1880 Lee Brown* 1)
1900 Leothus Lee Green*, +um 1945 1)
1935 Sam Lawhorn*
1945 Lewis Cowdrey* 1)
1956 Marshall Lawrence* 1)
Lil Johnson */+ unknown 1)
1) der genaue Termin ist dem Autor nicht bekannt
1900 Leothus Lee Green*, +um 1945 1)
1935 Sam Lawhorn*
1945 Lewis Cowdrey* 1)
1956 Marshall Lawrence* 1)
Lil Johnson */+ unknown 1)
1) der genaue Termin ist dem Autor nicht bekannt
Happy Birthday
Lee Brown *1880
das genau Geburtsdatum sowie der Todestag sind dem Autor nicht bekannt
Lee Brown was an Arkansas blues piano player who recorded 29 tracks for Decca Records between 1937 and 1940, followed by a single session that yielded two additional sides in 1946. It is believed that he made Chicago his home base, but little exact information is available on Brown. His best known recording is a song called "Little Girl Little Girl," originally cut in 1937 in New York City. Brown returned to the "Little Girl" template several times, essentially recording the same song (with slight variations) under different titles, and at his last known recording date in 1946 he cut yet another version, calling it "My Little Girl Blue."
http://www.allmusic.com/artist/lee-brown-mn0000814747/biography
http://www.lastfm.de/music/Lee+Brown/Lee+Brown+%281937-1940%29
http://www.lastfm.de/music/Lee+Brown/Lee+Brown+%281937-1940%29
Marshall Lawrence Geb. 1956*
*Das genaue Geburtsdatum ist dem Autor unbekannt
Marshall Lawrence (born 1956) is a Canadian musician. Lawrence is often referred to as the "Doctor of the Blues", as he also works as a psychologist.
Lawrence was born in Flin Flon, Manitoba. After the age of 10 he moved to and grew up in Windsor, Ontario.[3] At the same time he became interested in rock and roll and asked his father for a guitar. Lawrence enjoyed his Echo semi-acoustic guitar and inspired by Jimi Hendrix was determined to learn how to play it.
Lawrence played his first gig in 1969 in Windsor, Ontario, with a band named The Peanut Gallery, playing a 1969 Gibson SG through a Fender Dual Showman. He blew an amp playing "Johnny B. Goode." As a teen, he spent most of the 1970s and 80s exploring guitar rock styles, while being employed at a car factory in Windsor. Later on in his life, Lawrence moved east to Kingston to pursue a Ph.D in psychology.
Start and growth
Lawrence followed the techniques of his famous idols, the 1970s all-star power guitarists, Chuck Berry and Johnny Winter by buying their albums. He then found himself coming home to the blues of B.B. King. Next, Lawrence discovered Eddie Hazel from Funkadelic, a Jimi-inspired guitarist whose style at that time was considered popular who blended funky James Brown. Lawrence began to play 1970s funk, groove and reggae with the groups Masala and Shock Walter. Simultaneously, Lawrence began experimenting with MIDI technology, by playing Tower of Power-style horn lines, a solo flute and digital FX on his Roland-equipped Strat.
Life without music
By 1996, Lawrence started to feel that he had matured well enough in blues music so he returned singing blues with the Marshall Lawrence Band. His work took him to Northern California where he could'n find any blues scenes to play, mostly because of his not being familiar with the area. Without any blues music there for him, he purchased and learned how to play the mandolin. He then joined a local bluegrass band, playing mandolin, by the name of the Tubtones. According to Lawrence, this taught him a great deal about rhythm and contributed to his current sound.
Return to Canada
Lawrence returned to Canada in 1997 and having heard of an active and talented blues community in Edmonton, Alberta,[3] he moved there. In less than two weeks after relocating, he formed a R&B group. named it Rhythm Chil'un, and secured a house gig at Brandy's Blues Bar.
