1978 Lillian Glinn+
1995 Floyd McDaniel+
2004 Illinois Jacquet+
2006 Jessie Mae Hemphill+
2009 Wesley Jefferson+
2010 Phillip Walker+
Dennis Gruenling*
2004 Illinois Jacquet+
2006 Jessie Mae Hemphill+
2009 Wesley Jefferson+
2010 Phillip Walker+
Dennis Gruenling*
Happy Birthday
Dennis Gruenling *22.07.
Nachdem er als Jugendlicher eine Mundharmonika von einem Familienfreund geschenkt bekam und das erste Mal Blues hörte, war seine Leben komplett verändert! Während seiner Zeit in New Orleans wurde Dennis immer berühmter und wurde zum aufstrebenden Stern in der lokalen Blues Szene. 1998 stellte er seine erste eigene Band zusammen und als er 1999 mit der Band Dennis Gruenling & Jump Time sein Debut feierte, gewann er unzählige Fans und begeisterte die Kritiker mit seinem swingigen und originalen Harmonikaspiel.
Mit seiner Zusammenstellung aus Blues Mundharmonika und Swing Saxophon verschob er die Grenzen der Bluesharmonika und gilt so als Pionier einer neuen Richtung der Mundharmonika.
After receiving his first harmonica as a gift from a family friend, he had heard his first blues record and his life was never the same! Dennis already was a life-long music fan (having grown up on country & western and big band/oldies), and already was acquiring a decent record collection (thanks to his obsession with music & his own radio show in high school!), but the harmonica took him in a whole new direction. Before long, Dennis was tracking down all the harmonica and blues records he could find, and tried to learn as much as he could.
Having been in New Orleans during 1992-3, Dennis came back home to the Garden State of NJ and quickly gained a reputation as a young rising star on the local blues scene working in a couple different local blues bands. In addition to studying the classic harmonica & Chicago Blues records (Little Walter, Big Walter, James Cotton, Muddy Waters, Jimmy Rogers, etc…), Dennis also “cut his teeth” on some classic blues/R&B/swing saxophone records from the likes of Illinois Jacquet, Willis Jackson, Red Prysock, and Gene Ammons. In 1998 he started to form his own local “all-star” band, using members pulled from other regional bands (including the great saxophonist Joel Frahm). Ever since his self-titled debut with that band (Dennis Gruenling & Jump Time!) hit the streets in 1999, Dennis has pulled in countless fans and numerous accolades from critics & musicians around the world for his swinging, highly original harmonica sound and style. Taking equal parts from the harmonica and swing/saxophone traditions and styles, Dennis has pushed the boundaries further for the sound of blues harmonica, while in the meantime pioneering a whole new sound and direction for the harmonica.
Through the years, Gruenling has shared the stage with many top names in the blues & roots world, such as Pinetop Perkins, Snooky Pryor, Homesick James, Nappy Brown, John Mayall, Southside Johnny & the Asbury Jukes, Little Sammy Davis, A.C. Reed, Mick Taylor, and Jimmy Dawkins, as well as contemporary blues masters such as Rod Piazza & The Mighty Flyers, Rick Estrin/Little Charlie & The Nightcats, Kim Wilson, Rusty Zinn, Steve Guyger, Greg Piccolo, and Mark Hummel.
Currently, Dennis has signed with the VizzTone label group and released his fifth album (“Rockin’ All Day“), along with his touring and recording partner Doug Deming,who also released a brand new disc featuring Dennis in late 2012. They have BOTH been in the Top Ten of the Living Blues Radio Charts for 3 consecutive months. Doug Deming & Dennis Gruenling w/The Jewel Tones can be seen touring throughout the US in support of their new VizzTone releases in 2014!
Teaching blues harmonica has also been an interest and passion for Dennis, and he is in demand as a private instructor and as part of numerous harmonica workshops and conventions that appear across the country (and around the globe). Some of the workshops he’s been part of include Jon Gindick’s Harmonica Jam Camps, David Barrett’s Harmonica Masterclass, Guitarrentage-Schorndorf (Germany), Euro BluesWeek (UK), SPAH Harmonica Festival, Buckeye Harmonica Festival, Turtle Bay Music School (NYC), and Joe Filisko’s class at the Old Town School of Folk Music (Chicago).
Dennis has been published in Real Blues Magazine, in the American Harmonica Newsletter, and also hosts his own blues & roots radio show on WFDU (Teaneck,NJ/NYC Metro) every Thursday afternoon entitled “Blues & the Beat” (which can be heard on the web at wfdu.fm)
In addition to teaching, recording & performing with Doug Deming, he sometimes participates in other projects such as: David Malachowski & the Woodstock All-Stars, Maria Woodford, and the Rockin’ Daddies. With any remaining time, he may be customizing or re-building some vintage bullet microphones, or watching some David Lynch movies.
Dennis Gruenling - Slow Blues Harmonica Instrumental - GSHC Fest 2009
R.I.P.
