1892 Richard M. Jones*
1942 Bob Hall*
1954 Scott Ellison*
1972 Clyde McPhatter+
1993 John Campbell+
Happy Birthday
Bob Hall *13.06.1942
Bob Hall (* 13. Juni 1942 in West Byfleet, Surrey) ist ein britischer Blues- und Jazz-Pianist.
Hall war Gründungsmitglied von verschiedenen britischen Bluesbands wie Savoy Brown, The Groundhogs, Tramp, The Sunflower Blues Band und The De Luxe Blues Band. Daneben hat er mit Musikern wie Peter Green, Danny Kirwan and Mick Fleetwood zusammengearbeitet und ist regelmäßig als Gast von The Blues Band mit Paul Jones zu hören. Er begleitete auch amerikanische Bluesmusiker wie John Lee Hooker, Howlin’ Wolf, Little Walter, Jimmy Witherspoon, Homesick James, Lightnin’ Slim oder Charlie Musselwhite.
Hall wird von vielen als Englands bester Boogie-Woogie-Pianist angesehen. Er ist unter anderem auf dem North Sea Jazz Festival aufgetreten. In seiner Boogie-Woogie Big Band Rocket 88 spielten unter anderem Ian Stewart, Hal Singer, Don Weller und Dick Morrissey, Alexis Korner, Charlie Watts und Jack Bruce. 2004 gründete er "The British Blues All Stars", einer Bluesband, der in verschiedenen Besetzungen Größen der britischen Bluesmusik der 1960er Jahre angehören.
http://de.wikipedia.org/wiki/Bob_Hall
Robert 'Bob' Hall (born 13 June 1942, West Byfleet, Surrey, England), is an English boogie-woogie pianist. A long-time collaborator of Alexis Korner, he also performed regularly with bottleneck bluesman Dave Kelly and his sister, Jo Ann Kelly.
Career
Founder member of several British blues bands including The Groundhogs, Tramp, The Sunflower Blues Band and The De Luxe Blues Band, Hall has worked and recorded with artists such as Peter Green, Danny Kirwan and Mick Fleetwood, of Fleetwood Mac, and is also a long serving member of Savoy Brown, and guests with The Blues Band, featuring Paul Jones, Dave Kelly and Tom McGuinness.[1]
Hall was also a founder-member, with Ian Stewart, of the Boogie Woogie Big Band which later became Rocket 88, and which included Hal Singer, Don Weller and Dick Morrissey among many leading jazzmen, together with Charlie Watts, Alexis Korner, and Jack Bruce.[1]
As a sideman, he has accompanied such blues names as John Lee Hooker, Howlin’ Wolf, Little Walter,[2] Jimmy Witherspoon, Chuck Berry, Homesick James, Lightnin' Slim, Lowell Fulsom, Charlie Musselwhite, Snooky Pryor, J. B. Hutto, Lazy Lester, Dave Peabody, Baby Boy Warren, Eddie "Guitar" Burns, Eddie Taylor, Big John Wrencher, Mickey Baker, and Eddy Clearwater.[1]
An acknowledged authority on blues and boogie woogie piano, Hall has contributed to a number of magazines and books and is the sleeve-note writer for the Yazoo Records piano blues series. He is also currently working on the piano sections of The Routledge Encyclopaedia of the Blues.
Career
Founder member of several British blues bands including The Groundhogs, Tramp, The Sunflower Blues Band and The De Luxe Blues Band, Hall has worked and recorded with artists such as Peter Green, Danny Kirwan and Mick Fleetwood, of Fleetwood Mac, and is also a long serving member of Savoy Brown, and guests with The Blues Band, featuring Paul Jones, Dave Kelly and Tom McGuinness.[1]
Hall was also a founder-member, with Ian Stewart, of the Boogie Woogie Big Band which later became Rocket 88, and which included Hal Singer, Don Weller and Dick Morrissey among many leading jazzmen, together with Charlie Watts, Alexis Korner, and Jack Bruce.[1]
As a sideman, he has accompanied such blues names as John Lee Hooker, Howlin’ Wolf, Little Walter,[2] Jimmy Witherspoon, Chuck Berry, Homesick James, Lightnin' Slim, Lowell Fulsom, Charlie Musselwhite, Snooky Pryor, J. B. Hutto, Lazy Lester, Dave Peabody, Baby Boy Warren, Eddie "Guitar" Burns, Eddie Taylor, Big John Wrencher, Mickey Baker, and Eddy Clearwater.[1]
An acknowledged authority on blues and boogie woogie piano, Hall has contributed to a number of magazines and books and is the sleeve-note writer for the Yazoo Records piano blues series. He is also currently working on the piano sections of The Routledge Encyclopaedia of the Blues.
Richard M. Jones *13.06.1892
Richard Marigny Jones (* 13. Juni 1889 oder 1892 in Donaldville (Louisiana)[1]; † 8. Dezember 1945 in Chicago) war ein US-amerikanischer Blues und Jazzpianist, Arrangeur, Komponist, Bandleader und Musikproduzent.
Richard M. Jones wuchs in New Orleans auf und lernte in seinem Elternhaus verschiedene Instrumente kennen; auf Grund einer Kniebehinderung erhielt er von Kollegen den Spitznamen „Richard My Knee Jones“. In seiner Jugend spielte er Althorn in Brassbands wie der Eureka Brass Band, bis sein Hauptinstrument das Piano wurde. Um 1908 spielte er in den Clubs und Cabarets des Storyville-Bezirks, wie auch Lulu Whites Josie Arlington's. Später leitete er 1912/13 ein kleines Ensemble, dem auch King Oliver angehörte. Jones spielte auch in den Bands von John Robichaux, Armand J. Piron und 1918 bei Papa Celestins Tuxedo Brass Band. 1915 begann er erste Songs zu komponieren, darunter „Lonesome Nobody Cares“, der dann von Sophie Tucker interpretiert wurde.