Awards
Inducted into the Blues of Hall of Fame as a Great Blues Artist from Canada[4]
Received the Blues Underground Network Ambassador Of The Blues Award 2010
Maple Blues Award Nominee – New Artist/Group Of The Year [4]
Canadian Independent Music Award Nominee – Favourite Blues Artist Group or Duo of
the Year[4]
Toronto Exclusive Magazine Award Winner – Best Provincial Male Blues Artist
Toronto Blues Society "Blues Summit IV" Selected Showcase Artist
Toronto Exclusive Magazine Award Nominee – Best Provincial Blues CD Album “The
Morning After”
Toronto Exclusive Magazine Award Nominee – Provincial Artist of the Year
Lawrence was born in Flin Flon, Manitoba. After the age of 10 he moved to and grew up in Windsor, Ontario.[3] At the same time he became interested in rock and roll and asked his father for a guitar. Lawrence enjoyed his Echo semi-acoustic guitar and inspired by Jimi Hendrix was determined to learn how to play it.
Lawrence played his first gig in 1969 in Windsor, Ontario, with a band named The Peanut Gallery, playing a 1969 Gibson SG through a Fender Dual Showman. He blew an amp playing "Johnny B. Goode." As a teen, he spent most of the 1970s and 80s exploring guitar rock styles, while being employed at a car factory in Windsor. Later on in his life, Lawrence moved east to Kingston to pursue a Ph.D in psychology.
Start and growth
Lawrence followed the techniques of his famous idols, the 1970s all-star power guitarists, Chuck Berry and Johnny Winter by buying their albums. He then found himself coming home to the blues of B.B. King. Next, Lawrence discovered Eddie Hazel from Funkadelic, a Jimi-inspired guitarist whose style at that time was considered popular who blended funky James Brown. Lawrence began to play 1970s funk, groove and reggae with the groups Masala and Shock Walter. Simultaneously, Lawrence began experimenting with MIDI technology, by playing Tower of Power-style horn lines, a solo flute and digital FX on his Roland-equipped Strat.
Life without music
By 1996, Lawrence started to feel that he had matured well enough in blues music so he returned singing blues with the Marshall Lawrence Band. His work took him to Northern California where he could'n find any blues scenes to play, mostly because of his not being familiar with the area. Without any blues music there for him, he purchased and learned how to play the mandolin. He then joined a local bluegrass band, playing mandolin, by the name of the Tubtones. According to Lawrence, this taught him a great deal about rhythm and contributed to his current sound.
Return to Canada
Lawrence returned to Canada in 1997 and having heard of an active and talented blues community in Edmonton, Alberta,[3] he moved there. In less than two weeks after relocating, he formed a R&B group. named it Rhythm Chil'un, and secured a house gig at Brandy's Blues Bar.
Awards
Inducted into the Blues of Hall of Fame as a Great Blues Artist from Canada[4]
Received the Blues Underground Network Ambassador Of The Blues Award 2010
Maple Blues Award Nominee – New Artist/Group Of The Year [4]
Canadian Independent Music Award Nominee – Favourite Blues Artist Group or Duo of
the Year[4]
Toronto Exclusive Magazine Award Winner – Best Provincial Male Blues Artist
Toronto Blues Society "Blues Summit IV" Selected Showcase Artist
Toronto Exclusive Magazine Award Nominee – Best Provincial Blues CD Album “The
Morning After”
Toronto Exclusive Magazine Award Nominee – Provincial Artist of the Year
Leothus Lee Green *um 1900, +um 1945*
*Die genauen Daten sind dem Autor nicht bekannt
Leothus „Lee“ Green (* ca. 1900 in Mississippi; † unbekannt) war ein US-amerikanischer Blues-Sänger und -Pianist, der in den 1930er- und 1940er-Jahren im Raum Mississippi aktiv war.
Green, der auch „Pork Chops“ genannt wurde, war ein früher Zeitgenosse von Little Brother Montgomery und Mentor von Roosevelt Sykes. Er arbeitete hauptberuflich in einer Wäscherei in Vicksburg; daneben trat er als Musiker auf und tourte am Unterlauf des Mississippi. Montgomery soll ihm in Vicksburg den Song „44 Blues“ beigebracht haben, 1925 unterrichtete wiederum Green den zunächst Jazz-orientierten Sykes; die beiden gingen dann auf gemeinsame Tourneen. Erste Plattenaufnahmen Greens entstanden im Juli 1929 für Gennett und Supertone in Richmond (Indiana); eine weitere Session fand im Januar 1930 statt. 1929/30 spielte er 24 itel für Vocalion ein, weitere 14 für Decca zwischen August 1934 und September 1937. Seine letzten Aufnahmen entstanden im Oktober 1937 für Bluebird in Aurora (Illinois). Neben Blues spielte er auch Ragtime-Novelties, mit Einflüssen des Boogie-Woogie und Stride Piano-ähnlichen Jazz-Passagen. Er soll um 1945 gestorben sein. Seine Songs wurden auch später von anderen Bluesmusikern übernommen. Sein frühes Klavierspiel enthält Stride-Einfüsse, während er in den späteren Aufnahmen mehr im Bluesstil spielte. Auf zwei Titeln begleitete er den Sänger George „Hambone“ Ruthers (alias F.T. Thomas).