Illinois Jacquet +22.07.2004
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Illinois Jacquet (eigentlich Jean-Baptiste Jacquet; * 31. Oktober 1922 in Broussard[1], Louisiana; † 22. Juli 2004 in New York) war ein berühmter Jazzmusiker. Der Tenor-Saxophonist war bekannt für seine stilübergreifenden Ideen und Kompositionen und spielte mit fast jeder Jazz- und Blues-Größe seiner Zeit zusammen.
Berühmt wurde er 1942 durch sein 80-Sekunden-Solo in Lionel Hamptons Flying Home. Seit 1981 trat er mit seiner eigenen Big Band auf. Jacquet galt als einer der größten Saxophonisten der Jazzgeschichte. Einem breiteren Publikum wurde er 1993 bekannt, als er gemeinsam mit dem damaligen US-Präsidenten und Hobby-Saxophonisten Bill Clinton zu dessen feierlicher Amtseinführung ein Duett gab. Sein letztes Konzert gab er am 16. Juli 2004 in New York; sechs Tage später erlag er einem Herzinfarkt.
Jean-Baptiste „Illinois“ Jacquet war der Sohn einer Sioux-Indianerin und eines kreolischen Eisenbahnarbeiters. Der Spitzname „Illinois“ leitete sich vom Indianerwort Illiniwek (= überlegener Mann) ab. Sein älterer Bruder war der Trompeter Russell Jacquet (1917–1990).
Jacquet begann mit drei Jahren als Stepptänzer in der väterlichen Big Band. Später spielte er dort zunächst Schlagzeug, anschließend Saxophon. Als Mitglied der Bigband Lionel Hamptons spielte Jacquet 1942 im Alter von 19 Jahren im Song Flying Home ein Solo in einem ganz neuen Stil. So wurden andere populäre Musiker auf ihn aufmerksam. 1945 sprang er für Lester Young bei der Count Basie-Band ein und nahm zahlreiche Hits mit ihr auf. 1946 gründete Jacquet seine erste eigene Band und ging schon früh mit ihr auf Welttournee.
1983 baute er sie zu einem großen Orchester aus, mit dem er über 20 Jahre lang durch die USA und Europa tourte. Jacquet begleitete auch Größen wie Louis Armstrong, Nat King Cole, Dizzy Gillespie, Charlie Parker, Jo Jones, Buddy Rich, Ella Fitzgerald und Miles Davis.
Zu Jacquets bekanntesten Stücken gehören Black Velvet, Robbin's Nest und Port of Rico. Seine Impulsivität machte ihn zum Publikumsmagneten der weltweiten Jazz at the Philharmonic-Tourneen. Sein Leben und Werk wurde 1992 in Arthur Elgorts Dokumentation Texas Tenor - The Illinois Jacquet Story verfilmt. Unter den Darstellern ist auch der legendäre Bassist Ray Brown.
Sein Grab befindet sich in New York auf dem Woodlawn Cemetery im Stadtteil Bronx, unmittelbar neben dem Grab von Miles Davis.
http://de.wikipedia.org/wiki/Illinois_Jacquet
Jean-Baptiste Illinois Jacquet (October 31, 1922 – July 22, 2004) was an American jazz tenor saxophonist, best remembered for his solo on "Flying Home", critically recognized as the first R&B saxophone solo.[1]
Although he was a pioneer of the honking tenor saxophone that became a regular feature of jazz playing and a hallmark of early rock and roll, Jacquet was a skilled and melodic improviser, both on up-tempo tunes and ballads. He doubled on the bassoon, one of only a few jazz musicians to use the instrument.
Early life
Jacquet was born to a Black Creole mother and father, named Marguerite Traham and Gilbert Jacquet,[2] in Louisiana and moved to Houston, Texas, as an infant, and was raised there as one of six siblings. His father, was a part-time bandleader. As a child he performed in his father's band, primarily on the alto saxophone. His older brother Russell Jacquet played trumpet and his brother Linton played drums.[3]
At 15, Jacquet began playing with the Milton Larkin Orchestra, a Houston-area dance band. In 1939, he moved to Los Angeles, California, where he met Nat King Cole. Jacquet would sit in with the trio on occasion. In 1940, Cole introduced Jacquet to Lionel Hampton who had returned to California and was putting together a big band. Hampton wanted to hire Jacquet, but asked the young Jacquet to switch to tenor saxophone.
Career
In 1942, at age 19, Jacquet soloed on the Hampton Orchestra's recording of "Flying Home", one of the very first times a honking tenor sax was heard on record. The record became a hit. The song immediately became the climax for the live shows and Jacquet became exhausted from having to "bring down the house" every night. The solo was built to weave in and out of the arrangement and continued to be played by every saxophone player who followed Jacquet in the band, notably Arnett Cobb and Dexter Gordon, who achieved almost as much fame as Jacquet in playing it. It is one of the very few jazz solos to have been memorized and played very much the same way by everyone who played the song. He quit the Hampton band in 1943 and joined Cab Calloway's Orchestra. Jacquet appeared with Cab Calloway's band in Lena Horne's movie Stormy Weather. In the earlier years of Jacquet's career, his brother Linton Jacquet managed him on the chitlin circuit[2] Linton's daughter Brenda Jacquet-Ross sang in jazz venues in the San Francisco Bay Area in the 1990s-early 2000s, with a band called the Mondo Players.
