Sonntag, 24. Juli 2016

24.07. Washboard Willie, Mighty Mo Rodgers, Andy Grünert, Andy Egert, Ben Prestage * Lottie Kimbrough, Maggie Jones, Martha Copeland, Mary Johnson */+ Bob Gaddy +







1900 Lottie Kimbrough* 1)
1900 Maggie Jones*, + nach 1934 1)
1900 Mary Johnson*, + 1970 1)
1909 Washboard Willie*
1942 Mighty Mo Rodgers*
1961 Andy Egert*
1963 Andy Grünert*
1997 Bob Gaddy+
Martha Copeland */+ 1)
Ben Prestage*


1) der genaue Termin ist dem Autor nicht bekannt



Happy Birthday

 

Washboard Willie   *24.07.1909

 



Washboard Willie (July 24, 1909 – August 24, 1991)[1] was an American Detroit blues musician, who specialised in playing the washboard. He recorded tracks including "A Fool On a Mule in the Middle of The Road" plus "Cherry Red Blues", and worked variously with Eddie "Guitar" Burns, Baby Boy Warren, and Boogie Woogie Red.
Born William Paden Hensley in Columbus, Georgia,[1] Washboard Willie, as he became known, did not take up music until his thirties. By 1948 he had relocated to Detroit,[2] and in 1952, he watched Eddie "Guitar" Burns performing and played along with Burns' backing group. He impressed the proprietor and ended up with a three year residency with the band.[3]
Working full-time washing cars for a living, he decided to name his own musical ensemble, Washboard Willie and the Super Suds of Rhythm, working off of the name of a once-popular laundry detergent! [3][4] He graduated from just playing the washboard to incorporate a bass drum and snare and, in 1955, gave Little Sonny his first booking.[3] In 1956, Hensley made his own debut recording of "Cherry Red Blues," with "Washboard Shuffle;" and then "Washboard Blues Pt. 1 & 2."[5] His recording career continued until 1962 utilising Boogie Woogie Red on piano accompaniment. The recordings were not issued until 1969 on Barrelhouse Records. However, in 1966, Willie did release a single with the tracks "Natural Born Lover," and "Wee Baby Blues." His band remained in demand playing nightly in both Detroit and Ann Arbor.[3]
In 1973, he toured Europe with Lightnin' Slim, Whispering Smith, Snooky Pryor, Homesick James and Boogie Woogie Red; he also played at the Ann Arbor Blues and Jazz Festival that year on the Saturday afternoon "Detroit Blues" show. A compilation album, American Blues Legends '73 was issued on Big Bear Records with Willie contributing the tracks, "I Feel So Fine" and "Kansas City."[3][5] Six years later he stopped playing professionally.[3]
He died in Detroit in August 1991, at the age of 82.



Brother Will Hairston & Washboard Willie - Alabama Bus (Knowles 213) 





Washboard Willie & Calvin Frazier Rock House (1955) 


 






Mighty Mo Rodgers  *24.07.1942

 



