1941 Johnny "Yard Dog" Jones*
1969 Andreas "Äl" Lindinger*
1982 Frank Hovington+
2001 John Lee Hooker+
Nora Jean Bruso (nee Wallace)*
"Elmo" Lee Thomas*
1969 Andreas "Äl" Lindinger*
1982 Frank Hovington+
2001 John Lee Hooker+
Nora Jean Bruso (nee Wallace)*
"Elmo" Lee Thomas*
Happy Birthday
Johnny "Yard Dog" Jones *21.06.1941
Johnny "Yard Dog" Jones (born John Junior Jones, June 21, 1941)[2] is an American Chicago blues and soul blues singer, guitarist, harmonica player, and songwriter. He won a W.C. Handy Award in 1997.
Despite years of playing in clubs and on the blues circuit, Jones recorded his debut album at the age of 55.
Jones was born on a cotton plantation in Crawfordsville, Arkansas, United States, but relocated in 1945 with his family to East St. Louis, Illinois.[4] Influenced by Robert Johnson and T-Bone Walker, Jones was given lessons in his early teens in playing the harmonica by Little Walter. At the age of 18, he moved to Chicago, Illinois, and was further inspired by the gospel music recordings of O. V. Wright, Johnnie Taylor and the Spirit of Memphis Quartet, and Jones played the guitar in several gospel groups for over a decade.[2][4] He added the "Yard Dog" moniker to help him gain more exposure.[5]
Having trained as a welder, Jones moved on to Detroit, Michigan, where he became established as a musician in the local blues scene.[2] In his early days he often played alongside Bobo Jenkins.[4] In 1991, he recorded his debut tracks for a Blues Factory compilation album, which also included work by the Butler Twins. Jones moved back to Chicago and was spotted playing by an executive of the Earwig Music Company.[2]
His debut album, Ain't Gonna Worry, was released on Earwig in 1996. The Allmusic journalist, Scott Yanow, noted, "At the age of 55, Johnny Yard Dog Jones finally had the opportunity to lead his first record date in 1996. His singing is likable and full of emotion as he explores a set of music that emphasizes 1950s-style Chicago blues, along with occasional soul ballads...". The album contained contributions from Johnny B. Moore and Detroit Junior.[3] It was chosen in a Living Blues critics poll as the 'best new blues album (contemporary)' in 1996,[2] and a W.C. Handy Award followed in 1997, citing Jones as the 'best new male blues artist'.[6] Jones played at the 1997 Chicago Blues Festival.[5]
Jones played on stage with Aron Burton at the 16th Pocono Blues Festival.
Nora Jean Bruso (nee Wallace) *21.06.
Born to Sing the Blues
Nora Jean Bruso (nee Wallace) was born to sing the blues. Like so many blues greats she hails from the Delta of Mississippi, and was born and raised in Greenwood, a town in the heart of this blues rich region. From birth Nora Jean Bruso's father, Bobby Lee Wallace, a professional blues singer and sharecropper, and her Uncle, Henry "Son" Wallace, a blues singer and guitar player, infused the blues in her soul. Contributing to Nora Jean Bruso's musical education as well was her mother, Ida Lee Wallace, a gospel singer, and her grandmother, Mary, who ran a juke house. As a child Nora Jean Bruso would sneak down to her grandmother's place on Friday and Saturday nights and listen to her relatives sing blues classics. It was during these years that Nora Jean Bruso developed a love for the music of Howlin' Wolf that has continued to the present day. Nora Jean Bruso's singing career in Chicago began in 1976 when her Aunt Rose heard Nora sing at home and brought her to several clubs she was promoting. Nora Jean Bruso's big break came in 1985 when Jimmy Dawkins saw Nora perform at a local Chicago club and invited her to join his band. For the next seven years Nora Jean Bruso toured and recorded with Jimmy Dawkins and his band. During this time Nora appeared on two of Jimmy's CDs. In addition Nora Jean Bruso became a BMI affiliated songwriter and copyrighted many songs. Nora Jean Bruso appeared on many major festivals and was featured on the Front Page of the Chicago Tribune following her 1989 performance at the Chicago Blues Festival. During these years Nora Jean Bruso also sang occasionally with other major blues acts and remembers with special fondness her shows with Willie Kent and his band. By 1991 Nora Jean Bruso left the road and the blues world to raise her boys. Nora Jean Bruso is back in business since 2001. Nora appeared at the 2002 Chicago Blues Festival with the Jimmy Dawkins Band. In the same year, Nora recorded her first CD. Nora Jean Bruso was recently named one of the ten great women in Chicago Blues.
Nora Jean Bruso - Rawa Blues Festival 2006
Andreas "Äl" Lindinger *21.06.1969
Servus Leute und herzlich willkommen auf meiner Seite.
Ich möchte Euch hier präsentieren und vorstellen, was ich musikalisch so mache und auch was ich die letzten Jahre alles gemacht hab.
Und es freut mich natürlich, dass jemand es liest und interessiert, deshalb hab ich´s ja gemacht........
Grundsätzlich bin ich jemand, der recht gerne Musik macht, handgemachte, groovige, lässige, authentische - echte Musik...
Für mich ist Musik eine tolle Art intensive Gefühle und Stimmungen auszudrücken, die sich bei mir dann wahrscheinlich in meiner Musik wiederspiegeln.
Gibts einen Stil?
Ich würde mal sagen: Ja!
Welchen?
Blues!
Nicht Blues-Rock, oder eine andere Mischung oder Wortschöpfung, sondern Blues.
Mit all seinen Facetten.
Aber in erster Linie knackigen, groovigen, fetten, intensiven Blues.
Natürlich mal rockig, mal swingig, mal Country Blues und sehr viel Chicago Style.
Ich mache seit der 3ten Klasse Musik, seit der 6ten mit der Gitarre, habe viele viele Projekte gemacht, Aufnahmesessionen, Studioaktionen, Homerecording und natürlich viel mit Bands gemacht und aufgetreten.
