1900 Ernest Lawlars (Little Son Joe)*
1911 Big Joe Turner*
1951 Andy Santana*
1955 Jürgen Morgenroth*
1985 Robert Shaw+
Happy Birthday
Big Joe Turner *18.05.1911
siehe auch: http://blueskalender.blogspot.de/p/big-joe-turner-18.html
.jpg)
Big Joe Turner (* 18. Mai 1911 in Kansas City, Missouri; † 24. November 1985 in Inglewood, Kalifornien; eigentlich Joseph Vernon Turner), war ein US-amerikanischer Boogie Woogie-, Blues- und Rock ’n’ Roll-Sänger.Schon mit vierzehn Jahren nahm er mit seinem Gesang Einfluss auf die lokale Jazz-Szene in seinem Geburtsort. Mitte der 30er-Jahre lernte er den amerikanischen Boogie-Woogie Pianisten Pete Johnson kennen, mit dem er von da an gemeinsam auftrat. 1936 kam er erstmals nach New York, wo er Count Basie kennenlernte.
Am 23. Dezember 1938 entstanden zusammen mit Johnson seine ersten Songs in einem Swing-Konzert in der Carnegie Hall, nämlich Low Down Dog und It's All Right, Baby. Er wurde in jenem Jahr von John Hammond gefördert. Am 30. Dezember 1938 nahm er zusammen mit Pete Johnson dessen Komposition Roll 'em Pete auf (Vocalion #4607), es folgte am 30. Juni 1939 Cherry Red. Danach trat er mit verschiedenen Jazz-Größen wie Benny Goodman, Duke Ellington und Art Tatum auf. Im Jahr 1945 unterschrieb er einen Plattenvertrag bei National Records, wo er von Herb Abramson produziert wurde. 1951 wurde dann Ahmet Ertegün durch Abramson auf ihn aufmerksam und nahm ihn für Atlantic Records unter Vertrag. Als Folge davon entstand die Single Chains Of Love, die eine hohe Platzierung in den Rhythm-and-Blues-Charts erreichte und später von Pat Boone gecovert wurde. In den 50ern hatte er mehrere größere und kleinere Single-Hits, darunter Shake, Rattle and Roll, Flip, Flop & Fly und Corrine, Corrina, und spielte unter anderem mit Elmore James (TV Mama) und King Curtis. Insgesamt hielten sich die Erfolge zwar in Grenzen, doch sie reichten aus, um davon leben zu können.
In den 60er- und 70er-Jahren tourte Turner die meiste Zeit. Er nahm mit Jazz-Größen wie Dizzy Gillespie und Roy Eldridge Platten auf und spielte auch mit Axel Zwingenberger, mit dem er zudem zwei höchst erfolgreiche Alben aufnahm. Allerdings machten ihm Herzschwächen und Diabetes das Leben schwer. Seine letzten Aufnahmen entstanden zusammen mit Jimmy Witherspoon.
Big Joe Turner - Shake, Rattle And Roll
1983 wurde Big Joe in die Blues Hall of Fame aufgenommen.
Am 24. November 1985 starb Big Joe Turner in Kalifornien an Nierenversagen. Zwei Jahre später wurde er posthum in die Rock and Roll Hall of Fame aufgenommen[1].
Zwei seiner bekanntesten Lieder waren:
Honey Hush (1953) - Piano auf der Originalaufnahme: Fats Domino
Shake, Rattle and Roll (1954), die Aufnahme wurde 2001 in die Blues Hall of Fame aufgenommen.
http://de.wikipedia.org/wiki/Big_Joe_Turner
Big Joe Turner (born Joseph Vernon Turner Jr., May 18, 1911 – November 24, 1985)[1] was an American blues shouter from Kansas City, Missouri, United States.[2] According to the songwriter Doc Pomus, "Rock and roll would have never happened without him."[2] While he had his greatest fame during the 1950s with his rock and roll recordings, particularly "Shake, Rattle and Roll", Turner's career as a performer endured from the 1920s into the 1980s.[2] Turner was inducted into the Rock and Roll Hall of Fame in 1987, with the Hall lauding him as "the brawny voiced 'Boss of the Blues'".[2]
Career
Early days
Known variously as The Boss of the Blues, and Big Joe Turner (due to his 6'2", 300+ lbs stature), Turner was born in Kansas City. His father was killed in a train accident when Joe was only four years old. He first discovered a love of music in his involvement at church. He began singing on street corners for money, quitting school at age fourteen to work in Kansas City's nightclubs, first as a cook, and later as a singing bartender. He became known eventually as The Singing Barman, and worked in such venues as The Kingfish Club and The Sunset, where he and his piano playing partner Pete Johnson became resident performers.[2] The Sunset was managed by Piney Brown. It featured "separate but equal" facilities for caucasian patrons. Turner wrote "Piney Brown Blues" in his honor and sang it throughout his entire career.
At that time Kansas City nightclubs were subject to frequent raids by the police, but as Turner recounts, "The Boss man would have his bondsmen down at the police station before we got there. We'd walk in, sign our names and walk right out. Then we would cabaret until morning".
His partnership with boogie-woogie pianist Pete Johnson proved fruitful.[2] Together they went to New York City in 1936, where they appeared on a playbill with Benny Goodman, but as Turner recounts, "After our show with Goodman, we auditioned at several places, but New York wasn't ready for us yet, so we headed back to K.C.". Eventually they were witnessed by the talent scout, John H. Hammond in 1938, who invited them back to New York to appear in one of his "From Spirituals to Swing" concerts at Carnegie Hall, which were instrumental in introducing jazz and blues to a wider American audience.[2]
Due in part to their appearance at Carnegie Hall, Turner and Johnson had a major success with the song "Roll 'Em Pete".[2] The track, basically a collection of traditional blues lyrics featured one of the earliest recorded examples of a back beat. It was a song that Turner recorded many times, with various combinations of musicians, over the ensuing years.
