1941 'Blues Queen' Sylvia Embry*
1969 Wynonie Harris+
1974 Martijn Schok*
1995 Rory Gallagher+
Gipsy Elise*
Happy Birthday
'Blues Queen' Sylvia Embry *14.06.1941
b. 14 June 1941, Wabbaseka, Arkansas, USA, d. February 1992. Embry began playing piano as a child and sang in church choirs, moving to Memphis at the age of 19. In the 60s she settled in Chicago, where she met and married blues guitarist Johnny Embry, who taught her to play bass guitar. In the 70s she worked for several years with Lefty Dizz and she can be seen playing bass and singing one song with his band in the film Mississippi Delta Blues. She shared the credit with her husband on an album for Razor Records, was part of Alligator Records’ Living Chicago Blues project, and had an album released under the name Blues Queen Sylvia on the German L&R label. A strong singer and fine bass player, Living Blues magazine reported in 1985 that she had turned her back on blues and was playing gospel music.
Gipsy Elise *14.06.
She is the rarest form of vocalist, a beautiful female contralto! With her 4 octave range, and silken throaty lower range, often, Milady Gypsy is mistaken for a male vocalist. That is until you see her... then it's crystal clear. Gypsy Elise is a talented, sensual woman, a force, a super-charged rose to be reckoned with! Her husband and keyboardist have been performing music together for nearly 5 years, and have a young son that is already singing like Mama Gypsy and learning the piano and trumpet like Dada Ryan. This silken throated singer is a proud wife and mother of 2 beautiful children, and is a grandmother to boot! She has been called the hardest working singer in New Orleans, and it reflects in her work ethic.
Refining her vocals and assuming her position as troubadour, Gypsy Elise, with the aid of her Royal Blues, vividly captures the mysterious chambers of human emotion when reciting a torch or blues ballad. Together their sound recalls Gypsy's transient kindred with a whimsical bohemian, yet mesmerizing sensual mash-up of blues, R&B, jazz, rock, and funk. Their repertoire ranged from soft, dulcet melodies to psychedelic powered rock, but invariably provokes a teeming crowd from tears to twinkle-toes.
- Haley Hemenway Sledge, Ogden Museum of Southern Arts, Intern/ With Edward Rio, Publicist
New Orleans Louisiana's #1 Rockin Blues Band! Worldwide fan base, over 50 original songs all in radio rotation. This IS the band to have at your performance! ~The "world bred, traveled and seasoned" vocalist/band leader, Gypsy Elise De Sade-Way is Basque Gypsy by birth, but essentially southern musician by trade. Born in 1959 to a family of entertainers, her flower-child era rearing is clearly heard in her music. A savvy lady who finally cashed in her chips from years of entrepreneurship, Gypsy Elise has plucked a bouquet of talented musicians, dubbed The Royal Blues, including her husband Ryan De Sade-Way on the primary keys and key bass, John Lisi on guitar, Herman Halphen on the drums, and Reginald "The Voodoo Ninja" Smith Jr. on saxophone.
From the first notes, this is one HIGHLY engaging band! The audience is immediately drawn into the show as Miss Gypsy Elise begins her entertaining dialogue that makes everyone feel both welcomed and appreciated at once. Throughout the show, her warm and open personality, hilarious wit, and brilliant smile are a winning combination when interlaced with her powerful vocals and original lyrics. The cover music that the band does shines far past the norm. With an impressive three original albums to their credit this past year alone, it is a proven fact that the blend of skills and musicianship will undoubtedly carry this Gypsy and her talented krewe to exactly where they want to be.
Gypsy Elise bloomed to the beats of the standards of music rooted in blues, jazz, funk, and ballads. Pair a musical family upbringing with a vocal range to rival Jacob's Ladder and hear the sultry vocals inspiring a sensual and swampy fusion. The Contralto's 3.5 octave range begins at Low 'A', providing her an abundance of entertainment opportunities and experiences. In April of 2000, Gypsy collaborated with Sergio Yetta, in New Orleans, on "Lonely Gypsy", a collective of his music and her lyrics/vocals, which is registered at The Library of Congress.
Other musical accomplishments pre-The Royal Blues include performing with Kermit Ruffins, Walter Payton of The Preservation Hall Jazz Band, Charmaine Neville, Tab Benoit, Stevie Ray Vaughn (naming just a few). She also co-produced the "Summer Of Love" tour which featured Big Brother and The Holding Company, It's A Beautiful Day, Strawberry Alarm Clock. She has negotiated contracts with artists such as Etta James, The Grateful Dead, King Creole and The Coconuts, Burning Spear, Arrow (Alphonsus Cassel, again just to name just a few. In addition, this Jane-of-all-trades was an owner/partner of Music Referral Newspaper, a movie producer, professional chef, master home brewer, author of 2 novels, and in 1998 produced the World's Largest Earth Day Event.
Recently deciding to fully embrace her vocal talent, Gypsy Elise and The Royal Blues released "Redline" in October of 2010 and their most recent project is titled "Music Box Watermelon", officially released on June 29th of 2011. Of "Redline", Elise said "All my songs are based on storied that I usually create from something that inspired a thought. Sometimes they are simply dreams that I wake up to and write as I recall them. Once set to music, they become the songs that I hear in my core. It was a tremendous amount of fun writing "Dead Man's Bone", and with most of the songs on the album "Redline", they come rather easy for me. Now with the release of "Music Box Watermelon", the same is still completely true, Music is FUN for me!" Rounding out the trio of brand new albums is “Said The Spider To The Fly”, released in September 2011, which features a tribute song titled “Chairman Of The Blues”. Gypsy Elise wrote and dedicated this song to her dear friend, “Terence “Ready Teddy” MacQuiston, a well known and loved local musician who was hurt last year in a freak accident that left him paralyzed from the neck down. Ready Teddy hit fame by working with Little Richard for many years. The lyrics of the song were penned by Gypsy Elise, Margie Perez, and Shoeless Pashley. This cut from “Said The Spider…”, along with several other cuts were recorded at Gypsy Elise and Ryan De Sade-Way’s own in-house recording studio named “Way After Dark Recording Studio”. The artists on “Chairman Of The Blues” read like a “who’s who” in New Orleans music, and include such names as Little Freddy King, Shoeless Pashley, Margie Perez, William Bonham, Jan Clements, and so many others. All the albums as well as a single version of “Chairman Of The Blues” are available at Louisiana Music Factory.
Gypsy Elise & The Royal Blues- "Ode To Billy Joe"
Martijn Schok *14.06.1974
1974 wird hinter hollendischen Deichen ein Pianist namens Martijn Schok geboren. Mit acht Jahren beginnt er klassischen Klavierunterricht zu nehmen bis er an seinem fünfzehnten Geburtstag den "Boogie Woogie Stomp", gespielt von Albert Ammons, zu hören bekommt. Von da an gibt es kein Halten mehr, Martijn bricht den klassischen Unterricht ab um sich voll und ganz dem Boogie zu verschreiben. Anhand von einigen bekannten Stücken von Pete Johnson und speziell Albert Ammons brachte er sich selbst das Boogie-Woogie spielen bei.
1992 entdeckt der Organisator des amsterdamer Bluesfestivals den jungen Pianisten und lässt ihn bei dieser Gelegenheit auftreten. Dies gestaltet sich als sein Durchbruch, es folgen viele Soloauftritte bevor er sein eigenes Trio, bestehend aus Klavier, Schlagzeug und Bass, gründet. In dieser Formation tritt er heute bei verschiedenen Jazz- & Bluesfestivals in Holland, Deutschland und der Schweiz auf.
The name Martijn Schok is synonymous with boogie woogie and piano blues. Martijn has played many European jazz and blues festivals and can be seen regularly at festivals in the USA.
Martijn performs solo, as well as with his swinging 5- to 7- piece band, and has up till now released sixteen successful boogie woogie CDs. Also, Martijn can be heard on many CDs as a guest boogie woogie or blues piano player.
Martijn received the German Pinetop Boogie Woogie Award "Pianist Of The Year" 2013/2014".
Martijn's piano style is characterized by a large dose of swing, a steady groove and a high degree of virtuosity. It is clear he has a great deal of admiration for the music of the early American boogie woogie originators.
Martijn is a respected interpreter of the boogie woogie style and appears at famous international festivals, such as the festival in New Orleans (Louisiana, USA), the Queen City Blues Festival in Cincinnati (Ohio, USA), the Motor City Boogie & Blues Festival in Detroit (Michigan, USA), Blues Passions in France, and the international boogie woogie festivals in Switzerland, Belgium, France, Italy, England, Spain and the USA.