Mighty Mo Rodgers (born July 24, 1942)[2] is an American electric blues musician, singer, songwriter, and record producer, who has released six albums to date.[1] He has been influenced by the work of Aretha Franklin, Bobby Bland, Eddie Boyd, Jimmy Reed, Otis Redding, Sam & Dave, and Willie Dixon.[3]
Bonnie Riatt noted that "Mo Rodgers' music is a breath of fresh air in the blues/R&B world. He combines sly social commentary with a great funky sound...I love his voice. He's a welcome original."[4]
Biography
Maurice Rodgers was born in East Chicago, Indiana, United States,[1]
He studied classical piano, but was more influenced by witnessing the blues acts that performed at his father's nightclub. In the mid 1960s, the music produced by the American record label, Stax, also affected his musical ambitions. In high school, Rodgers formed his first band known as the Rocketeers. After entering Indiana State College, he fronted the Maurice Rodgers Combo. His love of playing keyboards led Rodgers to leave college and relocate to Los Angeles, California, becoming a full-time musician.[1]
He played the Farfisa electric organ on Brenton Wood's 1967 hit, "Gimme Little Sign".
In 1973, Rodgers co-produced the album Sonny & Brownie (A&M Records) by Sonny Terry and Brownie McGhee.[5] He also played keyboards on the album's cut.[1] Following a spell as a session musician, Rodgers moved into song writing where he penned songs for both Motown and Chappell & Co. He also worked as a record producer before returning to education and obtaining a philosophy degree from California State University, Northridge.[7] His first solo album was released in 1999 by Blue Thumb Records. Blues Is My Wailin' Wall included Rodgers' philosophical views on mankind in several of the songs lyrics.[1]
In 2000, Rodgers performed at the Notodden Blues Festival. His European excursions have included concerts at the New Morning nightclub in Paris. In 2001, Rodgers performed on the album Memphis recorded by Jean-Jacques Milteau, which also included contributions from Little Milton and Mighty Sam McClain.[8] His own recordings continued with Red, White & Blues (2002), Black Paris Blues a live album issued in 2004, and Redneck Blues (2007). His most recent release was Cadillac Jack in 2012.[9]
Rodgers is due to appear at the 22nd Salmon Arm Roots and Blues Festival in August 2014.[10]
Awards
    W.C. Handy Award nomination (1999) for Blues Is My Wailin' Wall
    Chic De L' Annee (1999) (France) as Blues Album of the Year for Blues Is My Wailin' Wall
    Contemporary Blues Album of the Year (2002) by Living Blues for Red, White & Blues
    Académie Charles Cros (Grand Prix du Disque) (2002) for Red, White & Blues
    Trophees France Blues (2001) and (2002) International Artist
    Trophees France Blues (2003) International Songwriter
    Chic De L'Annee (2007) Blues Album of the Year for Redneck Blues


Mighty Mo Rodgers - Picasso Blue 






Andy Grünert  *24.07.1963





Greyhound George und Andy "The Alligator" Grünert sind ein eingespieltes  Team .Der Sound der Beiden liegt zwischen dem akustischen, vom Klang der Resonatorgitarre bestimmten Delta-Blues und dem frühen, elektrifizierten Chicago-Stil, wie ihn Muddy Waters oder Little Walter in den 40er und frühen 50er Jahren entwickelt haben. Das nahezu unerschöpfliche Repertoire von Greyhound George und  Andy "The Alligator" Grünert (das bisher längste Konzert dauerte fünf Stunden!) erstreckt sich dabei vom rauen, urigen Delta-Blues über Chicago-Blues, Louisiana-Style, Swing, Ragtime bis hin zu eigenen Titeln. Auch vor dem einen oder anderen Rock- und Pop-Klassiker wird nicht halt gemacht! Dazu kommen noch Spezialitäten wie der „40er-Jahre-Gangsta-Rap“ oder der „Delta-Rhumba“. Die Mundharmonika und die Slidegitarre klagen um die Wette, der Fuss stampft den Beat und wem es noch nicht reicht, der bekommt noch eine akustische Fahrt mit der Dampflok dazu! Es macht immer wieder Spaß , den beiden Musikern bei der „Arbeit“ zuzuhören und zusehen! Dabei ergänzt sich die rauhe Shouter-Stimme von Andy perfekt mit der von George,“ die so gar nicht nach Whiskey klingt, aber trotzdem das gewisse Etwas hat“ (Bluesnews).Greyhound George und Andy "The Alligator" Grünert sind ein eingespieltes  Team .Der Sound der Beiden liegt zwischen dem akustischen, vom Klang der Resonatorgitarre bestimmten Delta-Blues und dem frühen, elektrifizierten Chicago-Stil, wie ihn Muddy Waters oder Little Walter in den 40er und frühen 50er Jahren entwickelt haben. Das nahezu unerschöpfliche Repertoire von Greyhound George und  Andy "The Alligator" Grünert (das bisher längste Konzert dauerte fünf Stunden!) erstreckt sich dabei vom rauen, urigen Delta-Blues über Chicago-Blues, Louisiana-Style, Swing, Ragtime bis hin zu eigenen Titeln. Auch vor dem einen oder anderen Rock- und Pop-Klassiker wird nicht halt gemacht! Dazu kommen noch Spezialitäten wie der „40er-Jahre-Gangsta-Rap“ oder der „Delta-Rhumba“. Die Mundharmonika und die Slidegitarre klagen um die Wette, der Fuss stampft den Beat und wem es noch nicht reicht, der bekommt noch eine akustische Fahrt mit der Dampflok dazu! Es macht immer wieder Spaß , den beiden Musikern bei der „Arbeit“ zuzuhören und zusehen! Dabei ergänzt sich die rauhe Shouter-Stimme von Andy perfekt mit der von George,“ die so gar nicht nach Whiskey klingt, aber trotzdem das gewisse Etwas hat“ (Bluesnews).

