oesophageal and liver cancer (although incorrectly reported in the media to be lung cancer).[26][27][30] Tilders wrote and recorded "Going on a Journey" after learning of his diagnosis, it became the title track of his final album.[30] In July that year a benefit concert was held with a line up of Tilders, Chain, Kevin Borich Express, Chris Finnen, Steve Russell, Geoff Achison, Lloyd Spiegel, Stevie Page, and Jeannie Lushes Band.[31][32] He retired from performing in January the following year due to the illness and ongoing treatment.
On 23 April 2011 Matthew "Dutch" Tilders died, aged 69.[26][27] Tilders was dubbed the "Godfather of Blues" in Australia, he is survived by two sons and four siblings.[22][28] Suzanne Petersen issued "Fine as Wine" in July 2011 as a tribute to Tilders.[33] In May 2012 Australian Guitar magazine listed Tilders in the top 40 on their Definitive Australian Guitarists of All Time.
DUTCH TILDERS & THE BLUES CLUB "Baby please don't go"
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