1939 to 1950
In 1939, along with boogie players Albert Ammons and Meade Lux Lewis, they began a residency at Café Society, a nightclub in New York City, where they appeared on the same playbill as Billie Holiday and Frank Newton's band.[2] Besides "Roll 'Em, Pete", Turner's best-known recordings from this period are probably "Cherry Red", "I Want A Little Girl" and "Wee Baby Blues". "Cherry Red" was recorded in 1939 for the Vocalion label, with Hot Lips Page on trumpet and a full band in attendance.[3] The next year Turner contracted with Decca and recorded "Piney Brown Blues", with Johnson on piano.[3]
In 1941, he went to Los Angeles and performed in Duke Ellington's revue Jump for Joy in Hollywood. He appeared as a singing policeman in a comedy sketch called "He's on the Beat". Los Angeles was his home for a time, and during 1944 he worked in Meade Lux Lewis's Soundies musical movies. Although he sang on the soundtrack recordings, he was not present for filming, and his vocals were mouthed by comedian Dudley Dickerson for the camera. In 1945 Turner and Pete Johnson established their bar in Los Angeles, The Blue Moon Club.
That same year he contracted with National Records company, and recorded under Herb Abramson's supervision. His first hit single was a cover of Saunders King's "S.K. Blues" (1945).[4] He recorded the songs "My Gal's A Jockey" and the risqué "Around The Clock" the same year, and the Aladdin company released "Battle of the Blues", a duet with Wynonie Harris. Turner stayed with National until 1947, but none of his recordings were great sellers.[3] In 1950, he released the song "Still in the Dark" on Freedom Records.[4]
Turner made many albums with Johnson, Art Tatum, Sammy Price, and other jazz groups.[5] He recorded with several recording companies and also performed with the Count Basie Orchestra.[2] During his career, Turner was part of the transition from big bands to jump blues to rhythm and blues, and finally to rock and roll. Turner was a master of traditional blues verses and at Kansas City jam sessions he could swap choruses with instrumental soloists for hours.[citation needed]
Success during the 1950s
In 1951, while performing with the Count Basie Orchestra at Harlem's Apollo Theater as a replacement for Jimmy Rushing, he was spotted by Ahmet and Nesuhi Ertegün, who contracted him to their new recording company, Atlantic Records.[2] Turner recorded a number of successes for them, including the blues standards, "Chains of Love"[6] and "Sweet Sixteen".[3] Many of his vocals are punctuated with shouts to the band members, as for the songs "Boogie Woogie Country Girl" ("That's a good rockin' band!", "Go ahead, man! Ow! That's just what I need!" ) and "Honey Hush" (he repeatedly sings "Hi-yo, Silver!", probably in reference to The Treniers singing the phrase for their Lone Ranger parody "Ride, Red, Ride"). Turner's records scored at the top of the rhythm-and-blues charts; although they were sometimes so risqué that some radio stations would not play them, the songs received much play on jukeboxes and records.
Turner had a great success during 1954 with "Shake, Rattle and Roll", which seriously enhanced his career, turning him into a teenage favorite, and also helped to transform popular music.[2] During the song, Turner yells at his woman to "get outa that bed, wash yo' face an' hands" and comments that she's "wearin' those dresses, the sun comes shinin' through!, I can't believe my eyes, all that mess belongs to you."[7] He sang the number on film for the 1955 theatrical feature Rhythm and Blues Revue.
Although the cover version of the song by Bill Haley & His Comets, with the risqué lyrics partially omitted, was a greater sales success, many listeners sought out Turner's version and were introduced thereby to rhythm and blues. Elvis Presley's version of "Shake, Rattle and Roll" combined Turner's lyrics with Haley's arrangement, but was not a successful single.
"The Chicken and the Hawk", "Flip, Flop and Fly",[6] "Hide and Seek," "Morning, Noon and Night," and "Well All Right" were successful recordings from this period.[3] He performed on the television program Showtime at the Apollo and in the movie Shake Rattle & Rock! (1956).[3]
The song "Corrine, Corrina" was another great seller during 1956.[3] In addition to the rock music songs, he released Boss of the Blues album in 1956.[5] "(I’m Gonna) Jump for Joy", his last hit, reached the US R&B record chart on May 26, 1958.[2]
Returning to the blues
After a number of successes in this vein, Turner quit popular music and resumed singing with small jazz combos, recording numerous albums in that style during the 1960s and 1970s.[2] During 1966, Bill Haley helped revive Turner's career by lending the Comets for a series of popular recordings in Mexico.[3] In 1977 he recorded a cover version of Guitar Slim's song, "The Things That I Used to Do".
During the 1960s and 1970s he resumed performing jazz and blues music, performing at many music festivals and recording for Norman Granz's company Pablo Records.[3][5] He also worked with Axel Zwingenberger.[5] Turner also participated in a 'Battle of the Blues' with Wynonie Harris and T-Bone Walker.[8]
During 1965 he toured in England with trumpeter Buck Clayton and trombonist Vic Dickenson, accompanied by Humphrey Lyttelton and his Band. Part of a studio concert was televised by the BBC and later issued on DVD. A sound recording of a club appearance made during this tour is not thought of sufficient sound quality to justify commercial issue. He also toured Europe with Count Basie and his Orchestra.
He won the Esquire magazine award for male vocalist in 1945, the Melody Maker award for best 'new' vocalist during 1956, and the British Jazz Journal award as top male singer during 1965. In 1977, Turner recorded "I'm Gonna Sit Right Down and Write Myself a Letter" for Spivey Records, featuring Lloyd Glenn on piano. Turner's career endured from the bar rooms of Kansas City in the 1920s (when at the age of twelve he performed with a pencilled moustache and his father's hat), to European jazz music festivals of the 1980s.
