1926 A.C. Reed*
1929 H-Bomb Ferguson*
1945 Steve Katz*
1949 Bob Margolin*
1961 Tommy McClennan+
1976 Floyd Council+
1929 H-Bomb Ferguson*
1945 Steve Katz*
1949 Bob Margolin*
1961 Tommy McClennan+
1976 Floyd Council+
Happy Birthday
A.C. Reed *09.05.1926
Aaron Corthen Reed (* 9. Mai 1926 in Wardell, Missouri; † 24. Februar 2004 in Chicago, Illinois), bekannt als A.C. Reed, war ein US-amerikanischer Blues-Saxophonist und Sänger.Reed wuchs in Illinois auf. Aufgrund seiner Vorliebe für den Big-Band-Sound entschied er sich, Saxophon spielen zu lernen.
Während der Kriegsjahre kam er nach Chicago, wo er mit Größen wie Earl Hooker und Willie Mabon auftrat. Ab 1956 tingelte er mit Dennis „Long Man“ Binder, der zuvor bei Ike Turner gespielt hatte, durch den Südwesten der USA.
In den 1960er-Jahren begleitete er u. a. Hooker, Lillian Offitt und Ricky Allan bei ihren Aufnahmen. Eigene Singles in dieser Zeit waren „This Little Voice“, „Come on Home“, „Mean Cop“, „I Stay Mad“, „I’d Rather Fight than Switch“, „My Baby Is Fine“, „Talkin’ ’Bout My Friends“ und „Things I Want You to Do“, die Reed bei verschiedenen Plattenlabels einspielte.
Ab 1967 spielte er in der Band von Buddy Guy. 1969 waren sie in Afrika unterwegs. 1970 spielten sie, zusammen mit Junior Wells, als Vorband der Rolling Stones.
1977 verließ Reed Guy und Wells und schloss sich wenig später Albert Collins an, den er auf seinen ersten fünf Alben begleitete. Auch begann er wieder vermehrt, Soloaufnahmen zu machen. 1998 wurde er mit dem Living Blues Award ausgezeichnet. Mit Casey Jones hatte er ein eigenes Label „Ice Cube Records“. Mit seiner Band „The Spark Plugs“ war er bis zu seinem Tod in der Chicagoer Blues-Szene aktiv.
A.C. Reed starb im Februar 2004 an Krebs.
http://de.wikipedia.org/wiki/A.C._Reed
Aaron Corthen, better known as A.C. Reed (May 9, 1926 – February 24, 2004)[1] was an American blues saxophonist, closely associated with the Chicago blues scene from the 1940s into the 2000s.
Biography
Reed was born in Wardell, Missouri, United States, but grew up in southern Illinois. He took his stage name from his friend, Jimmy Reed.[2] He moved to Chicago during World War II, playing with Earl Hooker and Willie Mabon in the 1940s.[2] He toured with Dennis "Long Man" Binder in 1956, and did extensive work as a sideman for Mel London's blues record labels Chief/Profile/Age in the 1960s, with Lillian Offitt and Ricky Allen, amongst others. He had a regionally popular single in 1961 with "This Little Voice" (Age 29101), and cut several more singles over the course of the decade.
He became a member of Buddy Guy's band in 1967, playing with him on his tour of Africa in 1969 and, with Junior Wells, opening for The Rolling Stones in 1970.[2] He remained with Guy until 1977, then played with Son Seals and Albert Collins in the late 1970s and 1980s.[2] He began recording solo material for Alligator Records in the 1980s.[2] On his 1987 offering, I'm in the Wrong Business, came cameo appearances by Stevie Ray Vaughan and Bonnie Raitt.[2]
He toured extensively in the 1980s and 90's with his band The Spark Plugs, playing small venues throughout the United States. He and the Sparkplugs performed in Chicago before succumbing to cancer in 2004.
