1919 Lafayette Leake*
1947 Ron Wood*
1948 Sonny Boy Williamson I.+
1949mClarence M. Jones+
1952 Karl Valta*
1960 Jay Jesse Johnson*
Bill Miller *
Happy Birthday
Jay Jesse Johnson *01.06.1960
Connecticut's Jay Jesse Johnson, seit über 25 Jahren einer der profiliertesten "guitarslinger" des amerikanischen Mittelwestens.
Jesse Woods Johnson (born June 1, 1960 in Rock Island, Illinois) is a musician best known as the guitarist in the original lineup of The Time (more recently known as The Original 7ven).[1]
Johnson moved to St. Louis at the age of nine and was raised by foster parents after his parents split up. At age 16 he moved back to Rock Island to live with his father. Johnson began playing guitar when he was 15, honing his chops in local rock bands such as Treacherous Funk, Pilot, and Dealer, throughout his teens and early twenties. On a friend's recommendation, he moved to Minneapolis, Minnesota in 1981, where he met Morris Day and played briefly in Day's band which was called Enterprise. He then became the lead guitarist for the city's funk-rock group, The Time.
Although Prince basically recorded the first two Time albums on his own with Morris Day, Johnson did contribute to the Vanity 6 project with a song called "Bite The Beat" co-written with Prince. On The Time's third album, Ice Cream Castle, Johnson contributed to the smash singles "The Bird" and "Jungle Love" (the group's most memorable single), which were helped by the popularity of the Purple Rain film.
However, at the height of The Time's popularity following the Purple Rain, Johnson left the band and signed a solo deal with A&M Records in 1984 and released Jesse Johnson's Revue the following year. This album featured two other former members of The Time in Johnson's backing band, keyboardist Mark Cardenas and bassist Jerry Hubbard. Three songs were released from the album: "Be Your Man", "Can You Help Me", and "I Want My Girl", the much-slept-on slow song about a fateful relationship. Then came the popular funk non-album outing "Free World". Shockadelica containing the hit "Crazay", the duet with Sly Stone, and Every Shade of Love followed over the next three years, building on the inventive, elaborate sound he forged with The Time. Throughout the late 1980s and early 1990s Johnson also featured on the soundtracks to The Breakfast Club (contributing "Heart Too Hot To Hold", a duet with Stephanie Spruill), Pretty In Pink, Another 48 Hrs. and White Men Can't Jump.
Johnson has produced a wide variety of artists, most notable are TaMara and the Seen, After7, Paula Abdul, Da Krash, Kool Skool, Janet Jackson, Debbie Allen, Cheryl Lynn, and Les Rita Mitsouko. By 1990 The Time reformed and issued Pandemonium, which was even more of a group effort than Ice Cream Castle. The album allowed Johnson to contribute his heavy hard rock guitar sound to several tracks.
After the band dissolved once again, Johnson remained in the background for several years, quietly contributing to soundtracks and other artists. His music he recorded for the film A Time To Kill was not released on the soundtrack but can be heard in the film. Finally in 1996, Johnson released another album, Bare My Naked Soul on the Dinosaur Entertainment label. The album was a departure from his funk-filled albums from the 1980s and instead verged into blues and hard rock. It is considered to be the true guitar album that Johnson fans had wanted from him since the beginning of his career.
Four years later, the highlights of Johnson's solo albums were collected on 2000's Ultimate Collection, the album includes B-sides, 12" versions, album tracks, and one previously unreleased song called "Vibe".
After a nearly 14 year absence from the music scene, Johnson released a new double album Verbal Penetration Volumes 1 and 2 on October 27, 2009.
In February 2012, Johnson served as house guitarist behind a host of all-star blues musicians in the PBS special "In Performance at the White House: Red, White and Blues". Other members of the house band included Booker T. Jones, Bobby Ross Avila, Narada Michael Walden, Ernie Fields, Jr., Freddie Hendrix and Fred Wesley. Performers included B.B. King, Buddy Guy, Mick Jagger, Jeff Beck, Warren Haynes, Derek Trucks, Susan Tedeschi, Keb Mo, Trombone Shorty and Gary Clark, Jr..
Karl Valta *01.06.1952
Karl ist ein sehr vielseitiger Mundharmonikaspieler, der auch in der Lage ist, seinem Instrument interessante und ungewöhnliche Töne zu entlocken. Zu hören z.B. auf seinem Instrumentaltitel “Dunkeltuten”, der auf dem ersten Musiksampler der “Wasser-Prawda” erschienen ist.
“Der Grafiker Karl Valta gehört mit seiner Harp zu den wichtigen Musikern in der Bluesszene rund um Greifswald.” ( Raimund Nitzsche, Chefredakteur des Online-Musikmagazins “Wasser Prawda” , Klappentext zum Sampler “Volume 1″ , Jan. 2013)Der Grafiker und Musiker Karl Valta war von 2006 bis 2011 der Mundharmonikaspieler in der “Basement Blues Band” .. Zur Zeit spielt er mit den “Bluezbusters” und anderen Formationen rund um Greifswald, außerdem ist er zusammen mit dem Gitarristen und Sänger Dr. Bernd Schwahn als Blues Duo unterwegs in Vorpommern.
http://lassan.eu/karl-valta-grafiker-musiker/
Das Multitalent Karl Valta, Maler, Grafiker, Kunstpädagoge und gleichermaßen zu den profiliertesten Bluesmusikern im Nordosten der Republik gehörend, lebt und arbeitet im beschaulichen Klein Jasedow in Vorpommern. Schon einige Sommer touren Karl Valta und Greyhond George als Duo an der Ostseeküste entlang, und das ist dem Album anzumerken, denn Karl und George sind inzwischen ein gut aufeinander eingespieltes Team. Beide Musiker haben ein Herz für den traditionellen Blues, aber auf diesem Album haben sie gekonnt den alten und neuen Songs ihre ganz persönliche und zeitgenössische Note verliehen.Das Multitalent Karl Valta, Maler, Grafiker, Kunstpädagoge und gleichermaßen zu den profiliertesten Bluesmusikern im Nordosten der Republik gehörend, lebt und arbeitet im beschaulichen Klein Jasedow in Vorpommern. Schon einige Sommer touren Karl Valta und Greyhond George als Duo an der Ostseeküste entlang, und das ist dem Album anzumerken, denn Karl und George sind inzwischen ein gut aufeinander eingespieltes Team. Beide Musiker haben ein Herz für den traditionellen Blues, aber auf diesem Album haben sie gekonnt den alten und neuen Songs ihre ganz persönliche und zeitgenössische Note verliehen.
Karl Valta is not only a well-known graphic artist (he designed the album cover) but also an outstanding blues harp player. Apple Street Boogie deals with everyday life on Apple Street, the home of storyteller Greyhound George. Ten of fifteen tracks are written by Greyhound George himself. The awesome blues harp solo „Dunkeltuten“ (on a low low F blues harp) is composed by Karl Valta and presented to produce goose bumps. The album is also enriched with covers from Bob Dylan, Willy Dixon, Willy Brown, and finally with an outstanding version of Fred McDowell’s blues standard „You gotta move“ to complete this fine album in an authentical and emotional way.
Multi-talented Karl Valta lives and works in the contemplative little town of Klein Jasedow but does not only work as a painter and graphic artist. He also belongs to the most distinguished blues musicians in the North East of Germany. During the last few summers he used to be on tour in the Baltic Sea region together with Greyhound George. The album reflects the fantastic team work between Karl and George. Both have a heart for traditional blues songs, however, on this album they „stamped“ old and new songs with a very personal and coeval touch.Multi-talented Karl Valta lives and works in the contemplative little town of Klein Jasedow but does not only work as a painter and graphic artist. He also belongs to the most distinguished blues musicians in the North East of Germany. During the last few summers he used to be on tour in the Baltic Sea region together with Greyhound George. The album reflects the fantastic team work between Karl and George. Both have a heart for traditional blues songs, however, on this album they „stamped“ old and new songs with a very personal and coeval touch.
Multi-talented Karl Valta lives and works in the contemplative little town of Klein Jasedow but does not only work as a painter and graphic artist. He also belongs to the most distinguished blues musicians in the North East of Germany. During the last few summers he used to be on tour in the Baltic Sea region together with Greyhound George. The album reflects the fantastic team work between Karl and George. Both have a heart for traditional blues songs, however, on this album they „stamped“ old and new songs with a very personal and coeval touch.Multi-talented Karl Valta lives and works in the contemplative little town of Klein Jasedow but does not only work as a painter and graphic artist. He also belongs to the most distinguished blues musicians in the North East of Germany. During the last few summers he used to be on tour in the Baltic Sea region together with Greyhound George. The album reflects the fantastic team work between Karl and George. Both have a heart for traditional blues songs, however, on this album they „stamped“ old and new songs with a very personal and coeval touch.
Lafayette Leake *01.06.1919
Lafayette Leake (* 1. Juni 1920 in Winona, Mississippi; † 14. August 1990 in Chicago, Illinois) war ein US- amerikanischer Bluespianist.