In 1983, only two years before his death, Turner was inducted into the Blues Hall of Fame.[9] That same year, the album Blues Train was released by Mute Records company; the album had Turner paired with the team Roomful of Blues.[2] Turner received top billing with Count Basie in the Kansas City jazz reunion movie The Last of the Blue Devils (1979) featuring Jay McShann, Jimmy Forrest, and other players from the city.
Death
He died in Inglewood, California in November 1985, at the age of 74 of heart failure, having suffered the earlier effects of arthritis, a stroke and diabetes. Big Joe Turner was posthumously inducted into the Rock and Roll Hall of Fame in 1987.[10] He is buried at Roosevelt Memorial Park in Gardena, California.
Tributes
The New York Times music critic Robert Palmer said: "...his voice, pushing like a Count Basie solo, rich and grainy as a section of saxophones, which dominated the room with the sheer sumptuousness of its sound."
In announcing Turner's death in their December 1985 edition, the British music magazine, NME, described Turner as "the grandfather of rock and roll."[11]
Bob Dylan referenced Turner in the song "High Water (For Charley Patton)", from his 2001 album Love and Theft. Songwriter Dave Alvin wrote a song about an evening he spent with Turner titled "Boss Of The Blues". It was on his 2009 release, Dave Alvin & The Guilty Women. Alvin discussed the song in Issue 59[12] of The Blasters Newsletter.[13]
The biographical film The Buddy Holly Story refers to Turner as well as contemporaries Little Richard and Fats Domino as major influences on Buddy Holly, with Holly collecting their vinyls.
Most famous recordings
"Roll 'Em Pete" (1938) (available in many versions over the years. Used for the million-dollar
first scene in Spike Lee's film, Malcolm X)[14]
"Chains Of Love" (1951) * (this was Turner's first million seller. The song was written by
Ahmet Ertegun using the pseudonym Nugetre, (words) and Van "Piano Man" Walls (music),
and the disc reached the million sales mark by 1954.)[15]
"Honey Hush" (1953) * (Turner's second million-seller; written by Turner, it was credited to
Lou Willie Turner.)[15]
"Shake, Rattle and Roll" (1954)
"Flip, Flop and Fly" (1955) * (Has sold a million over the years. The song was written by
Charles Calhoun and Turner, but was credited to Lou Willie Turner.)[15]
"Cherry Red" (1956)
"Corrine, Corrina" (1956) * (his fourth million seller; with adaption by J. Mayo Williams,
Mitchell Parish and Bo Chatmon in 1932. This disc reached No. 41, and spent 10 weeks in the
Billboard record chart)[15]
"Wee Baby Blues" (1956) (a song Turner had been singing since his Kingfish Club days)
"Love Roller Coaster" (1956), with new lyrics to the Kansas City classic, "Morning Glory".
"Midnight Special" (1957)
http://en.wikipedia.org/wiki/Big_Joe_Turner
Big Joe Turner (born Joseph Vernon Turner Jr., May 18, 1911 – November 24, 1985)[1] was an American blues shouter from Kansas City, Missouri, United States.[2] According to the songwriter Doc Pomus, "Rock and roll would have never happened without him."[2] While he had his greatest fame during the 1950s with his rock and roll recordings, particularly "Shake, Rattle and Roll", Turner's career as a performer endured from the 1920s into the 1980s.[2] Turner was inducted into the Rock and Roll Hall of Fame in 1987, with the Hall lauding him as "the brawny voiced 'Boss of the Blues'".[2]Career
Early days
Known variously as The Boss of the Blues, and Big Joe Turner (due to his 6'2", 300+ lbs stature), Turner was born in Kansas City. His father was killed in a train accident when Joe was only four years old. He first discovered a love of music in his involvement at church. He began singing on street corners for money, quitting school at age fourteen to work in Kansas City's nightclubs, first as a cook, and later as a singing bartender. He became known eventually as The Singing Barman, and worked in such venues as The Kingfish Club and The Sunset, where he and his piano playing partner Pete Johnson became resident performers.[2] The Sunset was managed by Piney Brown. It featured "separate but equal" facilities for caucasian patrons. Turner wrote "Piney Brown Blues" in his honor and sang it throughout his entire career.
At that time Kansas City nightclubs were subject to frequent raids by the police, but as Turner recounts, "The Boss man would have his bondsmen down at the police station before we got there. We'd walk in, sign our names and walk right out. Then we would cabaret until morning".
His partnership with boogie-woogie pianist Pete Johnson proved fruitful.[2] Together they went to New York City in 1936, where they appeared on a playbill with Benny Goodman, but as Turner recounts, "After our show with Goodman, we auditioned at several places, but New York wasn't ready for us yet, so we headed back to K.C.". Eventually they were witnessed by the talent scout, John H. Hammond in 1938, who invited them back to New York to appear in one of his "From Spirituals to Swing" concerts at Carnegie Hall, which were instrumental in introducing jazz and blues to a wider American audience.[2]
Due in part to their appearance at Carnegie Hall, Turner and Johnson had a major success with the song "Roll 'Em Pete".[2] The track, basically a collection of traditional blues lyrics featured one of the earliest recorded examples of a back beat. It was a song that Turner recorded many times, with various combinations of musicians, over the ensuing years.
1939 to 1950
In 1939, along with boogie players Albert Ammons and Meade Lux Lewis, they began a residency at Café Society, a nightclub in New York City, where they appeared on the same playbill as Billie Holiday and Frank Newton's band.[2] Besides "Roll 'Em, Pete", Turner's best-known recordings from this period are probably "Cherry Red", "I Want A Little Girl" and "Wee Baby Blues". "Cherry Red" was recorded in 1939 for the Vocalion label, with Hot Lips Page on trumpet and a full band in attendance.[3] The next year Turner contracted with Decca and recorded "Piney Brown Blues", with Johnson on piano.[3]
In 1941, he went to Los Angeles and performed in Duke Ellington's revue Jump for Joy in Hollywood. He appeared as a singing policeman in a comedy sketch called "He's on the Beat". Los Angeles was his home for a time, and during 1944 he worked in Meade Lux Lewis's Soundies musical movies. Although he sang on the soundtrack recordings, he was not present for filming, and his vocals were mouthed by comedian Dudley Dickerson for the camera. In 1945 Turner and Pete Johnson established their bar in Los Angeles, The Blue Moon Club.