1918 zog Jones nach Chicago, um für den Musikverleger Clarence Williams zu arbeiten. Ab 1923 entstanden erste Aufnahmen von ihm als Solisten (1923), im Trio mit Albert Nicholas und Johnny St. Cyr, sowie als Begleiter von Blues-Vokalisten wie Bertha „Chippie“ Hill (1925-27), außerdem mit seinen Bands The Jazz Wizards (denen auch Albert Nicholas, Shirley Clay, Stomp Evans, Preston Jackson, Roy Palmer oder Omer Simeon angehörten) und The Chicago Cosmopolitans. Er nahm in den 1920er Jahren für Gennett (unter dem Pseudonym Wally Coulter, 1927), OKeh, Victor und Paramount Records auf, für letzteres mit einem Trio aus Kornett, Klarinette und Piano;[2] außerdem arbeitete er für OKeh Records als A&R des Race-Programms, der afroamerikanischen Schallplatten dieser Dekade. Von 1930 bis 1934 leitete er erneut eine Band in New Orleans; ab 1834 arbeitete er als A&R für Decca, wo er u.a. bei Aufnahmen von Lee Collins, Herschel Evans und Louis Metcalf mitwirkte. Daneben war er als Songwriter aktiv. Bis zu seinem Tode im Jahr 1945 war er für Mercury Records als Arrangeur und Talentscout tätig. In den 40ern wirkte er noch bei Aufnahmen von Jimmie Noone (1940), Johnny Dodds und Punch Miller (1945) mit. 1944 leitete er wieder eine eigene Formation, zu der u.a. Preston Jackson, Baby Dodds und Darnell Howard gehörten („Canal Street Blues“) und mit der im März '44 Aufnahmen für Session Records entstanden.
Als Komponist war er für zahlreiche Songs verantwortlich, darunter „Caldonia“, „Jazzin’ Baby Blues“ (auch Tin Roof Blues genannt), „29th and Dearborn“, „Red Wagon“, „Riverside Blues“ und „Trouble in Mind“, den er 1926 mit „Chippie“ Hill (Gesang) und Louis Armstrong (Kornett) einspielte.
Jones wirkte in seiner Karriere außerdem bei Aufnahmen von Willy Hightowers Night Hawks (1923), Blanche Calloway (1925), Louis Armstrongs Hot Five (1925/26), King Oliver (1926), Lillie Delk Christian (1927) und Louis Powell (1938) mit.
Richard M. Jones, born Richard Marigny Jones, (13 June 1892 – 8 December 1945) was a jazz pianist, composer, band leader, and record producer. Numerous songs bear his name as author, including "Trouble in Mind".
Jones grew up in New Orleans, Louisiana. Jones suffered from a stiff leg and walked with a limp; fellow musicians gave him the nickname "Richard My Knee Jones" as a pun on his middle name. In his youth he played alto horn in brass bands. His main instrument, however, became the piano. By 1908 he was playing in Storyville, the red-light district of New Orleans. A few years later, he often led a small band which sometimes included Joe Oliver. Jones also worked in the bands of John Robichaux, Armand J. Piron, and Papa Celestin.
In 1918 Jones moved to Chicago. He worked as Chicago manager for publisher Clarence Williams. Jones began recording in 1923, making gramophone records as a piano soloist, accompanist to vocalists, and with his bands The Jazz Wizards and The Chicago Cosmopolitans. He recorded for Gennett, OKeh, Victor, and Paramount Records in the 1920s. He also worked for OKeh Records as Chicago supervisor of the company's "Race" (African-American) Records for most of the decade. During this period he was the producer of the very influential Hot Five and Hot Seven recordings led by cornetist (later trumpeter) Louis Armstrong, the most important soloist in early jazz. In the 1930s Jones played a similar management role for Decca.
Richard M. Jones worked for Mercury Records until his death.
Jones grew up in New Orleans, Louisiana. Jones suffered from a stiff leg and walked with a limp; fellow musicians gave him the nickname "Richard My Knee Jones" as a pun on his middle name. In his youth he played alto horn in brass bands. His main instrument, however, became the piano. By 1908 he was playing in Storyville, the red-light district of New Orleans. A few years later, he often led a small band which sometimes included Joe Oliver. Jones also worked in the bands of John Robichaux, Armand J. Piron, and Papa Celestin.
In 1918 Jones moved to Chicago. He worked as Chicago manager for publisher Clarence Williams. Jones began recording in 1923, making gramophone records as a piano soloist, accompanist to vocalists, and with his bands The Jazz Wizards and The Chicago Cosmopolitans. He recorded for Gennett, OKeh, Victor, and Paramount Records in the 1920s. He also worked for OKeh Records as Chicago supervisor of the company's "Race" (African-American) Records for most of the decade. During this period he was the producer of the very influential Hot Five and Hot Seven recordings led by cornetist (later trumpeter) Louis Armstrong, the most important soloist in early jazz. In the 1930s Jones played a similar management role for Decca.
Richard M. Jones worked for Mercury Records until his death.
Blue Reefer Blues - Richard M. Jones & his Jazz wizards - 1935
Scott Ellison *13.06.1954
https://www.facebook.com/scott.ellison.14
A talented singer-songwriter, guitarist, and blues-rocker, Scott Ellison was born on February 13, 1954, in Tulsa, OK. By the '70s, Tulsa had become an unexpected hotbed of blues-based rock bands as proven by both Eric Clapton and Freddie King's backing bands hailing from the area. It was the perfect match for Ellison with his heavy guitar shredding blues style. It was around that same time that Ellison began playing with legends in the business, such as country singer Jesseca James (Conway Twitty's daughter) in 1977 and renowned bluesman Clarence "Gatemouth" Brown in 1981.
Ellison relocated to Los Angeles, CA by the mid-'80s, however, keeping his music career going by playing with The Box Tops. The Shirelles, Marvalettes, JJ Jackson, The Drifters, The Coasters, Gary "US" Bonds and Peaches & Herb. By the '90s he had formed his own blues band and opened for the likes of Joe Cocker, Roy Orbison, The Fabulous Thunderbirds, Leon Russell, Bobby Bland and Buddy Guy. It was also around this time that Ellison began issuing his first solo albums, including the titles “Chains of Love”(1993) and “Live at Joey’s”(1995).