Green, der auch „Pork Chops“ genannt wurde, war ein früher Zeitgenosse von Little Brother Montgomery und Mentor von Roosevelt Sykes. Er arbeitete hauptberuflich in einer Wäscherei in Vicksburg; daneben trat er als Musiker auf und tourte am Unterlauf des Mississippi. Montgomery soll ihm in Vicksburg den Song „44 Blues“ beigebracht haben, 1925 unterrichtete wiederum Green den zunächst Jazz-orientierten Sykes; die beiden gingen dann auf gemeinsame Tourneen. Erste Plattenaufnahmen Greens entstanden im Juli 1929 für Gennett und Supertone in Richmond (Indiana); eine weitere Session fand im Januar 1930 statt. 1929/30 spielte er 24 itel für Vocalion ein, weitere 14 für Decca zwischen August 1934 und September 1937. Seine letzten Aufnahmen entstanden im Oktober 1937 für Bluebird in Aurora (Illinois). Neben Blues spielte er auch Ragtime-Novelties, mit Einflüssen des Boogie-Woogie und Stride Piano-ähnlichen Jazz-Passagen. Er soll um 1945 gestorben sein. Seine Songs wurden auch später von anderen Bluesmusikern übernommen. Sein frühes Klavierspiel enthält Stride-Einfüsse, während er in den späteren Aufnahmen mehr im Bluesstil spielte. Auf zwei Titeln begleitete er den Sänger George „Hambone“ Ruthers (alias F.T. Thomas).
Leothus Lee Green, also known as Pork Chops, was an early contemporary of Little Brother Montgomery and a mentor to Roosevelt Sykes. Born in Mississippi around 1900, Green worked as a clothes presser in Vicksburg while perfecting his piano technique. Soon Leothus was traveling throughout the Lower Mississippi River Basin, earning a living by playing piano for the people. Montgomery knew him in Vicksburg, and claimed to have taught him the "44 Blues" in Sondheimer, LA, back in 1922. Sykes first heard Green in 1925 playing his own loosely improvised ragtime, waltz, blues, and jazz accompaniments for silent movies at Miller's Theatre in West Helena, AR. Green taught the then jazz-oriented Sykes how to really play the blues, and the two men became traveling and gigging companions, circulating throughout the region for several years, often simultaneously performing on opposite sides of the same town. Green made his first four recordings in Richmond, IN, for Gennett and Supertone on July 10, 1929, just weeks after Sykes cut his first sides for OKeh in New York. Excepting for a brief excursion to New York in August 1937, Green performed and recorded mainly in or near Chicago. He cut 24 sides for Vocalion in 1929 and 1930, and 14 titles for Decca between August 1934 and September 1937. His last records were made for the Bluebird label in Aurora, IL, on October 11, 1937. Although primarily a bluesman, he was capable of quoting ragtime novelties, shifting into boogie-woogie, and running stride-like jazz passages. Little is known about the life of Leothus Lee Green; his death is believed to have occurred around 1945. All of his known recordings have been reissued in chronological sequence by the Document label.
Lewis Cowdrey *19451)
1)Der genaue Termin ist dem Autor nicht bekannt
The Best keep diamond of Blues
Lewis Cowdrey was born 1945 in Albuquerque, NM, is one of the original founders of the Austin blues scene. His band, Storm, featured a who's who of the Austin legends. Lewis is a world class harpman, vocalist, guitarist, and band leader.