Andy "The Alligator" Grünert (Vocals, Harmonica), geb 1963, ist bereits seit vielen Jahren als Frontman der „Alligator Blues Band“ unterwegs und hat sich seinen Ruf als exzellenter Harmonicaspieler und Blues-Shouter in zahllosen Konzerten mit der Band und als Gastmusiker für verschiedene Künstler ehrlich erarbeitet. Mit seiner mal akustisch, mal über einen alten Röhrenverstärker gespielten Harp prägt er den Sound des Duos entscheident! Seine Ausflüge ins Publikum (ohne Mikrofon!) sind legendär....
http://www.greyhound-george.de/duo/ 

http://wasser-prawda.de/greyhound-george-cleaning-up 


Greyhound George & Andy Grünert will be coming to Memphis to participate in the 32nd International Blues Challenge in January 2016!  
http://greyhound-george.weebly.com/gg--andy-gruumlnert.html 


 
Mystery Train - Greyhound George & Andy Grünert - Live at Kanal21 


https://www.youtube.com/watch?v=_HQasKJZX5M 


German Blues Challenge / Awards Greyhound George Eutin 04.07.2015 


https://www.youtube.com/watch?v=LjMJsQvFKRE 





Andy Egert   *24.0.1961







 Andy Egert, eine feste Grösse in der Schweizer Blues-Szene, ist ein Garant für feinsten Blues im Stil von Freddie King, Eric Clapton, Alvin Lee, Peter Green, Johnny Winter aber auch Acoustic-Blues à laRobert Johnson. All dies vermischt Andy Egert mit seinem ganz persönlichen und tiefen Gefühl für den Blues. Der Bandleader aus der Südostschweiz ist mittlerweile seit über 30 Jahren im Geschäft. Stetige Livepräsenz in der Schweiz, sowie Tourneen und Auftritte in in vielen Europäischen Ländern und Amerika haben den ehemaligen Strassenmusiker auch auf der Internationalen Bühne bekannt gemacht. Mit über 100 Auftritten jährlich ist er der meistbeschäftigste Schweizer Bluesmusiker. Auch seine alljährlichen Tourneen mit der Blueslegende Bob Stroger aus Chicago, sowie mit den beiden Ex-Canned Heat Frontmännern Robert Lucas (R.I.P.) und Dallas Hodge sind Kult !

Die Band serviert in ihren energiegeladenen Shows (u.a. auf der Bühne mit Johnny Winter, Stan Webb`s Chicken Shack, Canned Heat, Bernard Allison, Steve Marriott, Eroll Dixon, Sugar Blue, Dr.Feelgood, Louisiana Red, Bob Stroger, Robert Lucas) ihren schweisstreibenden Blues, der an Dynamik und Spannung kaum zu überbieten ist.

Vor allem die aktuelle CD (die siebte) dokumentiert die Spielfreude des Trios um Bandleader, Gitarrist, Sänger und Harpspieler Andy Egert. Stilistisch nicht festgelegt, bewegt sich die Andy Egert Blues Band darauf im kraftvollen Chicago-Blues, im Blues-Rock, Power-Boogie, Acoustic-Blues, Funk-Blues und im hochkarätigen Harp-Blues gleichermassen sicher und routiniert.

Das aktuelle Album „Andy Egert Blues Band feat. Bob Stroger - Live“ präsentiert den Gitarrenblueser auf brilliante Weise und reiht ihn ein in die Reihen der Grossen im internationalen Bluesgeschehen.2010 wurde ihm am Blues Festival Basel der begehrte „Swiss Blues Award“ verliehen !

 ANDY EGERT is one of the hardest working bluesmen of Switzerland and all of Europe and has earned a hight reputation during the last 25 years. Presenting blues at its best and in the tradition of his great heroes Freddie King,Eric Clapton, Alvin Lee, Johnny Winter, Robert Johnson and many others.