Biography
Reed was born in Wardell, Missouri, United States, but grew up in southern Illinois. He took his stage name from his friend, Jimmy Reed.[2] He moved to Chicago during World War II, playing with Earl Hooker and Willie Mabon in the 1940s.[2] He toured with Dennis "Long Man" Binder in 1956, and did extensive work as a sideman for Mel London's blues record labels Chief/Profile/Age in the 1960s, with Lillian Offitt and Ricky Allen, amongst others. He had a regionally popular single in 1961 with "This Little Voice" (Age 29101), and cut several more singles over the course of the decade.
He became a member of Buddy Guy's band in 1967, playing with him on his tour of Africa in 1969 and, with Junior Wells, opening for The Rolling Stones in 1970.[2] He remained with Guy until 1977, then played with Son Seals and Albert Collins in the late 1970s and 1980s.[2] He began recording solo material for Alligator Records in the 1980s.[2] On his 1987 offering, I'm in the Wrong Business, came cameo appearances by Stevie Ray Vaughan and Bonnie Raitt.[2]
He toured extensively in the 1980s and 90's with his band The Spark Plugs, playing small venues throughout the United States. He and the Sparkplugs performed in Chicago before succumbing to cancer in 2004.
Bob Margolin *09.05.1949
Bob Margolin (* 9. Mai 1949 in Boston, Massachusetts) ist ein US-amerikanischer Blues-Gitarrist und Sänger, der von 1973 bis 1980 Mitglied der Band von Muddy Waters war, wo er Sam Lawhorn ersetzte. Sein Spitzname ist Steady Rollin’ Bob Margolin.
Ab 1980 hatte Margolin seine eigene Band, mit der er ab 1989 eine Reihe von Alben aufnahm. 2003 erschien das Album The Bob Margolin All-Star Blues Jam, bei dem Pinetop Perkins, Hubert Sumlin, Carey Bell, Willie „Big Eyes“ Smith und Mookie Brill mitmachten. Die „Bob Margolin All-Star Band“ wurde für einen Handy Award als Blues-Band des Jahres nominiert. 2005 wurde Bob Margolin als Gitarrist für eine Handy Award nominiert. 2004 erhielt er einen Handy Award für das beste Re-Issue für die Muddy „Mississippi“ Waters Live Legacy Edition. Seit diesem Jahr schreibt er auch regelmäßig für das Magazin Blues Revue und dem Online-Bluesmagazin Blueswax.Zwischen 1995 und 2005 spielte er acht Mal bei den Handy Awards Shows in Memphis, meist als Gitarrist in einer Allstar Band. Bei diesen Konzerten trat er unter anderen mit Scotty Moore, Joe Louis Walker, Shemekia Copeland, Marcia Ball, Tracy Nelson, Reba Russell, Kim Wilson, Snooky Pryor, Charlie Musselwhite, Chris Layton, Pinetop Perkins, Rod Piazza, Dr. John, Ronnie Earl, Duke Robillard, Willie Kent, Willie „Big Eyes“ Smith und Calvin “Fuzz” Jones auf.
Bob Margolin ist mit wechselnden Bands unterwegs, darunter „The Bob Margolin Blues Band“, „The Bob Margolin All-Star Blues Jam“ und „The Muddy Waters Tribute Band“. Neben diesen Aktivitäten ist Bob Margolin auch ein gefragter Produzent.
http://de.wikipedia.org/wiki/Bob_Margolin
Bob Margolin is a Blues guitarist and singer. He tours worldwide today as a bandleader or guest with both legendary and contemporary musicians. Bob played guitar in Muddy Waters’ band from 1973-’80. He delivers exciting Blues guitar and an entertaining, friendly stage presence.
In 2013, Bob was nominated for The Blues Foundation’s Blues Music Award for Traditional Male Blues Artist. He has won Blues Music Awards for guitar in 2008 and 2005.
Bob is a founding partner in The VizzTone Label Group, on the Board of Directors of The Pinetop Perkins Foundation, leads workshops worldwide in Blues Guitar. He received the 2013 Keeping the Blues Alive Award for Journalism, appreciating his 20 years writing for Blues Revue. In 2011, his eBook Steady Rollin’ was published.