Und warum mache ich das alles hier???
Ja, es freut mich schon, wenn meine Musik jemanden gefällt und möchte Euch auch gerne daran teilhaben lassen, was ich mache.
Hört Euch halt mal etwas durch....
Viel Spaß noch beim Schauen, Lesen und Hören und vielleicht mal bei einem Konzert...
Ihr könnt Euch ja das ein oder andere Stück mal anhören, vielleicht ist ja was dabei, was Euch gefällt......
Einige hundert Auftritte zu verschiedensten Anlässen, mit verschiedensten Bands und Besetzungen und an verschiedensten Instrumenten.
Über 150 Songs habe ich bisher geschrieben, die verschiedensten Musikstile und Coverversionen interpretiert, doch zum Schluss bleibt immer wieder:
Ich möchte Euch hier präsentieren und vorstellen, was ich musikalisch so mache und auch was ich die letzten Jahre alles gemacht hab.
Und es freut mich natürlich, dass jemand es liest und interessiert, deshalb hab ich´s ja gemacht........
Grundsätzlich bin ich jemand, der recht gerne Musik macht, handgemachte, groovige, lässige, authentische - echte Musik...
Für mich ist Musik eine tolle Art intensive Gefühle und Stimmungen auszudrücken, die sich bei mir dann wahrscheinlich in meiner Musik wiederspiegeln.
Gibts einen Stil?
Ich würde mal sagen: Ja!
Welchen?
Blues!
Nicht Blues-Rock, oder eine andere Mischung oder Wortschöpfung, sondern Blues.
Mit all seinen Facetten.
Aber in erster Linie knackigen, groovigen, fetten, intensiven Blues.
Natürlich mal rockig, mal swingig, mal Country Blues und sehr viel Chicago Style.
Ich mache seit der 3ten Klasse Musik, seit der 6ten mit der Gitarre, habe viele viele Projekte gemacht, Aufnahmesessionen, Studioaktionen, Homerecording und natürlich viel mit Bands gemacht und aufgetreten.
Und warum mache ich das alles hier???
Ja, es freut mich schon, wenn meine Musik jemanden gefällt und möchte Euch auch gerne daran teilhaben lassen, was ich mache.
Hört Euch halt mal etwas durch....
Viel Spaß noch beim Schauen, Lesen und Hören und vielleicht mal bei einem Konzert...
Ihr könnt Euch ja das ein oder andere Stück mal anhören, vielleicht ist ja was dabei, was Euch gefällt......
Einige hundert Auftritte zu verschiedensten Anlässen, mit verschiedensten Bands und Besetzungen und an verschiedensten Instrumenten.
Über 150 Songs habe ich bisher geschrieben, die verschiedensten Musikstile und Coverversionen interpretiert, doch zum Schluss bleibt immer wieder:
Äl spuid auf`s Blues Combo
Diesem Motto hat sich Andreas "Äl" Lindinger und seine Blues Combo verschrieben.
Eine Band aus dem Raum Regensburg, besetzt mit hochkarätigen und bodenständigen Bluesern,
die sich zusammengefunden haben, um endlich wieder mal schnörkellose und erbarmungslose, alte,
trockene Bluesrhythmen abzurocken.
Blues, Boogie, Pickings, Rhythym & Blues, swingige und rockige Klänge gibt`s - und vieles davon per
Slide-Gitarre. Oft wird gesungen - manchmal auch nicht.
Krachende Stomp-Rhythmen und bluesig, schwere Balladen, traditionelle Stücke, Klassiker und auch ein paar
unerwartete Coverversionen gibt die eigenwillige Bluescombo zum Besten.
Über die Jahre ist das Repertoire auch auf etliche eigene Eindrücke und Impressionen aus der Blues und
Slide-Blueswelt angewachsen. Bodenständige Grooves wechseln mit verspielten Improviationen -
man merkt, dass die langen Abende nicht umsonst waren.....
Sicher ein Muss für Instrumentalisten, Feinschmecker und Liebhaber guter Musik, handgemacht und
authentisch, für alle anderen ein netter Abend oder eine Begegnung mit etwas anderer oder besser -
einer neuen "alten" Musik.
Diesem Motto hat sich Andreas "Äl" Lindinger und seine Blues Combo verschrieben.
Eine Band aus dem Raum Regensburg, besetzt mit hochkarätigen und bodenständigen Bluesern,
die sich zusammengefunden haben, um endlich wieder mal schnörkellose und erbarmungslose, alte,
trockene Bluesrhythmen abzurocken.
Blues, Boogie, Pickings, Rhythym & Blues, swingige und rockige Klänge gibt`s - und vieles davon per
Slide-Gitarre. Oft wird gesungen - manchmal auch nicht.
Krachende Stomp-Rhythmen und bluesig, schwere Balladen, traditionelle Stücke, Klassiker und auch ein paar
unerwartete Coverversionen gibt die eigenwillige Bluescombo zum Besten.
Über die Jahre ist das Repertoire auch auf etliche eigene Eindrücke und Impressionen aus der Blues und
Slide-Blueswelt angewachsen. Bodenständige Grooves wechseln mit verspielten Improviationen -
man merkt, dass die langen Abende nicht umsonst waren.....
Sicher ein Muss für Instrumentalisten, Feinschmecker und Liebhaber guter Musik, handgemacht und
authentisch, für alle anderen ein netter Abend oder eine Begegnung mit etwas anderer oder besser -
einer neuen "alten" Musik.
Cold Winds (audio 2005) played by Andreas Lindinger & Lena
Äl spuid auf`s Blues Combo SAD DAY - the longtime WinterBlues
"Elmo" Lee Thomas * 21.06.
