1930 Junior Kimbrough*
1931 Guitar Crusher*
1943 Michael Bloomfield*
1947 Jimmy 'Duck' Holmes*
1950 Roy Rogers*
Eliana Cargnelutti*
1931 Guitar Crusher*
1943 Michael Bloomfield*
1947 Jimmy 'Duck' Holmes*
1950 Roy Rogers*
Eliana Cargnelutti*
Happy Birthday
Guitar Crusher *28.07.1931
Sidney Selby is a true blues man. He also goes by 'Bone Crusher' and 'Guitar Crusher', names he earned throughout his career.
Born in rural Hyde County N.C. in 1931 during the height of the Depression, he toiled in the cotton fields during his youth but set aside Sundays for exercising his rich baritone in the choir of Mt. Pilgrim Baptist Church, continuing a tradition which gave rise to a whole generation of blues singers of his era.
He moved to New York in the 50s, found a job and started singing in Church again. However. encouraged by his friends, he soon formed his own band, the Midnight Rockers and began attracting a large following.
The year 1960 marked the beginning of a decade of performances with The Drifters, The Isley Brothers, Ben E. King and other major R&B talents which flourished during the 1960's musical renaissance.
Selby was signed by Columbia Records and remained under contract until 1970, when the musical tastes in America began to shift away from blues and soul sounds. So, in the early 80s GUITAR CRUSHER headed for Europe and a more hospitals blues climate. Here his performance on major festivals marked the start of his comeback. The now internationally-known singer and writer has since accorded 4 albums singing his own compositions with force and assurance in his gospel-inflected voice. His transfixing vocal power won him a reputation as 'The Big Voice From New York', a headliner on the european blues-circuit.
http://www.guitarcrusher.com/
Berlin uff Blues: Miss Ackie, Guitar Crusher, Hans die Geige & die Hanno Bruhn Gang. 9. Mai 2013
Miss Ackie, Guitar Crusher und "Hans die Geige" als Special Guests beim
Berlin uff Blues - Konzert der Hanno Bruhn Gang. Das ganze Konzert am
09.05.2013. Donnerstag 20.00 - 22.30 Uhr, rockradio.de-on concert -
Hanno Bruhn Gang - Live aus der Wabe - Berlin Konzert &
Video-Aufzeichnung.
Hanno Bruhn (voc.)
Ernie Schmiedel (piano)
Roger Raddatz (dr.)
Lutz Krüger (git.)
Alfred Wagner (sax)
Hanno Bruhn (voc.)
Ernie Schmiedel (piano)
Roger Raddatz (dr.)
Lutz Krüger (git.)
Alfred Wagner (sax)
Junior Kimbrough *28.07.1930
Junior Kimbrough (eigentlich David Kimbrough; * 28. Juli 1930 in Hudsonville, Mississippi; † 17. Januar 1998 in Holly Springs, Mississippi) war ein US-amerikanischer Blues-Musiker.
Kimbrough lebte im Norden von Mississippi in der Nähe von Holly Springs. Er nahm ab 1992 Platten für das Fat Possum Blues Label auf. Außerdem spielte er seine Musik in seiner Bar mit dem Namen „Junior's Place“ in Chulahoma, die viele Besucher aus aller Welt anzog, darunter Mitglieder der Band U2 und der Rolling Stones.
Junior Kimbrough starb am 17. Januar 1998 in Holly Springs, Mississippi. Nach seinem Tod unterhielten seine Söhne Kinney und David Malone Kimbrough, welche ebenfalls Musiker sind, die Bar in Chulahoma, bevor „Junior's Place“ am 6. April 2000 niederbrannte.
Die Band The Black Keys, deren Mitglieder Kimbrough als einen ihrer Haupteinflüsse nennen, veröffentlichte ihm zu Ehren im Jahr 2006 die EP Chulahoma, auf der ausschließlich Coverversionen von Kimbroughs Songs enthalten sind.
http://de.wikipedia.org/wiki/Junior_Kimbrough
David "Junior" Kimbrough (July 28, 1930 – January 17, 1998) was an American blues musician. His best known work included "Keep Your Hands Off Her" and "All Night Long".[1]
Biography
Junior Kimbrough was born in Hudsonville, Mississippi,[1] and lived in the North Mississippi Hill Country near Holly Springs. Kimbrough began playing guitar in his youth, and counted Lightnin' Hopkins as an early influence. In the late 1950s he began playing in his own style, which made use of mid-tempo rhythms and a steady drone he played with his thumb on the bass strings of his guitar. This style would later be cited as a prime example of regional north hill country blues.[2] His music is characterized by the tricky syncopations between his droning bass strings and his mid-range melodies. His soloing style has been described as modal and features languorous runs in the mid and upper register. The result was described by music critic Robert Palmer as "hypnotic". In solo and ensemble settings it is often polyrhythmic, which links it explicitly to the music of Africa. Fellow North Mississippi bluesman and former Kimbrough bassist Eric Deaton has suggested similarities between Junior Kimbrough's music and Malian bluesman Ali Farka Touré's. Music journalist Tony Russell stated "his raw, repetitive style suggests an archaic forebear of John Lee Hooker, a character his music shares with that of fellow North Mississippian R. L. Burnside".[3]
In 1966 Kimbrough traveled to Memphis, Tennessee from his home in North Mississippi and recorded for the R&B/gospel producer and owner of the Goldwax record label, Quinton Claunch. Claunch was a founder of Hi Records and is known as the man that gave James Carr and O.V. Wright their start. Kimbrough recorded one session at American Studios. Claunch declined to release the recordings, deeming them too country. Some forty years later, Bruce Watson of Big Legal Mess Records approached Claunch to buy the original master tapes and the rights to release the recordings made that day. These songs were released by Big Legal Mess Records in 2009 as First Recordings. Kimbrough's debut release was a cover version of Lowell Fulson's "Tramp" released as a single on independent label Philwood in 1967. On the label of the record Kimbrough's name was spelled incorrectly as Junior Kimbell and the song "Tramp" was listed as "Tram?" The b-side was "You Can't Leave Me". Among his other early recordings are two duets with his childhood friend Charlie Feathers in 1969. Feathers counted Kimbrough as an early influence and Kimbrough gave Feathers some of his earliest lessons on guitar.