Shortly after returning back home to Tulsa in the mid-nineties, Ellison issued his third release, “Steamin’”(1997) followed by “One Step From the Blues”(2000), which featured several other Tulsa musicians backing him. In 2001 Ellison issued his first release for the Burnside label, “Cold Hard Cash”, which was produced and co-written by longtime Robert Cray producer Dennis Walker. The album proved to be highly successful, and was followed with “Bad Case of the Blues”(2003). The early 2000’s were a very successful time for Scott playing at giant festivals, including playing The Montreal Jazz and Blues Festival in front of 40,000 screaming people.
The later 2000’s brought 2008’s”Ice Storm” produced by Earwig Records. Another album that not only received great reviews, but it contained Scott’s first #1 Blues Hit: "Cadillac Woman”.
Scott's biggest thrill as a performer was opening up for BB King, at the Performing Arts Center in Tulsa, Oklahoma in 2009. BB King called Scott out to play twice during his show. Quite a thrill for Scott: "I'll never forget that moment. It was the musical thrill of my life, having your idol call you out on stage!"
His last CD, "Walkin Through The Fire", was produced on his own label JSE Records Inc. This CD received rave reviews. Songs from "Walkin Through The Fire" were written with Walt Richmond and Charles Tuberville, who both co-produced the CD. Walt has toured and recorded with Bonnie Raitt, and most recently toured and played keyboards on JJ Cale's and Eric Clapton's Grammy winning album: "Road to Escondido". Walt also toured and recorded on Eric Clapton's last 5 CD’s including: “Clapton” (2010), "Old Sock" (2013), Eric Clapton and Friends "The Breeze" (An Appreciation of JJ Cale).
In addition to solo records and playing with other artists, Ellison has also penned songs that have appeared in such hit TV shows as Sister Sister, Eye on L.A., and the soap opera Santa Barbara, as well as the soundtrack to the Ben Affleck motion picture Reindeer Games, Buffy The Vampire Slayer, Joan of Arcadia, Saving Grace, Smash and four songs on 2012’s hit TV show Justified on the FX Network. Scott was also pleased to see himself listed in the film credits for the world wide release of the movie "Feast of Love" starring Morgan Freeman in September 2007. Scott co-wrote, sang, played and co-produced his song "Don't Push Your Luck" that appears early in the movie. Scott just recently struck gold again with another song co-written by Scott in which he sang and performed "Jesus Loves Me" (Baby Why Don't You) in the new Blockbuster feature film "Home Front" starring Jason Statham, James Franco, Winona Ryder and Kate Bosworth. It became a single from the movie on JSE Records. You can find Jesus Loves Me (Baby Why Don't You) on Scott's new record, "Elevator Man" soon to be released.
Scott's brand new CD to be released by Red Parlor Records on May 12, 2015 is called "Elevator Man". Produced by Walt Richmond, Eric Clapton's keyboard player on Eric's last 5 CD's. Scott was inducted into The Oklahoma Blues Hall of Fame in May 2013. He continues to tour in the US and Canada, performing around 200 shows a year.
“Ellison is a prolific songwriter, and his work reflects influences from the British Blues Invasion, Motown, and Memphis rhythm and blues.” - Blues in Britain
Ellison relocated to Los Angeles, CA by the mid-'80s, however, keeping his music career going by playing with The Box Tops. The Shirelles, Marvalettes, JJ Jackson, The Drifters, The Coasters, Gary "US" Bonds and Peaches & Herb. By the '90s he had formed his own blues band and opened for the likes of Joe Cocker, Roy Orbison, The Fabulous Thunderbirds, Leon Russell, Bobby Bland and Buddy Guy. It was also around this time that Ellison began issuing his first solo albums, including the titles “Chains of Love”(1993) and “Live at Joey’s”(1995).
Shortly after returning back home to Tulsa in the mid-nineties, Ellison issued his third release, “Steamin’”(1997) followed by “One Step From the Blues”(2000), which featured several other Tulsa musicians backing him. In 2001 Ellison issued his first release for the Burnside label, “Cold Hard Cash”, which was produced and co-written by longtime Robert Cray producer Dennis Walker. The album proved to be highly successful, and was followed with “Bad Case of the Blues”(2003). The early 2000’s were a very successful time for Scott playing at giant festivals, including playing The Montreal Jazz and Blues Festival in front of 40,000 screaming people.
The later 2000’s brought 2008’s”Ice Storm” produced by Earwig Records. Another album that not only received great reviews, but it contained Scott’s first #1 Blues Hit: "Cadillac Woman”.
Scott's biggest thrill as a performer was opening up for BB King, at the Performing Arts Center in Tulsa, Oklahoma in 2009. BB King called Scott out to play twice during his show. Quite a thrill for Scott: "I'll never forget that moment. It was the musical thrill of my life, having your idol call you out on stage!"
His last CD, "Walkin Through The Fire", was produced on his own label JSE Records Inc. This CD received rave reviews. Songs from "Walkin Through The Fire" were written with Walt Richmond and Charles Tuberville, who both co-produced the CD. Walt has toured and recorded with Bonnie Raitt, and most recently toured and played keyboards on JJ Cale's and Eric Clapton's Grammy winning album: "Road to Escondido". Walt also toured and recorded on Eric Clapton's last 5 CD’s including: “Clapton” (2010), "Old Sock" (2013), Eric Clapton and Friends "The Breeze" (An Appreciation of JJ Cale).
In addition to solo records and playing with other artists, Ellison has also penned songs that have appeared in such hit TV shows as Sister Sister, Eye on L.A., and the soap opera Santa Barbara, as well as the soundtrack to the Ben Affleck motion picture Reindeer Games, Buffy The Vampire Slayer, Joan of Arcadia, Saving Grace, Smash and four songs on 2012’s hit TV show Justified on the FX Network. Scott was also pleased to see himself listed in the film credits for the world wide release of the movie "Feast of Love" starring Morgan Freeman in September 2007. Scott co-wrote, sang, played and co-produced his song "Don't Push Your Luck" that appears early in the movie. Scott just recently struck gold again with another song co-written by Scott in which he sang and performed "Jesus Loves Me" (Baby Why Don't You) in the new Blockbuster feature film "Home Front" starring Jason Statham, James Franco, Winona Ryder and Kate Bosworth. It became a single from the movie on JSE Records. You can find Jesus Loves Me (Baby Why Don't You) on Scott's new record, "Elevator Man" soon to be released.