Andy Egert ist the winner of the „Swiss Blues Award“ in 2010 !!!

He has taken a lot of time to work on his seventh CD and to pick the right songs – and he did! “Andy Egert Blues feat. Bob Stroger-Live” presents him again as outstanding guitar blues artist in its best way and he confirms his position as one of the leading blues artists in Europe !

Mainly influenced by the best Chicago-Texas and British-Blues Tradition, Andy Egert (vocal, guitar, harmonica) works in the classical trio line-up and covers fascinating classics from Johnny Winter, Freddie King, Robert Johnson, Alvin Lee, Canned Heat, Otis Rush but also presents some self penned songs.

The band line-up gains additional attention by the help of such superb artists like the legendary bass player and singer Bob Stroger, who comes out of the heart of the Chicago scene and also singer/guitarist Dallas Hodge and the late Robert Lucas (vocal, harp, guitar) both former member of the legendary Band, Canned Heat !

The powerful blues and the dynamic live show of the band have gotten great reviews, also on same stages with Johnny Winter, Stan Webb’s Chicken Shack, Steve Marriott, Bernard Allison, Eroll Dixon, Bob Stroger, Dr. Feelgood, Robert Lucas, Canned Heat, Louisiana Red, Sugar Blue, Charlie Musselwhite and others !

Live-Blues-Power, "Made In Switzerland" but ready for the world. The new CD will be supported by extensive touring activities.

The ANDY EGERT BLUES BAND has performed at the following Festivals :

Blues-Night Assen (NL), Blue Balls Luzern (CH), Blues & Soul Weekend Zürich (CH), Mantova Blues Festival (I),Jazz Festival Sargans (CH), Jazztage Dübendorf (CH), Kunst zur Schiene Innsbruck (A), Pardo Live Locarno (CH), Blues Brothers Day Festival Wroclaw (PL), Musicnight Bellinzona (CH), Biasca Live (CH),  Sonntags ans Schloss Saarbrücken (D), Badenfahrt (CH), Jazz & Blues Nights Goito (I), Jazz Festival Einsiedeln  (CH), Blues Nights Gossau (CH), In Guitar Dübendorf (CH), Galicja Blues Festival (PL), Jazz & Blues im Hof Vaduz (FL), Winterthurer Musikfestwochen (CH), Jesien z Bluesem Bialystock (PL), Euroblues Muralto (CH),Soester Bördetag (D), New Orleans Night Sursee (CH), Warsaw Blues Night (PL), Piazza Blues Bellinzona (CH), Bluesfestival Flims (CH), Mantova Jazz Festival (I), Bluesfestival Baden (CH), Suwalki Blues Festival (PL), Blues Festival Luzern (CH), Boquete Jazz & Blues Festival (PA), Vallemaggia Magic Blues (CH), Blues Festival Basel (CH) and many more.


Andy Egert Blues Band at "Glaibasler Summerblues" 


https://www.youtube.com/watch?v=nQkT2wJbhCI 







Ben Prestage  *24.07.



http://muddys-club.net/2016/06/13/ben_prestage

Ben Prestage’s musical background began before he was born... even before his parents were born. Ben’s great-grandmother was a Vaudeville musican who toured with Al Jolson and also participated in medicine shows. Her daughter was a Boogie-Woogie pianist and painter who used to play for Ben when he was coming up. On the other side of the family tree, his grandfather, who was a Mississippi sharecropper turned Ben onto the sounds and culture of Mississippi and Blues in general.
   
“When my father was growing up in Mississippi,” states Ben, “ they never had running water and the only electricity was one light bulb that hung from the ceiling, but they had it better than some of their neighbors, because they didn’t have dirt floors. I grew up in rural Florida, on a 14-mile-long dirt road, near the headwaters of the Everglades. It was 7 miles either direction to the nearest paved road, and when you got to pavement, you still weren't near a town. It was panther, gator, and cottonmouth country. Out there, there was only one kind of music in the house. Whether it was being played on an instrument, or on a recording, it was Blues.