Leake ist sicher einer der unbesungenen Helden der Bluesmusik.[1]Da er nicht daran interessiert war, jenseits seiner Musik im Rampenlicht zu stehen, weiß man nur wenig über sein Leben. Er wuchs in einem musikalischen Elternhaus auf, in dem eine Menge von verschiedenen Stilen gepflegt wurden, von Klassik bis Blues. Seine Fähigkeit, jede Art von Musik nach Gehör nachzuspielen war bemerkenswert. Das und seine Technik machten ihn zu einem wichtigen Bestandteil von Chicagos Bluesszene in den frühen 1950er - Jahren. [2]Er wurde Mitglied des Big Three Trio, wo er Leonard Caston ersetzte, Anfang der 1950er- Jahre und dem Bassspieler Willie Dixon blieb er sein Leben lang verbunden.[1] Als Dixon zu Chess Records als Songwriter und Produzent ging, war Leake dabei. Er spielte bei allen von Dixon produzierten Songs und daneben noch bei vielen anderen Sessions. So spielte er zum Beispiel das Klavier auf Chuck Berrys "Johnny B. Goode".[3]Die Liste der Musiker, die er begleitete, liest sich wie ein Who is Who der Bluesmusik.(Chuck Berry, Howlin' Wolf, Billy Boy Arnold, Otis Rush, Junior Wells, Little Walter, Homesick James, Sonny Boy Williamson, Buddy Guy, Koko Taylor und viele andere) In den 1960er- Jahren bildete Willie Dixon die Chicago Blues All-Stars, deren Pianist Leake war. Mit dieser Band tourte er bis Mitte der 1970er - Jahre, danach machte er nur mehr wenige Tourneen und Aufnahmen. Bemerkenswert blieb sein Auftritt beim Chicago Blues - Festival 1986 mit Chuck Berry und Keith Richards und 1988 spielte er auf Willie Dixons "Hidden Charms" Piano. Lafayette Leaks starb im August 1990 an den Folgen eines Diabeteskoma, nachdem er einige Tage unentdeckt in seinem Haus lag.
Neben seiner Tätigkeit als Session- Musiker nahm er auch eigene Alben auf, was aber erst in den 1970er - Jahren geschah. (Might Is Right, Soul Wrinkles beide in den 1960er- Jahren; Feel So Blue (1978) Black & Blue (Frankreich), reissued als Easy Blues (2002))
Auch als Songwriter war er aktiv, wobei einige seiner Songs gecovert wurden, so zum Beispiel "Love That Woman" von Fleetwood Mac auf ihrem Album The Original Fleetwood Mac. Sein Song "Wrinkles" (gesungen vom Big Three Trio) war Teil des Soundtracks zu David Lynchs Film "Wild at Heart". Die US-amerikanische Band Slo Leak benannte sich nach einem Instrumentaltitel Leaks.
http://de.wikipedia.org/wiki/Lafayette_Leake
https://www.youtube.com/watch?v=h3SDnNdgdgg
Lafayette Leake (June 1, 1919 – August 14, 1990) was a blues and jazz pianist, organist, vocalist and composer who played for Chess Records as a session musician, and as a member of the Big Three Trio, during the formative years of Chicago blues. He played piano on many of Chuck Berry's recordings.
Biography
Leake was born in Winona, Missouri, in 1919.[1] Information about his early years is sparse,[2] but in the early 1950s he joined the Big Three Trio (replacing Leonard Caston) and began his association with Chess Records,[3] where he worked closely with bassist, producer, and songwriter Willie Dixon.
Leake played piano on One Dozen Berrys, Chuck Berry's second album, released in 1958 by Chess. He was then on Chuck Berry Is on Top; Leake (not Berry's longtime bandmate Johnnie Johnson) played the prominent piano on the classic original rendition of "Johnny B. Goode".[4] Leake played on numerous other Chess sessions from the '50s through the '70s, backing many of the Chess greats, including Sonny Boy Williamson,[5] Otis Rush, Junior Wells, and Little Walter.[3] Leake gave Chicago blues musician Harmonica Hinds his first harmonica lesson on the street in Toronto.[6]
During the 1960s Willie Dixon formed the Chicago Blues All-Stars, with Leake as resident pianist. Leake toured and recorded with this group until the mid-1970s.[3] After that he did little recording or touring, although he appeared with Chuck Berry at the Chicago Blues Festival in 1986[7] and recorded "Hidden Charms" with Willie Dixon in 1988.[8]
Besides being a respected performer, Leake was a composer.[3] He recorded a number of his own songs as a member of various ensembles, and others have been covered by notable musicians. Fleetwood Mac, for example, recorded his song "Love That Woman" on their album The Original Fleetwood Mac. Leake's song "Wrinkles", performed by the Big Three Trio, was featured on the soundtrack of David Lynch's 1990 film, Wild at Heart. Blues band Slo Leak was named after one of Leake's instrumental pieces.[9]
Leake fell into a diabetic coma in his home in Chicago, where he remained undiscovered for several days, dying in hospital on August 14, 1990.
Biography
Leake was born in Winona, Missouri, in 1919.[1] Information about his early years is sparse,[2] but in the early 1950s he joined the Big Three Trio (replacing Leonard Caston) and began his association with Chess Records,[3] where he worked closely with bassist, producer, and songwriter Willie Dixon.
Leake played piano on One Dozen Berrys, Chuck Berry's second album, released in 1958 by Chess. He was then on Chuck Berry Is on Top; Leake (not Berry's longtime bandmate Johnnie Johnson) played the prominent piano on the classic original rendition of "Johnny B. Goode".[4] Leake played on numerous other Chess sessions from the '50s through the '70s, backing many of the Chess greats, including Sonny Boy Williamson,[5] Otis Rush, Junior Wells, and Little Walter.[3] Leake gave Chicago blues musician Harmonica Hinds his first harmonica lesson on the street in Toronto.[6]
During the 1960s Willie Dixon formed the Chicago Blues All-Stars, with Leake as resident pianist. Leake toured and recorded with this group until the mid-1970s.[3] After that he did little recording or touring, although he appeared with Chuck Berry at the Chicago Blues Festival in 1986[7] and recorded "Hidden Charms" with Willie Dixon in 1988.[8]
Besides being a respected performer, Leake was a composer.[3] He recorded a number of his own songs as a member of various ensembles, and others have been covered by notable musicians. Fleetwood Mac, for example, recorded his song "Love That Woman" on their album The Original Fleetwood Mac. Leake's song "Wrinkles", performed by the Big Three Trio, was featured on the soundtrack of David Lynch's 1990 film, Wild at Heart. Blues band Slo Leak was named after one of Leake's instrumental pieces.[9]
Leake fell into a diabetic coma in his home in Chicago, where he remained undiscovered for several days, dying in hospital on August 14, 1990.
https://www.youtube.com/watch?v=h3SDnNdgdgg
Ron Wood *01.06.1947
Ronald David „Ron“ Wood, auch „Ronnie“ Wood, (* 1. Juni 1947 in Hillingdon, London) ist ein britischer Rockmusiker, der als Mitglied der Faces, der Jeff Beck Group und seit 1975 der Rolling Stones bekannt ist. Er spielt Gitarre und E-Bass.Jeff Beck Group, The Faces und weitere Bands
Ron Wood begann seine Karriere als Musiker in den 1960er Jahren als Mitglied der englischen Band The Birds. Nach einem kurzen Intermezzo im Jahre 1967 mit Santa Barbara Machine Head spielte er mit der Jeff Beck Group und zeitweise parallel auch mit der Band The Creation.
Nachdem sich die Jeff Beck Group 1969 aufgelöst hatte, stieß er zusammen mit Rod Stewart, dem Sänger der Gruppe, zu den Small-Faces-Mitgliedern Ronnie Lane (Bass), Ian McLagan (Keyboard) und Kenney Jones (Schlagzeug), die nach Steve Marriotts (Gesang) Austritt aus der Band auf der Suche nach Ersatz waren. Die neue Formation benannte sich wenig später in „The Faces“ um. Bei den Faces bildete Ron Wood zusammen mit Rod Stewart ein ähnliches Duo wie Mick Jagger und Keith Richards bei den Rolling Stones. Er schrieb viele Stücke der Faces und war auch an den ersten Solo-Alben von Rod Stewart als Gitarrist beteiligt. Die Faces trennten sich 1975.