Scott's brand new CD to be released by Red Parlor Records on May 12, 2015 is called "Elevator Man". Produced by Walt Richmond, Eric Clapton's keyboard player on Eric's last 5 CD's. Scott was inducted into The Oklahoma Blues Hall of Fame in May 2013. He continues to tour in the US and Canada, performing around 200 shows a year.
“Ellison is a prolific songwriter, and his work reflects influences from the British Blues Invasion, Motown, and Memphis rhythm and blues.” - Blues in Britain
A
talented singer/songwriter, guitarist, and blues-rocker, Scott Ellison
was born on June 13, 1954, in Tulsa, OK. By the '70s, Tulsa had
become an unexpected hotbed of blues-based rock bands (as proven by both
Eric Clapton and Freddie King's backing bands hailing from the area),
which was around the same time that Ellison began playing with others,
such as country singer Jesseca James (Conway Twitty's daughter) in 1977
and renowned bluesman Clarence "Gatemouth" Brown in 1981. Ellison
relocated to Los Angeles by the mid-'80s, however, keeping his music
career going by playing with the Box Tops, the Shirelles, the Coasters,
and Peaches & Herb, and by the '90s he had formed his own blues band
and opened for the likes of Joe Cocker, the Fabulous T-Birds, and Buddy
Guy. It was also around this time that Ellison began issuing solo
albums, including the titles Chains of Love and Live at Joey's. Shortly
after returning back home to Tulsa, Ellison issued his third release,
Steamin', followed by One Step From the Blues, which featured several
other Tulsa musicians backing him. In addition to solo records and
playing with other artists, Ellison has also penned songs that have
appeared in such hit TV shows as Sister Sister, Eye on L.A., and the
soap opera Santa Barbara, as well as the soundtrack to the Ben Affleck
motion picture Reindeer Games. In 2001 Ellison issued his first release
for the Burnside label, Cold Hard Cash, produced by longtime Robert Cray
producer Dennis Walker.
Scott Ellison - "Whiskey and Rum"
R.I.P.
Clyde McPhatter +13.06.1972
Clyde McPhatter (* 15. November 1932 in Durham (North Carolina); † 13. Juni 1972 in Teaneck, New Jersey) war ein bekannter Rhythm-and-Blues-Tenor der 1950er und 60er Jahre.McPhatter kam als viertes von sechs Kindern zur Welt und wuchs in Durham auf. Schon als kleiner Junge wurde er Sopran-Sänger im Chor der Mount Calvary Baptist Church, in der sein Vater George McPhatter predigte und seine Mutter Beulah McPhatter die Orgel spielte. 1945 zogen die McPhatters nach New Jersey, wo Clyde McPhatter noch im selben Jahr seine erste Gospel-Band gründete. Nur wenig später zog die Familie ein weiteres Mal um, diesmal nach New York City. McPhatter schloss sich dort den Mount Lebanon Singers an, einer Gospel-Band, die an der Ostküste Amerikas sehr populär war. Er blieb dort über die zweite Hälfte der 1940er Jahre.
Billy Ward & the Dominoes
Ende 1950 schloss sich McPhatter dann Billy Ward & the Dominoes an, mit denen er noch im gleichen Jahr Sixty Minute Man aufnahm. Der Song wurde der größte R&B-Hit des Jahres 1951 und schaffte es sogar in den Pop-Charts in die Top 30 (# 23). McPhatter blieb noch einige Zeit bei den Dominoes, mit denen er noch einige Hits aufnahm, fühlte sich über die Zeit jedoch von Ward zu sehr in den Schatten gestellt und verließ die Band Anfang 1953.
The Drifters
Später in diesem Jahr gründete McPhatter zusammen mit seinem Manager George Treadwell dann The Drifters, die schon bald von Ahmet Ertegün einen Vertrag mit Atlantic Records angeboten bekamen. Die Karriere der Gruppe begann 1953 mit Money Honey, dem größten R&B-Hit des Jahres 1953. Es folgte eine Reihe weiterer Hits, doch noch im gleichen Jahr musste McPhatter zum Militär. Da er jedoch innerhalb der USA postiert wurde, konnte er die Aufnahmearbeiten mit den Drifters fortsetzen. Trotzdem verließ er die Band 1955, um eine Solo-Karriere zu starten.
Atlantic Records
Diese begann in Form von Love Has Joined Us Together, einem Duett mit Ruth Brown, das es bis auf Platz 8 der R&B-Charts schaffte. Anfang 1956 folgte die Solo-Single Seven Days, die sogar einen Platz 2 machte. Im Frühjahr des Jahres kam Treasure of Love dann an die Spitze der R&B-Charts und bis auf Platz 16 der Pop-Charts, ein eher seltener Erfolg für einen R&B-Song in dieser Zeit. 1957 konnte er seine Erfolge mit Just to Hold My Hand und Long Lonely Nights fortsetzen. 1958 kam es dann sogar zur Veröffentlichung der beiden LPs Clyde McPhatter & the Drifters und Love Ballads, sowie seines größten Hits auf Atlantic, A Lover's Question, der die R&B-Charts toppte und einen Platz 6 in den Pop-Charts erreichte. 1959 folgten drei Mini-Hits und die LP Clyde McPhatter. Sein letzter Hit für Atlantic Records wurde Lovey Dovey, dann lief sein Vertrag ab und er verließ das Label.
MGM und Mercury
McPhatter unterschrieb dann bei MGM Records, wo er insgesamt nur ein Album und vier Singles (die erfolgreichste von ihnen Let’s Try Again) veröffentlichte. 1960 wechselte er zu Mercury Records, wo die Singles Ta Ta und I Never Knew einigen Erfolg ernteten. Lover Please schaffte es 1962 sogar bis in die Top 10 der Pop-Charts. Inzwischen verfiel McPhatter jedoch mehr und mehr dem Alkohol, die Erfolge ließen merklich nach. Seinen Abschluss bei Mercury bildete 1964 das Konzertalbum Live at the Apollo. In den Folgejahren veröffentlichte McPhatter auf einigen kleinen Labels noch ein paar Singles, die alle floppten.