“One day though, in my early teens, I went to help a neighbor build a chicken-coop on his property. When we went inside to eat lunch, I asked him about a banjo I saw in the corner. He picked it up and I heard Bluegrass music for the first time. He was from a musical family and learned old-time banjo from his father from the South Ohio/North Kentucky hills. He lived half a mile away, but it was so quiet out there, you could hear that banjo all the way to my house, if he was on his porch and I was on mine.. He made homemede wine with my dad and when he’d come over, he’d bring his banjo and show me how to pick with my fingers instead of a plectrum.”

Later while living in Memphis, Prestage became a busker (street performer) on historic Beale Street. This is where he perfected his drum-kit. "I played out there a few times with nothing but a guitar and my voice. Once people heard me they liked it, but it was hard to get them on my side of the street with all the other music going on down there. There were some other guys out there who played drums with their feet, and they always got people's attention. I started playing drums with my feet as an attention grabber but soon found out that the drums played with foot pedals actually enhaced my music dramatically. Not only were people listening and buyin' discs, they were now dancing and hollerin' to boot. Now I am to the point where, if you close your eyes, you would think there was a professional drummer with a full-size drumkit behind me. I learned alot from the guys I shared the street with, including John Lowe, (inventor of the Lowebow, a type of diddley-bow that I play), Robert Belfour, and Richard Johnston."

Ben returned to Memphis over the next few years for the International Blues Challenge (the world's largest gathering of Blues musicians) and within three consecutive years took he 4th, 3rd, and 2nd place. He is also the only two-time recipient of the Lyon/Pitchford Award for "Best Diddley-Bow Player." Ben's interesting approach to instrumentation, (fingerstyle guitar, harmonica, banjo, lap-steel, fiddle, resonator guitar, foot-drums, vocals, and his award-winning original songwriting (recipient of "The Most Unique Performer" at "The Song- writers' Showcase of America") has earned him invitations to perform across North America, Europe, and as far as North Africa. All awards aside, he has proven himself, through his live performances, to be the future of American Blues, Roots Music, Americana and is one of today’s most talented outsider.
http://www.benprestagemusic.com/Biography.aspx


 
Ben Prestage "Preachin" the Blues 


https://www.youtube.com/watch?v=m-SMJJ_qU6s 




Ben Prestage - Shine, Moon / Preachin' Blues 


https://www.youtube.com/watch?v=q-mz-eYjErw 








Lottie Kimbrough Geb. 1900*


Genaue Daten zum Geburtstag und zum Todestag sind dem Autor nicht bekannt

Lottie Beaman (eigentlich Lottie Kimbrough, * 1900 in West Bottoms, Kansas City (Missouri); † nach 1929) war eine US-amerikanische Bluessängerin und Musikerin.[1]

Leben und Wirken

Beaman, die in Kansas City lebte, trat mit ihrem Bruder Sylvester Kimbrough in Vaudevilletheatern auf. Gemanagt wurde sie von dem Bluessänger Winston Holmes. Unter dem Pseudonym „The Kansas City Butter Ball“[2] spielte sie zwischen 1924 und 1929 eine Reihe von Titeln für Columbia und Gennett Records wie „Corn Liquor Blues“, „Gravel Camp Blues“ (1927) und „Wayward Girl Blues“ (1928); zu ihren Begleitmusikern gehörten Jazzmusiker wie Pruitt Twins, Charlie Jackson und Jimmy Blythe. Mit Holmes nahm sie auch mehrere Gospelsongs auf.