"ELMO" LEE THOMAS(VOCALS, GUITAR, HARMONICA)-This big voiced singer has been the driving force behind one of Memphis and the Mid South’s most popular bands, Elmo and the Shades, for over thirty years. The Memphis native has gained a reputation as a high energy blues shouter and soul screamer. Long recognized as one of the regions top harmonica talent (twice nominated for NARAS's Premier Player Awards) he is equally capable of lighting up the stage with his roots inspired guitar approach.. As a songwriter, Elmo penned the majority of songs on the group’s current CD ,the critically acclaimed Blue Memphis. He has performed on National Public Radio's Beale Street Caravan on numerous occasions as a well as an appearance on Bud Light's "Spotlight on Memphis" \television commercial. Elmo sings two songs on the upcoming (2013) major motion picture ‘Crackerjack” by executive producer Jeff Foxworthy. As a front man for the Shades, Elmo attracts both young and old to his performances.A "true blue" bluesman! Elmo and the Shades are considered by many in Memphis, the Mid-South, and the world to be a Memphis Blues tradition.
Skip & Elmo (view in high quality)
R.I.P.
Frank Hovington +21.06.1982
Franklin „Frank“ Hovington (* 9. Januar 1919 in Reading, Pennsylvania; † 21. Juni 1982 in Felton, Delaware) war ein US-amerikanischer Bluessänger, Gitarrist, Banjo- und Ukulele-Spieler.
Hovington begann bereits als Kind mit dem Ukulele- und Banjospiel. Später tat er sich mit William Walker zusammen, mit dem er in den späten 1930er und in den 1940er Jahren auf Houseparties und Tanzveranstaltungen in Frederica, Delaware aufspielte. Ende der 1940er Jahre zog er nach Washington, D.C., wo er Gospel-Gruppen wie Stewart Dixon’s Golden Stars und Ernest Ewin’s Jubilee Four begleitete. Er arbeitete auch mit Billy Stewarts Band. 1967 zog Hovington nach Felton, Delaware, und wurde dort 1975 von Bruce Bastin von Flyright Records (zusammen mit Dick Spottswood) aufgespürt, der von seinem Gitarrenspiel und Gesang derart begeistert war, dass er sogleich Aufnahmen für sein Plattenlabel machte.
Seine Langspielplatte von 1975 war ein Meisterwerk, das nicht nur zu seinen Lebzeiten viele Kritiker von seinen Fähigkeiten überzeugte, sondern auch Jahre später auf dem Rounder Label als LP und von Flyright im Jahre 2000 in einer erweiterten CD-Fassung wieder veröffentlicht wurde, und das bis heute - bald 25 Jahre nach seinem Tod - nach wie vor erhältlich ist.
Neben seinem Album für Flyright sind zwei Songs der dabei entstandenen Aufnahmen 1977/78 auch auf zwei Schallplattensamplern der Library of Congress veröffentlicht worden, im Jahre 1980 haben Siegfried Christmann und Axel Küstner für die Lippmann & Rau Serie „Living Country Blues“ weitere Aufnahmen von ihm gemacht, die auf nicht weniger als vier Alben dieser Serie veröffentlicht und 1999 teilweise auf CD neu herausgebracht wurden.
Auf einem Angel-Ausflug im Jahre 1952 hat John Fahey zufällig Frank Hovington getroffen, dessen Fingerstyle-Gitarrenspiel ihm derart imponierte, dass er kurz darauf selber eine (billige Sears & Roebuck) Gitarre kaufte und sich anschließend autodidaktisch das Gitarrenspielen beibrachte.
http://de.wikipedia.org/wiki/Frank_Hovington
Franklin "Frank" Hovington (January 9, 1919 – June 21, 1982),[1] also known as Guitar Frank, was an American blues musician. He played the guitar and banjo, and was a singer in the Piedmont style who lived in the vicinity of Frederica, Delaware.
Hovington was born in Reading, Pennsylvania, United States.[1] Later in life, on a tip from folklorist Peter B. Lowry, he was recorded by Dick Spottswood and Bruce Bastin, with an album released on Flyright Records in the UK (now available on CD), and, later, on Rounder Records in the US. Additionally, selections were recorded by Axel Küstner and Siggi Christmann for German release, most recently issued by Evidence Records in the US.
He disliked travel and did not play away from his Delaware home, afraid that he would lose his welfare support payments, and so did not get the publicity from music festival appearances that his talent deserved.[2]
Franklin Hovington is also the Grand Father of Philadelphia Hip-Hop Legend and Icon Parry P who was also a Radio Personality on WPHI Philly 103.9 and WRNB 107.9. He also was a host on The 1 World Hip-Hop Championship on MTV2. Parry P's real name is Parris Ellis who is the son of Franklin Hovingtons Daughter Joyce Shirley Welsh. Franklin's Grand son is a Philadelphia Pioneer in Hip-Hop and was featured in an Emmy Award-winning Documentary called The Story Of English ( Bill Cran BBC Londan).
Hovington was born in Reading, Pennsylvania, United States.[1] Later in life, on a tip from folklorist Peter B. Lowry, he was recorded by Dick Spottswood and Bruce Bastin, with an album released on Flyright Records in the UK (now available on CD), and, later, on Rounder Records in the US. Additionally, selections were recorded by Axel Küstner and Siggi Christmann for German release, most recently issued by Evidence Records in the US.
He disliked travel and did not play away from his Delaware home, afraid that he would lose his welfare support payments, and so did not get the publicity from music festival appearances that his talent deserved.[2]
Franklin Hovington is also the Grand Father of Philadelphia Hip-Hop Legend and Icon Parry P who was also a Radio Personality on WPHI Philly 103.9 and WRNB 107.9. He also was a host on The 1 World Hip-Hop Championship on MTV2. Parry P's real name is Parris Ellis who is the son of Franklin Hovingtons Daughter Joyce Shirley Welsh. Franklin's Grand son is a Philadelphia Pioneer in Hip-Hop and was featured in an Emmy Award-winning Documentary called The Story Of English ( Bill Cran BBC Londan).