Bob’s 2012-released CDs are:
• Blues Around The World with the Mike Sponza Band
• Not Alone, collaborating with the late Ann Rabson, WINNER of the 2013 Blues Music Award for Acoustic Album.
In today’s Blues scene, Bob Margolin is carrying on the tradition with a full schedule of tours, festivals, concerts, and club appearances. For more details and depth, please visit the other links on www.bobmargolin.com
In 2013, Bob was nominated for The Blues Foundation’s Blues Music Award for Traditional Male Blues Artist. He has won Blues Music Awards for guitar in 2008 and 2005.
Bob is a founding partner in The VizzTone Label Group, on the Board of Directors of The Pinetop Perkins Foundation, leads workshops worldwide in Blues Guitar. He received the 2013 Keeping the Blues Alive Award for Journalism, appreciating his 20 years writing for Blues Revue. In 2011, his eBook Steady Rollin’ was published.
Bob’s 2012-released CDs are:
• Blues Around The World with the Mike Sponza Band
• Not Alone, collaborating with the late Ann Rabson, WINNER of the 2013 Blues Music Award for Acoustic Album.
In today’s Blues scene, Bob Margolin is carrying on the tradition with a full schedule of tours, festivals, concerts, and club appearances. For more details and depth, please visit the other links on www.bobmargolin.com
Steve Katz *09.05.1945
Steve Katz (* 9. Mai 1945 in Brooklyn, New York City) ist ein amerikanischer Gitarrist und Sänger, der vor allem als Mitglied der Bands Blues Project und Blood, Sweat & Tears bekannt wurde.
Geboren in New York, wuchs Katz in Schenectady, New York auf. Bereits in jungen Jahren trat er als talentierter Musiker in Erscheinung. Ende der 1950er spielte er in einer lokalen Fernsehshow namens Teenage Barn die aktuellen Hits.
Doch interessierte er sich bald mehr für die Wurzeln der populären Musik, Folk und Blues. Im New Yorker Greenwich Village fand er jede Menge Gleichgesinnte, darunter Stefan Grossman, Maria Muldaur oder John Sebastian, mit denen er 1963 in der Even Dozen Jug Band musizierte.
Katz brach seine College-Ausbildung ab und arbeitete als Gitarrenlehrer. Daneben spielte er in verschieden Gruppen. Danny Kalb engagierte ihn schließlich 1964 für seine neue Band, die unter dem Namen Blues Project bekannt wurde. Mit dem Blues Project spielte Katz 1967 beim Monterey Pop Festival. Wenig später löste sich die Gruppe auf.
Al Kooper gewann Katz 1968 als Mitglied für Blood, Sweat & Tears, bei denen er bis 1972 die Gitarre spielte. Danach arbeitete Katz hauptsächlich als Produzent und Manager, unter anderem mit Lou Reed und der irischen Folkband Horslips. Irland wurde zu seiner zweiten Heimat.
Später zog sich Steve Katz mehr und mehr aus dem Musikgeschäft zurück und lebte zurückgezogen im Hinterland des Staates New York.
Steve Katz (born May 9, 1945) is a guitarist and record producer who is best known as a member of the rock group Blood, Sweat & Tears. Katz was an original member of the rock bands The Blues Project and American Flyer. As a producer, his credits include the 1979 album Short Stories Tall Tales for the Irish band Horslips, and the Lou Reed albums Rock 'n' Roll Animal and Sally Can't Dance and the Elliott Murphy album Night Lights. He is married to Alison Palmer, a ceramic artist.
Biography
Steve Katz's professional career started in the late fifties on a local Schenectady, New York television program called Teenage Barn. Accompanied by piano, he would sing such hits of the day as "Tammy" and "April Love". At 15, Katz studied guitar with Dave Van Ronk and Reverend Gary Davis. It was at this time that he met and befriended guitarist Stefan Grossman. They would sometimes act as road managers for Reverend Davis and, in so doing, met many of the great "rediscovered" blues men of an earlier era, such as Son House, Skip James and Mississippi John Hurt.