Rolling Stones
Als die Rolling Stones einen Nachfolger für den im Dezember 1974 ausgeschiedenen Gitarristen Mick Taylor suchten, erinnerten sie sich an Ron Wood, den Mick Jagger und Keith Richards bereits bei seinem Soloalbum unterstützten und der am Stones-Song It’s Only Rock ’n’ Roll des im Oktober erschienenen gleichnamigen Albums beteiligt war. Im April 1975 wurde seitens des Managements verkündet, dass Wood die Stones vorübergehend als Gitarrist auf der vom 1. Juni bis 8. August 1975 andauernden Tournee durch die Vereinigten Staaten von Amerika begleiten werde. Ende des Jahres 1975 wurde er zwar festes Mitglied der Band, war finanziell allerdings nur ein Angestellter mit einem monatlichen Gehalt. Vollwertiges Mitglied, also inklusive der entsprechenden Gewinnbeteiligungen am Unternehmen, wurde er erst im Jahre 1993. Das erste Stones-Album, auf dem er zu hören ist, war Black and Blue (1976).
Während der Rolling-Stones-Konzerte 1976 (dokumentiert auf dem Album Love You Live) hinterließ er nach Ansicht des Managements durchaus einen positiven Eindruck. Auch zum Gelingen des Albums Some Girls trug er bei.
Behindert durch seine jahrelange Alkoholsucht war er jedoch außerstande, eine gefestigte Leadgitarrenposition, wie sie zuvor Mick Taylor hatte, einzunehmen. Diesen Part übernahm im Laufe der Jahre häufiger Keith Richards, der im Prinzip nie wirklich für die Rolle des Leadgitarristen vorgesehen war; galt er doch eher als Human Riff (‚Meister der Rhythmusgitarre‘).
So blieb Ron Woods Rolle bei den Rolling Stones die eines Rock-Gitarristen mit gelegentlichen – und auch recht ansprechenden – Einlagen an der Slide- und Pedal-Steel-Gitarre. Außerdem sorgte er als Schlichter und Vermittler zwischen den zeitweiligen Streithähnen Mick Jagger und Keith Richards für Entspannung innerhalb der Band.
Ähnlich wie Mick Taylor wird Ron Wood von einigen Rolling-Stones-Fans nicht als echtes Stones-Mitglied angesehen, obwohl er inzwischen weitaus länger bei der Band ist als seine beiden Vorgänger (Brian Jones bzw. Mick Taylor) zusammen.
Andere musikalische Projekte
Anzumerken sind seine musikalischen Mitwirkungen an diversen Projekten, wie sein Auftritt in dem Konzertfilm The Last Waltz von Regisseur Martin Scorsese sowie eine Darbietung auf der Veranstaltung zu Bob Dylans 50stem Geburtstag im New Yorker Madison Square Garden. Anlässlich des von Bob Geldof 1985 initiierten Live-Aid-Konzerts zugunsten der Hungerhilfe für Afrika begleitete er, zusammen mit Keith Richards, Bob Dylan auf der Bühne in Philadelphia. Erneut mit Bob Dylan trat er 1996 im Londoner Hyde Park während der Wohltätigkeitsveranstaltung Prince’s Trust auf. Hin und wieder begleitet er seinen alten musikalischen Weggefährten Rod Stewart, so ist er z.B. auf dessen Unplugged And Seated vom 5. Februar 1993 mit von der Partie. Auf der 2006 erschienenen CD Last Man Standing von Jerry Lee Lewis ist Wood als Begleitmusiker zu hören. Des Weiteren wirkt er als Sänger bei den Liedern Rocking My Life Away und Trouble In My Mind mit.
Da das Songschreiben bei den Rolling Stones Jagger und Richards innehaben, veröffentlichte Ron Wood diverse Soloalben.
Von 2005 bis 2008 hatte Ron Wood in London ein eigenes Independent-Plattenlabel namens Wooden Records.[1][2] Das Label mit Schwerpunkt House, Pop und Rock verlegte unter anderem Tonträger von Woods Tochter Leah Wood,[1] das Debütalbum On The Brink der Band The Thirst[2] und bis dahin nicht offiziell veröffentlichtes Live-Material von Ron Wood aus den 1970ern (Live From Kilburn - The First Barbarians[3] und Buried Alive - New Barbarians[4]).
Seit seiner Kindheit widmet sich Ron Wood nicht nur der Musik, sondern ebenso der bildenden Kunst. Auch auf Anraten von Lehrern, denen seine künstlerische Begabung aufgefallen war, besuchte Ron Wood wie seine zwei älteren Brüder das Ealing Art College, eine ehemalige Kunstschule in London. Als Jugendlicher gewann er den Hauptpreis in einem Malwettbewerb der BBC-Kunstfernsehsendung Sketch Club – ein Moment der öffentlichen Anerkennung, den er rückblickend als seinen Eintritt in die Welt der Kunst nennt.[5] Während er in der Musik die Möglichkeit sieht, sich als Teil einer Gruppe auszudrücken, betrachtet er die bildende Kunst als persönlichere Ausdrucksform.[6][7]
Woods Gemälde, Zeichnungen und Grafiken wurden weltweit auf diversen Ausstellungen der Öffentlichkeit präsentiert. Häufig erstellt er Porträts von Zeitgenossen, die unter anderem seine Bandkollegen, Musiker, die er kennt oder bewundert, Freunde und Familienmitglieder zeigen, sowie Selbstporträts.[8] Zu weiteren Motiven zählen Tiere, Landschaften und Ballettszenen.[9] Wood verwendet verschiedene Materialien und Techniken, fertigt beispielsweise Bleistift- und Pastellzeichnungen, Öl- und Acrylgemälde.[7] In den 1980er Jahren begann er mit Druckverfahren wie Holzschnitt, Monotypie, Radierung, Siebdruck und Digitaldruck zu experimentieren und arbeitete 1987 mehrere Monate in einer professionellen Druckgrafikwerkstatt, um seine Kenntnisse zu vertiefen.[8]
2009 entwarf das Londoner Kaufhaus Liberty in Zusammenarbeit mit Wood eine Modekollektion, für die drei seiner Gemälde als Druckmotive adaptiert wurden.[10][11] 2011 begann Wood mit einer Serie von geplanten 14 handbemalten Uhren für den britischen Uhrenhersteller Bremont. Zifferblatt und inneres Gehäuse der Uhren sollen Motive zeigen, die mit seinem Leben in Zusammenhang stehen.[12]
Wood veröffentlichte zwei Bücher über seine Werke, die Abbildungen einer Auswahl seiner Arbeiten sowie Erläuterungen und autobiografische Anekdoten enthalten: The Works (1987, mit Co-Autor Bill German) und Every picture tells a story (1998). Letzteres erschien in einer limitierten Auflage von 2500 handsignierten Exemplaren (siehe Literaturhinweise).
Radio und Fernsehen
Seit dem 31. März 2010 ist Ron Wood Moderator einer eigenen Radiosendung namens The Ronnie Wood Show,[13] in der er begleitet von Anekdoten und Randinformationen seine Lieblingsmusik präsentiert und selbst gelegentlich etwas auf der Gitarre beiträgt. Häufig hat er andere Musiker zu Gast im Studio. Die einstündige Show wird vom britischen Hörfunksender Absolute Classic Rock ausgestrahlt.[14] 2011 erhielt sie mehrere Auszeichnungen: Bei der Verleihung der Sony Radio Academy Awards[15] wurde Wood als herausragende Persönlichkeit einer Musik-Radiosendung („Music Radio Personality of the Year“) geehrt und bei der Vergabe der Arqiva Commercial Radio Awards[16] bekam er den Preis für den besten Neueinsteiger („Newcomer of the Year“), während die Show zur besten Spartensendung („Specialist Programme of the Year“) gewählt wurde.[17] Seit dem 29. Januar 2012 wird die Musiksendung über verschiedene an Premiere Networks, eine Tochterfirma von Clear Channel Media and Entertainment, angeschlossene Radiostationen auch in den USA ausgestrahlt.[18]
Eine gleichnamige Fortsetzung der Radiosendung wird seit dem 24. Februar 2012 als 10-teilige Fernsehsendung auf dem britisch-irischen Pay-TV-Sender Sky Arts der British-Sky-Broadcasting-Gruppe gezeigt. Darin heißt Wood diverse Musiker willkommen um mit ihnen zu jammen und über Rock ’n’ Roll zu sprechen.[19] Sein erster Gast war Alice Cooper.[20]
Privates
Kindheit und Jugend
Geboren wurde Ron Wood als jüngster Sohn einer armen Roma-Familie am westlichen Stadtrand von London. Seine Kindheit verbrachte er in einer Sozialbau-Siedlung in Yiewsley und auf Schleppkähnen. Er hatte zwei ältere Brüder, Arthur, genannt Art, Wood (* 7. Juli 1937; † 3. November 2006)[21] und Edward George, genannt Ted, Wood (* 24. Juni 1939; † 29. September 2003)[22].