https://de.wikipedia.org/wiki/Lottie_Beaman 

Lottie Kimbrough (1900[3] – unknown) was an American country blues singer, who was also billed as Lottie Kimborough, Lottie Beaman, and Lena Kimbrough (amongst several others). Kimbrough was a large woman, and was nicknamed "the Kansas City Butterball".[2][4] Her recording career lasted from 1924 to 1929, however Allmusic journalist Burgin Mathews stated "Kimbrough's vocal power, and the unique arrangements of several of her best pieces, rank her as one of the sizable talents of the 1920s blues tradition.
Kimbrough was born in West Bottoms, Kansas City, Missouri, and retained close links to her local community. She was managed by Winston Holmes, himself a local musician and music promoter.[2] Her music career began in the early part of the 1920s, when she performed in Kansas City's nightclubs and speakeasys.[3] In 1924 she undertook her first recording session at Paramount Records, where she was recorded alongside Ma Rainey. Her earliest recordings used the twins Milas (banjo) and Miles Pruitt (guitar), whilst she was later backed by Jimmy Blythe (piano).[2] In 1925 she shared recording studio space with Papa Charlie Jackson. The same year she cut some tracks for the Holmes owned Merrit Records.[3]
As time progressed, Kimbrough recorded and performed using a number of pseudonyms. Whilst she used her married name, Lottie Beaman, on almost half of her tracks, Holmes suggested for her 1926 recording sessions that she was renamed Lena Kimbrough. More pertinently her manager substituted a photograph of Kimbrough's more photogenic sister, Estella, for Lottie's publicity purposes.[2] She also appeared billed as either Clara Cary or Mae Moran. She further recorded in Richmond, Indiana, and alternate namings were used for issues by Gennett, Champion (billed as Lottie Emerson), Supertone (as Lottie Brown) and Superior Records (as Martha Johnson).[3][5] Her Gennett sessions included the tracks "Rolling Log Blues" and "Goin' Away Blues", which music journalist Tony Russell described as having "haunting beauty".[6]
Kimbrough's brother Sylvester appeared with her in vaudeville, and in 1926 he supplied recording accompaniment with Paul Banks' Kansas City Trio. Nevertheless, it was Kimbrough's musical collaboration with Holmes which provided her better known recordings. Holmes supplied a series of yodels, and vocalised bird calls and train whistles on both "Lost Lover Blues" and "Wayward Girl Blues" (1928). Miles Pruitt was part of this recording and was a regular partner throughout Kimbrough's recording and concert career. He was featured again when Kimbrough recorded her final session in November 1929.[2]
Her self-penned song "Rolling Log Blues" has subsequently been recorded by Jo Ann Kelly, Woody Mann, Son House, The Blues Band, Rory Block, Eric Bibb, and Maria Muldaur.[7]
Little is known of her life beyond her recording career.

http://en.wikipedia.org/wiki/Lottie_Kimbrough 

 

Lottie Kimbrough Rolling Log Blues (1928) 



 

 

 Maggie Jones   *um 1900,   +nach 1934*

* Die genauen Daten sind dem Autor nicht bekannt 

 

 Maggie Jones (* um 1900 in Texas; † nach 1934) war eine populäre US-amerikanische Blues-Sängerin. Sie war bekannt als „the Texas Nightingale“ (die texanische Nachtigall).
Maggie Jones trat 1922 erstmals in New York City auf. 1924 nahm sie zwei Titel (Four Flushing Papa/Jealous Mama Blues) für Columbia Records auf, begleitet von Lemuel Fowler. Sie schloss sich dem T. O. B. A. Circuit an. 1926 war sie mit Clarence Muse zusammen und sang im Chor von Hall Johnson. 1928 tingelte sie mit der Blackbirds Show, wo sie mit Bill Robinson auftrat.
Schließlich kehrte Maggie Jones nach Texas zurück. In Fort Worth hatte sie ihre eigene Revue. 1934 verliert sich ihre Spur.
Von Maggie Jones sind 38 Aufnahmen überliefert. Die erste erschien 1923 auf Black Swan Records, die letzte entstand am 3. Oktober 1926. Die Mehrzahl der Aufnahmen wurde von Columbia veröffentlicht. Dabei wurde sie von so namhaften Kollegen wie Louis Armstrong, Fletcher Henderson, Charlie Green und Elmer Snowden begleitet.

http://de.wikipedia.org/wiki/Maggie_Jones_%28Musikerin%29 


Maggie Jones (c. 1900—unknown) was an American blues singer and pianist, who recorded thirty-eight songs between 1923 and 1926. She was billed as "The Texas Nightingale."[1] Jones is best remembered for her songs, "Single Woman's Blues," "Undertaker's Blues," and "Northbound Blues."[2]

Biography

She was born Fae Barnes in Hillsboro, Texas.[2] Her year of birth is most regularly cited as 1900, although this has not been proven. She relocated to New York in 1922, where she performed in local nightclubs. She appeared at the Princess Theater in Harrisburg, Pennsylvania in 1922, and toured the TOBA theater circuit until ca. 1926.[3]