He has been living in Wichita, Kansas for several years and playing locally. Lewis was based in L.A. in 1968 leading a Black Blues band featuring Pee Wee Crayton. He also worked with Johnny Otis on a belated recording project before returning to Lubbock where he met a young woman who admired his record collection (Angela Strehli) Strehli and Lewis Cowdrey formed the Fabulous Rockets. Lewis also was co-founder of STORM, a legendary Austin, Texas Blues band that boasted Denny Freeman, Jimmie Vaughn, Keith Ferguson and W.C. Clark.
His second 1994 CD on Antone’s, “It’s Lewis,” (debut was a year earlier) is probably the Best Texas Blues release of the last years. Unfortunately for Lewis, it was so good that it caused politics/jealousy to work against his career. Worked with bluesman Wichitan poet Wes Race. This brilliant singer/harpist from Texas believes he is “the white James Brown”, and he is!
Lewis Cowdrey was born 1945 in Albuquerque, NM, is one of the original founders of the Austin blues scene. His band, Storm, featured a who's who of the Austin legends. Lewis is a world class harpman, vocalist, guitarist, and band leader.
He has been living in Wichita, Kansas for several years and playing locally. Lewis was based in L.A. in 1968 leading a Black Blues band featuring Pee Wee Crayton. He also worked with Johnny Otis on a belated recording project before returning to Lubbock where he met a young woman who admired his record collection (Angela Strehli) Strehli and Lewis Cowdrey formed the Fabulous Rockets. Lewis also was co-founder of STORM, a legendary Austin, Texas Blues band that boasted Denny Freeman, Jimmie Vaughn, Keith Ferguson and W.C. Clark.
His second 1994 CD on Antone’s, “It’s Lewis,” (debut was a year earlier) is probably the Best Texas Blues release of the last years. Unfortunately for Lewis, it was so good that it caused politics/jealousy to work against his career. Worked with bluesman Wichitan poet Wes Race. This brilliant singer/harpist from Texas believes he is “the white James Brown”, and he is!
Lewis Cowdrey was born 1945 in Albuquerque, NM, is one of the original founders of the Austin blues scene. His band, Storm, featured a who's who of the Austin legends. Lewis is a world class harpman, vocalist, guitarist, and band leader.
He has been living in Wichita, Kansas for several years and playing locally. Lewis was based in L.A. in 1968 leading a Black Blues band featuring Pee Wee Crayton. He also worked with Johnny Otis on a belated recording project before returning to Lubbock where he met a young woman who admired his record collection (Angela Strehli) Strehli and Lewis Cowdrey formed the Fabulous Rockets. Lewis also was co-founder of STORM, a legendary Austin, Texas Blues band that boasted Denny Freeman, Jimmie Vaughn, Keith Ferguson and W.C. Clark.
His second 1994 CD on Antone’s, “It’s Lewis,” (debut was a year earlier) is probably the Best Texas Blues release of the last years. Unfortunately for Lewis, it was so good that it caused politics/jealousy to work against his career. Worked with bluesman Wichitan poet Wes Race. This brilliant singer/harpist from Texas believes he is “the white James Brown”, and he is!
He has been living in Wichita, Kansas for several years and playing locally. Lewis was based in L.A. in 1968 leading a Black Blues band featuring Pee Wee Crayton. He also worked with Johnny Otis on a belated recording project before returning to Lubbock where he met a young woman who admired his record collection (Angela Strehli) Strehli and Lewis Cowdrey formed the Fabulous Rockets. Lewis also was co-founder of STORM, a legendary Austin, Texas Blues band that boasted Denny Freeman, Jimmie Vaughn, Keith Ferguson and W.C. Clark.
His second 1994 CD on Antone’s, “It’s Lewis,” (debut was a year earlier) is probably the Best Texas Blues release of the last years. Unfortunately for Lewis, it was so good that it caused politics/jealousy to work against his career. Worked with bluesman Wichitan poet Wes Race. This brilliant singer/harpist from Texas believes he is “the white James Brown”, and he is!
Lil Johnson*
*Geburtsdatum und Todestag unbekannt
Lil Johnson (dates and places of birth and death unknown) was an African American singer, who recorded bawdy blues and hokum songs in the 1920s and 1930s.