That same year he contracted with National Records company, and recorded under Herb Abramson's supervision. His first hit single was a cover of Saunders King's "S.K. Blues" (1945).[4] He recorded the songs "My Gal's A Jockey" and the risqué "Around The Clock" the same year, and the Aladdin company released "Battle of the Blues", a duet with Wynonie Harris. Turner stayed with National until 1947, but none of his recordings were great sellers.[3] In 1950, he released the song "Still in the Dark" on Freedom Records.[4]
Turner made many albums with Johnson, Art Tatum, Sammy Price, and other jazz groups.[5] He recorded with several recording companies and also performed with the Count Basie Orchestra.[2] During his career, Turner was part of the transition from big bands to jump blues to rhythm and blues, and finally to rock and roll. Turner was a master of traditional blues verses and at Kansas City jam sessions he could swap choruses with instrumental soloists for hours.[citation needed]
Success during the 1950s
In 1951, while performing with the Count Basie Orchestra at Harlem's Apollo Theater as a replacement for Jimmy Rushing, he was spotted by Ahmet and Nesuhi Ertegün, who contracted him to their new recording company, Atlantic Records.[2] Turner recorded a number of successes for them, including the blues standards, "Chains of Love"[6] and "Sweet Sixteen".[3] Many of his vocals are punctuated with shouts to the band members, as for the songs "Boogie Woogie Country Girl" ("That's a good rockin' band!", "Go ahead, man! Ow! That's just what I need!" ) and "Honey Hush" (he repeatedly sings "Hi-yo, Silver!", probably in reference to The Treniers singing the phrase for their Lone Ranger parody "Ride, Red, Ride"). Turner's records scored at the top of the rhythm-and-blues charts; although they were sometimes so risqué that some radio stations would not play them, the songs received much play on jukeboxes and records.
Turner had a great success during 1954 with "Shake, Rattle and Roll", which seriously enhanced his career, turning him into a teenage favorite, and also helped to transform popular music.[2] During the song, Turner yells at his woman to "get outa that bed, wash yo' face an' hands" and comments that she's "wearin' those dresses, the sun comes shinin' through!, I can't believe my eyes, all that mess belongs to you."[7] He sang the number on film for the 1955 theatrical feature Rhythm and Blues Revue.
Although the cover version of the song by Bill Haley & His Comets, with the risqué lyrics partially omitted, was a greater sales success, many listeners sought out Turner's version and were introduced thereby to rhythm and blues. Elvis Presley's version of "Shake, Rattle and Roll" combined Turner's lyrics with Haley's arrangement, but was not a successful single.
"The Chicken and the Hawk", "Flip, Flop and Fly",[6] "Hide and Seek," "Morning, Noon and Night," and "Well All Right" were successful recordings from this period.[3] He performed on the television program Showtime at the Apollo and in the movie Shake Rattle & Rock! (1956).[3]
The song "Corrine, Corrina" was another great seller during 1956.[3] In addition to the rock music songs, he released Boss of the Blues album in 1956.[5] "(I’m Gonna) Jump for Joy", his last hit, reached the US R&B record chart on May 26, 1958.[2]
Returning to the blues
After a number of successes in this vein, Turner quit popular music and resumed singing with small jazz combos, recording numerous albums in that style during the 1960s and 1970s.[2] During 1966, Bill Haley helped revive Turner's career by lending the Comets for a series of popular recordings in Mexico.[3] In 1977 he recorded a cover version of Guitar Slim's song, "The Things That I Used to Do".
During the 1960s and 1970s he resumed performing jazz and blues music, performing at many music festivals and recording for Norman Granz's company Pablo Records.[3][5] He also worked with Axel Zwingenberger.[5] Turner also participated in a 'Battle of the Blues' with Wynonie Harris and T-Bone Walker.[8]
During 1965 he toured in England with trumpeter Buck Clayton and trombonist Vic Dickenson, accompanied by Humphrey Lyttelton and his Band. Part of a studio concert was televised by the BBC and later issued on DVD. A sound recording of a club appearance made during this tour is not thought of sufficient sound quality to justify commercial issue. He also toured Europe with Count Basie and his Orchestra.
He won the Esquire magazine award for male vocalist in 1945, the Melody Maker award for best 'new' vocalist during 1956, and the British Jazz Journal award as top male singer during 1965. In 1977, Turner recorded "I'm Gonna Sit Right Down and Write Myself a Letter" for Spivey Records, featuring Lloyd Glenn on piano. Turner's career endured from the bar rooms of Kansas City in the 1920s (when at the age of twelve he performed with a pencilled moustache and his father's hat), to European jazz music festivals of the 1980s.
In 1983, only two years before his death, Turner was inducted into the Blues Hall of Fame.[9] That same year, the album Blues Train was released by Mute Records company; the album had Turner paired with the team Roomful of Blues.[2] Turner received top billing with Count Basie in the Kansas City jazz reunion movie The Last of the Blue Devils (1979) featuring Jay McShann, Jimmy Forrest, and other players from the city.
Death
He died in Inglewood, California in November 1985, at the age of 74 of heart failure, having suffered the earlier effects of arthritis, a stroke and diabetes. Big Joe Turner was posthumously inducted into the Rock and Roll Hall of Fame in 1987.[10] He is buried at Roosevelt Memorial Park in Gardena, California.