As a part of the Greenwich Village culture during this time, Katz, along with Grossman, Maria Muldaur, John Sebastian and David Grisman became interested in jug band music – the music of Cannon's Jug Stompers and The Memphis Jug Band. They and other friends formed the Even Dozen Jug Band and recorded an album in 1964 for Elektra Records. Katz played washboard in the band.
After a brief sabbatical in college, Katz, while teaching guitar in Greenwich Village, auditioned for the Danny Kalb Quartet as a two-week substitute for Artie Traum. Traum did not return to the group and when Al Kooper joined, the Blues Project was formed. They worked out of New York, and it was the mid-sixties, so the Blues Project experimented, dabbled in their own style and gave Katz an opportunity to showcase his own songs. The Blues Project recorded three albums while together in their first incarnation. "Steve's Song", on the Projections album was the first original song that Katz had recorded.
After two years as house band at the Cafe Au Go Go and Murray the K's last "submarine race-watching" spectacular at the RKO 58th Street theater in New York, The Blues Project broke up, playing the Monterey Pop Festival as their last major engagement.
Blood, Sweat and Tears
For more details on this topic, see Blood, Sweat & Tears.
After the demise of the Blues Project, Katz, Kooper, Bobby Colomby and Jim Fielder decided to work up a set of music – mainly of Kooper's new songs – for a benefit concert to raise money to send Kooper to London where he wanted to live. Joined by Fred Lipsius on alto sax, the concert raised "enough money for a cab to the airport". There was no choice but to start another band. Influenced by the Electric Flag and an album by The Buckinghams entitled Time and Charges, a horn section was utilized with rock arrangements that were a touch more sophisticated than most horn arrangements in rock up to that time. Thus, Blood, Sweat & Tears was formed, a Columbia Records contract obtained, and the album Child is Father to the Man released. Recorded and mixed in only two weeks, the album sold moderately well but was a critical success. Katz sang one original song ("Megan's Gypsy Eyes") and "Morning Glory" by Tim Buckley.
Kooper left Blood, Sweat & Tears after only six months and while they were reorganizing, Katz wrote record reviews for Eye Magazine, a Cosmopolitan spin-off. Getting the record company to continue with the band without Kooper was difficult. Auditions were held and David Clayton-Thomas was hired as lead singer. Their next album sold six million copies worldwide and fostered three number one singles. Katz continued with Blood, Sweat & Tears for five years, during which time the group won three Grammy Awards, were voted best band by the Playboy Jazz and Pop Poll two years in a row, and won three major Down Beat awards. He wrote many songs during his tenure with the group.
Record producer and label executive
In 1972 Steve met singer Lou Reed. After the commercial failure of Reed's album Berlin, Katz produced two albums: Sally Can't Dance and a live record Rock 'n' Roll Animal. After a number of productions during this period, including Nightlights by Elliott Murphy, Katz returned to playing music joining American Flyer with Eric Kaz, Craig Fuller of Pure Prairie League, and Doug Yule from The Velvet Underground. The first of their two albums was produced by George Martin.
In 1977, Katz became East Coast Director of A&R and later Vice President of Mercury Records. During the three years that he spent at Mercury he produced the Irish group Horslips and spent a good deal of time in Ireland producing three albums for the group. Horslips had originally been an acoustic band that sang their songs in Gaelic, and the band members made Katz aware of Irish traditional music. In 1987, Steve became managing director of Green Linnet Records, a leading record label of traditional Irish music in America. Katz stayed at Green Linnet for five years, during which time he married Alison Palmer, a ceramic artist. Together, they started a small business. He is a professional photographer. After a 35-year absence, Katz rejoined Blood, Sweat & Tears as the band marked the 40th anniversary of its inception.
Biography
Steve Katz's professional career started in the late fifties on a local Schenectady, New York television program called Teenage Barn. Accompanied by piano, he would sing such hits of the day as "Tammy" and "April Love". At 15, Katz studied guitar with Dave Van Ronk and Reverend Gary Davis. It was at this time that he met and befriended guitarist Stefan Grossman. They would sometimes act as road managers for Reverend Davis and, in so doing, met many of the great "rediscovered" blues men of an earlier era, such as Son House, Skip James and Mississippi John Hurt.