In 1944, Illinois Jacquet returned to California and started a small band with his brother Russell and a young Charles Mingus. It was at this time that he appeared in the Academy Award-nominated short film Jammin' the Blues with Lester Young.[4] He also appeared at the first Jazz at the Philharmonic concert. In 1946, he moved to New York City, and joined the Count Basie orchestra, replacing Lester Young.[4] In 1952 Jacquet co-wrote 'Just When We're Falling in Love'; Illinois Jacquet (m) Sir Charles Thompson (m) S K "Bob" Russell (l). Jacquet continued to perform (mostly in Europe) in small groups through the 1960s and 1970s. Jacquet led the Illinois Jacquet Big Band from 1981 until his death. Jacquet became the first jazz musician to be an artist-in-residence at Harvard University, in 1983.[4] He played "C-Jam Blues" with President Bill Clinton on the White House lawn during Clinton's inaugural ball in 1993.
Jacquet's final performance was on July 16, 2004, at the Lincoln Center in New York.[4] Jacquet died in his home in Queens, New York of a heart attack on July 22, 2004. He was 81 years of age.[3]
Influence
His solos of the early and mid-1940s and his performances at the Jazz at the Philharmonic concert series, greatly influenced rhythm and blues and rock and roll saxophone style, but also continue to be heard in jazz. His honking and screeching emphasized the lower and higher registers of the tenor saxophone. Despite a superficial rawness, the style is still heard in skilled jazz players like Arnett Cobb, who also became famous for playing "Flying Home" with Hampton, as well as Sonny Rollins, Eddie "Lockjaw" Davis and Jimmy Forrest.
Jean-Baptiste Illinois Jacquet (October 31, 1922 – July 22, 2004) was an American jazz tenor saxophonist, best remembered for his solo on "Flying Home", critically recognized as the first R&B saxophone solo.[1]Although he was a pioneer of the honking tenor saxophone that became a regular feature of jazz playing and a hallmark of early rock and roll, Jacquet was a skilled and melodic improviser, both on up-tempo tunes and ballads. He doubled on the bassoon, one of only a few jazz musicians to use the instrument.
Early life
Jacquet was born to a Black Creole mother and father, named Marguerite Traham and Gilbert Jacquet,[2] in Louisiana and moved to Houston, Texas, as an infant, and was raised there as one of six siblings. His father, was a part-time bandleader. As a child he performed in his father's band, primarily on the alto saxophone. His older brother Russell Jacquet played trumpet and his brother Linton played drums.[3]
At 15, Jacquet began playing with the Milton Larkin Orchestra, a Houston-area dance band. In 1939, he moved to Los Angeles, California, where he met Nat King Cole. Jacquet would sit in with the trio on occasion. In 1940, Cole introduced Jacquet to Lionel Hampton who had returned to California and was putting together a big band. Hampton wanted to hire Jacquet, but asked the young Jacquet to switch to tenor saxophone.
Career
In 1942, at age 19, Jacquet soloed on the Hampton Orchestra's recording of "Flying Home", one of the very first times a honking tenor sax was heard on record. The record became a hit. The song immediately became the climax for the live shows and Jacquet became exhausted from having to "bring down the house" every night. The solo was built to weave in and out of the arrangement and continued to be played by every saxophone player who followed Jacquet in the band, notably Arnett Cobb and Dexter Gordon, who achieved almost as much fame as Jacquet in playing it. It is one of the very few jazz solos to have been memorized and played very much the same way by everyone who played the song. He quit the Hampton band in 1943 and joined Cab Calloway's Orchestra. Jacquet appeared with Cab Calloway's band in Lena Horne's movie Stormy Weather. In the earlier years of Jacquet's career, his brother Linton Jacquet managed him on the chitlin circuit[2] Linton's daughter Brenda Jacquet-Ross sang in jazz venues in the San Francisco Bay Area in the 1990s-early 2000s, with a band called the Mondo Players.
In 1944, Illinois Jacquet returned to California and started a small band with his brother Russell and a young Charles Mingus. It was at this time that he appeared in the Academy Award-nominated short film Jammin' the Blues with Lester Young.[4] He also appeared at the first Jazz at the Philharmonic concert. In 1946, he moved to New York City, and joined the Count Basie orchestra, replacing Lester Young.[4] In 1952 Jacquet co-wrote 'Just When We're Falling in Love'; Illinois Jacquet (m) Sir Charles Thompson (m) S K "Bob" Russell (l). Jacquet continued to perform (mostly in Europe) in small groups through the 1960s and 1970s. Jacquet led the Illinois Jacquet Big Band from 1981 until his death. Jacquet became the first jazz musician to be an artist-in-residence at Harvard University, in 1983.[4] He played "C-Jam Blues" with President Bill Clinton on the White House lawn during Clinton's inaugural ball in 1993.