Her origins and early life are not known. She first recorded in Chicago in 1929, accompanied by pianists Montana Taylor and Charles Avery on five songs including "Rock That Thing". She did not return to the recording studio until 1935, when her more risqué songs included "Get 'Em from the Peanut Man (Hot Nuts)", "Anybody Want to Buy My Cabbage?", and "Press My Button (Ring My Bell)" ("Come on baby, let's have some fun / Just put your hot dog in my bun"). She also recorded a version of "Keep A-Knockin'",[1] a song that later became a hit for Little Richard.
From her second session onwards, she hit up a striking partnership with the ragtime influenced pianist "Black Bob" Hudson, who provided ebullient support to Johnson's increasingly suggestive lyrics. In 1936 and 1937, she recorded over 40 songs, mostly on the Vocalion label, some featuring Big Bill Broonzy on guitar and Lee Collins on trumpet.[2] Her other songs included "Was I Drunk", "My Stove's in Good Condition", "Take Your Hand Off It" and "Buck Naked Blues".
All her songs were sung in a vigorous and sometimes abrasive way, and have been anthologized on many later blues collections. There is no record of what became of Johnson after her recording career ended in 1937.
Her origins and early life are not known. She first recorded in Chicago in 1929, accompanied by pianists Montana Taylor and Charles Avery on five songs including "Rock That Thing". She did not return to the recording studio until 1935, when her more risqué songs included "Get 'Em from the Peanut Man (Hot Nuts)", "Anybody Want to Buy My Cabbage?", and "Press My Button (Ring My Bell)" ("Come on baby, let's have some fun / Just put your hot dog in my bun"). She also recorded a version of "Keep A-Knockin'",[1] a song that later became a hit for Little Richard.
From her second session onwards, she hit up a striking partnership with the ragtime influenced pianist "Black Bob" Hudson, who provided ebullient support to Johnson's increasingly suggestive lyrics. In 1936 and 1937, she recorded over 40 songs, mostly on the Vocalion label, some featuring Big Bill Broonzy on guitar and Lee Collins on trumpet.[2] Her other songs included "Was I Drunk", "My Stove's in Good Condition", "Take Your Hand Off It" and "Buck Naked Blues".
All her songs were sung in a vigorous and sometimes abrasive way, and have been anthologized on many later blues collections. There is no record of what became of Johnson after her recording career ended in 1937.
Sam Lawhorn *12.07.1935
Samuel „Sammy“ David Lawhorn (* 12. Juli 1935 in Little Rock, Arkansas; † 29. April 1990 in Chicago, Illinois) war ein US-amerikanischer Bluesgitarrist, der, obwohl er nie eine Band gründete, als Begleitmusiker zu den meistaufgenommenen Bluesmusikern gehört.
Lawhorn wuchs in Little Rock bei seinen Großeltern auf, da seine Eltern nach Chicago gegangen waren. Seine ersten musikalischen Eindrücke waren Straßenmusikanten und Bluessänger, die in Little Rock auftraten, so zum Beispiel Lightnin’ Hopkins, T-Bone Walker und Lowell Fulson. Lawhorns erstes Instrument war eine Ukulele, später eine akustische Gitarre, die er von seiner Mutter und seinem Stiefvater bekam, da die beiden das musikalische Interesse ihres Sohnes bemerkten und auch später das Geld für eine elektrische Gitarre beisteuerten.
Mit 15 Jahren begann seine musikalische Karriere, als er den Mundharmonikaspieler Elmore „Driftin’ Slim“ Mickle kennenlernte. Sonny Boy Williamson II. holte ihn in die King Biscuit Radio Show, wo er von Houston Stackhouse die Grundlagen des Slidegitarrenspiels lernte.
Die Jahre zwischen 1953 und 1958 verbrachte Sam Lawhorn bei der Armee. Nach der Entlassung ging er nach Memphis, wo er Aufnahmen mit Roy Brown, Eddie Boyd, The Five Royales und mit dem Mundharmonikaspieler Willie Cobbs machte. In den späten 1950er-Jahren ging er nach Chicago, wo er ein beliebter Musiker in der dortigen Clubszene wurde. So spielte er mit Muddy Waters’ Band und bei Aufnahmen der Band mit Big Mama Thornton, John Lee Hooker und Otis Spann.