Tributes
The New York Times music critic Robert Palmer said: "...his voice, pushing like a Count Basie solo, rich and grainy as a section of saxophones, which dominated the room with the sheer sumptuousness of its sound."
In announcing Turner's death in their December 1985 edition, the British music magazine, NME, described Turner as "the grandfather of rock and roll."[11]
Bob Dylan referenced Turner in the song "High Water (For Charley Patton)", from his 2001 album Love and Theft. Songwriter Dave Alvin wrote a song about an evening he spent with Turner titled "Boss Of The Blues". It was on his 2009 release, Dave Alvin & The Guilty Women. Alvin discussed the song in Issue 59[12] of The Blasters Newsletter.[13]
The biographical film The Buddy Holly Story refers to Turner as well as contemporaries Little Richard and Fats Domino as major influences on Buddy Holly, with Holly collecting their vinyls.
Most famous recordings
"Roll 'Em Pete" (1938) (available in many versions over the years. Used for the million-dollar
first scene in Spike Lee's film, Malcolm X)[14]
"Chains Of Love" (1951) * (this was Turner's first million seller. The song was written by
Ahmet Ertegun using the pseudonym Nugetre, (words) and Van "Piano Man" Walls (music),
and the disc reached the million sales mark by 1954.)[15]
"Honey Hush" (1953) * (Turner's second million-seller; written by Turner, it was credited to
Lou Willie Turner.)[15]
"Shake, Rattle and Roll" (1954)
"Flip, Flop and Fly" (1955) * (Has sold a million over the years. The song was written by
Charles Calhoun and Turner, but was credited to Lou Willie Turner.)[15]
"Cherry Red" (1956)
"Corrine, Corrina" (1956) * (his fourth million seller; with adaption by J. Mayo Williams,
Mitchell Parish and Bo Chatmon in 1932. This disc reached No. 41, and spent 10 weeks in the
Billboard record chart)[15]
"Wee Baby Blues" (1956) (a song Turner had been singing since his Kingfish Club days)
"Love Roller Coaster" (1956), with new lyrics to the Kansas City classic, "Morning Glory".
"Midnight Special" (1957)
Ernest Lawlars (Little Son Joe) *18.05.1900
Ernest Lawlars (May 18, 1900 – November 14, 1961)[1] was an American blues guitarist, vocalist, and composer, known professionally as Little Son Joe.[2]
Life and career
Lawlars (sometimes spelled "Lawlers" or "Lawlar") was born in Hughes, Arkansas, United States. From around 1931 to 1936 he worked around Memphis with Robert Wilkins, who he accompanied on a recording session in 1935.[1] The same session also produced Lawlers's first recorded side, under the name Son Joe, although this was not issued.[3]
By 1939 he was working with, and married to, Memphis Minnie. Their first recording session together, for Vocalion in February 1939, produced six released sides by Lawlers as well as four under Minnie's name.[2] Lawlars recorded in his own right under the name Little Son Joe, but most of his recorded work was as an accompanist to Minnie.[4] He mostly retired from music from around 1957 because of ill-health,[1] although after moving to Memphis in 1958 he and Minnie had a regular Saturday night gig at the Red Light in Millington, Tennessee,[5] and he played drums on Minnie's final recording session in 1959.[6]
He died in John Gaston Hospital, Memphis, Tennessee, in November 1961 from heart disease, and was buried in the New Hope Cemetery in Walls, Mississippi.
Little Son Joe (Ernest Lawlars) with Memphis Minnie, A.B.C. blues
Andy Santana *18.05.1951
Am 18. Mai 1951 wurde Andy Santana in San Jose, Kalifornien geboren. Er ist Sänger, Gitarrist und Harmonikaspieler. Seit den Siebzigern ist er musikalisch aktiv und heutzutage ebenfalls als Produzent tätig.
Santanas Gitarrenspiel hat einen sehr klaren und melodischen Klang und zeichnet sich dadurch aus, dass es sehr gefühlvoll vorgetragen wird und nicht an Höchstleistungen orientiert ist. Die Wurzeln liegen hörbar an verschiedenen Orten verwurzelt, seien es Chicago oder New Orleans als die stärksten Einflüsse. Dazu kommt noch ein wenig von der Eleganz und Leichtigkeit des Westcoast Blues, der sich wiederum aus texanischen Quellen bediente. Nun, schließlich spielt er auch mit den West Coast Playboys - einer Formation, mit der er bereits vor Jahren arbeitete, zusammen.
Andy Santana (born May 18, 1951, San Jose, California, United States) is an American vocalist, songwriter, guitarist, and harmonica player.[1] He has been performing since the 1970s.
Biography
Santana's band has been chosen as the house band or session musicians for blues performances, including the Jazz and Heritage Festival in New Orleans with C.P. Love, and at the Bay Area Music Awards backing Bukka White, Joe Louis Walker, the Gospel Hummingbirds and Bonnie Raitt. For five years running they were chosen as the host band for the Hollywood Hall of Fame Festival, backing Willie Dixon, Jimmy Rogers, Luther Tucker, Billy Boy Arnold, Dave Myers, Carey Bell and William Clarke.
They were also featured artists at the Santa Cruz Blues Festival backing Earl King. As the host band at Moe's Alley they backed Lou Ann Barton, Jimmy Thackery, Coco Montoya, Tommy Castro, and Chris Cain. In addition, Santana's band backed Nappy Brown at the San Francisco Blues Festival. Santana has recorded and toured with Junior Watson and Angela Strehli.
Santana has also been employed as a record producer, and completed Jackie Payne's latest album for Delta Groove Productions.