Jacquet's final performance was on July 16, 2004, at the Lincoln Center in New York.[4] Jacquet died in his home in Queens, New York of a heart attack on July 22, 2004. He was 81 years of age.[3]
Influence
His solos of the early and mid-1940s and his performances at the Jazz at the Philharmonic concert series, greatly influenced rhythm and blues and rock and roll saxophone style, but also continue to be heard in jazz. His honking and screeching emphasized the lower and higher registers of the tenor saxophone. Despite a superficial rawness, the style is still heard in skilled jazz players like Arnett Cobb, who also became famous for playing "Flying Home" with Hampton, as well as Sonny Rollins, Eddie "Lockjaw" Davis and Jimmy Forrest.
Jean-Baptiste "Illinois" Jacquet Big Band "Blues from Louisiana"
Jessie Mae Hemphill +22.07.2006
Jessie Mae Hemphill (October 18, 1923 – July 22, 2006) was an American electric guitarist, songwriter, and vocalist specializing in the primal, North Mississippi hill country blues traditions of her family and regional heritage.
Hemphill was born near Como and Senatobia, Mississippi,[2] in northern Mississippi just east of the Mississippi Delta. She began playing the guitar at the age of seven and also played drums in various local Mississippi fife and drum bands.[1] Her musical background began with playing snare drum and bass drum in the fife-and-drum band led by her grandfather, Sid Hemphill.[2] Aside from sitting in at Memphis bars a few times in the 1950s, most of her playing was done in family and informal settings such as picnics with fife and drum music until her 1979 recordings.
The first field recordings of her work were made by blues researcher George Mitchell in 1967 and ethnomusicologist Dr. David Evans in 1973 when she was known as Jessie Mae Brooks, using the surname from a brief early marriage, but the recordings were not released. In 1978, Dr. Evans came to Memphis to teach at Memphis State University (now University of Memphis). The school founded the High Water label in 1979 to promote interest in the indigenous music of the South. Evans made the first high-quality field recordings of Hemphill in that year and soon after produced her first sessions for the High Water label.
Hemphill then launched a recording career in the early 1980s, a period which was her heyday.[3] In 1981 her first full-length album, She-Wolf, was licensed from High Water and released on France's Vogue Records. In the early 1980s, she performed in a Mississippi drum corps put together by Evans composed of herself, Abe Young, and Jim Harper on Tav Falco's Panther Burns' Behind the Magnolia Curtain album; she also appeared in another drum group with Young and fife-and-drum band veteran Othar Turner in a televised appearance in Mr. Rogers' Neighborhood. Other recordings of hers were released on the French label Black and Blue, and she performed concerts across the United States and other countries including France, Germany, Spain, Italy, Belgium, The Netherlands, Sweden, Switzerland, and Canada. She received the W. C. Handy Award for best traditional female blues artist in 1987 and 1988.[1]
In 1990, her first American full length album, Feelin' Good, was released, which also won a Handy Award for best acoustic album.[1] Hemphill suffered a stroke that paralyzed her left side in 1993, preventing her from playing guitar, resulting in her retiring at that time from her blues career.[4] However, she did continue to play, accompanying her band on the tambourine.[5]
In 2004, the Jessie Mae Hemphill Foundation released Dare You to Do It Again, a double album of gospel standards, newly recorded by the ailing vocalist singing and playing tambourine with accompaniment from Steve Gardner, DJ Logic, and descendants of the late musicians Junior Kimbrough, R. L. Burnside, and Otha Turner. The release, her first recordings since the 1993 stroke, also included a DVD.[1] Also in 2004, Inside Sounds released Get Right Blues, containing material recorded from 1979 through the early 1980s; Black & Blue released Mississippi Blues Festival, which included seven live tracks by her from a Paris concert in 1986.
On July 22, 2006, Jessie Mae Hemphill died at The Regional Medical Center in Memphis, after experiencing complications from an ulcer.
As one of the earliest successful female blues musicians, Hemphill has been an influential and pioneering artists. Her songs have been performed by indie musician Chan Marshall.[6] Marshall used Hemphill's song "Lord, Help the Poor and Needy" on her album Jukebox without credit, to much controversy.[7] In 2003, her protégé and collaborator, Olga Wilhelmine Munding founded the Jessie Mae Hemphill Foundation to preserve and archive the indigenous music of northern Mississippi and to provide assistance for musicians in need from the region who could not survive on meager publishing royalties.[1][7] One of her songs was also featured in the dance performance Tales From the Creek, by Reggie Wilson's Fist and Heel Performance Group in a series of events celebrating black culture in Union Square Park in 1998.
Phillip Walker +22.07.2010
Phillip Walker (* 11. Februar 1937 in Welsh, Louisiana; † 22. Juli 2010 in Palm Springs, Kalifornien) war ein US-amerikanischer Bluessänger und Gitarrist des West Coast Blues.