As a part of the Greenwich Village culture during this time, Katz, along with Grossman, Maria Muldaur, John Sebastian and David Grisman became interested in jug band music – the music of Cannon's Jug Stompers and The Memphis Jug Band. They and other friends formed the Even Dozen Jug Band and recorded an album in 1964 for Elektra Records. Katz played washboard in the band.
After a brief sabbatical in college, Katz, while teaching guitar in Greenwich Village, auditioned for the Danny Kalb Quartet as a two-week substitute for Artie Traum. Traum did not return to the group and when Al Kooper joined, the Blues Project was formed. They worked out of New York, and it was the mid-sixties, so the Blues Project experimented, dabbled in their own style and gave Katz an opportunity to showcase his own songs. The Blues Project recorded three albums while together in their first incarnation. "Steve's Song", on the Projections album was the first original song that Katz had recorded.
After two years as house band at the Cafe Au Go Go and Murray the K's last "submarine race-watching" spectacular at the RKO 58th Street theater in New York, The Blues Project broke up, playing the Monterey Pop Festival as their last major engagement.
Blood, Sweat and Tears
For more details on this topic, see Blood, Sweat & Tears.
After the demise of the Blues Project, Katz, Kooper, Bobby Colomby and Jim Fielder decided to work up a set of music – mainly of Kooper's new songs – for a benefit concert to raise money to send Kooper to London where he wanted to live. Joined by Fred Lipsius on alto sax, the concert raised "enough money for a cab to the airport". There was no choice but to start another band. Influenced by the Electric Flag and an album by The Buckinghams entitled Time and Charges, a horn section was utilized with rock arrangements that were a touch more sophisticated than most horn arrangements in rock up to that time. Thus, Blood, Sweat & Tears was formed, a Columbia Records contract obtained, and the album Child is Father to the Man released. Recorded and mixed in only two weeks, the album sold moderately well but was a critical success. Katz sang one original song ("Megan's Gypsy Eyes") and "Morning Glory" by Tim Buckley.
Kooper left Blood, Sweat & Tears after only six months and while they were reorganizing, Katz wrote record reviews for Eye Magazine, a Cosmopolitan spin-off. Getting the record company to continue with the band without Kooper was difficult. Auditions were held and David Clayton-Thomas was hired as lead singer. Their next album sold six million copies worldwide and fostered three number one singles. Katz continued with Blood, Sweat & Tears for five years, during which time the group won three Grammy Awards, were voted best band by the Playboy Jazz and Pop Poll two years in a row, and won three major Down Beat awards. He wrote many songs during his tenure with the group.
Record producer and label executive
In 1972 Steve met singer Lou Reed. After the commercial failure of Reed's album Berlin, Katz produced two albums: Sally Can't Dance and a live record Rock 'n' Roll Animal. After a number of productions during this period, including Nightlights by Elliott Murphy, Katz returned to playing music joining American Flyer with Eric Kaz, Craig Fuller of Pure Prairie League, and Doug Yule from The Velvet Underground. The first of their two albums was produced by George Martin.
In 1977, Katz became East Coast Director of A&R and later Vice President of Mercury Records. During the three years that he spent at Mercury he produced the Irish group Horslips and spent a good deal of time in Ireland producing three albums for the group. Horslips had originally been an acoustic band that sang their songs in Gaelic, and the band members made Katz aware of Irish traditional music. In 1987, Steve became managing director of Green Linnet Records, a leading record label of traditional Irish music in America. Katz stayed at Green Linnet for five years, during which time he married Alison Palmer, a ceramic artist. Together, they started a small business. He is a professional photographer. After a 35-year absence, Katz rejoined Blood, Sweat & Tears as the band marked the 40th anniversary of its inception.