Lawhorn hatte Probleme mit Alkohol, was seine Musikkarriere beeinträchtigte. 1973 entließ ihn Muddy Waters und er kehrte in die Clubs zurück. Auch auf Plattenaufnahmen wie zum Beispiel James Cottons Take Me Back und Junior Wells’ On Tap war er zu hören. Der jahrelange Alkoholmissbrauch ruinierte seine Gesundheit, und die Nachwirkungen eines Einbruchs, bei dem Lawhorn aus einem Fenster im dritten Stock gestoßen wurde, trugen zu seinem frühen Tod 1990 bei.[1]
Sammy David Lawhorn (July 12, 1935 – April 29, 1990) was an American Chicago blues guitarist,[1] best known as a member of Muddy Waters' band although he also accompanied many other blues musicians including Otis Spann, Willie Cobbs, Eddie Boyd, Roy Brown, Big Mama Thornton, John Lee Hooker, James Cotton and Junior Wells.[1]
Biography
Lawhorn was born in Little Rock, Arkansas. His parents soon separated with his mother remarrying, leaving the young Lawhorn cared for by his grandparents.[2] Nailing some baling twine to the side of their home he made his own diddley bow. Frequently visiting his mother and stepfather in Chicago, they bought him a ukulele to play, followed in turn by an acoustic and finally electric guitar.[1] By the age of fifteen, Lawhorn was proficient enough to accompany Driftin' Slim on stage, and with further guidance from Sonny Boy Williamson II, began playing with him on the King Biscuit Time radio program.[1][2]
Lawhorn was conscripted in 1953 and served in the United States Navy where, on a tour of duty in Korea, he was injured by enemy fire during aerial reconnaissance. He continued in service and was discharged in 1958, when he moved to Memphis, Tennessee. There he undertook recording sessions with The "5" Royales, Eddie Boyd, Roy Brown and Willie Cobbs. An argument arose with the latter over the writing credits for the song "You Don't Love Me." Finding work on his own in Chicago in 1958, Lawhorn soon relocated, despite having a guitar stolen at one of his early club performances.[1][2]
By the early 1960s, Lawhorn had found regular work as a club sideman to Junior Wells, Otis Rush and Elmore James, which led to him sitting in with Muddy Waters band on a couple of occasions. By October 1964, Lawhorn was invited to join the Muddy Waters band on a full-time basis. Over the next decade, he subsequently played on a number of Muddy Waters' albums including Live At Mister Kelly's, The London Muddy Waters Sessions, The Woodstock Album, and Folk Singer.[1][2]
Lawhorn's guitar work also featured when Muddy Waters' band supplied backing to John Lee Hooker, Big Mama Thornton and Otis Spann. Lawhorn's use of the tremolo arm on his guitar, and his overall playing expertise, saw him later credited by Muddy Waters as the best guitarist he ever had in his band. However, Lawhorn's career started to be hampered by his drinking. Passing out on stage over his amplifier, off stage whilst sitting in clubs, or missing shows altogether, led to Muddy Waters losing patience and firing Lawhorn in 1973. He was replaced by Bob Margolin.[1][2]
Lawson simply returned to playing in Chicago clubs, and remained in the recording industry with appearances on Junior Wells' On Tap, plus James Cotton's Take Me Back (1987). He also supplied his guitar skills to recorded work by Koko Taylor, Jimmy Witherspoon, Little Mack Simmons, and L. C. Robinson. His work in several Chicago haunts saw him play alongside his childhood idols in T-Bone Walker and Lightnin' Hopkins. Assistance proffered by Lawhorn to up and coming musicians of the time saw John Primer become a disciple.[1][2]
A combination of alcoholism and arthritis started to cause Lawhorn's health to fail. The latter was contributed to when he was thrown from a third floor window by a burglar, breaking both his feet and ankles.[1][2]
Lawhorn died in April 1990 at the age of 54 with his death certificate citing natural causes.
Willie Mae "Big Mama" Thornton-Life Goes On
Vocals : Willie Mae "Big Mama" Thornton
Guitar: Muddy Waters
Harmonica: James Cotton
Piano: Otis Spann
Guitar: Samuel Lawhorn
Bass: Luther Jonhson
Drums : Francis Clay
Guitar: Muddy Waters
Harmonica: James Cotton
Piano: Otis Spann
Guitar: Samuel Lawhorn
Bass: Luther Jonhson
Drums : Francis Clay
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