Besides his performing qualities, Martijn is the Artistic Director and founder of the Heineken International Boogie & Blues Festival Holland that takes place annually in Golden Tulip Hotel Heerlickheijd van Ermelo, in the center of Holland.
Martijn Schok (born in 1974 in Arnhem) was first introduced to boogie woogie at the age of fifteen during a jazz festival in Arnhem (Holland) and was immediately grabbed by the unmistakable sound and swing of this piano style. Boogie woogie is lively dance music with a good swing and a high degree of improvisation. These were the main reasons for Martijn to stop his classical piano studies, which he had been following for eight years, and focus entirely on boogie woogie. Rather than taking lessons, he decided to teach himself this individual style of jazz piano.
During his search for recordings of the original American boogie woogie artists, Martijn met one of Europe's greatest authorities and collectors on the style, Martin van Olderen in 1991. With his gigantic collection of boogie woogie records, his enthusiasm and his belief in Martijn's talent, he was a major factor in his early musical development. Spending hour after hour studying historical recordings from the early days of boogie woogie, Martijn soon became one of the most prominent Dutch exponents of the genre.
In 1995, Martijn was signed by Munich Records and produced his first CD, entitled 'Boogie Woogie Adventures'. The album was released on the specialized Oldie Blues label, which has released recordings of practically all the great American legends in this style, including not only Martijn's own personal favorites Albert Ammons, Pete Johnson, Meade Lux Lewis and Jimmy Yancey, but also such giants as Blind John Davis, Lloyd Glenn and Champion Jack Dupree. Events accelerated after the release of Martijn's debut CD. Various performances followed and Martijn began to make a name for himself in the Dutch boogie woogie scene.
From 1992 to 1997, Martijn studied law and economics at the University of Utrecht, going on to specialize in copyright law at the University of Amsterdam in 1998. Even before graduating, Martijn had four CD releases to his name and had already appeared at the famous North Sea Jazz Festival in Holland, the biggest indoor jazz festival in the world.
In 1994, Martijn founded the 'Martijn Schok Boogie Woogie Trio' (piano, drums and upright bass). Since then, the trio has become much in demand at jazz and blues festivals both in the Netherlands and internationally. April 1999, the trio played during the festival in New Orleans, Louisiana, USA. Several Boogie Woogie CDs were recorded with the trio.
In 2000, Martijn was invited to take part in the hit Dutch theatre show 'Grand Piano Boogie Train'. With the basic concept of three pianists and two concert grands, the show has been successfully running since 1995. Martijn joined the Boogie Train in 2001, after the death of Dutch boogie woogie pianist Rob Hoeke. It was there that he met singer Greta Holtrop, who also presents the show, since when their relationship as a duo has blossomed both musically and romantically. Two CDs of the show have been released.
In 2003, Martijn founded the Martijn Schok Boogie & Blues Band. The other band members are singer Greta Holtrop and Dutch top tenor saxophone player Rinus Groeneveld, accompanied by Maarten Kruijswijk on drums and Sergei Shapko on upright bass.
In 2003, Martijn also founded the Boogie Promotions Holland Foundation. This foundation, with Martijn as Chairman, is entirely dedicated to the promotion of Boogie Woogie and Piano Blues in The Netherlands. The foundation organizes the succesful annual International Boogie Woogie Festival Holland. Every year this festival is visited by 1,000 people. The foundation also organizes an annual Steamtrain Journey with 5 piano players aboard. Just take a look at the festival website www.boogiefestival.nl for al the information on the foundation and its events.
In 2005, Martijn Schok and the legendary blues and boogie woogie pianist and singer Little Willie Littlefield (Houston, Texas, USA) started a musical cooperation untill Littlefield's recent death in 2013. Together they presented a swinging program with Boogie Woogie, Blues, Rhythm 'n Blues and Jazz.
In 2007, Martijn played solo during the Boogie Woogie festival in Newport, USA.
Martijn has played with many other international boogie woogie pianists, including Big Joe Duskin (USA), Bob Seeley (USA), Axel Zwingenberger (D), Jean-Pierre Bertrand (F), Jean-Paul Amouroux (F), Mark Braun (USA), Little Willie Littlefield (USA), Ann Rabson (USA), Caroline Dahl (USA), Carl Sonny Leyland (USA), Charlie Booty (USA), Liz Pennock & Dr. Blues (USA), Kenny Wayne (USA), Stefano Franco (It), Ricky Nye (USA), Al Copley (USA), Christian Rannenberg (D), Jörg Hegeman (D), Michael Kaeshammer (CAN) and Silvan Zingg (CH). He has also performed with the Dutch boogie woogie pioneers Jaap Dekker, Hein van der Gaag, Rob Hoeke and Rob Agerbeek.
To quote Martijn: 'I consider it a great privilege to be able to share my favorite music with my audience. It is wonderful to see that more than a hundred years after its birth, boogie woogie still appeals to people and that a widening public is coming to appreciate this fantastic style of music'.
Martijn performs solo, as well as with his swinging 5- to 7- piece band, and has up till now released sixteen successful boogie woogie CDs. Also, Martijn can be heard on many CDs as a guest boogie woogie or blues piano player.
Martijn received the German Pinetop Boogie Woogie Award "Pianist Of The Year" 2013/2014".
Martijn's piano style is characterized by a large dose of swing, a steady groove and a high degree of virtuosity. It is clear he has a great deal of admiration for the music of the early American boogie woogie originators.
Martijn is a respected interpreter of the boogie woogie style and appears at famous international festivals, such as the festival in New Orleans (Louisiana, USA), the Queen City Blues Festival in Cincinnati (Ohio, USA), the Motor City Boogie & Blues Festival in Detroit (Michigan, USA), Blues Passions in France, and the international boogie woogie festivals in Switzerland, Belgium, France, Italy, England, Spain and the USA.
Besides his performing qualities, Martijn is the Artistic Director and founder of the Heineken International Boogie & Blues Festival Holland that takes place annually in Golden Tulip Hotel Heerlickheijd van Ermelo, in the center of Holland.
Martijn Schok (born in 1974 in Arnhem) was first introduced to boogie woogie at the age of fifteen during a jazz festival in Arnhem (Holland) and was immediately grabbed by the unmistakable sound and swing of this piano style. Boogie woogie is lively dance music with a good swing and a high degree of improvisation. These were the main reasons for Martijn to stop his classical piano studies, which he had been following for eight years, and focus entirely on boogie woogie. Rather than taking lessons, he decided to teach himself this individual style of jazz piano.
During his search for recordings of the original American boogie woogie artists, Martijn met one of Europe's greatest authorities and collectors on the style, Martin van Olderen in 1991. With his gigantic collection of boogie woogie records, his enthusiasm and his belief in Martijn's talent, he was a major factor in his early musical development. Spending hour after hour studying historical recordings from the early days of boogie woogie, Martijn soon became one of the most prominent Dutch exponents of the genre.
In 1995, Martijn was signed by Munich Records and produced his first CD, entitled 'Boogie Woogie Adventures'. The album was released on the specialized Oldie Blues label, which has released recordings of practically all the great American legends in this style, including not only Martijn's own personal favorites Albert Ammons, Pete Johnson, Meade Lux Lewis and Jimmy Yancey, but also such giants as Blind John Davis, Lloyd Glenn and Champion Jack Dupree. Events accelerated after the release of Martijn's debut CD. Various performances followed and Martijn began to make a name for himself in the Dutch boogie woogie scene.
From 1992 to 1997, Martijn studied law and economics at the University of Utrecht, going on to specialize in copyright law at the University of Amsterdam in 1998. Even before graduating, Martijn had four CD releases to his name and had already appeared at the famous North Sea Jazz Festival in Holland, the biggest indoor jazz festival in the world.
In 1994, Martijn founded the 'Martijn Schok Boogie Woogie Trio' (piano, drums and upright bass). Since then, the trio has become much in demand at jazz and blues festivals both in the Netherlands and internationally. April 1999, the trio played during the festival in New Orleans, Louisiana, USA. Several Boogie Woogie CDs were recorded with the trio.
In 2000, Martijn was invited to take part in the hit Dutch theatre show 'Grand Piano Boogie Train'. With the basic concept of three pianists and two concert grands, the show has been successfully running since 1995. Martijn joined the Boogie Train in 2001, after the death of Dutch boogie woogie pianist Rob Hoeke. It was there that he met singer Greta Holtrop, who also presents the show, since when their relationship as a duo has blossomed both musically and romantically. Two CDs of the show have been released.