There is a true California ethos in which the state is an amalgamation of America. The Golden State has absorbed virtually every American culture and made it her own. Native Californian Andy Santana and his music speak directly to this notion. His music has always drawn from styles whose roots can be found in Chicago blues and New Orleans R&B for instance. He adds a dose of swinging West Coast blues to the mix and invariably comes up with something that sounds fresh, exciting and just plain fun.
Andy Santana is such a gifted musician it is almost scary. He has a unique voice on three different instruments; his singing, harmonica and guitar. Combine that with his natural flair as a songwriter and it is virtually impossible not to have the highest regards of this immense talent. For Andy’s part, he exudes a kind of laid back modesty that is often present in the true greats and yet stands in sharp contrast to his musical prowess. Longtime admirer and close personal friend, Rusty Zinn, speaks to this effect by stating, “The man is just that bad ass. What can I say? He moves me in a way that many players who are perhaps considered masters, don’t!”
His career is also like his home state in that it has been somewhat isolated from the rest of the country. He has been a consistently exciting recording artist and live performer for many years, but too few east of the High Sierras are aware of Andy Santana. That is about to change, for after years of releasing his music independently, Andy has found a record company that shares his vision of West Coast cool.
Andy has fronted talent laden bands for years, such as the West Coast Playboys and the Soul Drivers. Both bands were big hits wherever they played. In the Northern California beach/college town of Santa Cruz for instance, the affection for the music of Andy Santana borders on cult and/or legendary status. His band the Soul Drivers played a weekly Tuesday night gig in front of a packed house at the biggest joint in town, Moe’s Alley, for nine years, as well as making four appearances at the San Francisco Blues Festival, including one performance backing legendary R&B singer Nappy Brown.
For his new CD, Andy Santana has resurrected the infamous West Coast Playboys. "Watch Your Step!" features an army of talent including Rick Estrin and the Nightcats’ guitarist and multi-instrumentalist Kid Andersen, longtime musical companions Mighty Mike Schermer and June Core, as well as Bay Area blues stalwarts Rusty Zinn, Anthony Paule, Bob Welsh and others. Here Andy’s originals stand alongside some interesting covers that have the iconoclastic sensibilities of a true American original.
While listening to "Watch Your Step!" it is as if you are in a New Orleans dance hall that just happens to be on a beach in California. Sorry Santa Cruz, your secret is out of the bag.
Andy Santana is such a gifted musician it is almost scary. He has a unique voice on three different instruments; his singing, harmonica and guitar. Combine that with his natural flair as a songwriter and it is virtually impossible not to have the highest regards of this immense talent. For Andy’s part, he exudes a kind of laid back modesty that is often present in the true greats and yet stands in sharp contrast to his musical prowess. Longtime admirer and close personal friend, Rusty Zinn, speaks to this effect by stating, “The man is just that bad ass. What can I say? He moves me in a way that many players who are perhaps considered masters, don’t!”
His career is also like his home state in that it has been somewhat isolated from the rest of the country. He has been a consistently exciting recording artist and live performer for many years, but too few east of the High Sierras are aware of Andy Santana. That is about to change, for after years of releasing his music independently, Andy has found a record company that shares his vision of West Coast cool.
Andy has fronted talent laden bands for years, such as the West Coast Playboys and the Soul Drivers. Both bands were big hits wherever they played. In the Northern California beach/college town of Santa Cruz for instance, the affection for the music of Andy Santana borders on cult and/or legendary status. His band the Soul Drivers played a weekly Tuesday night gig in front of a packed house at the biggest joint in town, Moe’s Alley, for nine years, as well as making four appearances at the San Francisco Blues Festival, including one performance backing legendary R&B singer Nappy Brown.
For his new CD, Andy Santana has resurrected the infamous West Coast Playboys. "Watch Your Step!" features an army of talent including Rick Estrin and the Nightcats’ guitarist and multi-instrumentalist Kid Andersen, longtime musical companions Mighty Mike Schermer and June Core, as well as Bay Area blues stalwarts Rusty Zinn, Anthony Paule, Bob Welsh and others. Here Andy’s originals stand alongside some interesting covers that have the iconoclastic sensibilities of a true American original.
While listening to "Watch Your Step!" it is as if you are in a New Orleans dance hall that just happens to be on a beach in California. Sorry Santa Cruz, your secret is out of the bag.
Andy Santana + Rusty Zinn - "Blue Midnight" - 10-22-11 Silicon Valley Jewish Film Festival
Jürgen Morgenroth *18.05.1955
Mein Name ist Jürgen Morgenroth und ich wohne, lebe und arbeite in Essen.
Seit mehr als 40 Jahren, habe ich in verschiedenen Bands mitgewirkt.
Angefangen, wie sehr wahrscheinlich bei den meisten Hobby Musikern, in einer - na ich nenn sie mal After School Band.
Eine 3 Mann Truppe bestehend aus Gitarre - Schlagzeug und Gesang ... Sehr lange ist das her und ehrlich...
wir waren laut, verspielt und schlecht - schlecht davon zu überzeugen, dass wir eigentlich nix auf die sprichwörtliche Kette bekommen. So schlecht wie unser damaliger Probenraum. Eine stillgelegte Werkshalle mit gefühlten 250m² Grundfläche und einer Akkustik, die diese Bezeichnung nicht verdient.
Danach, Anfang der '80 folgten Bands, die vielleicht sogar noch jemand kennt, wie z.B. Prickelpit - und später Shelin. Beide mit deutschsprachigen Texten und ganz im Stil der '80 und frühen '90. Eine musikalische Mischung aus Pop, Rock und zumindest ansatzweise Blues. Dazwischen und danach, zahlreiche "mit uns könnte es was werden Bands" - wobei die Betonung klar auf könnte, also wurde auch nix, liegt bzw. lag.
Mittlerweile bin ich gereift, nicht nur was das Alter angeht - 58 Jahre - sondern auch meine favorisierte Musikrichtung:
Der Blues!