Phillip Walker lernte als jugendlicher Gitarrenspiel; seine frühen Vorbilder waren die Gitarristen T-Bone Walker und Clarence Gatemouth Brown Mit 17 Jahren wurde er Mitglied der Band des Zydecomusikers Clifton Chenier, mit dem er zwei Jahren auf Tournee ging. Danach spielte er mit dem Memphiser R&B-Sänger Rosco Gordon und dem texanischen Gitarristen Long John Hunter. Nachdem er 1959 nach Kalifornien gezogen war, nahm er einige Singles wie Hello My Darling für das Label Elko von J.R. Fulbright auf und arbeitete dann mit dem Produzenten Bruce Bromberg und dem Songwriter Dennis Walker zusammen; gemeinsam entstanden in den 60ern Schallplatten des Gitarristen für die Label Vault, Fantasy, Joliet und Playboy. Nach Platten für Rounder Records wechselte Walker zu Brombergs Label Hightone und zum New Orleanser Label Black Top Records. Während der 1990er Jahre nahm er für das Chicagoer Alligator Records auf, bekanntestes Stück war „Lone Star Shootout“ mit den Musikern Long John Hunter und Lonnie Brooks im Jahr 1999. Sein letztes Album erschien 2007 bei Delta Groove (Going Back Home).
http://de.wikipedia.org/wiki/Phillip_Walker
https://www.youtube.com/watch?v=IcJmwzJhxlk
Phillip Walker (February 11, 1937 – July 22, 2010)[2] was an American electric blues guitarist,[1] most noted for his 1959 hit single, "Hello My Darling", produced by J. R. Fulbright. Although Walker continued playing throughout his life, he recorded more sparsely.
Career
Walker grew up in Texas and learned to play guitar in his teens in Houston. He worked with Lonesome Sundown and Lonnie Brooks, and briefly joined Clifton Chenier's band in the 1950s.[3] By the 1960s he was in a R&B band in Los Angeles with his wife Ina, who used the stage name Bea Bopp.[3] His album Bottom of the Top was released by Playboy in 1973. Further albums were released on Black Top, Hightone, JSP, Joliet, and Rounder Records.[3]
Walker was also known for his variety of styles and the changes he would often make for each album. Not until 1969 did he begin to record more regularly when he joined with producer Bruce Bromberg. Since then, fans had a more steady supply of Walker's music.
He appeared on show 237 of the WoodSongs Old-Time Radio Hour in 2002 when Live at Biscuits & Blues had just been released.
Walker's final studio release is Going Back Home (2007) on Delta Groove Productions.
Death
On July 22, 2010, Delta Groove Productions issued an email statement regarding Walker's death: "It is with deepest sorrow that we report on the sudden and unexpected passing of legendary blues guitarist Phillip Walker. He died of apparent heart failure at 4:30 AM, early Thursday morning, July 22, 2010. He was 73 years old."
Career
Walker grew up in Texas and learned to play guitar in his teens in Houston. He worked with Lonesome Sundown and Lonnie Brooks, and briefly joined Clifton Chenier's band in the 1950s.[3] By the 1960s he was in a R&B band in Los Angeles with his wife Ina, who used the stage name Bea Bopp.[3] His album Bottom of the Top was released by Playboy in 1973. Further albums were released on Black Top, Hightone, JSP, Joliet, and Rounder Records.[3]
Walker was also known for his variety of styles and the changes he would often make for each album. Not until 1969 did he begin to record more regularly when he joined with producer Bruce Bromberg. Since then, fans had a more steady supply of Walker's music.
He appeared on show 237 of the WoodSongs Old-Time Radio Hour in 2002 when Live at Biscuits & Blues had just been released.
Walker's final studio release is Going Back Home (2007) on Delta Groove Productions.
Death
On July 22, 2010, Delta Groove Productions issued an email statement regarding Walker's death: "It is with deepest sorrow that we report on the sudden and unexpected passing of legendary blues guitarist Phillip Walker. He died of apparent heart failure at 4:30 AM, early Thursday morning, July 22, 2010. He was 73 years old."
Phillip Walker - Lay you down
https://www.youtube.com/watch?v=IcJmwzJhxlk
Lillian Glinn +22.07.1978
Lillian Glinn (May 10, 1902 – July 22, 1978)[2] was an American classic female blues and country blues singer and songwriter. She spent most of her career in black vaudeville.[1] Her most popular recordings were "Black Man Blues," "Doggin' Me Blues" and "Atlanta Blues."[3] The blues historian, Paul Oliver, commented that there are a number of women blues singers who "deserve far greater recognition than they have had" and that one such was Lillian Glinn.