In 2003, Martijn founded the Martijn Schok Boogie & Blues Band. The other band members are singer Greta Holtrop and Dutch top tenor saxophone player Rinus Groeneveld, accompanied by Maarten Kruijswijk on drums and Sergei Shapko on upright bass.
In 2003, Martijn also founded the Boogie Promotions Holland Foundation. This foundation, with Martijn as Chairman, is entirely dedicated to the promotion of Boogie Woogie and Piano Blues in The Netherlands. The foundation organizes the succesful annual International Boogie Woogie Festival Holland. Every year this festival is visited by 1,000 people. The foundation also organizes an annual Steamtrain Journey with 5 piano players aboard. Just take a look at the festival website www.boogiefestival.nl for al the information on the foundation and its events.
In 2005, Martijn Schok and the legendary blues and boogie woogie pianist and singer Little Willie Littlefield (Houston, Texas, USA) started a musical cooperation untill Littlefield's recent death in 2013. Together they presented a swinging program with Boogie Woogie, Blues, Rhythm 'n Blues and Jazz.
In 2007, Martijn played solo during the Boogie Woogie festival in Newport, USA.
Martijn has played with many other international boogie woogie pianists, including Big Joe Duskin (USA), Bob Seeley (USA), Axel Zwingenberger (D), Jean-Pierre Bertrand (F), Jean-Paul Amouroux (F), Mark Braun (USA), Little Willie Littlefield (USA), Ann Rabson (USA), Caroline Dahl (USA), Carl Sonny Leyland (USA), Charlie Booty (USA), Liz Pennock & Dr. Blues (USA), Kenny Wayne (USA), Stefano Franco (It), Ricky Nye (USA), Al Copley (USA), Christian Rannenberg (D), Jörg Hegeman (D), Michael Kaeshammer (CAN) and Silvan Zingg (CH). He has also performed with the Dutch boogie woogie pioneers Jaap Dekker, Hein van der Gaag, Rob Hoeke and Rob Agerbeek.
To quote Martijn: 'I consider it a great privilege to be able to share my favorite music with my audience. It is wonderful to see that more than a hundred years after its birth, boogie woogie still appeals to people and that a widening public is coming to appreciate this fantastic style of music'.
Groovin' The Boogie - Martijn Schok Boogie & Blues Band
R.I.P.
Rory Gallagher +14.06.1995
Juni
1995 – ein Idol meiner Jugend ist tot. Es kam in den Nachrichten.
Wie bitte? Rory Gallagher ist tot? Er war doch gar nicht so alt. 47
Jahre ist doch kein Alter um den Sensenmann zu treffen. Nun waren wir
ein geeintes Deutschland und ich hätte Rory mal live sehen können,
hoffte ich zu mindestens, in meiner Jugend ging das ja nicht. Der
Rockpalast mit seinen Loreleikonzerten und den Konzerten in der
Essener Grugahalle war unerreichbar und den WDR bekamen wir in Berlin
ja auch nicht.
Ja,
ja, die Leber beendete ziemlich drastisch ein Ära des Blues und des
Bluesrocks.
Heute
bleiben uns noch DVD´s, um Rory´s Konzerte zu sehen. Ich kann hier
diese zwei DVD´s empfehlen:
Rory Gallagher - Live at Rockpalast [3 DVDs] und natürlich die Irish Tour '74.
Um
mich auf diesen Artikel einzustimmen, habe ich mir nochmal die Irish
Tour angeschaut.
Ich
bin wieder infiziert. Rory wird wieder öfter laufen – ganz sicher.
„Cradle
Rock“, „I wonder who“, „Too much alcohol“ und „A million
miles away“ sind und bleiben Meilensteine Rory´s Musik.
„Geprägt
war Gallaghers E-Gitarrenspiel-Stil durch ein Blues-Rock-Fundament.
Aber auch akustische Gitarre, Mandoline, Mundharmonika und
Altsaxophon zeugten von Gallaghers irischem musikalischen Erbe. Die
Bilderwelt der Texte bewegte sich dementsprechend zwischen dem
"Mythos Amerikas" und der "Melancholie Irlands".
1)
Jürgen
Kerth hatte damals schon „What´s going down“ von Taste im
Programm.
Das
war einer dieser Coverhits, weswegen wir damals auf die Konzerte
gegangen sind, damals im Florapark Mahlow bei Kurt. Jürgen Kerth
spielt den Titel heute noch und er spielt ihn gut.
William Rory Gallagher erblickte am 2.März 1948 in Ballyshannon, einem Ort mit 3.486 Einwohnern im äußersten Süden des County Donegal im Nordwesten Irlands das Licht der Welt.
Mit
9 Jahren begann Rory Gitarre zu spielen, Seine Vorbilder waren Muddy
Waters, Lonnie
Donegan und
Leadbelly. Rory entwickelte sich zu einem hervorragenden Gitarristen,
der durchaus einen Vergleich mit Jimi Hendrix, Eric Clapton oder Jeff
Beck stand hielt.
Ab
1963 (mit 15) spielte er in der Fontana
Show Band. 1966
gründete er mit Norman Damery (Schlagzeug) und Eric Kitteringham
(E-Bass) das „Powertrio“ Taste.
Ab
1968 trat durch sehr gute Konzerte der Erfolg ein. Taste zählte mit
Free und Cream zu den besten Powertrios der Welt.
Es gibt im Musikgeschäft
niemanden, der so viele Studioeinladungen von Musikern, die selbst
seine eigenen Vorbilder waren, wie z. B. Muddy Waters, Albert King,
Jerry Lee Lewis, Chris Barber erhalten hat.
1970 begann
Rory seine Solokarriere mit dem Album "Rory Gallagher".
Dieses wurde von seiner Mutter finanziert, da Rory durch seinen
letzten Manager E. Kennedy und die damalige Plattenfirma POLYDOR in
den finanziellen Ruin getrieben wurde.
Ab diesem Zeitpunkt war sein bester Freund und Bruder Donald für das Management zuständig. Für Rory waren seine Musik und die damit verbundenen Liveauftritte das
Ab diesem Zeitpunkt war sein bester Freund und Bruder Donald für das Management zuständig. Für Rory waren seine Musik und die damit verbundenen Liveauftritte das
Wichtigste. Er bekam, ohne
dass er es wollte, das Image des "Anti-Stars", da er trotz
großer Popularität mit dem Musikbusiness und dem dazugehörigen
Rummel nichts zu tun haben wollte. Ihm war nur eins wichtig: Musik
machen. Um dies zu unterstreichen, sagte er immer in Interviews: "I'm
a Irish-Man".2)
1971
gründete
Rory seine eigene Band – Rory, Gitarre; Wilgar
Campbell, Schlagzeug; und Gerry McAvoy, Bass
1972
Das
Album Live in Europe kam heraus, Rod de Ath am Schlagzeug und Lou
Martin am Klavier vervollständigten die Band.
1974
Rory
tourte durch Irland. Das Ergebnis kann sich sehen lassen. Das Album
„Irish Tour“ kam dabei heraus, ein Meilesteinalbum, wie ich
finde. Gleichzeitig gab es auch noch den gleichnamigen Film von Tony
Palmer.
Charakteristisch für Gallaghers Gitarre war deren Korpus, der ursprünglich eine Lackierung in der Farbgebung Sunburst getragen hatte, die durch intensiven Gebrauch des Instruments im Laufe der Jahre weitgehend abgetragen und nie erneuert worden war. Andere Teile des Instruments wurden dagegen regelmäßig repariert und modifiziert. Nach Gallaghers Tod brachte der Musikinstrumentenhersteller Fender eine Sonderauflage des Modells Stratocaster heraus, die bis ins Detail der Lackschäden eine exakte Nachbildung von Gallaghers Gitarre ist. Mit seiner zerschundenen Stratocaster sagte er der Welt alles, was er zu sagen hatte", erinnert sich Roger Glover, Bassist und Produzent von Deep Purple, an den irischen Blues-Gitarristen Rory Gallagher. 3)
Nach dem Ausscheiden der Topgitarristen Eric Clapton bei Cream, Ritchie Blackmore bei Deep Purple und Mick Taylor bei den Stones stand Rory jedes mal zur Disposition, die vakante Position zu übernehmen. Das widerstrebte Rory und er spielte weiter seinen Bluesrock.