John Lee Hooker +21.06.2001
http://blueskalender.blogspot.de/p/john-lee-hooker-21.html
John Lee Hooker (* 22. August 1920[1] in Clarksdale, Mississippi; † 21. Juni 2001 in Los Altos, Kalifornien) war ein einflussreicher US-amerikanischer Bluesmusiker.
Everytime I see you, baby, walking down the street,
know I get a thrill now, baby, from my head down to my toes (anstelle von feet)
Schon in jungen Jahren zog Hooker durch die Südstaaten, um mit seiner Musik sein Brot zu verdienen. Während dieser Zeit traf er auch auf die beiden Musiker Tony Hollins und Tommy McClennan. Der Einfluss dieser beiden spiegelte sich zum einen im stampfenden Rhythmus wider, zum anderen auch darin, dass er Songs der beiden spielte. Mit vierzehn Jahren machte John Lee Hooker dann in Memphis, Tennessee Station. Aufgrund seines Alters und seines jugendlichen Erscheinungsbildes hatte es der junge Musiker aber schwer, in die Clubs zu kommen. Und wenn er es einmal schaffte, wurde er von seinen älteren Kollegen in der Regel als störend empfunden. Bis auf seine Bekanntschaft mit dem Gitarristen Robert Nighthawk war die Zeit in Memphis nicht sehr fruchtbar für Hooker, so dass er sich weiter Richtung Norden nach Cincinnati, Ohio aufmachte. Dort schlug er sich ab 1933 mit ein paar Auftritten in Gospelquartetts und Gelegenheitsjobs durch.
Karriere
Im Jahre 1934 heiratete er und zog nach Detroit, Michigan um. Dort hatte er in einem Club in der Hastings Street im Jahr 1937 seinen ersten Auftritt. Nach einigen nicht kommerziellen Aufnahmeversuchen spielte er am 3. September 1948 im United Sound Studio die Titel Boogie Chillen, Sally May (oder Sally Mae), Highway Blues oder Wednesday Evening Blues, insgesamt 10 Titel, ein, allesamt produziert von Bernard Besman. Auf der ersten Single wurden Sally May / Boogie Chillen[2] platziert, veröffentlicht am 3. November 1948 (Modern #627). Die Aufnahmebedingungen waren technisch so einwandfrei, dass man Hookers Hand die Gitarrensaiten berühren hört. Toningenieur bei dem Song mit den typischen Gitarren-Staccatos und dem ungewöhnlichen Fußstampfen war Joe Siracuse; Hooker begleitet sich lediglich auf der Gitarre. Die ersten drei Titel verbrauchten einen großen Teil der für 3 Stunden anberaumten Aufnahmezeit, so dass Boogie Chillen unter Zeitdruck entstand.[3] Boogie Chillen belegte am 19. Februar 1949 für eine Woche den ersten Rang in der Rhythm & Blues-Hitparade und war mit einer Million verkaufter Platten[4] der erste Erfolg für John Lee Hooker und für das Detroiter Studio. Die zweite Session mit Hooker fand am 18./19. Februar 1949 statt (Weeping Willow Boogie, Hobo Blues und Crawling King Snake). Hookers I’m in the Mood wurde am 7. August 1951 aufgenommen, belegte für 4 Wochen die Topposition und erreichte ebenfalls Millionenseller-Status.[5] Am 22. Mai 1952 entstanden It Hurts me So, I Got Eyes For You, I Got The Key, Bluebird Blues und Key to the Highway. Der Studiotermin vom 18. Oktober 1954 brachte insgesamt 4 Titel hervor (Odds Against Me, Nothin‘ But Trouble, I Need Love so Bad und Don’t Trust Nobody). Es war die letzte Aufnahmesession von Hooker bei United Sound. Von den über 200 Titeln Hookers entstanden die musikhistorisch wichtigsten in den United Sound Studios.
Mit seiner Mischung aus Gesang und Sprache und den ansteckenden Beats traf er den Nerv der farbigen Plattenkäufer dieser Zeit. Hinzu kam seine elektrisch verstärkte Gitarre, mit der er einen neuartigen und richtungsweisenden Sound schuf. Ebenfalls neu waren seine Instrumentalstücke, die er, nur durch das Klacken der Kronkorken unter seinen Schuhsohlen begleitet, auf seiner Gitarre spielte. Hooker spielte in dieser Zeit meistens solo. Ab und zu wurde er von Musikern wie Eddie Burns, Boogie Woogie Red oder Eddie Kirkland begleitet.
In den kommenden Jahren wuchs durch zahlreiche Plattenaufnahmen und Tourneen seine Popularität. Anfang der 1950er-Jahre folgte allerdings ein Karriereknick. Durch Musiker wie beispielsweise B. B. King, die über eine ausgefeiltere Spieltechnik verfügten, wurde er in den Hintergrund gedrängt. Erst Mitte der 1950er konnte er ein Comeback feiern. Mit Jimmy Reed (Gitarre), Eddie Taylor (Mundharmonika), George Washington (Bass) und Tom Whitehead (Schlagzeug) verfügte er über eine starke Begleitband. Als dann gegen Ende der 1950er der Blues zunehmend das Interesse der Studenten und Intellektuellen weckte, rückte John Lee Hooker in den Blickpunkt junger Weißer. Zunächst aber galt das Interesse dieser Kreise mehr einer der ursprünglichsten Spielarten des Blues, dem Country Blues. Das veranlasste zahlreiche Bluesmusiker dazu, zu den Wurzeln ihrer Musik zurückzukehren, unter ihnen auch Hooker. Aus dieser Zeit stammen Plattenaufnahmen wie The Folk Blues of John Lee Hooker und The Folklore of John Lee Hooker.
Anfang der 1960er-Jahre gewann Hooker auch in der Popwelt immer mehr an Beachtung. Im Zuge des Rhythm and Blues-Booms in England schaffte er sogar den Sprung in die Pop-Hitparaden. 1967 landete die umstrittene Band MC 5 mit dem Stück The Motor City is Burning von Hookers Album Urban Blues einen Hit. Das veranlasste Hooker dazu, sich ebenfalls im Rock-Geschäft zu versuchen. Gruppen wie Canned Heat oder Musiker wie Van Morrison waren sehr an der Zusammenarbeit mit ihrem Vorbild interessiert und spielten mit ihm Songs wie etwa The World Today ein.