Glinn was born in Hillsboro, Texas, United States, and later moved to Dallas.[3]
She was first noticed singing spirituals in church by her future fellow performer Hattie Burleson. Under Burleson's guidance, Glinn became successful in vaudeville, and by 1927 was signed to a recording contract by Columbia. Glinn took part in six separate recording sessions in a two-year period up to 1929.[1] She recorded a total of twenty-two tracks.[3] Her speciality was singing slow blues ballads utilising her rich and heavy contralto voice.[1] Her songs concentrated on the harsher side of life and sometimes included sexual innuendo.[3] Her recordings gained her national recognition, and included her April 1928 recording of "Shake It Down".[4] Her sessions took place variously in New Orleans and Atlanta, as well as her home base of Dallas.[3]
The author and researcher, David Evans, noted that "it is quite likely that many of Lillian Glinn's blues without any listed composer were her own material. If so, she would be the exception among Columbia's female blues singers", he concluded.[5]
Following this period of activity, Glinn retreated back to church based life, and moved to California where she married the Rev. O.P. Smith. Her future became distant from her previous professional career.[3]
Her entire recorded work was made available in 1994 by Document Records.[6]
She was interviewed and photographed by Paul Oliver in 1971.
Glinn was born in Hillsboro, Texas, United States, and later moved to Dallas.[3]
She was first noticed singing spirituals in church by her future fellow performer Hattie Burleson. Under Burleson's guidance, Glinn became successful in vaudeville, and by 1927 was signed to a recording contract by Columbia. Glinn took part in six separate recording sessions in a two-year period up to 1929.[1] She recorded a total of twenty-two tracks.[3] Her speciality was singing slow blues ballads utilising her rich and heavy contralto voice.[1] Her songs concentrated on the harsher side of life and sometimes included sexual innuendo.[3] Her recordings gained her national recognition, and included her April 1928 recording of "Shake It Down".[4] Her sessions took place variously in New Orleans and Atlanta, as well as her home base of Dallas.[3]
The author and researcher, David Evans, noted that "it is quite likely that many of Lillian Glinn's blues without any listed composer were her own material. If so, she would be the exception among Columbia's female blues singers", he concluded.[5]
Following this period of activity, Glinn retreated back to church based life, and moved to California where she married the Rev. O.P. Smith. Her future became distant from her previous professional career.[3]
Her entire recorded work was made available in 1994 by Document Records.[6]
She was interviewed and photographed by Paul Oliver in 1971.
Floyd McDaniel +22.07.1995
Floyd Edward „Butter“ McDaniel (* 21.
Juli 1915 in Athens (Alabama); † 22. Juli 1995 in Chicago) war ein
US-amerikanischer Gitarrist und Sänger im Bereich von Blues, Jazz,
Rhythm & Blues und Doo-Wop.
McDaniel kam mit 15 Jahren nach Chicago und begann seine Karriere 1933 in der Jug-Band The Rhythm Rascals, die ihr Debüt bei der Weltausstellung in Chicago hatten.[1] Ein Talentscout für den Cotton Club entdeckte ihn bei einem Auftritt im New Yorker Apollo Theater, was zu einem längeren Engagement als Leiter der Cotton Club Tramp Band führte; Aufnahmen entstanden 1937 mit The Tramp Band (mit Lester „Pinky“ Johnson und Al Cowans).[2] Von 1941 bis 1954 spielte er in der Chicagoer Jump Blues-Gruppe The Four Blazes (in wechselnden Besetzungen mit Paul Lindsley „Jelly“ Holt, Tommy Braden, Ernie Harper, William „Shorty“ Hill, später als Five Blazers), die Ende der 50er-Jahre auch als Begleitband von Sam Cooke fungierten. Die Four Blazes veröffentlichten auf Aristocrat (Chicago Boogie, 1947) und United Artists Records erfolgreich mehrere 78er wie Night Train/Rug Cutter, Perfect Woman, Please Send Her Back to Me, Mary Jo (#1 der R&B-Charts 1952), All Night Long und Please Send Her Back to Me/Stop Boogie Woogie (1952) bzw. als Five Blazes die Single Chicago Boogie/Dedicated to You.[3] Nach Auflösung der Five Blazes kaufte McDaniels eine Bar in Chicago.
Im folgenden Jahrzehnt gehörte McDaniel einer Rockband an; in den 1970er-Jahren trat als Gitarrist mit einer der als Ink Spots firmierenden Revival-Gruppen auf. In den 1980er-Jahren spielte er mit Willie Dixon im Big Three Trio. Aufnahmen entstanden 1991 für Delmark Records mit der Band The Blues Swingers, geleitet von dem Tenorsaxophonisten Dave Clark, stilistisch angelehnt am Blues und Rhythm & Blues der 40er-Jahre (Let Your Hair Down!, Delmark).[4] Kurz vor seinem Tod trat Floyd McDaniel 1994 auf dem Bremer Bluesfestival Breminale auf.[5] Er starb einen Tag nach seinem achtzigsten Geburtstag auf dem Dan Ryan Expressway an den Folgen eines Herzinfarktes.[6] 1997 erschien bei Delmark posthum McDaniels Album West Side Baby (Live in Europe).