England und Rückkehr in die USA
Inzwischen hatte Bill Pinkney, ein ehemaliges Mitglied von McPhatters Drifters, eine neue Band gegründet, die McPhatters Songmaterial durch Auftritte nun auch in England bekannt machte, was McPhatter schließlich bewog, ebenfalls dorthin zu ziehen. Dort sang er dann einige Zeit in verschiedenen Clubs, bis er sich Anfang der 1970er Jahre entschloss, in die USA zurückzukehren. Er unterschrieb dort bei Decca Records und veröffentlichte 1970 Welcome Home, das sich als totaler Flop herausstellte. Am 13. Juni 1972 starb der inzwischen schwer alkoholsüchtige McPhatter in New York City an einem Herzinfarkt. 1987 wurde er posthum in die Rock and Roll Hall of Fame aufgenommen.
http://de.wikipedia.org/wiki/Clyde_McPhatter
Clyde Lensley McPhatter (November 15, 1932 – June 13, 1972) was an American R&B and rock n' roll singer. He was immensely influential, perhaps the most widely imitated R&B singer of the 1950s and 1960s,[2] making him a key figure in the shaping of doo-wop and R&B. His high-pitched tenor voice was steeped in the gospel music he sang in much of his younger life. He is best known for his solo hit "A Lover's Question". McPhatter was lead tenor for The Mount Lebanon Singers, a gospel group he formed as a teenager,[3] and later, lead tenor for Billy Ward and His Dominoes. McPhatter was largely responsible for the success the Dominoes initially enjoyed. After his tenure with the Dominoes, McPhatter formed his own group, the Drifters, before going solo. Only 39 at the time of his death, he had struggled for years with alcoholism and depression and was, according to Jay Warner’s On This Day in Music History, "broke and despondent over a mismanaged career that made him a legend but hardly a success."[4][5] At the time of his passing, Clyde McPhatter left a legacy of over 22 years of recording history. He was the first artist in music history to become a double inductee into the Rock and Roll Hall of Fame, first as a member of the Drifters, and later as a solo artist, and as a result, all subsequent double and triple inductees into the Rock and Roll Hall of Fame are said to be members of "The Clyde McPhatter Club."[6][7]
Life and career
Early life
Clyde Lensley McPhatter was born in the tobacco town community of Hayti, in Durham, North Carolina, on November 15, 1932, and raised in a religious Baptist family; the son of Rev. George McPhatter and wife Beulah (though some accounts refer to her as Eva). Starting at the age of five, he sang in his father's church gospel choir along with his three brothers and three sisters. When he was ten, Clyde was the soprano-voiced soloist for the choir. In 1945, Rev. McPhatter moved his family to Teaneck, New Jersey, where Clyde attended Chelsior High School. He worked part-time as a grocery store clerk, and eventually was promoted to shift manager upon graduating high school.[3] The family then relocated to New York City, where Clyde formed the gospel group The Mount Lebanon Singers.[8]
Membership in Billy Ward & the Dominoes (1950-53)
In 1950, after winning the envied "Amateur Night" at Harlem's Apollo Theater, McPhatter returned to his job as store manager but later was recruited by Billy Ward & the Dominoes, and was present for the recording of "Sixty Minute Man" for Federal Records, a song regarded as the "first record of rock 'n roll," produced by Ralph Bass.
Billy Ward and his Dominoes was one of the top R&B vocal groups in the country, garnering more popularity than the Clovers, the Ravens and the Five Keys, largely due to Clyde's fervent, high-pitched tenor. He is regarded as the main singer to infuse a gospel-steeped singing style into mainstream R&B, though blues singer Roy Brown was actually the first to do so. Even though Roy Brown started the trend, McPhatter was more widely imitated, and was a much bigger influence in the shaping of Doo-Wop/R&B. In his book The Drifters, Bill Millar names Ben E. King, Smokey Robinson of the Miracles, Sammy Turner, and Marv Johnson among the vocalists who patterned themselves after McPhatter. "Most important," he concludes, "McPhatter took hold of the Ink Spots' simple major chord harmonies, drenched them in call-and-response patterns and sang as if he were back in church. In doing so, he created a revolutionary musical style from which---thankfully---popular music will never recover."[9] Oddly enough, McPhatter didn't think much of his own singing abilities. The countless imitators tell a different story, including Bobby Hendricks, an interim Drifter, Nolan Strong of the Diablos, Bobby Day and Dee Clark. Patsy Cline shows McPhatter's influence (listen to his version of "Someday You'll Want Me to Want You", recorded in 1954 with the Drifters. Compare it to Cline's version, which seems to follow that example).[citation needed] In the course of his career Elvis Presley recorded several of McPhatter's songs. Presley's version of "White Christmas" has strong similarities to McPhatter's.
After recording several more songs, including "Have Mercy Baby", "Do Something for Me," and "The Bells", McPhatter left the Dominoes on May 7, 1953. He was sometimes passed off as "Clyde Ward, Billy's little brother." Others assumed it was Billy Ward doing the lead singing. As a member of The Dominoes, Clyde didn't earn much money. Ward paid him $100 a week, minus deductions for food, taxes, motel bills, etc. During an interview in 1971 McPhatter told journalist Marcia Vance "whenever I'd get back on the block where everybody'd heard my records - half the time I couldn't afford a Coca-Cola."[10] Because of such occurrences, and because he was frequently at odds with Ward, McPhatter decided he would quit the Dominoes, intent on making a name for himself. McPhatter announced his intent to quit the group which Billy Ward agreed to if Clyde would stay on long enough to coach a replacement. Later, auditions for a replacement were held at Detroit's Fox Theater and a young Jackie Wilson would later take over as lead tenor for the Dominoes, influencing Wilson's singing style and stage presence. "I fell in love with the man's voice. I toured with the group and watched Clyde and listened..."—and apparently learned.[3] Privately, McPhatter and Ward often argued, but publicly Clyde expressed his appreciation to Ward for giving him his start in entertainment. "I think Billy Ward is a very wonderful musician and entertainer. I appreciate all he did for me in giving me my start in show business."[11]
Founder of the Drifters (1953-1954)
Ahmet Ertegün and Herb Abramson, founders of Atlantic Records, eagerly sought McPhatter after noticing he was not present for an appearance the Dominoes once made at Birdland, which was "an odd booking for the Dominoes", in Ertegün's words.[12] After locating him, McPhatter was then signed to Atlantic on the condition that he form his own group. McPhatter promptly assembled a group and called them the Drifters. They recorded a few tracks in June 1953, including a song called "Lucille," written by McPhatter himself. This group of Drifters did not have the sound Atlantic executives were looking for however, and Clyde was prompted to assemble another group of singers. The revised lineup recorded and released such hits as "Money Honey," "Such a Night," "Honey Love," "White Christmas" and "Whatcha Gonna Do," with the record label proudly displaying the group name "Clyde McPhatter & the Drifters." (The story of the Drifters is full of personnel changes. The first group of Drifters Clyde assembled were mostly members of the Mount Lebanon Singers.)