Gegen Ende der 1970er wurde es still um John Lee Hooker. Er trat zwar noch regelmäßig auf und arbeitete an einigen Filmen mit (unter anderem sah und hörte man ihn im Kultfilm Blues Brothers mit Boogie Chillun und Boom Boom), aber er verschwand fast völlig aus dem Licht der Öffentlichkeit. 1980 wurde er in die Blues Hall of Fame aufgenommen, 2009 sein Song "Boom Boom".
1989 war er auf dem Album The Iron Man von Pete Townshend zu hören. Dort übernahm er den Part des Iron Man. Um so furioser war dann sein Comeback Ende desselben Jahres mit seinem Album The Healer, bei dem so bekannte Größen wie Bonnie Raitt oder Carlos Santana mitwirkten und für das er einen Grammy erhielt. Fast 40 Wochen hielt sich The Healer allein in den US-Charts. Gekrönt wurde John Lee Hookers Comeback durch einen Grammy, den der inzwischen 72-jährige am 21. Februar 1990 für I’m in the Mood, sein Duett mit Bonnie Raitt, in der Kategorie „beste traditionelle Blues-Aufnahme“ in Empfang nehmen durfte. Eine weitere Ehrung wurde ihm im Oktober des gleichen Jahres zuteil: Im Rahmen eines Blues-Festivals im New Yorker Madison Square Garden spielte eine erlesene Musiker- und Sängerschar, darunter Albert Collins, Joe Cocker, Bo Diddley, Huey Lewis und Little Feat, unter dem Motto „A Tribute To John Lee Hooker“ auf. Wenige Monate später, im Januar 1991, folgte noch eine wichtige Auszeichnung: die Aufnahme in die Rock and Roll Hall of Fame[6]. In seiner Dankesrede sagte er, dass er sich sehr über dieses Geschenk freue, und er versprach dafür seinem Publikum, „bis an sein Lebensende für sie da zu sein und den Blues für sie zu spielen“.
Im folgenden Jahr erschien dann das Album Mr. Lucky in Zusammenarbeit mit Van Morrison, Keith Richards, Johnny Winter und Robert Cray. Aber seine Musik überwand wieder die Grenzen des reinen Blues: so bedienten sich Depeche Mode bei ihrem Hit Personal Jesus eines John-Lee-Hooker-Gitarrenriffs.
John Lee Hooker blieb in Spiellaune, fand aber 1992 „ ... den Weg zurück zum ungeschliffenen, authentischen Blues“. Er war inzwischen zum kleinen britischen Point-Blank-Label gewechselt und hatte, diesmal nur mit wenigen Sessionmusikern (Robert Cray, Charlie Musselwhite, Fabulous Thunderbird, Jimmie Vaughan und John Hammond), das Album Boom Boom eingespielt. Der Titelsong ist eine Neuauflage (Remake) seines Hits aus den 1960ern und fand auch in einem Werbespot für eine Blue-Jeans-Marke Verwendung.
1993 spielte er auf dem Album Blues Summit von B.B. King mit, obwohl die beiden Musiker stilistisch meilenweit voneinander entfernt waren. Trotzdem konnte der Manager Kings, Sid Seidenberg, die beiden dazu überreden.[7]
Im Oktober 1997 eröffnete Hooker den Boom Boom Room in San Francisco, einen Blues-, Boogie-, Soul-, Groove- und Funk-Club. John Lee Hooker war nicht der Besitzer des Clubs, er erlaubte lediglich die Verwendung seines Namens für die Dauer von fünf Jahren.
Zu Beginn der 1990er-Jahre sagte John Lee Hooker bei einem Interview mit dem Rolling Stone Magazine, dass er sich in Zukunft etwas mehr Ruhe gönnen möchte. Er wolle keine Platten mehr aufnehmen und keine großen Konzerte mehr geben. Allerdings schränkte er das auch direkt wieder ein:
„Wenn ich aber hier bei mir zu Hause bin, dann kommt oft der Wunsch auf, wieder zu spielen. Dann nehme ich meine Gitarre, gehe zur Bushaltestelle und fahre zum nächsten Pub, spiele ein paar Songs und fahre dann wieder“.
John Lee Hooker starb am Donnerstag, 21. Juni 2001 im Schlaf. Noch fünf Tage zuvor hatte er zum letzten Mal auf der Bühne gestanden.
http://de.wikipedia.org/wiki/John_Lee_Hooker
John Lee Hooker (August 22, 1917 – June 21, 2001) was an American blues singer, songwriter and guitarist. He was born in Mississippi, the son of a sharecropper, and rose to prominence performing an electric guitar-style adaptation of Delta blues. Hooker often incorporated other elements, including talking blues and early North Mississippi Hill country blues. He developed his own driving-rhythm boogie style, distinct from the 1930s–1940s piano-derived boogie-woogie style. Some of his best known songs include "Boogie Chillen'" (1948), "Crawling King Snake" (1949), "Dimples" (1956), "Boom Boom" (1962), and "One Bourbon, One Scotch, One Beer" (1966) – the first being the most popular race record of 1949.
Early life
There is some debate as to the year of Hooker's birth[3][4] in Coahoma County, Mississippi,[5] the youngest of the eleven children of William Hooker (1871–1923),[6] a sharecropper and Baptist preacher, and Minnie Ramsey (born 1875, date of death unknown);[7] according to his official website, he was born on August 22, 1917.