Mitte der 80iger wurde es etwas ruhiger um Rory
Anfang der 90iger startete Rory ein Comback mit seiner Band: Mit Mark Feltham (Mundharmonika), Richard Newman (Schlagzeug), David Levy (Bass) und Jim Leverton (Keyboards) ging er auf Tour.
In dieser Zeit war Gallagher gesundheitlich schon stark angeschlagen. Das gipfelte darin, dass die Konzerte 1994 in Münden und in Amsterdam in einer Katastrophe endeten. Nach dem Konzert in Amsterdam begab sich Rory ins Krankenhaus und unterzog sich einer Lebertransplantation. Diese schien erst gut zu verlaufen, sein Zustand verschlechterte sich aber wieder, was am 14. Juni 1995 zu Tod führte
Wolfgang
Niedecken (BAP) verehrte Rory ebenfalls Vor der Interpretation von
Millione Meile 2012 ( )gibt er
eigentlich immer folgendes von sich:
Er
erzählt, dass er 1982 am 30.08. auf der Loreley backstage Rory
vorgestellt wurde. Wolfgang war hypernervös. Er war beeindruckt von
dem normalen Verhalten von Rory, ohne Starallüren. Rory hat
Niedecken
als Kollegen behandelt und ihm angeboten auf der abgegriffenen 61iger
Stratocaster zu
spielen. Vor Aufregung hat Niedecken gerade mal den G-Dur-Accord
hinbekommen. Am Ende gab es noch eine Session, wo wie fast immer,
„Knocking on heavens door“ gespielt wurde.
Der immer bescheiden
gebliebene Bluesgitarrist Rory Gallagher war sicherlich einer der
besten Gitarristen, die es jemals gab und er wird uns ewig in guter
Erinnerung bleiben.
Rory Gallagher Discography
1969-2008 4)
1969. London Invasion
1969. Taste
1969. Taste Live In Stockholm
1970. On The Boards
1970. Taste The West - Live In
Basel Feb 1970
1971. Live Taste
1971. Taste First
1971. Deuce
1971. Rory Gallagher
1972. Live In Europe
1972. The London Muddy Waters
Session
1973. Blueprint
1973. Bullfrog Blues
1973. Tattoo
1974. Irish Tour
1975. Against The Grain
1976. Calling Card
1978. Photo Finish
1979. Top Priority
1980. Stage Struck
1982. Jinx
1987. Defender
1990. Fresh Evidence
1992. Live At The Isle Of
Wight
1994. The Best Of Taste
1995. A Blue Day For The Blues
1998. Etched In Blue
1999. BBC Sessions
2003. Wheels Within Wheels
2005. Big Guns - The Very Best
Of Rory Gallagher
2006. Live At Montreux
2008. The Essential
Release Jahr: 1969-2008
Genre: Blues, Rock, RnB, Jazz, Folk, Rock n Roll
CDs: 32
Weitere
Weblinks:
Timeline
http://archive.is/EdeQ3
William
Rory Gallagher (/ˈrɔːri ˈɡæləhər/ GAL-ə-hər; 2 March 1948 –
14 June 1995)[1][2] was an Irish blues-rock multi-instrumentalist,
songwriter, and bandleader. Born in Ballyshannon, County Donegal,[3]
and raised in Cork, Gallagher recorded solo albums throughout the
1970s and 1980s, after forming the band Taste during the late 1960s.
He was a talented guitarist known for his charismatic performances
and dedication to his craft. Gallagher's albums have sold in excess
of 30 million copies worldwide.[4][5] Gallagher received a liver
transplant in 1995, but died of complications later that year in
London, UK at the age of 47.[6]
Biography
Gallagher was born in Ballyshannon, County Donegal in 1948. His father Daniel was employed by the Irish Electricity Supply Board, who were constructing a hydro-electric power plant on the Erne River above the town. The family moved, first to Derry City, where his younger brother Dónal was born in 1949. His mother, Monica, and the two boys then moved to Cork, where the brothers were raised. Rory attended North Monastery School. Daniel Gallagher had played the accordion and sang with the Tir Chonaill Ceile Band whilst in Donegal; their mother Monica was a singer and acted with the Abbey Players in Ballyshannon. The Theatre in Ballyshannon where Monica once acted is now called the Rory Gallagher Theatre.[7]
Both sons were musically inclined and encouraged by their parents. At age nine, Gallagher received his first guitar from them. He built on his burgeoning ability on ukulele in teaching himself to play the guitar and perform at minor functions. After winning a talent contest when he was twelve, Gallagher began performing in his adolescence with both his acoustic guitar, and an electric guitar he bought with his prize money. However, it was his purchase three years later of a 1961 Fender Stratocaster for £100 that became his primary instrument and most associated with him for the span of his lifetime.[8]
Gallagher was initially attracted to skiffle after hearing Lonnie Donegan on the radio. Donegan frequently covered blues and folk performers from the United States. He relied entirely on radio programs and television. Occasionally, the BBC would play some blues numbers, and he slowly found some song books for guitar, where he found the names of the actual composers of blues pieces. While still in school, playing songs by Buddy Holly and Eddie Cochran, he discovered his greatest influence in Muddy Waters. He began experimenting with folk, blues, and rock music. Unable to find or afford record albums, Gallagher stayed up late to hear Radio Luxembourg and AFN where the radio brought him his only exposure to the actual songwriters and musicians whose music moved him most.[9]
Influences he discovered, and cited as he progressed, included Woody Guthrie, Big Bill Broonzy, and Lead Belly. Initially, Gallagher struck out after just an acoustic sound.[8] Singing and later using a brace for his harmonica, Gallagher taught himself to play slide guitar. Further, throughout the next few years of his musical development, Gallagher began learning to play alto saxophone, bass, mandolin, banjo, and the coral sitar with varying degrees of proficiency.[10] By his mid-teens, he began experimenting heavily with different blues styles.[11]
Gallagher began playing after school with Irish showbands, while still a young teenager. In 1963,[12] he joined one named Fontana, a sextet playing the popular hit songs of the day.[13] The band toured Ireland and the United Kingdom, earning the money for the payments that were due on his Stratocaster guitar. Gallagher began to influence the band's repertoire, beginning its transition from mainstream pop music, skirting along some of Chuck Berry's songs and by 1965, he had successfully moulded Fontana into "The Impact", with a change in their line-up into an R&B group that played gigs in Ireland and Spain until disbanding in London.[10] Gallagher left with the bassist and drummer to perform as a trio in Hamburg, Germany.[12] In 1966, Gallagher returned to Ireland and, experimenting with other musicians back home in Cork, decided to form his own band.