In late 1954, McPhatter was inducted into the Army and assigned to Special Services in the continental United States, which allowed him to continue recording. After his tour of duty was up, he left the Drifters and launched a solo career.
Solo career
McPhatter's first solo hit occurred just after being discharged - "Love Has Joined Us Together" (with Ruth Brown). He released several R&B recordings in the next few years, including "Rock and cry", "Seven Days" (later a bigger hit for Tom Jones), "Treasure of Love," "Just to Hold my Hand", and his biggest solo hit, "A Lover's Question," written by Brook Benton and Jimmy T. Williams, which peaked at No. 6 in 1958. In 1962, the song "Lover Please," written by country artist Billy Swan was released. His 1956 recording "Treasure of Love" saw his first solo No. 1 on the R&B charts and one week in the UK Singles Chart. It reached No. 16 on the U.S. Pop charts.
After leaving Atlantic Records, McPhatter then signed on with MGM Records, and released several more songs, including "I Told Myself a Lie" and "Think Me a Kiss" (1960) and his first single for Mercury Records "Ta Ta." His tenure on these labels proved to be less fruitful than his time with Atlantic. He recorded more singles, moving to other record labels, including "I Never Knew" and his final Top Ten hit "Lover Please," which made it to No. 7 in 1962. It was after "Lover Please" that McPhatter saw a downward turn in his career, as musical styles and tastes were constantly changing during the 1960s. These directional changes were the main reason McPhatter turned to alcohol abuse, as more sporadic recordings failed to chart.
In 1968, McPhatter moved to England, where he was still highly revered, utilizing UK band "ICE" as backup.
Death
McPhatter returned to America in 1970, making a few appearances in rock 'n roll revival tours, but remaining mostly a recluse. Hopes for a major comeback with a Decca album were crushed on June 13, 1972, when he died in his sleep at the age of 39 from complications of heart, liver, and kidney disease, brought on by alcohol abuse. That abuse was fueled by a failed career and resentment he harbored towards the fans he felt deserted him.[13] During his interview with journalist Marcia Vance, McPhatter told Vance "I have no fans." [14]He died at 1165 East 229th Street, Bronx, New York, where he had been living with Bertha M. Reid; they were traveling together as he tried to make a comeback.
McPhatter was a resident of Teaneck, New Jersey, at the time of his death.[15] He was buried at George Washington Memorial Park in Paramus, New Jersey.[16][17]
Ruth Brown acknowledged in her later years that McPhatter was the actual father of her son Ronald, born in 1954.[18] Ron now tours with his own group named after his father - Clyde McPhatter's Drifters.[19]
Legacy and honors
In 1987 was posthumously inducted into the Rock and Roll Hall of Fame.
The Rockabilly Hall of Fame recognized his pioneering efforts.
The Original Drifters were inducted in the Vocal Group Hall of Fame in 1998.
The United States Postal Service issued a stamp in his honor in 1993.
The song "Money Honey" (1953) was inducted in the Grammy Hall of Fame in 1999.
McPhatter was inducted into the North Carolina Music Hall of Fame in 2009.[20]
Clyde was also named by Digital Dream Door as the Greatest Ever Lead Singer of a Vocal Group.
http://www.hooked-on-music.de/ArtikelBios/John_Campbell/The_Hoodoo_Bluesman.html?band_id=1750
Clyde Lensley McPhatter (November 15, 1932 – June 13, 1972) was an American R&B and rock n' roll singer. He was immensely influential, perhaps the most widely imitated R&B singer of the 1950s and 1960s,[2] making him a key figure in the shaping of doo-wop and R&B. His high-pitched tenor voice was steeped in the gospel music he sang in much of his younger life. He is best known for his solo hit "A Lover's Question". McPhatter was lead tenor for The Mount Lebanon Singers, a gospel group he formed as a teenager,[3] and later, lead tenor for Billy Ward and His Dominoes. McPhatter was largely responsible for the success the Dominoes initially enjoyed. After his tenure with the Dominoes, McPhatter formed his own group, the Drifters, before going solo. Only 39 at the time of his death, he had struggled for years with alcoholism and depression and was, according to Jay Warner’s On This Day in Music History, "broke and despondent over a mismanaged career that made him a legend but hardly a success."[4][5] At the time of his passing, Clyde McPhatter left a legacy of over 22 years of recording history. He was the first artist in music history to become a double inductee into the Rock and Roll Hall of Fame, first as a member of the Drifters, and later as a solo artist, and as a result, all subsequent double and triple inductees into the Rock and Roll Hall of Fame are said to be members of "The Clyde McPhatter Club."[6][7]Life and career
Early life
Clyde Lensley McPhatter was born in the tobacco town community of Hayti, in Durham, North Carolina, on November 15, 1932, and raised in a religious Baptist family; the son of Rev. George McPhatter and wife Beulah (though some accounts refer to her as Eva). Starting at the age of five, he sang in his father's church gospel choir along with his three brothers and three sisters. When he was ten, Clyde was the soprano-voiced soloist for the choir. In 1945, Rev. McPhatter moved his family to Teaneck, New Jersey, where Clyde attended Chelsior High School. He worked part-time as a grocery store clerk, and eventually was promoted to shift manager upon graduating high school.[3] The family then relocated to New York City, where Clyde formed the gospel group The Mount Lebanon Singers.[8]
Membership in Billy Ward & the Dominoes (1950-53)
In 1950, after winning the envied "Amateur Night" at Harlem's Apollo Theater, McPhatter returned to his job as store manager but later was recruited by Billy Ward & the Dominoes, and was present for the recording of "Sixty Minute Man" for Federal Records, a song regarded as the "first record of rock 'n roll," produced by Ralph Bass.