Drogen- und Alkoholprobleme
In dem Umfeld, in dem Ron Wood aufwuchs, waren Alkohol und Drogen weit verbreitet. Bereits mit 14 Jahren begann er angeblich große Mengen Brandy und Whisky zu trinken. Seitdem haben sowohl Alkohol als auch Drogen immer wieder sein Leben mitbestimmt und er behauptet, bis 2003 bei keinem Konzert nüchtern aufgetreten zu sein. Viele Male war er wegen seiner Suchtprobleme in Behandlung.[23] Im Juli 2011 gab er an, seit seinem laut Medienberichten achten Entzug im Jahr zuvor weder Alkohol noch Drogen angerührt zu haben, und zeigte sich überzeugt, seine Sucht nun im Griff zu haben.[24]
Beziehungen
Ron Woods erste Ehefrau Krissy Findlay, ein ehemaliges Model, mit der er von 1971 bis 1978 verheiratet war, starb am 11. Juni 2005 im Alter von 57 Jahren in London. Als Todesursache wird eine Überdosis Valium angenommen. Von 1985 bis 2011 war Ron Wood in zweiter Ehe mit dem Model Jo Howard verheiratet.[25] Grund für die Trennung und spätere Scheidung war die 2008 begonnene, von Schlagzeilen begleitete Affäre Woods mit der 41 Jahre jüngeren Ekaterina Ivanova.[26] Die Beziehung mit der Kellnerin endete 2009 kurz nach dessen Festnahme wegen eines mutmaßlichen tätlichen Angriffs auf Ivanova im Verlauf eines Streits auf offener Straße. Der britischen Presse erzählte Ekaterina Ivanova, dass die während ihres gemeinsamen Lebens zunehmenden Alkoholprobleme des Musikers eine zu große Belastung für sie geworden seien.[27] Am 21. Dezember 2012 heiratete Ron Wood die Theaterproduzentin Sally Humphreys.[28]
Autobiografie
Im Jahr 2007 erschien seine Autobiografie Ronnie.[29] In deutscher Übersetzung wurde das Buch 2008 beim Heyne-Verlag unter dem Titel Ronnie – die Autobiografie verlegt.
Wood began his career in 1964, when he joined the Birds on guitar.[1] He then joined the mod group the Creation, but only remained with the group for a short time, and appeared on a small number of singles. Wood joined the Jeff Beck Group in 1967 as a bass player. They released two albums, Truth and Beck-Ola, which became moderate successes. The group split in 1969, and Wood departed along with lead vocalist Rod Stewart to join former Small Faces members Ronnie Lane, Ian McLagan, and Kenney Jones in a new group, dubbed the Faces. The group, although relegated to cult status in the US, found great success in the UK and mainland Europe. The Faces released their debut album, First Step, in 1970. The group went on to release Long Player and A Nod Is as Good as a Wink... to a Blind Horse in 1971. Their last LP, entitled Ooh La La, was released in 1973. After the group split, Wood began several solo projects, eventually recording his first solo LP, I've Got My Own Album to Do, in 1974. The album featured former bandmate McLagan as well as former Beatle George Harrison and Keith Richards of the Rolling Stones, a longtime friend of Wood's. Richards soon invited Wood to join the Rolling Stones, after the departure of Mick Taylor. Wood joined in 1975, and has remained a member ever since.[1]
Besides I've Got My Own Album to Do, Wood has recorded several other solo efforts. Now Look was released in 1975, and peaked at number 118 on Billboard, and Wood collaborated with Ronnie Lane for the soundtrack album Mahoney's Last Stand. He released Gimme Some Neck in 1979, which hit number 45 in the US. 1234 was released in 1981, peaking at number 164. He released Slide on This in 1992, Not for Beginners came out in 2002.[1] and I Feel Like Playing in 2010. As a member of the Rolling Stones, Wood was inducted into the Rock and Roll Hall of Fame in 1989, and was inducted a second time, as a member of the Faces, in April 2012.[2][3]
Music career
1960s
Wood began his career as a professional musician in 1964 as a guitarist with the Birds, an R&B band based in Yiewsley, west London. A popular live act with a considerable fan base, the Birds released several singles in the mid-1960s;[4] Wood wrote or co-wrote nearly half the songs the group recorded.[5]
By 1967 the Birds had disbanded, and Wood briefly took part in a project called Santa Barbara Machine Head before joining the Jeff Beck Group as a bassist. Along with vocalist Rod Stewart, Wood did several tours with Beck, and recorded two albums: Truth in 1968 and Beck-Ola in 1969. In between Jeff Beck Group projects Wood also worked with the Creation.[6]
In 1969, after Steve Marriott left the Small Faces, Wood began working with the remaining members of that group, returning to his instrument of choice, the guitar. This line-up, plus Rod Stewart and ex-Bird Kim Gardner, teamed up with Wood's brother Art Wood in a formation called Quiet Melon, making a handful of recordings in May 1969.[6] After the Jeff Beck Group's fifth US tour in July, Wood and Stewart joined the former Small Faces full-time, and the band's name was changed to Faces.[7] During the summer of 1969, Stewart and Wood also set the template for what would become The Faces on An Old Raincoat Won't Ever Let You Down, Stewart's first solo album (known as The Rod Stewart Album in the US). The backing band on the album also included Ian McLagan, Keith Emerson, Micky Waller, and guitarists Martin Pugh (of Steamhammer, and later Armageddon and 7th Order) and Martin Quittenton (also from Steamhammer).[8]
1970s
In the first half of the 1970s, Faces released four studio albums and were among the top-grossing live acts of the period.[9] Besides his distinctive guitar work, Wood contributed harmonica, vocals and bass to the band's recordings, and co-wrote many of their songs, including "Stay With Me" and "Ooh La La". He also played on bandmate Stewart's first few solo albums, and is co-writer of the Rod Stewart songs "Gasoline Alley" and "Every Picture Tells a Story",[6] as well as several songs on Never a Dull Moment.
In 1972, Wood and Faces bassist Ronnie Lane composed the soundtrack to the film Mahoney's Last Stand;[6] the soundtrack, which was released as an LP in 1976, also features Faces bandmates Ian McLagan and Kenney Jones, along with contributions from Pete Townshend and Ric Grech. Wood also performed with Townshend, Grech, Steve Winwood, Jim Capaldi and Eric Clapton at Clapton's Rainbow Concert in 1973.
In December 1973, Wood collaborated with Mick Jagger on the song "It's Only Rock'n Roll (But I Like It)".[10] Both Jagger and Keith Richards contributed to Wood's first solo album, I've Got My Own Album to Do, released in 1974[6] and recorded at Wood's private studio in the basement of his home in London, The Wick.
Following Mick Taylor's departure from the Rolling Stones in December 1974, Wood participated in the band's March 1975 recording sessions for their forthcoming album Black and Blue.[11][12] Although still a member of the Faces, he toured North America with the Rolling Stones in 1975; the Faces announced their break-up in December of that year, and Wood was officially declared a member of the Rolling Stones in February 1976.[13]
In the Rolling Stones, Wood plays the slide guitar as Taylor and Brian Jones had done before him, adding both lap steel and pedal steel guitar. In addition, Wood, as did his predecessors, exchanges roles on the guitar with Richards, often blurring the boundaries between rhythm and lead, even within a particular song.[14] He also occasionally plays bass guitar, as seen during 1975 concert performances of "Fingerprint File", when Mick Jagger played rhythm guitar and bassist Bill Wyman moved to synthesizer. The Rolling Stones single "Emotional Rescue" also features Wood on bass. He has been given credit as a co-writer for a dozen songs, including "Dance", "Black Limousine", "One Hit (to the Body)" and "Had It With You".
In 1975, Wood released his second solo album, Now Look; his third, Gimme Some Neck, came out in 1979. To promote it, Wood formed and toured with the New Barbarians, playing 20 concerts in Canada and the US in April/May and the Knebworth Festival in the UK in August.
1980s
Throughout the 1980s, Wood played as an official member of the Rolling Stones; continued his solo career, releasing the album 1234 in 1981; painted; and collaborated with a number of other artists, including Prince, Bob Dylan, David Bowie, Eric Clapton, Bo Diddley, Ringo Starr and Aretha Franklin.
At the 1985 Live Aid Concert in Philadelphia, Wood along with Keith Richards performed in the penultimate set with Bob Dylan. During the performance of "Blowin' in the Wind", one of Dylan's guitar strings broke. Wood gave Dylan his guitar to keep the performance seamless, and played air guitar until a stagehand brought him a replacement.[17]
1990s–2010s
In 1990 Wood was made a fully-fledged partner in the Rolling Stones' financial organisation.[18] During the 1990s the Rolling Stones released two studio albums and three concert albums, as well as touring in 1990, 1994–95 and 1997–99.[11]
In addition, Wood released his seventh solo album, Slide on This, in 1992; he toured to promote this album in North America and Japan. His appearance in 1993 with former bandmate Rod Stewart on MTV Unplugged resulted in a hit album entitled Unplugged...and Seated; the concert album that Wood released in 1993 from his own tour was called Slide on Live: Plugged in and Standing.[11]
Wood also contributed to Bo Diddley's 1996 album A Man Amongst Men, playing slide guitar on the tracks "Hey Baby", "A Man Amongst Men" and "Oops! Bo Diddley" and guitar on "I Can't Stand It".