Hooker and his siblings were home-schooled. They were permitted to listen only to religious songs, with his earliest exposure being the spirituals sung in church. In 1921, his parents separated. The next year, his mother married William Moore, a blues singer who provided Hooker with his first introduction to the guitar (and whom John would later credit for his distinctive playing style).[8] John's stepfather was his first outstanding blues influence. William Moore was a local blues guitarist who learned in Shreveport, Louisiana to play a droning, one-chord blues that was strikingly different from the Delta blues of the time.[5] Around 1923 his biological father died. At the age of 14, John Lee Hooker ran away from home, reportedly never seeing his mother or stepfather again.[9]
Throughout the 1930s, Hooker lived in Memphis, Tennessee where he worked on Beale Street at The New Daisy Theatre and occasionally performed at house parties.[5] He worked in factories in various cities during World War II, drifting until he found himself in Detroit in 1948 working at Ford Motor Company. He felt right at home near the blues venues and saloons on Hastings Street, the heart of black entertainment on Detroit's east side. In a city noted for its pianists, guitar players were scarce. Performing in Detroit clubs, his popularity grew quickly and, seeking a louder instrument than his acoustic guitar, he bought his first electric guitar.[10]
Career
Hooker's recording career began in 1948 when his agent placed a demo, made by Hooker, with the Bihari brothers, owners of the Modern Records label. The company initially released an up-tempo number, "Boogie Chillen'", which became Hooker's first hit single.[5] Though they were not songwriters, the Biharis often purchased or claimed co-authorship of songs that appeared on their labels, thus securing songwriting royalties for themselves, in addition to their own streams of income.
Sometimes these songs were older tunes that Hooker renamed, as with B.B. King's "Rock Me Baby", anonymous jams "B.B.'s Boogie", or songs by employees (bandleader Vince Weaver). The Biharis used a number of pseudonyms for songwriting credits: Jules was credited as Jules Taub; Joe as Joe Josea; and Sam as Sam Ling. One song by John Lee Hooker, "Down Child", is solely credited to Taub, with Hooker receiving no credit. Another, "Turn Over a New Leaf" is credited to Hooker and Ling.
In 1949, Hooker was recorded performing in an informal setting for Detroit jazz enthusiasts. His repertoire included down-home and spiritual tunes that he would not record commercially.[11] The recorded set has been made available in the album Jack O'Diamonds.[12]
Despite being illiterate, Hooker was a prolific lyricist. In addition to adapting the occasionally traditional blues lyric (such as "if I was chief of police, I would run her right out of town..."), he freely invented many songs from scratch. Recording studios in the 1950s rarely paid black musicians more than a pittance, so Hooker would spend the night wandering from studio to studio, coming up with new songs or variations on his songs for each studio. Because of his recording contract, he would record these songs under obvious pseudonyms such as John Lee Booker, notably for Chess Records and Chance Records in 1951/52,[13] as Johnny Lee for De Luxe Records in 1953/54[13] as John Lee, and even John Lee Cooker,[14] or as Texas Slim, Delta John, Birmingham Sam and his Magic Guitar, Johnny Williams, or The Boogie Man.[15]
His early solo songs were recorded under Bernie Besman. John Lee Hooker rarely played on a standard beat, changing tempo to fit the needs of the song. This often made it difficult to use backing musicians who were not accustomed to Hooker's musical vagaries. As a result, Besman would record Hooker, in addition to playing guitar and singing, stomping along with the music on a wooden pallet.[16] For much of this time period he recorded and toured with Eddie Kirkland, who was still performing until his death in a car accident in 2011. Later sessions for the VeeJay label in Chicago used studio musicians on most of his recordings, including Eddie Taylor, who could handle his musical idiosyncrasies very well. His biggest UK hit, "Boom Boom", (originally released on VeeJay) was recorded with a horn section.
Later life
He appeared and sang in the 1980 movie The Blues Brothers. Due to Hooker's improvisational style, his performance was filmed and sound-recorded live at the scene at Chicago's Maxwell Street Market, in contrast to the usual "playback" technique used in most film musicals.[17] Hooker was also a direct influence in the look of John Belushi's character Jake Blues.
In 1989, he joined with a number of musicians, including Carlos Santana and Bonnie Raitt to record the album The Healer, for which he and Santana won a Grammy Award. Hooker recorded several songs with Van Morrison, including "Never Get Out of These Blues Alive", "The Healing Game", and "I Cover the Waterfront". He also appeared on stage with Van Morrison several times, some of which was released on the live album A Night in San Francisco. The same year he appeared as the title character on Pete Townshend's The Iron Man: The Musical by Pete Townshend.
On December 19, 1989, Hooker appeared with The Rolling Stones and Eric Clapton to perform "Boogie Chillen'"in Atlantic City, N.J., as part of The Rolling Stones Steel Wheels tour. The show was broadcast live on cable television on a pay-per-view basis.
Hooker recorded over 100 albums. He lived the last years of his life in Long Beach, California.[18] In 1997, he opened a nightclub in San Francisco's Fillmore District called John Lee Hooker's Boom Boom Room, after one of his hits.[19]
Death
Hooker fell ill just before a tour of Europe in 2001 and died in his sleep on June 21 at the age of 83, two months before his 84th birthday. He was interred at the Chapel of the Chimes in Oakland, California.[20]
His last live in the studio recording on guitar and vocal was of a song he wrote with Pete Sears called "Elizebeth", featuring members of his Coast to Coast Blues Band with Sears on piano. It was recorded on January 14, 1998 at Bayview Studios in Richmond, California. The last song Hooker recorded before his death was "Ali D'Oro", a collaboration with the Italian soul singer Zucchero, in which Hooker sang the chorus "I lay down with an angel." He is survived by eight children, nineteen grandchildren, eighteen great-grandchildren, a nephew, and fiance Sidora Dazi. He has two children that followed in his footsteps, Zakiya Hooker and John Lee Hooker, Jr.
Among his many awards, Hooker has a star on the Hollywood Walk of Fame and in 1991 he was inducted into the Rock and Roll Hall of Fame. Two of his songs, "Boogie Chillen" and "Boom Boom" were included in the list of The Rock and Roll Hall of Fame's 500 Songs that Shaped Rock and Roll. "Boogie Chillen" was included as one of the Songs of the Century. He was also inducted in 1980 into the Blues Hall of Fame. In 2000, Hooker was awarded the Grammy Lifetime Achievement Award.