The Blues Project - Wake Me Shake Me - Live 1981
H-Bomb Ferguson *09.05.1929
Robert „H-Bomb“ Ferguson (* 1929 in Charleston, South Carolina; † 26. November 2006 in Cincinnati, Ohio) war ein US-amerikanischer Blues-Sänger und -Pianist. Bekannt war er für sein extravagantes Auftreten mit bunter Perücke. Sein Vorbild war „Mister Blues“ Wynonie Harris.
Mit 19 tingelte Ferguson, dessen Vater ihm Klavierunterricht finanziert hatte, mit Joe Liggins und seinen Honeydrippers. In New York trat er als „the Cobra Kid“ auf und hatte Anfang der 1950er seine ersten Plattenhits.
Schließlich verschlug es Ferguson nach Cincinnati, wo er von nun an lebte und musizierte. Erst 1986 erschien Fergusons erstes Album Life Is Hard. Bis zu seinem Tod 2006 trat er bei angesagten Blues und R&B-Festivals auf.
H-Bomb Ferguson (May 9, 1929 – November 26, 2006)[1][2] was an American jump blues singer from Cincinnati, Ohio, United States. He was an early pioneer of the rock and roll sound of the mid-1950s, featuring driving rhythm, intensely shouted vocals, honking tenor saxophone solos, and outlandish personal appearance. Ferguson sang and played piano in a flamboyant style, wearing colorful wigs.[3]
Life and career
Born Robert Percell Ferguson in Charleston, South Carolina,[2] he was the eleventh of twelve children. His father was a Baptist preacher who paid for piano lessons for his son,[4] on condition he learned sacred melodies. But Ferguson had other ideas. "After church was over, while the people was all standing outside talking, me and my friends would run back inside and I'd play the blues on the piano."
At the age of 19, he was on the road with Joe Liggins and the Honeydrippers. They moved to New York, where Ferguson branched off on his own, getting a gig at the nightclub Baby Grand Club in Harlem, billed as "The Cobra Kid." He was under contract with Savoy Records in 1951-1952.[1]
Ferguson retired from touring in the early 1970s, but made a number of comebacks. Backed by the Medicine Men, he recorded his first album, Wiggin' Out, for Chicago's Earwig Music in 1993.[1] He died in 2006 at the Hospice of Cincinnati of complications from emphysema and cardiopulmonary disease.[2]
His early work was featured in a compilation album H-Bomb Ferguson: Big City Blues, 1951-54.
H-Bomb Ferguson
Rhythm & Blues shouter H-Bomb Ferguson performing in New Orleans in 2005.
R.I.P.
Floyd Council +09.05.1976
Floyd Council (* 2. September 1911 in Chapel Hill, North Carolina; † 9. Mai 1976 in Sanford, North Carolina) war ein US-amerikanischer Blues-Gitarrist, Mandolinenspieler und Sänger. In den 1930ern machte er mit Blind Boy Fuller und solo Aufnahmen. Auf einigen Platten wird er als "Blind Boy Fuller’s buddy" (Blind Boy Fullers Kumpel) geführt. Andere Aufnahmen erschienen unter den Namen "Dipper Boy Council" und "The Devil’s Daddy-in-Law" (des Teufels Schwiegerpapa).
Seine Karriere als Musiker begann auf den Straßen seiner Heimatstadt, wo er mit Freunden musizierte. Dort wurde er 1937 von dem Talentsucher einer Plattenfirma entdeckt. Er nahm in den folgenden Jahren, nach eigenen Angaben in einem späten Interview, insgesamt 27 Stücke auf. In den 1960ern wurde seine Karriere jäh durch einen Schlaganfall gestoppt. Er verstarb 1976 in seinem Geburtsort.