Billy Ward and his Dominoes was one of the top R&B vocal groups in the country, garnering more popularity than the Clovers, the Ravens and the Five Keys, largely due to Clyde's fervent, high-pitched tenor. He is regarded as the main singer to infuse a gospel-steeped singing style into mainstream R&B, though blues singer Roy Brown was actually the first to do so. Even though Roy Brown started the trend, McPhatter was more widely imitated, and was a much bigger influence in the shaping of Doo-Wop/R&B. In his book The Drifters, Bill Millar names Ben E. King, Smokey Robinson of the Miracles, Sammy Turner, and Marv Johnson among the vocalists who patterned themselves after McPhatter. "Most important," he concludes, "McPhatter took hold of the Ink Spots' simple major chord harmonies, drenched them in call-and-response patterns and sang as if he were back in church. In doing so, he created a revolutionary musical style from which---thankfully---popular music will never recover."[9] Oddly enough, McPhatter didn't think much of his own singing abilities. The countless imitators tell a different story, including Bobby Hendricks, an interim Drifter, Nolan Strong of the Diablos, Bobby Day and Dee Clark. Patsy Cline shows McPhatter's influence (listen to his version of "Someday You'll Want Me to Want You", recorded in 1954 with the Drifters. Compare it to Cline's version, which seems to follow that example).[citation needed] In the course of his career Elvis Presley recorded several of McPhatter's songs. Presley's version of "White Christmas" has strong similarities to McPhatter's.
After recording several more songs, including "Have Mercy Baby", "Do Something for Me," and "The Bells", McPhatter left the Dominoes on May 7, 1953. He was sometimes passed off as "Clyde Ward, Billy's little brother." Others assumed it was Billy Ward doing the lead singing. As a member of The Dominoes, Clyde didn't earn much money. Ward paid him $100 a week, minus deductions for food, taxes, motel bills, etc. During an interview in 1971 McPhatter told journalist Marcia Vance "whenever I'd get back on the block where everybody'd heard my records - half the time I couldn't afford a Coca-Cola."[10] Because of such occurrences, and because he was frequently at odds with Ward, McPhatter decided he would quit the Dominoes, intent on making a name for himself. McPhatter announced his intent to quit the group which Billy Ward agreed to if Clyde would stay on long enough to coach a replacement. Later, auditions for a replacement were held at Detroit's Fox Theater and a young Jackie Wilson would later take over as lead tenor for the Dominoes, influencing Wilson's singing style and stage presence. "I fell in love with the man's voice. I toured with the group and watched Clyde and listened..."—and apparently learned.[3] Privately, McPhatter and Ward often argued, but publicly Clyde expressed his appreciation to Ward for giving him his start in entertainment. "I think Billy Ward is a very wonderful musician and entertainer. I appreciate all he did for me in giving me my start in show business."[11]
Founder of the Drifters (1953-1954)
Ahmet Ertegün and Herb Abramson, founders of Atlantic Records, eagerly sought McPhatter after noticing he was not present for an appearance the Dominoes once made at Birdland, which was "an odd booking for the Dominoes", in Ertegün's words.[12] After locating him, McPhatter was then signed to Atlantic on the condition that he form his own group. McPhatter promptly assembled a group and called them the Drifters. They recorded a few tracks in June 1953, including a song called "Lucille," written by McPhatter himself. This group of Drifters did not have the sound Atlantic executives were looking for however, and Clyde was prompted to assemble another group of singers. The revised lineup recorded and released such hits as "Money Honey," "Such a Night," "Honey Love," "White Christmas" and "Whatcha Gonna Do," with the record label proudly displaying the group name "Clyde McPhatter & the Drifters." (The story of the Drifters is full of personnel changes. The first group of Drifters Clyde assembled were mostly members of the Mount Lebanon Singers.)
In late 1954, McPhatter was inducted into the Army and assigned to Special Services in the continental United States, which allowed him to continue recording. After his tour of duty was up, he left the Drifters and launched a solo career.
Solo career
McPhatter's first solo hit occurred just after being discharged - "Love Has Joined Us Together" (with Ruth Brown). He released several R&B recordings in the next few years, including "Rock and cry", "Seven Days" (later a bigger hit for Tom Jones), "Treasure of Love," "Just to Hold my Hand", and his biggest solo hit, "A Lover's Question," written by Brook Benton and Jimmy T. Williams, which peaked at No. 6 in 1958. In 1962, the song "Lover Please," written by country artist Billy Swan was released. His 1956 recording "Treasure of Love" saw his first solo No. 1 on the R&B charts and one week in the UK Singles Chart. It reached No. 16 on the U.S. Pop charts.
After leaving Atlantic Records, McPhatter then signed on with MGM Records, and released several more songs, including "I Told Myself a Lie" and "Think Me a Kiss" (1960) and his first single for Mercury Records "Ta Ta." His tenure on these labels proved to be less fruitful than his time with Atlantic. He recorded more singles, moving to other record labels, including "I Never Knew" and his final Top Ten hit "Lover Please," which made it to No. 7 in 1962. It was after "Lover Please" that McPhatter saw a downward turn in his career, as musical styles and tastes were constantly changing during the 1960s. These directional changes were the main reason McPhatter turned to alcohol abuse, as more sporadic recordings failed to chart.
In 1968, McPhatter moved to England, where he was still highly revered, utilizing UK band "ICE" as backup.