Since 2000 Wood has continued to combine solo work with his Rolling Stones schedule. Following the 2001 release of his album Not For Beginners, Wood toured England and Ireland in 2001 and 2002 with his own group, the Ronnie Wood Band. The band included members of his own family, Slash and Andrea Corr. After the tour a DVD called Far East Man was released.
Wood toured with the Rolling Stones in 2002 and 2003; in 2004 he performed several one-off concerts and guest appearances, including a number of appearances with Rod Stewart. Later in the year the two expressed intentions of finishing the studio work on a collaborative album to be entitled You Strum and I'll Sing. In 2005, however, Wood was again busy with the Rolling Stones as they recorded their A Bigger Bang album. Although only playing on ten of the album's sixteen tracks, Wood embarked on the tour which ran through till August 2007.[11]
In 2005 Wood launched his own record company, Wooden Records, which has released recordings by his daughter Leah, the New Barbarians and others.
In November 2006, during a break in the Rolling Stones' A Bigger Bang tour, Wood played guitar on three tracks for British soul artist Beverley Knight's album Music City Soul, released in 2007.[11]
On 9 May 2009, Wood along with Red Hot Chili Peppers members Anthony Kiedis, Michael "Flea" Balzary, Chad Smith and musician Ivan Neville performed under the name, "the Insects" at the fifth annual MusiCares event honouring Kiedis.[19]
On 11 August 2009 Wood joined Pearl Jam on the stage of Shepherd's Bush Empire in London for a performance of "All Along the Watchtower".[20]
On 25 October 2009, Wood, Ian McLagan and Kenney Jones joined forces for a Faces performance at London's Royal Albert Hall on behalf of the Performing Rights Society's Music Members' Benevolent Fund. Bill Wyman played bass and lead vocals were shared by several performers, notably Mick Hucknall.[21] Rod Stewart, who had earlier denied rumours of plans for a Faces reunion in 2009,[22] was not present.
On 2 November 2009 Wood was given an "Outstanding Contribution" award at the Classic Rock Roll of Honour ceremony in London. Pete Townshend presented the award.[23][24]
Since 9 April 2010, Wood has presented his own radio show on Absolute Radio. Airing on Saturday night from 10pm, the show lasts one hour and consists of Wood playing tracks by artists he has worked with and other personal favourites.[25]
In May 2011 Wood won the Sony Radio Personality of the Year award for The Ronnie Wood Show.[26]
In December 2014 he performed with One Direction on the finale of The X Factor.[27]
Personal life
Wood was born in Hillingdon, London, into a family of English "water gypsies" (river/canal barge operators, sometimes also called "bargees"). He has said that his generation was the first in the family to be born on dry land.[28] He grew up in Yiewsley and attended St Stephen's Infant School, St Matthew's Church of England Primary School and Evelyns Secondary Modern School Yiewsley.[29]
Both of his older brothers, Art and Ted, were graphic artists as well as musicians. Ted Wood died in 2004, and Art Wood in 2006.[30]
Wood has four children. Jesse is his son with his first wife, Krissy (née Findlay), a former model to whom he was married from 1971 to 1978; (during this time he had an affair with George Harrison's former wife, Pattie Boyd). Krissy died in 2005. In 1985 Wood married his second wife, Jo Wood (née Karslake), mother of his daughter Leah and son Tyrone. He adopted her son, Jamie, from a previous marriage. Also a former model, Jo Wood has developed a successful line of organic beauty products.[31] The Woods own homes in Kingston Vale in Greater London and County Kildare, Ireland.[32]
Wood has been frank about his struggle with alcoholism; although reports between 2003 and 2006 had indicated that he had been sober since the Rolling Stones' 2002–03 tour, in June 2006 it was reported that Wood was entering rehab for a couple of weeks following a spell of increased alcohol abuse.[33][34] By July 2008, ITN reported that Wood had checked himself into rehab a total of six times; the last time being before the wedding of his daughter Leah. He had plans once again for a seventh admission.[35]
In July 2008 he left his wife for Ekaterina Ivanova (variously reported to be between 18 and 21 years old at the time), whom he had met in a London club.[36] Wood checked into rehab again on 16 July 2008.[37][38] Jo Wood filed for divorce, which was granted in 2009.[39]
On 3 December 2009, Wood was arrested over assault "in connection with a domestic incident".[40] He was cautioned for this offence on 22 December 2009.[41]
On 30 October 2012, Wood's spokesman confirmed, he was to marry his girlfriend of six months, 34-year-old Sally Humphreys (born 9 January 1978), the owner of a theatre production company, 31 years his junior.[42] On 21 December 2012, Wood married Humphreys.[43][44]
Artwork
Wood is a well-known visual artist. When he was a child his drawings were featured on the BBC television programme Sketch Club; he won one of that programme's competitions, an achievement he refers to as his "awakening to art".[45] He went on to train at the Ealing Art College, as both his brothers had. Other notable musicians, Freddie Mercury of Queen, and Pete Townshend of the Who, also attended in the 1960s.[46]
Wood's paintings, drawings and prints frequently feature icons of popular culture and have been exhibited all over the world. He did the cover artwork to Eric Clapton's 1988 box set Crossroads. Several of his paintings, including a work commissioned by Andrew Lloyd Webber, are displayed at London's Drury Lane Theatre.[47] Art critic Brian Sewell has called Wood "an accomplished and respectable artist";[48] and the South Bank Show has devoted an entire programme to his artwork.[49] Liberty & Co. has produced a clothing line using fabrics printed with Wood's art.[50] Wood has maintained a long-standing relationship with the San Francisco Art Exchange who first exhibited his work in 1987.[51] Wood is also the co-owner (along with sons Jamie and Tyrone) of a London art gallery called Scream.[52]
Equipment
Wood mostly plays his 1955 and 1956 Sunburst Fender Stratocasters during live and studio sessions and Gibson J-200s during acoustic sets. He also plays a Gibson Firebird. He uses Mesa Boogie amplifiers and MXR effects pedals.[53][54] Before he joined The Rolling Stones, he endorsed Zemaitis Guitars during his time with Faces.[55] He also plays his ESP signature model,[56] his Duesenberg signature model,[57] and a range of Versoul guitars,[58] including his Versoul custom shop model.[59]
Books, films and television appearances
To date, Wood has three books to his credit: a short collection of autobiographical anecdotes entitled The Works, illustrated with Wood's artwork, co-authored by Bill German and published in 1988; a limited-edition art book entitled Wood on Canvas: Every Picture Tells a Story, published in 1998 by Genesis Publications; and his 2007 autobiography Ronnie, written in collaboration with his son in law Jack MacDonald and Jeffrey Robinson.
In addition to numerous Faces and Rolling Stones concert films, broadcasts and documentaries, Wood performed alongside the Band, Bob Dylan and many others in the finale of the documentary The Last Waltz, filmed in 1976.[60] He has made cameo appearances in feature films including The Deadly Bees (1967), The Wild Life (1984) and 9½ Weeks (1986), as well as on television programmes including The Rutles: All You Need Is Cash (1978).[61][62] In October 2007 Wood appeared on the television motor show Top Gear, achieving a celebrity lap time of 1:49.4.
Buddy Guy with Ron Wood & Jonny Lang - Five Long Years (Crossroads Guitar Festival 2010 HD)
The Bill Miller Band, 2013 Charlotte Music Awards Blues Band of the Year and 2012 Quarter finalist at the International Blues Challenge, is sure to get you moving to their high-powered, contemporary interpretation of vintage blues. Father and Son share vocals with Bill III on guitar and Bill jr. on harmonica. Randall Cowles holds down the bottom while Stuart Sullivan provides the beat. They've been exciting southeastern U. S. audiences with their high energy shows since 2006. The recipe for their Blues is to mix Chicago with a bit of Texas and some Southern Rock, and add a whole lot of their own passion and drive.
The Bill Miller Band - Baby Please
R.I.P.
Sonny Boy Williamson I. +01.06.1948
John Lee „Sonny Boy“ Williamson I. (* 30. März 1914 in Madison County, südwestlich von Jackson, Tennessee; † 1. Juni 1948 in Chicago) war ein US-amerikanischer Bluesmusiker und Mundharmonikaspieler.
Williamson etablierte die Mundharmonika zum Melodie-Instrument im Blues und gilt als „Vater der modernen Blues Harp“. Sein Stil hat viele Bluesmusiker beeinflusst, darunter Billy Boy Arnold, Sonny Terry und Muddy Waters. In den 1940ern war er so populär, dass sich der Bluesmusiker Aleck „Rice“ Miller Sonny Boy Williamson II. nannte.
Seine wohl bekanntesten Songs sind Shake the Boogie und Good Morning, Little Schoolgirl.