Music and legacy
Hooker's guitar playing is closely aligned with piano boogie-woogie. He would play the walking bass pattern with his thumb, stopping to emphasize the end of a line with a series of trills, done by rapid hammer-ons and pull-offs. The songs that most epitomize his early sound are "Boogie Chillen", about being 17 and wanting to go out to dance at the Boogie clubs, "Baby, Please Don't Go", a blues standard first recorded by Big Joe Williams, and "Tupelo Blues",[21] a song about the flooding of Tupelo, Mississippi, in April 1936.
He maintained a solo career, popular with blues and folk music fans of the early 1960s and crossed over to white audiences, giving an early opportunity to the young Bob Dylan. As he got older, he added more and more people to his band, changing his live show from simply Hooker with his guitar to a large band, with Hooker singing.
His vocal phrasing was less closely tied to specific bars than most blues singers. This casual, rambling style had been gradually diminishing with the onset of electric blues bands from Chicago but, even when not playing solo, Hooker retained it in his sound.
Though Hooker lived in Detroit during most of his career, he is not associated with the Chicago-style blues prevalent in large northern cities, as much as he is with the southern rural blues styles, known as delta blues, country blues, folk blues, or front porch blues. His use of an electric guitar tied together the Delta blues with the emerging post-war electric blues.[22]
His songs have been covered by Buddy Guy, Cream, AC/DC, ZZ Top, Led Zeppelin, Tom Jones, Bruce Springsteen, Jimi Hendrix, Eric Clapton, Nick Cave & The Bad Seeds, Van Morrison, The Yardbirds, The Animals, The Doors, The White Stripes, MC5, George Thorogood, R. L. Burnside, The J. Geils Band, Big Head Todd and the Monsters, The Gories, Cat Power, and The Jon Spencer Blues Explosion.
Awards and recognition
A Star on the Hollywood Walk of Fame
Inducted into the Blues Hall of Fame in 1980.
Inducted into the Rock and Roll Hall of Fame in 1991.
Grammy Awards:
Best Traditional Blues Recording, 1990 for I'm in the Mood (with Bonnie Raitt).
Best Traditional Blues Recording, 1998 for Don't Look Back.
Best Pop Collaboration with Vocals, 1998, Don't Look Back (with Van Morrison).
Grammy Lifetime Achievement Award in 2000.
Early life
There is some debate as to the year of Hooker's birth[3][4] in Coahoma County, Mississippi,[5] the youngest of the eleven children of William Hooker (1871–1923),[6] a sharecropper and Baptist preacher, and Minnie Ramsey (born 1875, date of death unknown);[7] according to his official website, he was born on August 22, 1917.
Hooker and his siblings were home-schooled. They were permitted to listen only to religious songs, with his earliest exposure being the spirituals sung in church. In 1921, his parents separated. The next year, his mother married William Moore, a blues singer who provided Hooker with his first introduction to the guitar (and whom John would later credit for his distinctive playing style).[8] John's stepfather was his first outstanding blues influence. William Moore was a local blues guitarist who learned in Shreveport, Louisiana to play a droning, one-chord blues that was strikingly different from the Delta blues of the time.[5] Around 1923 his biological father died. At the age of 14, John Lee Hooker ran away from home, reportedly never seeing his mother or stepfather again.[9]
Throughout the 1930s, Hooker lived in Memphis, Tennessee where he worked on Beale Street at The New Daisy Theatre and occasionally performed at house parties.[5] He worked in factories in various cities during World War II, drifting until he found himself in Detroit in 1948 working at Ford Motor Company. He felt right at home near the blues venues and saloons on Hastings Street, the heart of black entertainment on Detroit's east side. In a city noted for its pianists, guitar players were scarce. Performing in Detroit clubs, his popularity grew quickly and, seeking a louder instrument than his acoustic guitar, he bought his first electric guitar.[10]
Career
Hooker's recording career began in 1948 when his agent placed a demo, made by Hooker, with the Bihari brothers, owners of the Modern Records label. The company initially released an up-tempo number, "Boogie Chillen'", which became Hooker's first hit single.[5] Though they were not songwriters, the Biharis often purchased or claimed co-authorship of songs that appeared on their labels, thus securing songwriting royalties for themselves, in addition to their own streams of income.
Sometimes these songs were older tunes that Hooker renamed, as with B.B. King's "Rock Me Baby", anonymous jams "B.B.'s Boogie", or songs by employees (bandleader Vince Weaver). The Biharis used a number of pseudonyms for songwriting credits: Jules was credited as Jules Taub; Joe as Joe Josea; and Sam as Sam Ling. One song by John Lee Hooker, "Down Child", is solely credited to Taub, with Hooker receiving no credit. Another, "Turn Over a New Leaf" is credited to Hooker and Ling.
In 1949, Hooker was recorded performing in an informal setting for Detroit jazz enthusiasts. His repertoire included down-home and spiritual tunes that he would not record commercially.[11] The recorded set has been made available in the album Jack O'Diamonds.[12]
Despite being illiterate, Hooker was a prolific lyricist. In addition to adapting the occasionally traditional blues lyric (such as "if I was chief of police, I would run her right out of town..."), he freely invented many songs from scratch. Recording studios in the 1950s rarely paid black musicians more than a pittance, so Hooker would spend the night wandering from studio to studio, coming up with new songs or variations on his songs for each studio. Because of his recording contract, he would record these songs under obvious pseudonyms such as John Lee Booker, notably for Chess Records and Chance Records in 1951/52,[13] as Johnny Lee for De Luxe Records in 1953/54[13] as John Lee, and even John Lee Cooker,[14] or as Texas Slim, Delta John, Birmingham Sam and his Magic Guitar, Johnny Williams, or The Boogie Man.[15]
His early solo songs were recorded under Bernie Besman. John Lee Hooker rarely played on a standard beat, changing tempo to fit the needs of the song. This often made it difficult to use backing musicians who were not accustomed to Hooker's musical vagaries. As a result, Besman would record Hooker, in addition to playing guitar and singing, stomping along with the music on a wooden pallet.[16] For much of this time period he recorded and toured with Eddie Kirkland, who was still performing until his death in a car accident in 2011. Later sessions for the VeeJay label in Chicago used studio musicians on most of his recordings, including Eddie Taylor, who could handle his musical idiosyncrasies very well. His biggest UK hit, "Boom Boom", (originally released on VeeJay) was recorded with a horn section.