Her debut recording session was on July 26, 1923, for Black Swan Records, where she became the first singer from Texas to record a side. Her recording career saw Jones appear on several record labels including Black Swan, Victor, Pathé and Paramount, although the bulk of her work was released by Columbia. On Black Swan and Paramount she was billed as Fae (or Faye) Barnes; on Pathé and Columbia she recorded as Maggie Jones. It is unknown whether marriage played any part in her name change.[4]

Over a three-year period, her accompaniment was variously supplied by notables such as Louis Armstrong, Fletcher Henderson, Charlie Green, and Elmer Snowden. Jones is especially noted for her six sides on which she was backed by Fletcher Henderson and Louis Armstrong; author Derrick Stewart-Baxter singled out "Good Time Flat Blues" as "her masterpiece".[5] With Fletcher Henderson and Charlie Green she recorded "North Bound Blues", which contained trenchant references to the South's Jim Crow laws that are unusual for a classic female blues singer.[5] In 1925, Jones recorded four songs written by Tom Delaney, including the track "If I Lose, Let Me Lose (Mamma Don't Mind)".[6] By October 3, 1926, Jones had cut her final disc. In 1927, she performed with the Clarence Muse Vaudeville Company and sang in Hall Johnson's choir, at the Roxy Theater in New York City.[3]

In 1928–1929, Jones appeared with Bill Robinson in the Broadway production of Lew Leslie's revue, Blackbirds of 1928, which toured the US and Canada.[3] She often worked outside the music industry, including co-owning a clothes store in New York. By the early 1930s Jones moved on to Dallas, Texas, and ran her own revue troupe which performed in Fort Worth, Texas. In 1934, she appeared in the All American Cabaret in Fort Worth. She subsequently disappeared from the public eye.[1][2]

Her total recording output is available on Maggie Jones, Vol. 1 (1923-1925) and Maggie Jones & Gladys Bentley: Complete Recorded Works, Vol. 2 (May 1925-June 1926)/Gladys Bentley (1928-1929).
 

Suicide Blues Maggie Jones 


 

 

  


Martha Copeland   */+ 1)



1) Die genauen Daten sind dem Autor nicht bekannt


http://www.legacy.com/obituaries/dayton/obituary.aspx?n=martha-ann-copeland&pid=147443999

Martha Copeland was an American classic female blues singer, who recorded 34 songs between 1923 and 1928. Her best known offerings are "Everybody Does It Now," "Good Time Mama Blues" and "Sorrow Valley Blues." Promoted by Columbia Records as 'Everybody's Mammy',[2] her recordings did not sell in the quantities enjoyed by her label mates Bessie and Clara Smith.[3] Outside of her recording career, little is known of her life.
Copeland's birth date is unknown, although Paul Oliver in his record sleeve notes to The Story of The Blues, Vol. 2, commented that she was in her forties when Victoria Spivey (born 1906) was in her teens.[5] Copeland started her recording career with Okeh in 1923, and appeared in a vaudeville revue, Shuffle Along. Her output veered between blues standards; mirror images of current popular tracks ("Soul and Body," in response to Coleman Hawkins's, "Body and Soul"); and comedic numbers ("I Ain't Your Hen, Mr. Fly Rooster" and "When The Wind Make Connection With Your Dry Goods").[1]
Her more notable accompanists at various recordings included Rube Bloom, Eddie Heywood, Lou Hooper, Cliff Jackson, James P. Johnson, and Louis Metcalf (all on piano), plus Bob Fuller (clarinet), and Bubber Miley (trumpet).[4]
Her total recording output is available on Complete Recorded Works, Vol. 1 (1923-1927), and Complete Recorded Works, Vol. 2 (1927-1928) (Document).[6] Various compilation albums also contain examples of Copeland's work. 

http://en.wikipedia.org/wiki/Martha_Copeland

 

Martha Copeland Black Snake Blues (1926) 


 

 

 


Mary Johnson 1900-1970*

* Die genauen Daten sind dem Autor nicht bekannt 

 