Williamson kam am 1. Juni 1948 bei einem Raubüberfall ums Leben. 1990 stiftete seine Plattenfirma einen Grabstein, um seiner zu gedenken.
http://de.wikipedia.org/wiki/Sonny_Boy_Williamson_I.
http://www.findagrave.com/cgi-bin/fg.cgi?page=gr&GRid=22744
John Lee Curtis "Sonny Boy" Williamson (March 30, 1914 – June 1, 1948) was an American blues harmonica player, singer and songwriter. He is often regarded as the pioneer of the blues harp as a solo instrument and played on hundreds of blues recordings for many pre-World War II blues artists. Under his own name, Williamson was one of the most recorded blues musicians of the 1930s and 1940 and is closely associated with Chicago producer Lester Melrose and Bluebird Records. His popular songs, whether original or adapted, include "Good Morning, School Girl", "Sugar Mama", "Early in the Morning", and "Stop Breaking Down".
Williamson's harmonica style was a great influence on post-War performers and, later in his career, he was a mentor to many of the up and coming blues musicians who moved to Chicago, including Muddy Waters. Aleck "Rice" Miller began recording and performing as "Sonny Boy Williamson" and, later to distinguish the two, John Lee became known as Sonny Boy Williamson I.
Biography and career
Williamson was born in Madison County, Tennessee, near Jackson, in 1914.[1] His original recordings were considered to be in the country blues style, but he soon demonstrated skill at making harmonica a lead instrument for the blues, and popularized it for the first time in a more urban blues setting. He has been called "the father of modern blues harp". While in his teens he joined Yank Rachell and Sleepy John Estes playing with them in Tennessee and Arkansas, and in 1934 settled in Chicago.[1]
Early recordings
Sonny first recorded for Bluebird Records in 1937 and his first recording, "Good Morning, School Girl", became a standard.[1] He was hugely popular among black audiences throughout the southern United States as well as in the midwestern industrial cities such as Detroit and his home base in Chicago, and his name was synonymous with the blues harmonica for the next decade. Other well-known recordings of his include "Sugar Mama Blues", "Shake the Boogie", "You Better Cut That Out", "Sloppy Drunk", "Early in the Morning", "Stop Breaking Down", and "Hoodoo Hoodoo" aka "Hoodoo Man Blues". In 1947, "Shake the Boogie" made #4 on Billboard's Race Records chart.[1] Williamson's style influenced a large number of blues harmonica performers, including Billy Boy Arnold, Junior Wells, Sonny Terry, Little Walter, and Snooky Pryor among many others. He was the most widely heard and influential blues harmonica player of his generation. His music was also influential on many of his non-harmonica playing contemporaries and successors, including Muddy Waters (who had played guitar with Williamson in the mid-1940s) and Jimmy Rogers (whose first recording in 1946 was as a harmonica player, performing an uncanny imitation of Williamson's style); Rogers later recorded Williamson's songs "My Little Machine" and "Sloppy Drunk" on Chess Records, and Waters recorded "Good Morning Little Schoolgirl" in September 1963 for his Chess Folk Singer LP and again in the 1970s when he moved to Johnny Winter's Blue Sky label on CBS.
Williamson recorded prolifically both as a bandleader and a sideman over the entire course of his career, mainly for the Bluebird record label. Before Bluebird moved to Chicago, where it eventually became part of RCA Records, many early sessions took place at the Leland Tower, a hotel in Aurora, Illinois. The top-floor nightclub at the Leland, known as "The Sky Club", was used for live big band broadcasts on a local radio station, was utilized during off-hours as a recording studio for Williamson's early sessions, as well as those of other Bluebird artists.
Death and legacy
Williamson's final recording session took place in Chicago in December 1947, backing Big Joe Williams. On June 1, 1948, Williamson was killed in a robbery on Chicago's South Side, as he walked home from a performance at The Plantation Club at 31st St. and Giles Avenue, a tavern just a block and a half away from his home at 3226 S. Giles. Williamson's final words are reported to have been "Lord have mercy".[2]
His legacy has been somewhat overshadowed in the post-war blues era by the popularity of the musician who appropriated his name, Rice Miller, who after Williamson's death went on to record many popular blues songs for Chicago's Checker Records label and others, and toured Europe several times during the 'blues revival' in the 1960s.[citation needed]
Williamson is buried at the former site of The Blairs Chapel Church, southwest of Jackson, Tennessee. In 1991, a red granite marker was purchased by fans and family to mark the site of his burial. A Tennessee historical marker, also placed in 1991, indicates the place of his birth and describes his influence on blues music. The historical marker is located south of Jackson on TN Highway 18, at the corner of Caldwell Road.[citation needed]
Name issues
The recordings made by John Lee Williamson between 1937 and his death in 1948, and those made later by "Rice" Miller, were all originally issued under the name Sonny Boy Williamson. It is believed that Miller adopted the name to suggest to audiences, and his first record label, that he was the "original" Sonny Boy.[3] In order to differentiate between the two musicians, many later scholars and biographers now refer to Williamson (1914-1948) as "Sonny Boy Williamson I", and Miller (c.1912-1965) as "Sonny Boy Williamson II".
Williamson's harmonica style was a great influence on post-War performers and, later in his career, he was a mentor to many of the up and coming blues musicians who moved to Chicago, including Muddy Waters. Aleck "Rice" Miller began recording and performing as "Sonny Boy Williamson" and, later to distinguish the two, John Lee became known as Sonny Boy Williamson I.
Biography and career
Williamson was born in Madison County, Tennessee, near Jackson, in 1914.[1] His original recordings were considered to be in the country blues style, but he soon demonstrated skill at making harmonica a lead instrument for the blues, and popularized it for the first time in a more urban blues setting. He has been called "the father of modern blues harp". While in his teens he joined Yank Rachell and Sleepy John Estes playing with them in Tennessee and Arkansas, and in 1934 settled in Chicago.[1]
Early recordings
Sonny first recorded for Bluebird Records in 1937 and his first recording, "Good Morning, School Girl", became a standard.[1] He was hugely popular among black audiences throughout the southern United States as well as in the midwestern industrial cities such as Detroit and his home base in Chicago, and his name was synonymous with the blues harmonica for the next decade. Other well-known recordings of his include "Sugar Mama Blues", "Shake the Boogie", "You Better Cut That Out", "Sloppy Drunk", "Early in the Morning", "Stop Breaking Down", and "Hoodoo Hoodoo" aka "Hoodoo Man Blues". In 1947, "Shake the Boogie" made #4 on Billboard's Race Records chart.[1] Williamson's style influenced a large number of blues harmonica performers, including Billy Boy Arnold, Junior Wells, Sonny Terry, Little Walter, and Snooky Pryor among many others. He was the most widely heard and influential blues harmonica player of his generation. His music was also influential on many of his non-harmonica playing contemporaries and successors, including Muddy Waters (who had played guitar with Williamson in the mid-1940s) and Jimmy Rogers (whose first recording in 1946 was as a harmonica player, performing an uncanny imitation of Williamson's style); Rogers later recorded Williamson's songs "My Little Machine" and "Sloppy Drunk" on Chess Records, and Waters recorded "Good Morning Little Schoolgirl" in September 1963 for his Chess Folk Singer LP and again in the 1970s when he moved to Johnny Winter's Blue Sky label on CBS.
Williamson recorded prolifically both as a bandleader and a sideman over the entire course of his career, mainly for the Bluebird record label. Before Bluebird moved to Chicago, where it eventually became part of RCA Records, many early sessions took place at the Leland Tower, a hotel in Aurora, Illinois. The top-floor nightclub at the Leland, known as "The Sky Club", was used for live big band broadcasts on a local radio station, was utilized during off-hours as a recording studio for Williamson's early sessions, as well as those of other Bluebird artists.
Death and legacy
Williamson's final recording session took place in Chicago in December 1947, backing Big Joe Williams. On June 1, 1948, Williamson was killed in a robbery on Chicago's South Side, as he walked home from a performance at The Plantation Club at 31st St. and Giles Avenue, a tavern just a block and a half away from his home at 3226 S. Giles. Williamson's final words are reported to have been "Lord have mercy".[2]
His legacy has been somewhat overshadowed in the post-war blues era by the popularity of the musician who appropriated his name, Rice Miller, who after Williamson's death went on to record many popular blues songs for Chicago's Checker Records label and others, and toured Europe several times during the 'blues revival' in the 1960s.[citation needed]
Williamson is buried at the former site of The Blairs Chapel Church, southwest of Jackson, Tennessee. In 1991, a red granite marker was purchased by fans and family to mark the site of his burial. A Tennessee historical marker, also placed in 1991, indicates the place of his birth and describes his influence on blues music. The historical marker is located south of Jackson on TN Highway 18, at the corner of Caldwell Road.[citation needed]
Name issues
The recordings made by John Lee Williamson between 1937 and his death in 1948, and those made later by "Rice" Miller, were all originally issued under the name Sonny Boy Williamson. It is believed that Miller adopted the name to suggest to audiences, and his first record label, that he was the "original" Sonny Boy.[3] In order to differentiate between the two musicians, many later scholars and biographers now refer to Williamson (1914-1948) as "Sonny Boy Williamson I", and Miller (c.1912-1965) as "Sonny Boy Williamson II".