Later life
He appeared and sang in the 1980 movie The Blues Brothers. Due to Hooker's improvisational style, his performance was filmed and sound-recorded live at the scene at Chicago's Maxwell Street Market, in contrast to the usual "playback" technique used in most film musicals.[17] Hooker was also a direct influence in the look of John Belushi's character Jake Blues.
In 1989, he joined with a number of musicians, including Carlos Santana and Bonnie Raitt to record the album The Healer, for which he and Santana won a Grammy Award. Hooker recorded several songs with Van Morrison, including "Never Get Out of These Blues Alive", "The Healing Game", and "I Cover the Waterfront". He also appeared on stage with Van Morrison several times, some of which was released on the live album A Night in San Francisco. The same year he appeared as the title character on Pete Townshend's The Iron Man: The Musical by Pete Townshend.
On December 19, 1989, Hooker appeared with The Rolling Stones and Eric Clapton to perform "Boogie Chillen'"in Atlantic City, N.J., as part of The Rolling Stones Steel Wheels tour. The show was broadcast live on cable television on a pay-per-view basis.
Hooker recorded over 100 albums. He lived the last years of his life in Long Beach, California.[18] In 1997, he opened a nightclub in San Francisco's Fillmore District called John Lee Hooker's Boom Boom Room, after one of his hits.[19]
Death
Hooker fell ill just before a tour of Europe in 2001 and died in his sleep on June 21 at the age of 83, two months before his 84th birthday. He was interred at the Chapel of the Chimes in Oakland, California.[20]
His last live in the studio recording on guitar and vocal was of a song he wrote with Pete Sears called "Elizebeth", featuring members of his Coast to Coast Blues Band with Sears on piano. It was recorded on January 14, 1998 at Bayview Studios in Richmond, California. The last song Hooker recorded before his death was "Ali D'Oro", a collaboration with the Italian soul singer Zucchero, in which Hooker sang the chorus "I lay down with an angel." He is survived by eight children, nineteen grandchildren, eighteen great-grandchildren, a nephew, and fiance Sidora Dazi. He has two children that followed in his footsteps, Zakiya Hooker and John Lee Hooker, Jr.
Among his many awards, Hooker has a star on the Hollywood Walk of Fame and in 1991 he was inducted into the Rock and Roll Hall of Fame. Two of his songs, "Boogie Chillen" and "Boom Boom" were included in the list of The Rock and Roll Hall of Fame's 500 Songs that Shaped Rock and Roll. "Boogie Chillen" was included as one of the Songs of the Century. He was also inducted in 1980 into the Blues Hall of Fame. In 2000, Hooker was awarded the Grammy Lifetime Achievement Award.
Music and legacy
Hooker's guitar playing is closely aligned with piano boogie-woogie. He would play the walking bass pattern with his thumb, stopping to emphasize the end of a line with a series of trills, done by rapid hammer-ons and pull-offs. The songs that most epitomize his early sound are "Boogie Chillen", about being 17 and wanting to go out to dance at the Boogie clubs, "Baby, Please Don't Go", a blues standard first recorded by Big Joe Williams, and "Tupelo Blues",[21] a song about the flooding of Tupelo, Mississippi, in April 1936.
He maintained a solo career, popular with blues and folk music fans of the early 1960s and crossed over to white audiences, giving an early opportunity to the young Bob Dylan. As he got older, he added more and more people to his band, changing his live show from simply Hooker with his guitar to a large band, with Hooker singing.
His vocal phrasing was less closely tied to specific bars than most blues singers. This casual, rambling style had been gradually diminishing with the onset of electric blues bands from Chicago but, even when not playing solo, Hooker retained it in his sound.
Though Hooker lived in Detroit during most of his career, he is not associated with the Chicago-style blues prevalent in large northern cities, as much as he is with the southern rural blues styles, known as delta blues, country blues, folk blues, or front porch blues. His use of an electric guitar tied together the Delta blues with the emerging post-war electric blues.[22]
His songs have been covered by Buddy Guy, Cream, AC/DC, ZZ Top, Led Zeppelin, Tom Jones, Bruce Springsteen, Jimi Hendrix, Eric Clapton, Nick Cave & The Bad Seeds, Van Morrison, The Yardbirds, The Animals, The Doors, The White Stripes, MC5, George Thorogood, R. L. Burnside, The J. Geils Band, Big Head Todd and the Monsters, The Gories, Cat Power, and The Jon Spencer Blues Explosion.
Awards and recognition
A Star on the Hollywood Walk of Fame
Inducted into the Blues Hall of Fame in 1980.
Inducted into the Rock and Roll Hall of Fame in 1991.
Grammy Awards:
Best Traditional Blues Recording, 1990 for I'm in the Mood (with Bonnie Raitt).
Best Traditional Blues Recording, 1998 for Don't Look Back.
Best Pop Collaboration with Vocals, 1998, Don't Look Back (with Van Morrison).
Grammy Lifetime Achievement Award in 2000.
Two of his songs, Boogie Chillen and Boom Boom were named to the list of The Rock and Roll Hall of Fame's 500 Songs that Shaped Rock and Roll. Boogie Chillen was included as one of the Songs of the Century.
Keine Kommentare:
Kommentar veröffentlichen