Taste
Having completed a musical apprenticeship in the showbands, and influenced by the increasing popularity of beat groups during the early 1960s, Gallagher formed "The Taste", which was later renamed simply, "Taste", a blues rock and R&B power trio, in 1966.[14] Initially, the band was composed of Gallagher and two Cork musicians, Norman Damery and Eric Kitteringham (died 2013), however, by 1968, they were replaced with two musicians from Belfast, featuring Gallagher on guitar and vocals, drummer John Wilson, and bassist Richard McCracken.[14] Performing extensively in the UK, the group played regularly at the Marquee Club, supporting both Cream at their Royal Albert Hall farewell concert, and the blues supergroup Blind Faith on a tour of North America. Managed by Eddie Kennedy, the trio released the albums Taste and On The Boards, and two live recordings, Live Taste and Live at the Isle of Wight.[14] The latter appeared long after the band's break-up shortly after their appearance at the 1970 Isle of Wight Festival.[15]
Solo career
After the break-up of Taste, Gallagher toured under his own name, hiring former Deep Joy bass player Gerry McAvoy to play on Gallagher's self-titled debut album, Rory Gallagher.[16]
It was the beginning of a twenty-year musical relationship between Gallagher and McAvoy; the other band member was drummer Wilgar Campbell.[14] The 1970s were Gallagher's most prolific period. He produced ten albums in that decade, including two live albums, Live in Europe and Irish Tour '74. November 1971 saw the release of the album Deuce.[16] In the same year he was voted Melody Maker's International Top Musician of the Year, ahead of Eric Clapton.[17] However, despite a number of his albums from this period reaching the UK Albums Chart, Gallagher did not attain major star status.[14]
Biography
Gallagher was born in Ballyshannon, County Donegal in 1948. His father Daniel was employed by the Irish Electricity Supply Board, who were constructing a hydro-electric power plant on the Erne River above the town. The family moved, first to Derry City, where his younger brother Dónal was born in 1949. His mother, Monica, and the two boys then moved to Cork, where the brothers were raised. Rory attended North Monastery School. Daniel Gallagher had played the accordion and sang with the Tir Chonaill Ceile Band whilst in Donegal; their mother Monica was a singer and acted with the Abbey Players in Ballyshannon. The Theatre in Ballyshannon where Monica once acted is now called the Rory Gallagher Theatre.[7]
Both sons were musically inclined and encouraged by their parents. At age nine, Gallagher received his first guitar from them. He built on his burgeoning ability on ukulele in teaching himself to play the guitar and perform at minor functions. After winning a talent contest when he was twelve, Gallagher began performing in his adolescence with both his acoustic guitar, and an electric guitar he bought with his prize money. However, it was his purchase three years later of a 1961 Fender Stratocaster for £100 that became his primary instrument and most associated with him for the span of his lifetime.[8]
Gallagher was initially attracted to skiffle after hearing Lonnie Donegan on the radio. Donegan frequently covered blues and folk performers from the United States. He relied entirely on radio programs and television. Occasionally, the BBC would play some blues numbers, and he slowly found some song books for guitar, where he found the names of the actual composers of blues pieces. While still in school, playing songs by Buddy Holly and Eddie Cochran, he discovered his greatest influence in Muddy Waters. He began experimenting with folk, blues, and rock music. Unable to find or afford record albums, Gallagher stayed up late to hear Radio Luxembourg and AFN where the radio brought him his only exposure to the actual songwriters and musicians whose music moved him most.[9]
Influences he discovered, and cited as he progressed, included Woody Guthrie, Big Bill Broonzy, and Lead Belly. Initially, Gallagher struck out after just an acoustic sound.[8] Singing and later using a brace for his harmonica, Gallagher taught himself to play slide guitar. Further, throughout the next few years of his musical development, Gallagher began learning to play alto saxophone, bass, mandolin, banjo, and the coral sitar with varying degrees of proficiency.[10] By his mid-teens, he began experimenting heavily with different blues styles.[11]
Gallagher began playing after school with Irish showbands, while still a young teenager. In 1963,[12] he joined one named Fontana, a sextet playing the popular hit songs of the day.[13] The band toured Ireland and the United Kingdom, earning the money for the payments that were due on his Stratocaster guitar. Gallagher began to influence the band's repertoire, beginning its transition from mainstream pop music, skirting along some of Chuck Berry's songs and by 1965, he had successfully moulded Fontana into "The Impact", with a change in their line-up into an R&B group that played gigs in Ireland and Spain until disbanding in London.[10] Gallagher left with the bassist and drummer to perform as a trio in Hamburg, Germany.[12] In 1966, Gallagher returned to Ireland and, experimenting with other musicians back home in Cork, decided to form his own band.
Taste
Having completed a musical apprenticeship in the showbands, and influenced by the increasing popularity of beat groups during the early 1960s, Gallagher formed "The Taste", which was later renamed simply, "Taste", a blues rock and R&B power trio, in 1966.[14] Initially, the band was composed of Gallagher and two Cork musicians, Norman Damery and Eric Kitteringham (died 2013), however, by 1968, they were replaced with two musicians from Belfast, featuring Gallagher on guitar and vocals, drummer John Wilson, and bassist Richard McCracken.[14] Performing extensively in the UK, the group played regularly at the Marquee Club, supporting both Cream at their Royal Albert Hall farewell concert, and the blues supergroup Blind Faith on a tour of North America. Managed by Eddie Kennedy, the trio released the albums Taste and On The Boards, and two live recordings, Live Taste and Live at the Isle of Wight.[14] The latter appeared long after the band's break-up shortly after their appearance at the 1970 Isle of Wight Festival.[15]
Solo career
After the break-up of Taste, Gallagher toured under his own name, hiring former Deep Joy bass player Gerry McAvoy to play on Gallagher's self-titled debut album, Rory Gallagher.[16]
It was the beginning of a twenty-year musical relationship between Gallagher and McAvoy; the other band member was drummer Wilgar Campbell.[14] The 1970s were Gallagher's most prolific period. He produced ten albums in that decade, including two live albums, Live in Europe and Irish Tour '74. November 1971 saw the release of the album Deuce.[16] In the same year he was voted Melody Maker's International Top Musician of the Year, ahead of Eric Clapton.[17] However, despite a number of his albums from this period reaching the UK Albums Chart, Gallagher did not attain major star status.[14]
Gallagher played and recorded what he said was "in me all the time, and not just something I turn on ...". Though he sold over thirty million albums worldwide, it was his marathon live performances that won him greatest acclaim.[15] He is documented in Irish Tour '74, a film directed by Tony Palmer. During the heightened periods of political unrest in Northern Ireland, as other artists were warned not to tour, Gallagher was resolute about touring Ireland at least once a year during his career, winning him the dedication of thousands of fans, and in the process, becoming a role model for other aspiring young Irish musicians.
He himself admitted in several interviews that at first there were not any international Irish acts until Van Morrison, Gallagher, and later, Phil Lynott and Thin Lizzy grew popular during the 1970s. The line-up which included Rod de'Ath on drums and Lou Martin on keyboards, performed together between 1973 and 1976. However, he eventually dropped down to just bass, guitar and drums, and his act became a power trio. Other releases from that period include Against the Grain, Calling Card, Photo-Finish, and Top Priority.[16] Gerry McAvoy has stated that the Gallagher band performed several TV and radio shows across Europe, including Beat-Club in Bremen, Germany and the Old Grey Whistle Test.[18] He recorded two "Peel Sessions" (both February 1973) and containing the same tracks, but only the first was broadcast.[19] Along with Little Feat and Roger McGuinn, Gallagher performed the first Rockpalast live concert at the Grugahalle, Essen, Germany in 1977.[20]
Gallagher collaborated with Jerry Lee Lewis[21] and Muddy Waters[22] on their respective London Sessions in the mid-1970s. He played on Lonnie Donegan's final album.[16] He was David Coverdale's second choice (after Jeff Beck) to replace Ritchie Blackmore in Deep Purple. Gallagher chose to perform in his own band.
In the 1980s he continued recording, producing Jinx, Defender, and Fresh Evidence. After Fresh Evidence, he embarked on a tour of the United States. In addition he played with Box of Frogs—a band formed in 1983 by former members of The Yardbirds. Becoming obsessive over details and plagued by self-doubt, Gallagher nevertheless retained a loyal fanbase. During this period he stated "I agonize too much".[14]
Notes From San Francisco, an album of unreleased studio tracks and a San Francisco 1979 concert, was released in May 2011.[23]
Band line-up
Rory Gallagher (guitar, vocals)
1971–1972: Gerry McAvoy, bass guitarist, and drummer Wilgar Campbell.
1972–1978: Gerry McAvoy (bass), keyboardist Lou Martin, and drummer Rod de'Ath.
1978–1981: Gerry McAvoy (bass), Ted McKenna (drums)
1981–1991: Gerry McAvoy (bass), Brendan O'Neill (drums) + frequent guest: Mark Feltham (harmonica)
1992–1994: David Levy (bass), Jim Leverton (keyboards), John Cooke (keyboards), Richard Newman (drums) and frequent guest Mark Feltham, on harmonica.
Guitars and equipment
Gallagher's Stratocaster
Gallagher's Stratocaster on display in Dublin in 2007
A life-size bronze sculpture in the shape of Gallagher's Stratocaster at Rory Gallagher Corner in Dublin's Temple Bar.
Gallagher was always associated with his well-worn sunburst 1961 Stratocaster (Serial Number 64351), which his brother Dónal officially retired.
It was reputedly the first in Ireland, and was ordered from Fender by Jim Connolly, a showband member performing with The Irish Showband. Connolly ordered a cherry red Stratocaster through Crowley's music shop in Cork in 1961. When Fender shipped a sunburst Stratocaster instead, it was put up on sale in 1963 as a second-hand instrument, which Gallagher bought in August 1963 for just shy of £100 at Crowley's Music Store on Cork's McCurtain Street.[24] Speaking about Gallagher's purchase of the famous Stratocaster his brother Dónal recalled: "His dream ambition was to have a guitar like Buddy Holly... This Stratocaster was in the store as a used instrument, it was 100 pounds... in today's money you couldn't even compare you might as well say it was a million pounds... my mother was saying we'll be in debt for the rest of our lives and Rory said well actually with a guitar like this I can play both parts, rhythm and lead, we won't need a rhythm player so I can earn more money and pay it off so the Stratocaster became his partner for life if you like."[25]
The guitar was extensively modified by Gallagher. The tuning pegs are odd (5 Sperzel pegs and one Gotoh), and all of these have been found to be replacements. Second, it is thought that the nut has been replaced[26] and interchanged a number of times. Third, the pickguard was changed during Gallagher's time with Taste. The pick-ups — none of which are original — were also changed. The final modification was that of the wiring: Gallagher disconnected the bottom tone pot and rewired it so he had just a master tone control along with the master volume control. He installed a 5-way selector switch in place of the vintage 3-way one.[26]
The most notable effect that the years of touring have had on the guitar is the almost complete removal of its original sunburst finish.[27] Although the Strat was left abandoned in a rainy ditch for days after being stolen from the back of a tour van in Dublin, this is not believed to have caused any ill effect. All of the wear was caused by Gallagher's playing, not misuse. A borrowed Telecaster was also stolen at the same time but never recovered. When the Strat was recovered after two weeks, Gallagher swore he would never sell it or paint it after that.