Clarence M. Jones +01.06.1949
Clarence M. Jones (* 15. August 1889 in Wilmington (Ohio); † 1. Juni 1949 in New York City[1]) war ein US-amerikanischer Ragtime-, Novelty- und Jazzpianist sowie Arrangeur, Komponist, Orchesterleiter und Musikpädagoge[2], der auch The Sultan of Syncopation genannt wurde und im Chicago der 1910er- und 1920er-Jahre populär war.
Leben und Wirken
Jones hatte Klavierunterricht bei seiner Mutter und begann seine Karriere Anfang des 20. Jahrhunderts, nachdem er seine Heimatstadt Wilmington verlassen hatte, zunächst in Ohio, arbeitete dann in Cincinnati und schließlich ab ca. 1911 in Chicago.[3] Dort trat er Mitte der 1910er-Jahre im Owl Theater mit seinem Wonder Orchestra auf. Ted T. Wards Song „Hula Lou“ war in dieser Zeit ein populärer Novelty Song, mit dem er in der Stadt bekannt wurde.
Daneben schrieb er zahlreiche Songs, die als Sheet Music veröffentlicht wurden. Frühe Songs Jones’ waren „Lightning (A Striking Rag)“ (1908), „The Candy (Ragged Two Step)“ (1909) und „Wild Grapes Rag“ (1910).[4] Bei Frank K. Root & Co. erschienen 1913/14 „Pauline Waltz“, „One Wonderful Night“, „Thanks for the Lobster“[5] und „In Search Of a Husband“, ferner „That Baseball Rag“ (1913), „Only You“ (1915, mit Arthur J. Lamb), „La Danza Appassionata“ (1916),[6] „The Dirty Dozen“ (1917)[7] und „Modulations“ (1923).
Jones unterrichtete den jungen Jimmy Blythe, als dieser 1916 nach Chicago kam.[8] Um 1916 arbeitete Jones als Komponist und Arrangeur für die McKinley Music Company. Seine Songs wurden von Plattenlabel wie Crescent und Medallion veröffentlicht. Daneben begann er Notenrollen für Firmen wie die Imperial Roll Company aufzunehmen und arbeitete mit den Bands von Charley Straight und Roy Bargy („Mid the Pyramids“). Neben Charles Luckyeth Roberts, Eubie Blake, Maceo Pinkard und James P. Johnson gehörte Jones zu den wenigen Musikern, die schon vor 1921 Bluessongs aufnahmen.[9]
In den frühen 1920er-Jahren verkehrte Jones häufig in Clarence Williams’ Musikgeschäft in Chicagos South State Street. 1922 nahm er Richard M. Jones’ „Jazzin’ Baby Blues“ für Columbia Rolls (Columbia 457) auf. Außerdem hatte er mit J. Mayo „Ink“ Williams zu tun, der in dieser Zeit begann, als Produzent für Paramount Records zu arbeiten. 1922 nahm er als Pianist und musikalischer Leiter mit eigenem Orchester (Clarence M. Jones and His ‘Wonder’ Orchestra) auf; erfolgreiche Titel waren „Wabash Blues“, „Fate“ und „Love Days“ (Paramount). Clarence Jones’ Wonder Orchestra war 1922 die erste afroamerikanische Tanzband, deren Musik im amerikanischen Rundfunk übertragen wurde.[4] „Die Theaterbands von Erskine Tate und Clarence Jones, die Tanzbands von Doc Cooke und Charles Elgar und die Kabarettbands von King Oliver, Manuel Perez und Freddie Keppard gehörten um 1923 zu erfolgreichsten Jazzgruppen der Stadt.“[10]
Jones’ Komposition „Trot Along“ wurde erfolgreich 1923 vom Benson Orchestra of Chicago für Victor Records (Vi 19044) aufgenommen. Außerdem begleitete er Monette Moore („Gulf Coast Blues“, „I Just Want a Daddy“, Paramount, 1923), z. T. im Trio (Clarence Jones and His Paramount Trio), mit Tommy Ladnier, Kornett und Jimmy O’Bryant, Klarinette (“I’ll Go to My Grave With the Blues”, Paramount 12046).
In dieser Zeit nahm Jones auch für Orlando Marsh’s Laboratories auf und begleitete Fannie Wise, Schooler & Potter und The Harmony Girls, die eine Version seines Songs “Trot Along” einspielten. Erst 1926 hatte er erneut Gelegenheit zu weiteren Plattenaufnahmen, als er für Okeh Records mit seinem Wonder Orchestra den Titel „The Arm Breaker“ (OK 8404) einspielte. 1927 begleitete Jones die Sängerin Laura Smith in Chicago bei einer Aufnahmesitzung für Victor („The Mississippi Blues“, # 20775);[11] 1928 entstanden erneut Aufnahmen für Paramount, darunter seine Komposition „’Mid the Pyramids“ (veröffentlicht als Clarence Jones and His Sock Four, Pm 12716).[12] Nach Tom Lord war er zwischen 1920 und 1928 an 17 Aufnahmesessions beteiligt.[13]
In den folgenden Jahren arbeitete Jones erfolgreich für die Chicagoer Radiostation WBCN, dem Sender von The Southtown Economist. Als sein Vertrag mit dem Sender 1927 endete, ließ seine Popularität nach; 1932 zog er mit seiner Familie nach New York, wo er ab 1933 als Arrangeur, Komponist und Pianist für das Vokalensemble Southernaires arbeitete.[14] Er schrieb u. a. 1936 deren Erkennungsmelodie „My Old Swanee Home“. Jones, der 1949 starb, ist auf dem Sugar Grove Cemetery in Wilmington begraben.
https://de.wikipedia.org/wiki/Clarence_M._JonesLeben und Wirken
Jones hatte Klavierunterricht bei seiner Mutter und begann seine Karriere Anfang des 20. Jahrhunderts, nachdem er seine Heimatstadt Wilmington verlassen hatte, zunächst in Ohio, arbeitete dann in Cincinnati und schließlich ab ca. 1911 in Chicago.[3] Dort trat er Mitte der 1910er-Jahre im Owl Theater mit seinem Wonder Orchestra auf. Ted T. Wards Song „Hula Lou“ war in dieser Zeit ein populärer Novelty Song, mit dem er in der Stadt bekannt wurde.
Daneben schrieb er zahlreiche Songs, die als Sheet Music veröffentlicht wurden. Frühe Songs Jones’ waren „Lightning (A Striking Rag)“ (1908), „The Candy (Ragged Two Step)“ (1909) und „Wild Grapes Rag“ (1910).[4] Bei Frank K. Root & Co. erschienen 1913/14 „Pauline Waltz“, „One Wonderful Night“, „Thanks for the Lobster“[5] und „In Search Of a Husband“, ferner „That Baseball Rag“ (1913), „Only You“ (1915, mit Arthur J. Lamb), „La Danza Appassionata“ (1916),[6] „The Dirty Dozen“ (1917)[7] und „Modulations“ (1923).
Jones unterrichtete den jungen Jimmy Blythe, als dieser 1916 nach Chicago kam.[8] Um 1916 arbeitete Jones als Komponist und Arrangeur für die McKinley Music Company. Seine Songs wurden von Plattenlabel wie Crescent und Medallion veröffentlicht. Daneben begann er Notenrollen für Firmen wie die Imperial Roll Company aufzunehmen und arbeitete mit den Bands von Charley Straight und Roy Bargy („Mid the Pyramids“). Neben Charles Luckyeth Roberts, Eubie Blake, Maceo Pinkard und James P. Johnson gehörte Jones zu den wenigen Musikern, die schon vor 1921 Bluessongs aufnahmen.[9]
In den frühen 1920er-Jahren verkehrte Jones häufig in Clarence Williams’ Musikgeschäft in Chicagos South State Street. 1922 nahm er Richard M. Jones’ „Jazzin’ Baby Blues“ für Columbia Rolls (Columbia 457) auf. Außerdem hatte er mit J. Mayo „Ink“ Williams zu tun, der in dieser Zeit begann, als Produzent für Paramount Records zu arbeiten. 1922 nahm er als Pianist und musikalischer Leiter mit eigenem Orchester (Clarence M. Jones and His ‘Wonder’ Orchestra) auf; erfolgreiche Titel waren „Wabash Blues“, „Fate“ und „Love Days“ (Paramount). Clarence Jones’ Wonder Orchestra war 1922 die erste afroamerikanische Tanzband, deren Musik im amerikanischen Rundfunk übertragen wurde.[4] „Die Theaterbands von Erskine Tate und Clarence Jones, die Tanzbands von Doc Cooke und Charles Elgar und die Kabarettbands von King Oliver, Manuel Perez und Freddie Keppard gehörten um 1923 zu erfolgreichsten Jazzgruppen der Stadt.“[10]
Jones’ Komposition „Trot Along“ wurde erfolgreich 1923 vom Benson Orchestra of Chicago für Victor Records (Vi 19044) aufgenommen. Außerdem begleitete er Monette Moore („Gulf Coast Blues“, „I Just Want a Daddy“, Paramount, 1923), z. T. im Trio (Clarence Jones and His Paramount Trio), mit Tommy Ladnier, Kornett und Jimmy O’Bryant, Klarinette (“I’ll Go to My Grave With the Blues”, Paramount 12046).