McDaniel kam mit 15 Jahren nach Chicago und begann seine Karriere 1933 in der Jug-Band The Rhythm Rascals, die ihr Debüt bei der Weltausstellung in Chicago hatten.[1] Ein Talentscout für den Cotton Club entdeckte ihn bei einem Auftritt im New Yorker Apollo Theater, was zu einem längeren Engagement als Leiter der Cotton Club Tramp Band führte; Aufnahmen entstanden 1937 mit The Tramp Band (mit Lester „Pinky“ Johnson und Al Cowans).[2] Von 1941 bis 1954 spielte er in der Chicagoer Jump Blues-Gruppe The Four Blazes (in wechselnden Besetzungen mit Paul Lindsley „Jelly“ Holt, Tommy Braden, Ernie Harper, William „Shorty“ Hill, später als Five Blazers), die Ende der 50er-Jahre auch als Begleitband von Sam Cooke fungierten. Die Four Blazes veröffentlichten auf Aristocrat (Chicago Boogie, 1947) und United Artists Records erfolgreich mehrere 78er wie Night Train/Rug Cutter, Perfect Woman, Please Send Her Back to Me, Mary Jo (#1 der R&B-Charts 1952), All Night Long und Please Send Her Back to Me/Stop Boogie Woogie (1952) bzw. als Five Blazes die Single Chicago Boogie/Dedicated to You.[3] Nach Auflösung der Five Blazes kaufte McDaniels eine Bar in Chicago.
Im folgenden Jahrzehnt gehörte McDaniel einer Rockband an; in den 1970er-Jahren trat als Gitarrist mit einer der als Ink Spots firmierenden Revival-Gruppen auf. In den 1980er-Jahren spielte er mit Willie Dixon im Big Three Trio. Aufnahmen entstanden 1991 für Delmark Records mit der Band The Blues Swingers, geleitet von dem Tenorsaxophonisten Dave Clark, stilistisch angelehnt am Blues und Rhythm & Blues der 40er-Jahre (Let Your Hair Down!, Delmark).[4] Kurz vor seinem Tod trat Floyd McDaniel 1994 auf dem Bremer Bluesfestival Breminale auf.[5] Er starb einen Tag nach seinem achtzigsten Geburtstag auf dem Dan Ryan Expressway an den Folgen eines Herzinfarktes.[6] 1997 erschien bei Delmark posthum McDaniels Album West Side Baby (Live in Europe).
Known for blues-drenched jazz and jazz-drenched blues, Floyd McDaniel was a part of the Chicago scene for most of his 80 years. The singer/guitarist was born in Athens, Alabama but spent much of his life in the Windy City, where he'd moved to when he was 15, in 1930. As a teenager, McDaniel played and sang the blues on the streets of Chicago, and in 1933, he joined a washboard band called the Rhythm Rascals. In the early '40s, McDaniel learned to play the electric guitar and joined the Four Blazes, a jump blues combo that later became the Five Blazes and recorded for Aristocrat in 1947 and United Artists in 1952-1953. The Blazes went through their share of personnel changes; some of the artists McDaniel played with in the group included bassist Thomas Braden and pianist Ernie Harper. After The Blazes drifted apart in the late '50s, McDaniel was involved in a variety of activities, including operating a tavern on Chicago's South Side in the '50s and '60s and playing with a version of the Ink Spots in the '70s. In the '80s, McDaniel joined forces with Dave Clark, a veteran tenor saxophonist who ended up joining McDaniel's final group, the Blues Swingers. McDaniel, who recorded for Delmark in the 1990s, died in Chicago on July 23, 1995, only two days after his 80th birthday.
Floyd McDaniel with Dave Specter and the Bluebirds: St. Louis Blues
Wesley Jefferson +22.07.2009
Bassist,
vocalist, and bandleader Wesley Jefferson has been a stalwart of the
Clarksdale blues scene since the mid-1960s. He was born in Roundaway in
Coahoma County on March 23, 1944, the oldest boy of thirteen children.
As a youth he picked and chopped cotton, plowed with mules and later
with a tractor, and lived in extreme poverty.
He recalls being influenced by his grandfather, Claude Jefferson, who played guitar at his home in Clarksdale. He also furtively listened to records by “deep blues” artists at a juke joint run by his mother “way out in the field,” where they sold catfish and moonshine made by his stepfather. Local musicians who he saw playing at small venues in the country included the one-man-band “Popeye,” guitarist Ernest Roy—“the best guitarist I ever seen,” and the band led by Tutwiler’s Lee Kizart, who hauled his piano from gig to gig.
Jefferson first played blues on a diddley bow on the wall of his house, and was first able to buy a guitar after he moved to Memphis to work around age 18. He soon moved on to drums, and began playing in Memphis juke joints and house parties. After several years he returned to the Clarksdale region, where he found work as a mechanic on Hopson Plantation, a job he held for 22 years. He soon formed his first band, playing drums behind guitarist/vocalist David Porter and bassist “A.C.” at Smitty’s Red Top Lounge in Clarksdale. The band lasted for about three or four years, and Jefferson then formed a new band—now having switched to the bass—with guitarist J.C. Holmes, drummer C.V. Veal, and Veal’s wife Marian on vocals, a grouping that lasted seven or eight years.