Death
McPhatter returned to America in 1970, making a few appearances in rock 'n roll revival tours, but remaining mostly a recluse. Hopes for a major comeback with a Decca album were crushed on June 13, 1972, when he died in his sleep at the age of 39 from complications of heart, liver, and kidney disease, brought on by alcohol abuse. That abuse was fueled by a failed career and resentment he harbored towards the fans he felt deserted him.[13] During his interview with journalist Marcia Vance, McPhatter told Vance "I have no fans." [14]He died at 1165 East 229th Street, Bronx, New York, where he had been living with Bertha M. Reid; they were traveling together as he tried to make a comeback.
McPhatter was a resident of Teaneck, New Jersey, at the time of his death.[15] He was buried at George Washington Memorial Park in Paramus, New Jersey.[16][17]
Ruth Brown acknowledged in her later years that McPhatter was the actual father of her son Ronald, born in 1954.[18] Ron now tours with his own group named after his father - Clyde McPhatter's Drifters.[19]
Legacy and honors
In 1987 was posthumously inducted into the Rock and Roll Hall of Fame.
The Rockabilly Hall of Fame recognized his pioneering efforts.
The Original Drifters were inducted in the Vocal Group Hall of Fame in 1998.
The United States Postal Service issued a stamp in his honor in 1993.
The song "Money Honey" (1953) was inducted in the Grammy Hall of Fame in 1999.
McPhatter was inducted into the North Carolina Music Hall of Fame in 2009.[20]
Clyde was also named by Digital Dream Door as the Greatest Ever Lead Singer of a Vocal Group.
John Campbell Todestag 13.06.1993
John Campbell (* 20. Januar 1952 in Shreveport, Louisiana; † 13. Juni 1993) war ein US-amerikanischer Bluesgitarrist, Sänger und Songwriter.
Er lernte bereits mit drei Jahren Gitarre spielen, bekam als 8-jähriger seine erste eigene Gitarre und begann mit 13 Jahren seine professionelle Karriere. Mit 16 hat er sein Zuhause und die Schule verlassen. Bis 1985 spielte er in verschiedenen Clubs zwischen Texas und New Orleans und ließ sich dann in New York nieder. Seine erste Studioaufnahme machte er 1988 bei CrossCut Records. 1991 bekam er die Gelegenheit für Elektra Records Aufnahmen zu machen. 1993 starb er im Schlaf in seiner New Yorker Wohnung an Herzversagen.
Er lernte bereits mit drei Jahren Gitarre spielen, bekam als 8-jähriger seine erste eigene Gitarre und begann mit 13 Jahren seine professionelle Karriere. Mit 16 hat er sein Zuhause und die Schule verlassen. Bis 1985 spielte er in verschiedenen Clubs zwischen Texas und New Orleans und ließ sich dann in New York nieder. Seine erste Studioaufnahme machte er 1988 bei CrossCut Records. 1991 bekam er die Gelegenheit für Elektra Records Aufnahmen zu machen. 1993 starb er im Schlaf in seiner New Yorker Wohnung an Herzversagen.
John Allen Campbell (January 20, 1952 – June 13, 1993)[1] was an American blues guitarist, singer and songwriter, who was born in Shreveport, Louisiana.[1]
Biography
Campbell's favoured instruments were a 1952 Gibson Southern Jumbo acoustic, a 1934 National Steel and a 1940's National resophonic guitar.[citation needed]
He grew up in Shreveport, Louisiana, and his first group was the Texas based electric power trio, Junction. Formed in 1973, in Corpus Christi, Texas, the band consisted of John on guitar and vocals, Tim Delaney on bass and vocals, and Jack "Satch" Haupt on drums and vocals. The trio disbanded two years later, and Campbell cut his first album titled Street Suite. At the eve of the 1980s he spent a time at the Robin Hood Studios in Tyler, Texas and taped a demo with his acoustic versions of blues standards. In 2000 these twelve tracks were issued as the compilation album, Tyler, Texas Session.
As a solo artist, Campbell continued to play in clubs of east Texas, and he also appeared in New Orleans. In 1985 he moved to New York and joined the local blues scene. His next album, A Man And His Blues, featured Ronnie Earl as producer and guest guitarist, was recorded during two days in April 1988, and was released on a small German record label. Its follow-up releases were on Elektra, One Believer (1991) and Howlin' Mercy (1993). The latter included the single cover version of Led Zeppelin's "When The Levee Breaks".
At the time when his recordings and live performances, including an extensive U.S. tour with Buddy Guy as well as two European ventures in 1992 and 1993, were gaining him popularity, Campbell suffered heart failure, in his sleep, aged 41, at his home in New York.[2]
He is survived by his wife, Dolly Fox; his daughter, Paris; his daughter, Elizabeth; and his brother, William.
Biography
Campbell's favoured instruments were a 1952 Gibson Southern Jumbo acoustic, a 1934 National Steel and a 1940's National resophonic guitar.[citation needed]
He grew up in Shreveport, Louisiana, and his first group was the Texas based electric power trio, Junction. Formed in 1973, in Corpus Christi, Texas, the band consisted of John on guitar and vocals, Tim Delaney on bass and vocals, and Jack "Satch" Haupt on drums and vocals. The trio disbanded two years later, and Campbell cut his first album titled Street Suite. At the eve of the 1980s he spent a time at the Robin Hood Studios in Tyler, Texas and taped a demo with his acoustic versions of blues standards. In 2000 these twelve tracks were issued as the compilation album, Tyler, Texas Session.
As a solo artist, Campbell continued to play in clubs of east Texas, and he also appeared in New Orleans. In 1985 he moved to New York and joined the local blues scene. His next album, A Man And His Blues, featured Ronnie Earl as producer and guest guitarist, was recorded during two days in April 1988, and was released on a small German record label. Its follow-up releases were on Elektra, One Believer (1991) and Howlin' Mercy (1993). The latter included the single cover version of Led Zeppelin's "When The Levee Breaks".
At the time when his recordings and live performances, including an extensive U.S. tour with Buddy Guy as well as two European ventures in 1992 and 1993, were gaining him popularity, Campbell suffered heart failure, in his sleep, aged 41, at his home in New York.[2]
He is survived by his wife, Dolly Fox; his daughter, Paris; his daughter, Elizabeth; and his brother, William.
John Campbell, Louisiana Blues
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