It also had a period of time of having a replacement neck, with the original neck bowing due to the amount of moisture it absorbed during continuous touring. The neck was taken off and left to settle, and was eventually reunited with the Strat after returning to its correct shape. Other quirks include a 'hump' in the scratch plate which moves the neck pick-up closer to the neck on the bass side, and a replacement of all of the pick-ups, though this replacement was due to damage rather than the perception of a tonal inadequacy. One final point of interest is that one of the clay double-dot inlays at the 12th fret fell out and was replaced with a plastic one, which is why it is whiter than the other clay inlays. On Friday the 21st and Saturday 22 October 2011, Rory's brother Dónal brought the guitar out of retirement to allow Joe Bonamassa to perform with it on his two nights at the London Hammersmith Apollo. Bonamassa opened both night's performances with his rendition of "Cradle Rock" using Gallagher's Stratocaster. Photos and video of the performance can be seen on the official Rory Gallagher website.[28]
Patrick Eggle 'JS Berlin Legend' electric guitar
In April 2014 one of the last guitars owned by Gallagher, a Patrick Eggle 'JS Berlin Legend' was put up for auction in Cumbria, England. Custom built for Gallagher, the guitar was placed for auction by one of his close friends to whom it was given after his death.[29] On 11 April it was sold for £25,000.[30] At the time of the auction, the BBC noted: "Eric Clapton credited him with ‘getting me back into the blues’. The Rolling Stones wanted him to replace Mick Taylor and when Jimi Hendrix was asked how it felt to be the world's greatest guitarist, he is reported to have said: ‘I don't know, go ask Rory Gallagher’."[29]
Amplifiers and effects
Gallagher used various makes and models of amplifiers during his career. In general, however, he preferred smaller 'combo' amplifiers to the larger, more powerful 'stacks' popular with rock and hard rock guitarists. To make up for the relative lack of power on stage, he would often link several different combo amps together.
When Gallagher was with Taste, he used a single Vox AC30 with a Dallas Rangemaster treble booster plugged into the 'normal' input. Examples of this sound can be heard on the Taste albums, as well as the album Live in Europe. Brian May, of the band Queen, has admitted in interviews that as a young man, he was inspired to use a Vox AC30 and treble booster setup after meeting Gallagher and asking him how he got his sound. The British company, Flynn Amps, now makes a Rory Gallagher Signature Hawk Treble Booster pedal based on Gallagher's original unit. Gallagher also used Ibanez Tube Screamers, an MXR Dyna Comp, and various Boss effects, often using a Flanger and Octaver.
In the early to mid-1970s, Gallagher began to use Fender amplifiers in conjunction with a Hawk booster, most notably a Bassman and a Twin, both 1950s vintage. An example of this sound can be heard on the Irish Tour '74 album. He also had a Fender Concert amplifier.
In the mid to late 1970s, when Gallagher was moving towards a hard rock sound, he experimented with Ampeg VT40 and VT22 amps. He also began using Marshall combos. During this period and beyond, Gallagher used different combinations of amps on stage to achieve more power and to blend the tonal characteristics of different amps including Orange amplification.
On the introduction of the Boss ME-5 all-in-one floor based effects unit, Rory was known to have been an early adopter and used it readily it for his live work up until his death in the mid-1990s.
Not that well known is his use of various German amplifiers. He used Stramp 2100a amps, which can be seen in his appearances on the German Beat Club program. Another company that hand built amplifiers for Gallagher was PCL Vintage Amp. The company is located in St. Wendel in the Saarland and they still produce high quality audio and guitar equipment.[31]
Death
In the later years of his life Gallagher developed a phobia of flying. To overcome this he received a prescription for a powerful sedative. This medication, combined with his alcohol use resulted in severe liver damage. Despite this he continued touring. By the time of his final performance on 10 January 1995 in the Netherlands, he was visibly sick and the tour had to be cancelled. Gallagher was admitted to King's College Hospital in London in March 1995, and it was only then that the extent of his ill health became apparent: his liver was failing and the doctors determined that in spite of his young age a liver transplant was the only possible course of action.[32] After 13 weeks in intensive care, while waiting to be transferred to a convalescent home, his health suddenly worsened when he contracted a staphylococcal (MRSA) infection, and he died on 14 June 1995, at the age of 47.[16] He was unmarried and had no children.
Gallagher was buried in St Oliver's Cemetery, on the Clash Road just outside Ballincollig near Cork City, Ireland. His headstone is a replica of an award he received in 1972 for International Guitarist of the Year.
Legacy
In 2003, Wheels Within Wheels, a collection of acoustic tracks, was released posthumously by Gallagher's brother Donal Gallagher. Collaborators on this album included Bert Jansch, Martin Carthy, The Dubliners, Spanish flamenco guitarist Juan Martin and Lonnie Donegan.
Many modern day musicians, including The Edge from U2, Slash[33] of Guns N' Roses, Johnny Marr of the Smiths,[34] Davy Knowles,[35] Janick Gers of Iron Maiden,[36] James Dean Bradfield of Manic Street Preachers,[37] Glenn Tipton of Judas Priest,[38] Vivian Campbell of Def Leppard,[39] Gary Moore,[40] Joe Bonamassa,[41][42] and Rosendo Mercado,[citation needed] cite Gallagher as an inspiration in their formative musical years.
Brian May, lead guitarist of Queen, relates: "so these couple of kids come up, who's me and my mate, and say 'How do you get your sound Mr. Gallagher?' and he sits and tells us. So I owe Rory Gallagher my sound."[43] In 2010, Gallagher was ranked No. 42 on Gibson.com's List of their Top 50 Guitarists of All Time.[44] Gallagher was also listed on Rolling Stone magazine's list of the 100 Greatest Guitarists of All Time, ranked at 57th place.[45]
Tributes
On 25 October 1997 a tribute sculpture to Gallagher was unveiled in the newly renamed Rory Gallagher Place (formerly St. Paul's St. Square) in his hometown of Cork. The sculptor, Geraldine Creedon, was a childhood friend of Gallagher.[46] The band who played at the unveiling of the statue was the Dave McHugh band, who formed Ireland's first tribute to Gallagher, "Aftertaste", in 1995.
Rory Gallagher Corner at Meeting House Square, Temple Bar, Dublin, where a life-size bronze statue in the shape of his Stratocaster has been installed. Some of those who attended the unveiling include The Edge of U2 and the Lord Mayor of Dublin.
In 2004 the Rory Gallagher Music Library was opened in Cork.[47]
In 2006 a plaque was unveiled at the Ulster Hall in Belfast.[48][49]
A street in Ris-Orangis, a commune in the southern suburbs of Paris, was renamed Rue Rory Gallagher.[50]
New York City-based Celtic rock band Black 47 paid tribute to Rory Gallagher on their 1996 major-label release, "Green Suede Shoes". The track titled "Rory" features vocalist/guitarist Larry Kirwan delivering a passionate and heart-felt tribute to Rory Gallagher's talent and unrealised stardom.[51]
Flynn Amps manufacture a Rory Gallagher signature Hawk pedal, cloned from Gallagher's 1970s pedal.[52]
On 2 June 2010, a life-sized bronze statue of Gallagher was unveiled in the town centre of Ballyshannon.[53] An award-winning[54] annual blues festival is held in his honour at the same location.
Rory
Gallagher - 1976 - Live at Rockpalast [Cologne]
Rory Gallagher - Irish tour 1974
Wynonie Harris +14.06.1969
from wikipedia
Wynonie „Mr. Blues“ Harris (* 24. August 1915 in Omaha, Nebraska; † 14. Juni 1969 in Los Angeles, Kalifornien) war ein US-amerikanischer Blues-und R&B-Sänger.