For about a decade Jefferson worked regularly across the Delta with drummer Sam Carr and guitarist/keyboardist/harmonica player Frank Frost. He also played with Big Jack Johnson, Little Jeno Tucker, Robert “Bilbo” Walker, and Willie Foster. “I kind of was with all of them for a while,” he says, and explains that he was the organizer of these groups, doing the booking and providing much of the equipment.
He also played in groups called the Scalpers and Creative Funk, which performed more modern soul blues. In the ‘90s the Wesley Jefferson band featured guitarist/vocalist James “Super Chikan” Johnson, and more recently Willie “Rip” Butler, Michael “Dr. Mike” James, and Gladys Kyles. The group also features Earnest Boone on double trumpet, and drummer Joe Williams. In the late ‘90s Jefferson was involved in a serious automobile accident and also had heart problems, which resulted in a temporary hiatus from performing. Since returning he has performed regularly in the Clarksdale area, and has traveled to a festival in Canada.
Jefferson’s first recordings appeared on the Clarksdale-based Rooster Blues’ 1990 cassette-only compilation, Clarksdale, Mississippi—Coahoma The Blues. As Wesley “Mississippi Junebug” Jefferson he sings the song "(Hey Theresa) Don't throw Your Love on me so Hard (Strong)", and backs fellow band members Willie “Rip” Butler, Lorenzo Nicholson, and C.V. Veal on five other songs.
In 1996 the Repap paper company underwrote the cost for the CD, The Wesley Jefferson Band: Delta Blues Live from the Do Drop Inn. Over half the songs are originals by vocalist James “Super Chikan” Johnson, who recorded his debut CD the following year. Jefferson’s most recent recording is Meet Me in the Cotton Field, a collaboration with Clarksdale guitarist Terry "Big T" Williams, released in Spring 2007 on St. Louis-based Broke & Hungry Records.
Jefferson died on July 22, 2009 from complications due to lung cancer.
He recalls being influenced by his grandfather, Claude Jefferson, who played guitar at his home in Clarksdale. He also furtively listened to records by “deep blues” artists at a juke joint run by his mother “way out in the field,” where they sold catfish and moonshine made by his stepfather. Local musicians who he saw playing at small venues in the country included the one-man-band “Popeye,” guitarist Ernest Roy—“the best guitarist I ever seen,” and the band led by Tutwiler’s Lee Kizart, who hauled his piano from gig to gig.
Jefferson first played blues on a diddley bow on the wall of his house, and was first able to buy a guitar after he moved to Memphis to work around age 18. He soon moved on to drums, and began playing in Memphis juke joints and house parties. After several years he returned to the Clarksdale region, where he found work as a mechanic on Hopson Plantation, a job he held for 22 years. He soon formed his first band, playing drums behind guitarist/vocalist David Porter and bassist “A.C.” at Smitty’s Red Top Lounge in Clarksdale. The band lasted for about three or four years, and Jefferson then formed a new band—now having switched to the bass—with guitarist J.C. Holmes, drummer C.V. Veal, and Veal’s wife Marian on vocals, a grouping that lasted seven or eight years.
For about a decade Jefferson worked regularly across the Delta with drummer Sam Carr and guitarist/keyboardist/harmonica player Frank Frost. He also played with Big Jack Johnson, Little Jeno Tucker, Robert “Bilbo” Walker, and Willie Foster. “I kind of was with all of them for a while,” he says, and explains that he was the organizer of these groups, doing the booking and providing much of the equipment.
He also played in groups called the Scalpers and Creative Funk, which performed more modern soul blues. In the ‘90s the Wesley Jefferson band featured guitarist/vocalist James “Super Chikan” Johnson, and more recently Willie “Rip” Butler, Michael “Dr. Mike” James, and Gladys Kyles. The group also features Earnest Boone on double trumpet, and drummer Joe Williams. In the late ‘90s Jefferson was involved in a serious automobile accident and also had heart problems, which resulted in a temporary hiatus from performing. Since returning he has performed regularly in the Clarksdale area, and has traveled to a festival in Canada.
Jefferson’s first recordings appeared on the Clarksdale-based Rooster Blues’ 1990 cassette-only compilation, Clarksdale, Mississippi—Coahoma The Blues. As Wesley “Mississippi Junebug” Jefferson he sings the song "(Hey Theresa) Don't throw Your Love on me so Hard (Strong)", and backs fellow band members Willie “Rip” Butler, Lorenzo Nicholson, and C.V. Veal on five other songs.
In 1996 the Repap paper company underwrote the cost for the CD, The Wesley Jefferson Band: Delta Blues Live from the Do Drop Inn. Over half the songs are originals by vocalist James “Super Chikan” Johnson, who recorded his debut CD the following year. Jefferson’s most recent recording is Meet Me in the Cotton Field, a collaboration with Clarksdale guitarist Terry "Big T" Williams, released in Spring 2007 on St. Louis-based Broke & Hungry Records.
Jefferson died on July 22, 2009 from complications due to lung cancer.
Wesley Jefferson
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