Roger 'Syd' Barrett setzte den Namen seiner Band Pink Floyd aus den Vornamen von Pink Anderson und Floyd Council zusammen, von denen er im Hüllentext von Paul Oliver zu der im Jahr 1962 erschienenen Blind Boy Fuller LP Philips BBL-7512 gelesen hatte: "Curley Weaver and Fred McMullen, (...) Pink Anderson or Floyd Council – these were a few amongst the many blues singers that were to be heard in the rolling hills of the Piedmont, or meandering with the streams through the wooded valleys."
http://de.wikipedia.org/wiki/Floyd_Council
Floyd Council (September 2, 1911 – May 9, 1976) was an American blues guitarist, mandolin player, and singer. He became a well-known practitioner of the Piedmont blues sound from that area, popular throughout the southeastern region of the US in the 1930s.
Born in Chapel Hill, North Carolina, United States, to Harrie and Lizzie Council, Floyd began his musical career on the streets of Chapel Hill in the 1920s, performing with two brothers, Leo and Thomas Strowd as "The Chapel Hillbillies". In the late 1920s and early 1930s he and Blind Boy Fuller busked in the Chapel Hill area.[1] He recorded twice for ARC at sessions with Fuller in the mid-thirties, all examples of the Piedmont style.
Council suffered a stroke in the late 1960s which partially paralyzed his throat muscles and slowed his motor skills, but did not significantly damage his cognitive abilities. Folklorist Peter B. Lowry attempted to record him one afternoon in 1970, but he never regained his singing or playing abilities. Accounts say that he remained "quite sharp in mind".
Council died in 1976 of a heart attack, after moving to Sanford, North Carolina. He was buried at White Oak AME Zion Cemetery in Sanford.
The Floyd in Pink Floyd
Syd Barrett, of English psychedelic rock band Pink Floyd, came up with the band's name by juxtaposing the first names of Council and South Carolina bluesman Pink Anderson. He noticed the names in the liner notes of a 1962 Blind Boy Fuller LP (Philips BBL-7512). The text, written by Paul Oliver, read: "Curley Weaver and Fred McMullen, (...) Pink Anderson or Floyd Council - these were a few amongst the many blues singers that were to be heard in the rolling hills of the Piedmont, or meandering with the streams through the wooded valleys."
Born in Chapel Hill, North Carolina, United States, to Harrie and Lizzie Council, Floyd began his musical career on the streets of Chapel Hill in the 1920s, performing with two brothers, Leo and Thomas Strowd as "The Chapel Hillbillies". In the late 1920s and early 1930s he and Blind Boy Fuller busked in the Chapel Hill area.[1] He recorded twice for ARC at sessions with Fuller in the mid-thirties, all examples of the Piedmont style.
Council suffered a stroke in the late 1960s which partially paralyzed his throat muscles and slowed his motor skills, but did not significantly damage his cognitive abilities. Folklorist Peter B. Lowry attempted to record him one afternoon in 1970, but he never regained his singing or playing abilities. Accounts say that he remained "quite sharp in mind".
Council died in 1976 of a heart attack, after moving to Sanford, North Carolina. He was buried at White Oak AME Zion Cemetery in Sanford.
The Floyd in Pink Floyd
Syd Barrett, of English psychedelic rock band Pink Floyd, came up with the band's name by juxtaposing the first names of Council and South Carolina bluesman Pink Anderson. He noticed the names in the liner notes of a 1962 Blind Boy Fuller LP (Philips BBL-7512). The text, written by Paul Oliver, read: "Curley Weaver and Fred McMullen, (...) Pink Anderson or Floyd Council - these were a few amongst the many blues singers that were to be heard in the rolling hills of the Piedmont, or meandering with the streams through the wooded valleys."
Tommy McClennan +09.05.1961
Ein eher mäßiger Gitarren- und Pianospieler, bestach McClennan durch eine kraftvolle, ausdrucksstarke Stimme. Er trat häufig zusammen mit Robert Petway auf. Honeyboy Edwards berichtete, dass die beiden nicht sehr groß waren, so dass sie fast wie zwei Liliputaner aussahen. Er war mit Big Bill Broonzy befreundet, der ihn in seinem Buch Big Bill Blues (1935) erwähnt.