Wynonie Harris war zunächst Schlagzeuger und begann seine Karriere in den Clubs von Los Angeles und Chicago als Sänger und MC; in Chicago hörte ihn 1944 der Bandleader Lucky Millinder in einer Show im Rhumboogie Club und verpflichtete ihn als Sänger für seine Band. Harris war sowohl mit Millinders Big Band als auch mit Lionel Hamptons Orchester unterwegs. Seinen ersten Solohit hatte er 1945 mit „Who Threw the Whiskey in the Well“, das unter Millinders Namen auf Decca erschien. Harris verließ die Band im selben Jahr, ging nach Los Angeles zurück und nahm zahlreiche Platten unter eigenem Namen auf, begleitet von Johnny Otis (als Schlagzeuger), Illinois Jacquet, Oscar Pettiford, Lucky Millinder und anderen. Aufnahmen entstanden für die Label Philo („Baby Look at You“, 1945) und 1946 für Apollo die Hits „Wynonie's Blues“ und „Playful Baby“. In Nashville nahm er mit Jimmie Jackson und Herman Blount (später als Sun Ra bekannt) auf.
Nachdem er weniger erfolgreich für kleinere Labels aufgenommen hatte, kam er 1947 bei King Records unter Vertrag. Seine Version des R&B-Songs „Good Rocking Tonight“ von 1948 mit dem Saxophonisten Frank „Floorshow“ Culley gilt als eine der frühesten Rock'n'Roll-Aufnahmen und wurde ein #1-Hit in den Charts, dem bis 1952 noch zwölf weitere folgen sollten; das Stück, geschrieben von Roy Brown, wurde später auch von Elvis Presley aufgenommen. Weitere erfolgreiche Titel von Harris waren All She Wants to Do Is Rock (1949) und Bloodshot Eyes (1951).
Obwohl er noch unzählige Titel für Label wie Atco, King, Roulette und Chess einspielte, ließ Mitte der 1950er Jahre der Erfolg von Wynonie Harris nach und sein Alkoholismus machte ihm zu schaffen. Harris geriet zunehmend in Vergessenheit. Sein letzter Gastauftritt 1966 bei einer „Motortown Revue“ in Santa Monica soll Nick Tosches zufolge[1] ein Desaster gewesen sein. 1969 erkrankte er an Kehlkopfkrebs; er starb noch im selben Jahr.
1994 wurde Wynonie Harris in die Blues Hall of Fame aufgenommen.
http://de.wikipedia.org/wiki/Wynonie_Harris
Wynonie Harris (August 24, 1915[2] – June 14, 1969), born in Omaha, Nebraska, was an American blues shouter and rhythm and blues singer of upbeat songs, featuring humorous, often ribald lyrics. With fifteen Top 10 hits between 1946 and 1952, Harris is generally considered one of rock and roll's forerunners, influencing Elvis Presley among others.
Biography
Early life and family
Harris' mother, Mallie Hood Anderson, was fifteen and unmarried at the time of his birth. Harris' paternity is uncertain. Harris' wife, Olive E. Goodlow, and daughter Patricia Vest, have said that Harris' father was a Native American, named Blue Jay. Harris had no father figure in the house until 1920, when his mother married Luther Harris, fifteen years her senior.
In 1931 at age 16, Harris dropped out of high school in North Omaha. The following year his first child, daughter Micky, was born to Naomi Henderson. Ten months later, Harris' second child, son Wesley, was born to Laura Devereaux. Both children were raised by their mothers. Wesley became a singer in the Five Echoes and The Sultans. Later he became a singer and guitarist in Preston Love's band. Eventually, Wesley's grandson (Wynonie's Great Grandson), Jourdan Devereaux, under the pseudonym "L Oquence" began a music career in the genre of Hip-Hop.[3]
In 1935 Harris, age 20, started dating 16-year-old Olive E. Goodlow (Ollie) of neighboring Council Bluffs, Iowa, who came to Omaha to watch him perform. On May 20, 1936, Ollie gave birth to daughter Pattie (Adrianne Patricia). On December 11, 1936, they married. Later they lived in the Logan Fontenelle projects in North Omaha. Ollie worked as a barmaid and nurse; Wynonie sang in clubs as well as taking on some odd jobs. Wynonie's mother, Mallie Harris, was Pattie's main caretaker. In 1940, Wynonie and Ollie Harris moved to Los Angeles, California, leaving Pattie with Mallie in Omaha.
Early career
With dance partner Velda Shannon, Harris formed a dance team in the early 1930s.[4] The team performed around North Omaha's flourishing entertainment community, and by 1934 they were a regular attraction at the Ritz Theatre. It was not until 1935, however, that Harris was able to earn his living as an entertainer. While performing at Jim Bell's new Harlem nightclub with Velda Shannon, Harris began to sing the blues.
He also began traveling frequently to Kansas City, where he paid close attention to the blues shouters including Jimmy Rushing and Big Joe Turner. Harris became a local celebrity in Omaha during the depths of the Great Depression in 1935. Harris' break in Los Angeles was at a nightclub owned by Curtis Mosby. It was here that Harris became known as "Mr. Blues".
With Lucky Millinder
Due to the 1942-44 musicians' strike, Harris was unable to pursue a recording career. Instead, he relied on personal appearances. Performing almost continuously, in late 1943 he appeared at the Rhumboogie Club in Chicago. Harris was spotted by Lucky Millinder who asked him to join his band's tour. Harris joined on March 24, 1944, while the band was in the middle of a week-long residency at the Regal in Chicago. They moved on to New York City, where on April 7 Harris took the stage with Millinder's band for his debut at the Apollo Theatre in Harlem. It was during this performance that Harris first publicly performed "Who Threw the Whiskey in the Well" (a song recorded two years earlier by Doc Wheeler's Sunset Orchestra).
After the band's stint at the Apollo, they moved on to their regular residency at the Savoy Ballroom, also in Harlem. Here, Preston Love, Harris' childhood friend, joined Millinder's band replacing alto saxophonist Tab Smith. On May 26, 1944, Harris made his recording debut with Lucky Millinder and His Orchestra. Entering a recording studio for the first time, Harris sang on two of the five cuts that day, "Hurry, Hurry" and "Who Threw the Whiskey in the Well", for the Decca record label. Although lessening, the shellac embargo had not yet been removed, and release of the record was delayed.
Harris' success and popularity grew as Millinder's band toured the country. He and Millinder had a falling out over money. In September 1945 while playing in San Antonio, Texas, Harris quit Millinder's band. Three weeks later, upon hearing of Harris' separation from the band, a Houston promoter refused to allow Millinder's band to perform. Millinder called Harris and agreed to pay Harris' asking price of one-hundred dollars a night. The promoter re-instated the date, but it was the final time Harris and Millinder worked together. Bull Moose Jackson replaced Harris as the vocalist in the band.
In April 1945, a year after the song was recorded, Decca released "Who Threw the Whiskey in the Well".[4] It became the group's biggest hit; it went to number one on the Billboard R&B chart on July 14 and stayed there for eight weeks.[5][6] The song remained on the charts for almost five months, also becoming popular with white audiences.[7] an unusual feat for black musicians of that era. In California the success of the song opened doors for Harris. Since the contract with Decca was with Millinder (meaning Harris was a free agent), Harris could choose from the recording contracts with which he was presented.
Solo career
In July 1945, Harris signed with Philo, a label owned by the brothers Leo and Edward Mesner. Harris' band was assembled by Johnny Otis, and the group recorded the 78rpm record "Around the Clock". Although not a chart-topper, the song became popular and was covered by many artists, including Willie Bryant, Jimmy Rushing and Big Joe Turner.
Harris went on to record sessions for other labels, including Apollo, Bullet and Aladdin. His greatest success came when he signed for Syd Nathan's King label, where he enjoyed a series of hits on the U.S. R&B chart in the late 1940s and early 1950s. These included a 1948 cover of Roy Brown's "Good Rocking Tonight",[8] "Good Morning Judge" and "All She Wants to Do Is Rock". In 1946, Harris recorded two singles with pianist Herman "Sonny" Blount, who later earned fame as the eclectic jazz composer and bandleader Sun Ra.