Blues ist alt - ich bin halt nicht mehr wirklich jung und seit ein paar Jahren wirke ich als Sänger und Blues Harper in der Wittener Band UBB - Unknown Blues Band mit. Wir sind - wie es auf unserer Homepage nachzulesen ist, ein Haufen alt dynamischer Säcke mit einer Saxophonistin und ebenfalls Sängerin, die ich nicht
mit diesem etwas derb geratenen Vokabular bezeichnen möchte. Zeitlos - weiblich halte ich da für angebrachter.
Wer mag kann diese Truppe unter folgender Adresse einmal genauer unter die Lupe nehmen:
http://www.unknownbluesband.de
Leider wurde ich Anfang 2014 - als Bandmitglied entfernt - und mit und kurz nach mir der Drummer ... Essener sind scheinbar nicht kompatibel mit Wittenern.
War bis zu den Saxophonen eine schöne Zeit - dafür danke - danach leider nur noch Probenqual.
Nix desto trotz, der verbleibenden UBB - Truppe gutes Gelingen.
Jürgen Morgenroth harpmic / ungeplantes Interview 2014
1. German Blues Harp - Meeting 2014-05-31 in Moers / Germany
Der Initiator Christian "Blue Ray" Noll dankt der Session Band: Frank
Schut an der Gitarre, Barbara Simon am Bass, Ralf Koxholt und Gebhard
Janssen am Schlagzeug.
Weitere Teilnehmer auf der Bühne im Video sind
Phillip, Mario Hemken, Norbert Lohan, Jürgen Morgenroth, Marc Vos, Tisso Thul, Wolfgang Kuhlmann, Big Toe, Sami Durak, auch an diese ein herzliches Dankeschön.
Danke an Thomas Knoßalla für ein paar wunderschöne Filmaufnahmen.
Die Auswahl der Jamszenen für die Doku hat Blue Ray himself and only vorgenommen, Sarah ist allerdings verantwortlich für den Rest.
© smb 2014
Blues NRW e. V.
Weitere Teilnehmer auf der Bühne im Video sind
Phillip, Mario Hemken, Norbert Lohan, Jürgen Morgenroth, Marc Vos, Tisso Thul, Wolfgang Kuhlmann, Big Toe, Sami Durak, auch an diese ein herzliches Dankeschön.
Danke an Thomas Knoßalla für ein paar wunderschöne Filmaufnahmen.
Die Auswahl der Jamszenen für die Doku hat Blue Ray himself and only vorgenommen, Sarah ist allerdings verantwortlich für den Rest.
© smb 2014
Blues NRW e. V.
Sara Martin *18.05.1884
Sara Martin (* 18. Mai 1884 in Louisville, Kentucky; † 28. Mai 1955 ebenda) war eine US-amerikanische Blues- und Vaudeville-Sängerin.
Sara Martin arbeitete zunächst als Vaudeville-Sängerin in Illinois um 1915. Im Jahr 1922 schloss sie einen Plattenvertrag mit Okeh Records ab und gehörte damit zu den ersten Bluessängern, die auf Schallplatte aufgenommen wurden. Begleitet wurden ihre Blues-Aufnahmen häufig von Sylvester Weaver (Gitarre oder Banjo), Clarence Williams, Clifford Hayes und Lemuel Fowler. Es gibt gewisse Unklarheiten darüber, welche Musiker darüber hinaus bei ihren Einspielungen mitwirkten, jedoch gilt als sicher, dass Sidney Bechet, King Oliver (1928) und Fats Waller bei einigen dabei waren. 1929 hatte sie einen Filmauftritt in dem Streifen Hello Bill mit Bill Bojangles Robinson.
Ihre letzte Plattenaufnahme entstand 1929. In den frühen 1930er Jahren zog sie sich aus dem Showgeschäft zurück, gab sie alle Verbindungen mit der Blues-Musik auf und sang Gospel. In den 1950er Jahren war sie Mitglied eines Kirchenchors in Harlem. Schließlich kehrte sie in ihren Heimatort zurück, wo sie auch 1955 starb.
Ihr Gesang war geprägt von einer starken, großen Stimme mit einem beträchtlichen dramatischen Effekt, ähnlich den Stimmen von Bessie Smith oder Ma Rainey, jedoch ohne deren emotionale Tiefe.
Zu ihren besten Einspielungen gehören
I've Got To Go And Leave My Daddy Behind 1923,
Strange Lovin' Blues 1925,
Mean Tight Mama, Mistreatin' Man Blues 1925,
Death Sting Me The Blues (mit King Oliver), Kitchen Man Blues 1928.
http://de.wikipedia.org/wiki/Sara_Martin
Sara
Martin (June 18, 1884 – May 24, 1955) was an American blues singer, in
her time one of the most popular of the classic blues singers. She was
billed as "The Famous Moanin' Mama" and "The Colored Sophie Tucker".[1]
Martin made many recordings, including a few under the names Margaret
Johnson and Sally Roberts.[2]
Biography
Martin was born in Louisville, Kentucky, United States[2] and was singing on the African-American vaudeville circuit by 1915. She began a very successful recording career when she was signed by the Okeh label in 1922. Through the 1920s she toured and recorded with such performers as Fats Waller, Clarence Williams, King Oliver, and Sylvester Weaver.[2] She was among the most-recorded of the classic blues singers.