Zwischen 1939 und 1942 nahm McClennan in fünf Aufnahme-Sessions 42 Titel auf. Zu seinen bekanntesten Stücken gehören Bottle It Up And Go, Cross Cut Saw Blues und Deep Sea Blues (basierend auf dem Catfish Blues von Petway). Zu seinen weiteren Stücken gehörten der Cotton Patch Blues (1939), Highway 51, It's Hard To be Lonesome, I'm A Guitar King (alle 1940), Travellin' Highway Man (1941), Deep Blue Sea Blues, Blues Trip Me In The Morning (1942). Am bekanntesten wurde jedoch sein Titel Bottle It Up And Go, der als Dokument der Rassendiskriminierung in den USA gilt.
Danach verschwand Tommy McClennan rasch von der Bildfläche. Er starb vermutlich völlig verarmt und alkoholkrank 1962 in Chicago.
http://de.wikipedia.org/wiki/Tommy_McClennan
Tommy McClennan (January 4, 1905[1] – May 9, 1961) was an American Delta blues singer and guitarist.[2]
Life and career
McClennan was born in Durant, Mississippi, United States, and grew up in the town. He played and sang blues in a rough, energetic style.
He made a series of recordings for Bluebird Records from 1939 through 1942 and regularly played with his friend Robert Petway. His voice is heard in the background on Petway's recording of "Boogie Woogie Woman" (1942).[3] McClennan's singles in this period included "Bottle It Up and Go", "New Highway No.51", "Shake 'Em on Down", and "Whiskey Head Woman".[3]
Several of his songs have been covered by other musicians, including "Cross Cut Saw Blues" (covered by Albert King) and "My Baby's Gone" (Moon Mullican).[4] McClennan's "I'm A Guitar King" was included on the 1959 collection issued by Folkways Records, The Country Blues.
McClennan died of bronchopneumonia in Chicago, Illinois on May 9, 1961.[5][6]
Citation
"He had a different style of playing a guitar", Big Bill Broonzy remarked drily. "You just make the chords and change when you feel like changing"[3]
In John Fahey's "Screaming and Hollerin' the Blues" there is an interview conducted with Booker Miller, who was a contemporary of Charlie Patton, he makes mention of someone who is most likely Tommy McClennan, though he does not know his name: "... and I saw another fella he put some records out, they (him and Willie Brown) be together, but he be by himself when I see him, they called him "Sugar"... I ain't never known him as nothing but Sugar, he put out a record called Bottle Up and Go... I sold him my guitar."
Bob Dylan covered Tommy McClennan's Highway 51 on his self-named debut album in 1962.
Life and career
McClennan was born in Durant, Mississippi, United States, and grew up in the town. He played and sang blues in a rough, energetic style.
He made a series of recordings for Bluebird Records from 1939 through 1942 and regularly played with his friend Robert Petway. His voice is heard in the background on Petway's recording of "Boogie Woogie Woman" (1942).[3] McClennan's singles in this period included "Bottle It Up and Go", "New Highway No.51", "Shake 'Em on Down", and "Whiskey Head Woman".[3]
Several of his songs have been covered by other musicians, including "Cross Cut Saw Blues" (covered by Albert King) and "My Baby's Gone" (Moon Mullican).[4] McClennan's "I'm A Guitar King" was included on the 1959 collection issued by Folkways Records, The Country Blues.
McClennan died of bronchopneumonia in Chicago, Illinois on May 9, 1961.[5][6]
Citation
"He had a different style of playing a guitar", Big Bill Broonzy remarked drily. "You just make the chords and change when you feel like changing"[3]
In John Fahey's "Screaming and Hollerin' the Blues" there is an interview conducted with Booker Miller, who was a contemporary of Charlie Patton, he makes mention of someone who is most likely Tommy McClennan, though he does not know his name: "... and I saw another fella he put some records out, they (him and Willie Brown) be together, but he be by himself when I see him, they called him "Sugar"... I ain't never known him as nothing but Sugar, he put out a record called Bottle Up and Go... I sold him my guitar."
Bob Dylan covered Tommy McClennan's Highway 51 on his self-named debut album in 1962.
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