  Mary Johnson (1900–1970)[3] was an American classic female blues singer, accordionist and songwriter.[1] Her most noted tracks were "Dream Daddy Blues" and "Western Union Blues."[3] She wrote a number of her own tracks including "Barrel House Flat Blues", "Key To The Mountain Blues" and "Black Men Blues."[3][4] Johnson variously worked with Peetie Wheatstraw, Tampa Red, Kokomo Arnold and Roosevelt Sykes, and was married to her fellow blues musician, Lonnie Johnson.
Born Mary Williams, in Yazoo City, Mississippi, United States,[1] she ultimately recorded twenty two tracks between 1929 and 1936. These comprised eight songs in 1929, six in 1930, a couple more in 1932, four in 1934, and her final two recordings in 1936.[1][2] Over that timespan her accompanists included Henry Brown, Judson Brown, Roosevelt Sykes, Peetie Wheatstraw, Ike Rodgers, Tampa Red, Artie Mosby, and Kokomo Arnold.[5]
Prior to her recording career, Johnson relocated to St. Louis, Missouri in 1915, where in her teenage years she worked with several of that time's leading blues musicians.[4] She married Lonnie Johnson, although their marriage only lasted from 1925 to 1932. Nevertheless, they had six children.[1] Johnson worked in the St. Louis area until the mid-1940s.[4] Her song, "Key To The Mountain Blues", was recorded in 1948 by Jess Thomas as "Mountain Key Blues."[2]
By the 1950s, Johnson had long since given up a music career, and concentrated on her religion and worked in a hospital.[1][4] In 1960, Johnson was interviewed by Paul Oliver with extracts in his book, Conversation With The Blues. Oliver stated "Living with her mother Emma Williams in an apartment on Biddle Street, St. Louis, Johnson has known considerable poverty for many years."[2]
Johnson died in 1970.[3]
In 1995, her entire known recordings were released by Document Records on the compilation album, Complete Works in Chronological Order (1929-1936).

http://en.wikipedia.org/wiki/Mary_Johnson_%28singer%29 

 

Mary Johnson Black Men Blues (1929) 


 

 

 


Bob Gaddy +24.07.1997

 


Bob Gaddy (February 4, 1924 – July 24, 1997) was an American East Coast blues and rhythm and blues pianist, singer and songwriter. He is best remembered for his recordings of "Operator" and "Rip and Run," and musical work he undertook with Larry Dale, Wild Jimmy Spruill, Sonny Terry and Brownie McGhee.[2]

Biography

Gaddy was born in Vivian, West Virginia, a small town based around coal mining.[1][3] He learned to play the piano at a young age, both playing and singing in his local church. In 1943 he was conscripted and served in the Navy, being stationed in California. He progressed from learning the blues and, using his gospel background, graduated towards the boogie-woogie playing style.[3]

He played in blues clubs in Oakland and San Francisco, but after World War II finished he relocated to New York in 1946. Gaddy later commented "I came to New York just to visit, because I was on my way to the West Coast. Somehow or other, I just got hooked on it. New York got into my system and I've been stuck here ever since."[3]

He found work as a blues pianist, and in the late 1940s Gaddy provided accompaniment to both Brownie McGhee and Sonny Terry. He later backed Larry Dale, and befriended Champion Jack Dupree. Dupree penned "Operator" for Gaddy, one of his best selling numbers.[3] Gaddy recorded firstly for Jackson Records with his debut single being "Bicycle Boogie" in 1952. Gaddy later spent time with the Jax, Dot and Harlem record labels, before joining Hy Weiss' Old Town Records in 1956. It was here that Gaddy had his most commercially successful period, particularly with "I Love My Baby," "Paper Lady," and "Rip and Run." His earlier recordings often had McGhee in the recording studio with Gaddy, although his Old Town recordings utilised the guitarists Jimmy Spruill and Joe Ruffin, plus saxophonist Jimmy Wright.[1]

Gaddy ceased his recording activities around 1960. However, along with his long time friend Larry Dale, Gaddy remained a mainstay of the ongoing New York blues scene.[1]

In April 1988, Gaddy, Dale and Spruill reunited to play at the Tramps nightclub in New York.[3]

Bob Gaddy died of lung cancer in the Bronx, New York in July 1997, at the age of 73.



BOB GADDY - SLOW DOWN BABY - HARLEM 


https://www.youtube.com/watch?v=Fd653kiZXfI 





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