She was possibly the first to record the famous blues song "T'aint Nobody's Bizness If I Do" with Waller on piano in 1922.[3]
On stage she was noted for an especially dramatic performing style and for her lavish costumes, which she changed two or three times per show.[4] In his book, Ma Rainey and the Classic Blues Singers, Derrick Stewart-Baxter says of her:
...she was never a really great blues singer. The records she made varied considerably, on many she sounded stilted and very unrelaxed. ... Occasionally, she did hit a groove and when this happened, she could be quite pleasing, as on her very original "Brother Ben". ... The sides she did with King Oliver can be recommended, particularly "Death Sting Me Blues".[5]
According to blues historian Daphne Duval Harrison, "Martin tended to use more swinging, danceable rhythms than some of her peers ... when she sang a traditional blues her voice and styling had richer, deeper qualities that matched the content in sensitivity and mood: "Mean Tight Mama" and "Death Sting Me" approach an apex of blues singing".[4]
Martin's stage work in the late 1920s took her to New York, Detroit, and Pittsburgh, and to Cuba, Jamaica, and Puerto Rico.[6] She made one film appearance,[7] in Hello Bill with Bill "Bojangles" Robinson in 1929.[8] Her last major stage appearance was in Darktown Scandals Review in 1930.[6] She performed with Thomas A. Dorsey as a gospel singer in 1932, after which she worked outside the music industry, running a nursing home in Louisville.[6] Sara Martin died in Louisville of a stroke in May 1955.
Biography
Martin was born in Louisville, Kentucky, United States[2] and was singing on the African-American vaudeville circuit by 1915. She began a very successful recording career when she was signed by the Okeh label in 1922. Through the 1920s she toured and recorded with such performers as Fats Waller, Clarence Williams, King Oliver, and Sylvester Weaver.[2] She was among the most-recorded of the classic blues singers.
She was possibly the first to record the famous blues song "T'aint Nobody's Bizness If I Do" with Waller on piano in 1922.[3]
On stage she was noted for an especially dramatic performing style and for her lavish costumes, which she changed two or three times per show.[4] In his book, Ma Rainey and the Classic Blues Singers, Derrick Stewart-Baxter says of her:
...she was never a really great blues singer. The records she made varied considerably, on many she sounded stilted and very unrelaxed. ... Occasionally, she did hit a groove and when this happened, she could be quite pleasing, as on her very original "Brother Ben". ... The sides she did with King Oliver can be recommended, particularly "Death Sting Me Blues".[5]
According to blues historian Daphne Duval Harrison, "Martin tended to use more swinging, danceable rhythms than some of her peers ... when she sang a traditional blues her voice and styling had richer, deeper qualities that matched the content in sensitivity and mood: "Mean Tight Mama" and "Death Sting Me" approach an apex of blues singing".[4]
Martin's stage work in the late 1920s took her to New York, Detroit, and Pittsburgh, and to Cuba, Jamaica, and Puerto Rico.[6] She made one film appearance,[7] in Hello Bill with Bill "Bojangles" Robinson in 1929.[8] Her last major stage appearance was in Darktown Scandals Review in 1930.[6] She performed with Thomas A. Dorsey as a gospel singer in 1932, after which she worked outside the music industry, running a nursing home in Louisville.[6] Sara Martin died in Louisville of a stroke in May 1955.
R.I.P.
Robert Shaw +18.05.1985
Robert Shaw (August 9, 1908 – May 18, 1985) was an American blues and boogie-woogie pianist,[1] best known for his 1963 album, The Ma Grinder.
Shaw was born in Stafford, Texas, the son of farm owners Jesse and Hettie Shaw. The Shaws had a Steinway grand piano and his sisters had lessons in playing, but Shaw's father was against his son learning the instrument.[2]
Shaw worked with his father on the family's ranch, and played the piano whenever his family was out; the first song he learned being "Aggravatin' Papa Don't You Try to Two-Time Me." In his adolescence, Shaw travelled to Houston to listen to jazz musicians, and at nearby roadhouses. He then found a piano teacher and with his earnings paid for lessons.[2]
He learned his barrelhouse style of playing from musicians in the Fourth Ward, Houston. In the 1920s Shaw was part of the "Santa Fe Circuit", named after touring musicians utilising the Santa Fe freight trains. Although he played in Chicago, Shaw mainly restricted himself to Texas, and performed as a soloist in the clubs and roadhouses of Sugarland, Richmond, Kingsville, Houston and Dallas. In 1930, at the height of the Kilgore oil boom, Shaw played there, and two years on traveled to Kansas City, Kansas, to perform.[2] In 1933 he hosted a radio show in Oklahoma City. He relocated to Texas,[3] first to Fort Worth and then to Austin. Here he settled down and took up residence, owning a grocery store known as the 'Stop and Swat'.[2]
Shaw married Martha Landrum in December 1939, but they had no children. However, Shaw had previously been married, and had a daughter, Verna Mae, and a son, William. For many years Shaw ran his grocery business in Austin in partnership with Martha, and in 1962 was named the black businessman of the year in Austin.[2]
In 1963, Shaw recorded an album, originally called Texas Barrelhouse Piano, produced by Robert "Mack" McCormick. It was originally released by McCormick's Almanac Book and Recording Company, and Chris Strachwitz's Arhoolie Records later reissued the LP, re-titled as The Ma Grinder.[3] The album contained old favourites such as "The Ma Grinder", "The Cows" and "Whores Is Funky", some of them too risque to have been issued previously.[4]
In 1967, seven years before his retirement from the grocery trade, Shaw recommenced concert playing. With the revival of his career, he played at the Kerrville Folk Festival, overseas in Amsterdam, Frankfurt, and at the Berlin Jazz Festival; as well as the Smithsonian Institution's American Folk Life Festival, the World's Fair Expo in Canada, and the New Orleans Jazz & Heritage Festival.[2] He played with the Preservation Hall Jazz Band at the 1973 Austin Aqua Festival,[2] and continued to perform Stateside and in Europe intermittently during the 1970s, turning up unexpectedly in California in 1981 to help Strachwitz celebrate Arhoolie's 20th anniversary.[3]
Shaw died of a heart attack in Austin, on May 16, 1985, and was interred at the Capital Memorial Gardens. Two weeks after his death, the Texas State Senate passed a resolution in honor of Shaw's contribution to the state's musical heritage.
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