In 1950, he released the double-sided hit, "Sittin' On It All the Time" b/w "Baby, Shame On You" (King 4330) and in 1951, he covered Hank Penny's "Bloodshot Eyes" (King 4461).[9][10]
Later career
Harris transitioned between several recording contracts between 1954 and 1964. In 1960 he cut six sides for Roulette Records that included a remake of his hit "Bloodshot Eyes" as well as "Sweet Lucy Brown", "Spread the News", "Saturday Night", "Josephine" and "Did You Get the Message".[11] He also became more indebted, and was forced to live in less glamorous surroundings.[4]
In 1964 Harris resettled for the last time in Los Angeles. His final recordings were three sides which he did for the Chess Records label (in Chicago) in 1964: "The Comeback", "Buzzard Luck" and "Conjured".[12] His final large-scale performance was at the Apollo, New York in November 1967, where he performed with Big Joe Turner, Big Mama Thornton, Jimmy Witherspoon and T-Bone Walker.
On June 14, 1969, aged 53, Harris died of esophageal cancer at the USC Medical Center Hospital in Los Angeles.[4]
Legacy
He was the subject of a 1994 biography by Tony Collins.[13]
Since the end of the twentieth century, there has been a resurgence of interest in his music. Some of his recordings are being reissued and he has been honored posthumously:
1994 Inducted into the W.C. Handy Blues Hall of Fame by the Blues Foundation in Memphis, Tennessee.
1998 Inducted into the Nebraska Rock and Roll Hall of Fame in Lincoln.
2000 Inducted into the High School Hall of Fame at Central High School in Omaha, Nebraska.
2005 Inducted into the Omaha Black Music Hall of Fame[14]
In 2011, Harris' song "Quiet Whiskey" was listed number 9 on AskMen.com top 10 Drinking Songs list.
Biography
Early life and family
Harris' mother, Mallie Hood Anderson, was fifteen and unmarried at the time of his birth. Harris' paternity is uncertain. Harris' wife, Olive E. Goodlow, and daughter Patricia Vest, have said that Harris' father was a Native American, named Blue Jay. Harris had no father figure in the house until 1920, when his mother married Luther Harris, fifteen years her senior.
In 1931 at age 16, Harris dropped out of high school in North Omaha. The following year his first child, daughter Micky, was born to Naomi Henderson. Ten months later, Harris' second child, son Wesley, was born to Laura Devereaux. Both children were raised by their mothers. Wesley became a singer in the Five Echoes and The Sultans. Later he became a singer and guitarist in Preston Love's band. Eventually, Wesley's grandson (Wynonie's Great Grandson), Jourdan Devereaux, under the pseudonym "L Oquence" began a music career in the genre of Hip-Hop.[3]
In 1935 Harris, age 20, started dating 16-year-old Olive E. Goodlow (Ollie) of neighboring Council Bluffs, Iowa, who came to Omaha to watch him perform. On May 20, 1936, Ollie gave birth to daughter Pattie (Adrianne Patricia). On December 11, 1936, they married. Later they lived in the Logan Fontenelle projects in North Omaha. Ollie worked as a barmaid and nurse; Wynonie sang in clubs as well as taking on some odd jobs. Wynonie's mother, Mallie Harris, was Pattie's main caretaker. In 1940, Wynonie and Ollie Harris moved to Los Angeles, California, leaving Pattie with Mallie in Omaha.
Early career
With dance partner Velda Shannon, Harris formed a dance team in the early 1930s.[4] The team performed around North Omaha's flourishing entertainment community, and by 1934 they were a regular attraction at the Ritz Theatre. It was not until 1935, however, that Harris was able to earn his living as an entertainer. While performing at Jim Bell's new Harlem nightclub with Velda Shannon, Harris began to sing the blues.
He also began traveling frequently to Kansas City, where he paid close attention to the blues shouters including Jimmy Rushing and Big Joe Turner. Harris became a local celebrity in Omaha during the depths of the Great Depression in 1935. Harris' break in Los Angeles was at a nightclub owned by Curtis Mosby. It was here that Harris became known as "Mr. Blues".
With Lucky Millinder
Due to the 1942-44 musicians' strike, Harris was unable to pursue a recording career. Instead, he relied on personal appearances. Performing almost continuously, in late 1943 he appeared at the Rhumboogie Club in Chicago. Harris was spotted by Lucky Millinder who asked him to join his band's tour. Harris joined on March 24, 1944, while the band was in the middle of a week-long residency at the Regal in Chicago. They moved on to New York City, where on April 7 Harris took the stage with Millinder's band for his debut at the Apollo Theatre in Harlem. It was during this performance that Harris first publicly performed "Who Threw the Whiskey in the Well" (a song recorded two years earlier by Doc Wheeler's Sunset Orchestra).
After the band's stint at the Apollo, they moved on to their regular residency at the Savoy Ballroom, also in Harlem. Here, Preston Love, Harris' childhood friend, joined Millinder's band replacing alto saxophonist Tab Smith. On May 26, 1944, Harris made his recording debut with Lucky Millinder and His Orchestra. Entering a recording studio for the first time, Harris sang on two of the five cuts that day, "Hurry, Hurry" and "Who Threw the Whiskey in the Well", for the Decca record label. Although lessening, the shellac embargo had not yet been removed, and release of the record was delayed.
Harris' success and popularity grew as Millinder's band toured the country. He and Millinder had a falling out over money. In September 1945 while playing in San Antonio, Texas, Harris quit Millinder's band. Three weeks later, upon hearing of Harris' separation from the band, a Houston promoter refused to allow Millinder's band to perform. Millinder called Harris and agreed to pay Harris' asking price of one-hundred dollars a night. The promoter re-instated the date, but it was the final time Harris and Millinder worked together. Bull Moose Jackson replaced Harris as the vocalist in the band.
In April 1945, a year after the song was recorded, Decca released "Who Threw the Whiskey in the Well".[4] It became the group's biggest hit; it went to number one on the Billboard R&B chart on July 14 and stayed there for eight weeks.[5][6] The song remained on the charts for almost five months, also becoming popular with white audiences.[7] an unusual feat for black musicians of that era. In California the success of the song opened doors for Harris. Since the contract with Decca was with Millinder (meaning Harris was a free agent), Harris could choose from the recording contracts with which he was presented.
Solo career
In July 1945, Harris signed with Philo, a label owned by the brothers Leo and Edward Mesner. Harris' band was assembled by Johnny Otis, and the group recorded the 78rpm record "Around the Clock". Although not a chart-topper, the song became popular and was covered by many artists, including Willie Bryant, Jimmy Rushing and Big Joe Turner.
Harris went on to record sessions for other labels, including Apollo, Bullet and Aladdin. His greatest success came when he signed for Syd Nathan's King label, where he enjoyed a series of hits on the U.S. R&B chart in the late 1940s and early 1950s. These included a 1948 cover of Roy Brown's "Good Rocking Tonight",[8] "Good Morning Judge" and "All She Wants to Do Is Rock". In 1946, Harris recorded two singles with pianist Herman "Sonny" Blount, who later earned fame as the eclectic jazz composer and bandleader Sun Ra.
In 1950, he released the double-sided hit, "Sittin' On It All the Time" b/w "Baby, Shame On You" (King 4330) and in 1951, he covered Hank Penny's "Bloodshot Eyes" (King 4461).[9][10]
Later career
Harris transitioned between several recording contracts between 1954 and 1964. In 1960 he cut six sides for Roulette Records that included a remake of his hit "Bloodshot Eyes" as well as "Sweet Lucy Brown", "Spread the News", "Saturday Night", "Josephine" and "Did You Get the Message".[11] He also became more indebted, and was forced to live in less glamorous surroundings.[4]
In 1964 Harris resettled for the last time in Los Angeles. His final recordings were three sides which he did for the Chess Records label (in Chicago) in 1964: "The Comeback", "Buzzard Luck" and "Conjured".[12] His final large-scale performance was at the Apollo, New York in November 1967, where he performed with Big Joe Turner, Big Mama Thornton, Jimmy Witherspoon and T-Bone Walker.
On June 14, 1969, aged 53, Harris died of esophageal cancer at the USC Medical Center Hospital in Los Angeles.[4]
Legacy
He was the subject of a 1994 biography by Tony Collins.[13]
Since the end of the twentieth century, there has been a resurgence of interest in his music. Some of his recordings are being reissued and he has been honored posthumously:
1994 Inducted into the W.C. Handy Blues Hall of Fame by the Blues Foundation in Memphis, Tennessee.
1998 Inducted into the Nebraska Rock and Roll Hall of Fame in Lincoln.
2000 Inducted into the High School Hall of Fame at Central High School in Omaha, Nebraska.
2005 Inducted into the Omaha Black Music Hall of Fame[14]
In 2011, Harris' song "Quiet Whiskey" was listed number 9 on AskMen.com top 10 Drinking Songs list.
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