In dieser Zeit nahm Jones auch für Orlando Marsh’s Laboratories auf und begleitete Fannie Wise, Schooler & Potter und The Harmony Girls, die eine Version seines Songs “Trot Along” einspielten. Erst 1926 hatte er erneut Gelegenheit zu weiteren Plattenaufnahmen, als er für Okeh Records mit seinem Wonder Orchestra den Titel „The Arm Breaker“ (OK 8404) einspielte. 1927 begleitete Jones die Sängerin Laura Smith in Chicago bei einer Aufnahmesitzung für Victor („The Mississippi Blues“, # 20775);[11] 1928 entstanden erneut Aufnahmen für Paramount, darunter seine Komposition „’Mid the Pyramids“ (veröffentlicht als Clarence Jones and His Sock Four, Pm 12716).[12] Nach Tom Lord war er zwischen 1920 und 1928 an 17 Aufnahmesessions beteiligt.[13]
In den folgenden Jahren arbeitete Jones erfolgreich für die Chicagoer Radiostation WBCN, dem Sender von The Southtown Economist. Als sein Vertrag mit dem Sender 1927 endete, ließ seine Popularität nach; 1932 zog er mit seiner Familie nach New York, wo er ab 1933 als Arrangeur, Komponist und Pianist für das Vokalensemble Southernaires arbeitete.[14] Er schrieb u. a. 1936 deren Erkennungsmelodie „My Old Swanee Home“. Jones, der 1949 starb, ist auf dem Sugar Grove Cemetery in Wilmington begraben.
Pianist, songwriter, orchestra leader and piano teacher Clarence M. Jones (1889-1949) had a prolific career, which started in the first decade of the 20th century, but began to eclipse in the 1910s and 1920s, after he had left his hometown of Wilmington, Ohio and came, via Cincinnati, to Chicago. Here, in the mid 1910s he began to operate the Owl Theater with his Wonder Orchestra. At this time, record companies were still considered juvenile. This did not stop Jones from writing songs, which he saw published on sheet music. Some of his early songs were published via Frank K. Root & Co., including “Pauline Waltz”, “One Wonderful Night”, “Thanks For The Lobster” and “In Search Of a Husband”, around 1913-1914.
By 1916, Jones, of African-American origin, was a composer and arranger for the McKinley Music Company.
Many of his songs were recorded by others and for a variety of record companies: “Thanks For The Lobster” and “In Search Of A Husband” appeared on Crescent; “Mid The Pyramids”, by The Imperial Three, appeared on Medallion 8151.
Besides composing songs, he also started working for companies which produced piano rolls, including the Imperial Roll Company, where he got in touch with orchestra leaders Charley Straight and Roy Bargy. According to Mark Berresford’s liner notes for Jazz Oracle BDW 8010 “[Charley] Straight found lucrative work cutting piano rolls for the Imperial Roll Company of Chicago, of which he eventually became a director, and which brought him into contact with pianists of the calibre of Roy Bargy and Clarence M. Jones. The connection between these three pianists extended into the disc record field, when in late 1919 Straight replaced Arnold Johnson as pianist with Paul Biese’s Orchestra, and in early 1920 a trio of Biese on tenor sax and Straight and Bargy on pianos, billed as ‘The Imperial Trio’ recorded Jones’s ‘Mid the Pyramids’ for Emerson”. Jones cut a version of his own “‘Mid The Pyramids” for Paramount in November 1928, but it remained unissued. In December he made another cut of the song, which was issued on Pm 12716 as “Clarence Jones and His Sock Four”.
During the early 1920s Jones was hanging around in Clarence Williams’ music store on Chicago’s South State Street. As one of the many composers Jones, like Thomas A. Dorsey, tried to find an entry for his composed material. In 1922 Jones recorded Richard M. Jones’s “Jazzin’ Baby Blues” for Columbia Rolls (Columbia 457), which was issued in December of that same year. By then he got in touch with J. Mayo “Ink” Williams, who had just started as recording director for Paramount records.
The Chicago Defender of 16 December 1922 (page 3) lists a Conn Chicago Co. advertisement for “Clarence M. Jones and His ‘Wonder’ Orchestra”, including band members: J. Wright Smith-violin; R. Emerson Brown-saxophone; Harry Johnson-cornet; Arthur Hill-trombone; Archie Walls [sic: Wald]-tuba; William [sic: Elliot] Washington-banjo; Frank Briggs [sic: Biggs]-drummer and Jones as director and pianist. The advertisement continues: “They are brilliant examples of the wealth and fame which may be in store for you in the realm of music. When Clarence Jones and his aggregation of artists played ‘Wabash Blues’ they set Chicago agog and put a tingling in its toes. They made a big hit with ‘Fate’ and then with ‘Love Days’, composed by ‘Jonesie’ himself. Now they have become so popular they are playing for Paramount Records. And take this tip: Their records of ‘Downhearted Blues’ and ‘Trot Along’ will make history.”
The record indeed made history, as no copy of such a record under Jones’s name was ever found. However, Jones’ composition “Trot Along” must have been successful, as by January 30, 1923 the Benson Orchestra of Chicago recorded the song for Victor (Vi 19044) in Camden, New Jersey. That same orchestra recorded Jones’ “Wabash Blues” in 1921 for Victor (Vi 18820). By then the orchestra was still under the direction of fellow pianist Roy Bargy, whom Jones knew from his days with the Imperial Roll Company of Chicago.
By 1916, Jones, of African-American origin, was a composer and arranger for the McKinley Music Company.
Many of his songs were recorded by others and for a variety of record companies: “Thanks For The Lobster” and “In Search Of A Husband” appeared on Crescent; “Mid The Pyramids”, by The Imperial Three, appeared on Medallion 8151.
Besides composing songs, he also started working for companies which produced piano rolls, including the Imperial Roll Company, where he got in touch with orchestra leaders Charley Straight and Roy Bargy. According to Mark Berresford’s liner notes for Jazz Oracle BDW 8010 “[Charley] Straight found lucrative work cutting piano rolls for the Imperial Roll Company of Chicago, of which he eventually became a director, and which brought him into contact with pianists of the calibre of Roy Bargy and Clarence M. Jones. The connection between these three pianists extended into the disc record field, when in late 1919 Straight replaced Arnold Johnson as pianist with Paul Biese’s Orchestra, and in early 1920 a trio of Biese on tenor sax and Straight and Bargy on pianos, billed as ‘The Imperial Trio’ recorded Jones’s ‘Mid the Pyramids’ for Emerson”. Jones cut a version of his own “‘Mid The Pyramids” for Paramount in November 1928, but it remained unissued. In December he made another cut of the song, which was issued on Pm 12716 as “Clarence Jones and His Sock Four”.
During the early 1920s Jones was hanging around in Clarence Williams’ music store on Chicago’s South State Street. As one of the many composers Jones, like Thomas A. Dorsey, tried to find an entry for his composed material. In 1922 Jones recorded Richard M. Jones’s “Jazzin’ Baby Blues” for Columbia Rolls (Columbia 457), which was issued in December of that same year. By then he got in touch with J. Mayo “Ink” Williams, who had just started as recording director for Paramount records.
The Chicago Defender of 16 December 1922 (page 3) lists a Conn Chicago Co. advertisement for “Clarence M. Jones and His ‘Wonder’ Orchestra”, including band members: J. Wright Smith-violin; R. Emerson Brown-saxophone; Harry Johnson-cornet; Arthur Hill-trombone; Archie Walls [sic: Wald]-tuba; William [sic: Elliot] Washington-banjo; Frank Briggs [sic: Biggs]-drummer and Jones as director and pianist. The advertisement continues: “They are brilliant examples of the wealth and fame which may be in store for you in the realm of music. When Clarence Jones and his aggregation of artists played ‘Wabash Blues’ they set Chicago agog and put a tingling in its toes. They made a big hit with ‘Fate’ and then with ‘Love Days’, composed by ‘Jonesie’ himself. Now they have become so popular they are playing for Paramount Records. And take this tip: Their records of ‘Downhearted Blues’ and ‘Trot Along’ will make history.”
The record indeed made history, as no copy of such a record under Jones’s name was ever found. However, Jones’ composition “Trot Along” must have been successful, as by January 30, 1923 the Benson Orchestra of Chicago recorded the song for Victor (Vi 19044) in Camden, New Jersey. That same orchestra recorded Jones’ “Wabash Blues” in 1921 for Victor (Vi 18820). By then the orchestra was still under the direction of fellow pianist Roy Bargy, whom Jones knew from his days with the Imperial Roll Company of Chicago.
Clarence M. Jones plays Modulation's (Novelty Piano Solo)
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