Kimbrough recorded very little in the 1970s, contributing an early version of "Meet Me in the City" to a European blues anthology. With his band, the Soul Blues Boys, Kimbrough recorded again in the 1980s for High Water, releasing a single in 1982 ("Keep Your Hands Off Her" b/w "I Feel Good, Little Girl"). Playing then were bassist John Scales and drummer Calvin Jackson.[4] The label recorded a 1988 session with Kimbrough and the Soul Blues Boys (this time bassist Little Joe Ayers and drummer "Allabu Juju"), releasing it in 1997 with his 1982 single as "Do The Rump".[5] In 1987 Kimbrough had his New York debut with the Lincoln Center.[6]
Kimbrough came to national attention in 1992 with his debut album, All Night Long.[3] Robert Palmer produced the album for Fat Possum, recording it in Kimbrough's old juke joint, a building near Holly Springs that used to be a church,[7] with Junior's son Kent "Kinney" Kimbrough (aka Kenny Malone) on drums and R. L. Burnside's son Garry Burnside on bass guitar. The album featured many of his most celebrated songs, including the title track, the complexly melodic "Meet Me In The City," and "You Better Run" a harrowing ballad of attempted rape. All Night Long earned near-unanimous praise from critics, receiving four stars in Rolling Stone. His stock continued to rise the following year after live footage of him playing "All Night Long" in one of his juke joints appeared in the Robert Mugge directed, Robert Palmer narrated film documentary, Deep Blues: A Musical Pilgrimage to the Crossroads. This performance was actually recorded earlier in 1990.
Beginning around 1992, Kimbrough operated a juke joint known as "Junior's Place" in Chulahoma, Mississippi, which attracted visitors from around the world, including members of U2, Keith Richards, and Iggy Pop. In this period he recorded for the Fat Possum Records label. Labelmate R. L. Burnside, and the Burnside and Kimbrough families often collaborated on musical projects.
A second album for Fat Possum, Sad Days, Lonely Nights, followed in 1994. A video for the album's title track featured Kimbrough, Garry Burnside and Kent Kimbrough playing in Kimbrough's juke joint. The last album he would record, Most Things Haven't Worked Out, appeared on Fat Possum in 1997. Following his death in 1998 in Holly Springs, Fat Possum released two posthumous compilation albums of material Kimbrough recorded in the 1990s, God Knows I Tried (1998) and Meet Me in The City (1999). A greatest hits compilation, You Better Run: The Essential Junior Kimbrough, followed in 2002. Fat Possum also released a tribute album, Sunday Nights: The Songs of Junior Kimbrough, in 2005, which featured Iggy & The Stooges (Kimbrough once toured with frontman Iggy Pop), The Black Keys and Mark Lanegan. The Black Keys have released an album composed entirely of covers of Junior's music, Chulahoma. Richard Johnston, a Kimbrough protégé, keeps this musical tradition alive with one of Junior's sons, via live performances on Beale Street in Memphis.
Junior Kimbrough died of a heart attack in 1998 in Holly Springs following a stroke, at the age of 67.[1] According to his artist bio on the Fat Possum Records website, he is survived by his claimed 36 children. He is buried outside his family's church, the Kimbrough Chapel Missionary Baptist Church near Holly Springs. Rockabilly musician and friend Charlie Feathers called Kimbrough "the beginning and end of all music." This is written on Kimbrough's tombstone. Kimbrough's sons, musicians Kinney and David Malone Kimbrough, kept "Junior's Place" open following his death, until it burned to the ground on April 6, 2000.
Biography
Junior Kimbrough was born in Hudsonville, Mississippi,[1] and lived in the North Mississippi Hill Country near Holly Springs. Kimbrough began playing guitar in his youth, and counted Lightnin' Hopkins as an early influence. In the late 1950s he began playing in his own style, which made use of mid-tempo rhythms and a steady drone he played with his thumb on the bass strings of his guitar. This style would later be cited as a prime example of regional north hill country blues.[2] His music is characterized by the tricky syncopations between his droning bass strings and his mid-range melodies. His soloing style has been described as modal and features languorous runs in the mid and upper register. The result was described by music critic Robert Palmer as "hypnotic". In solo and ensemble settings it is often polyrhythmic, which links it explicitly to the music of Africa. Fellow North Mississippi bluesman and former Kimbrough bassist Eric Deaton has suggested similarities between Junior Kimbrough's music and Malian bluesman Ali Farka Touré's. Music journalist Tony Russell stated "his raw, repetitive style suggests an archaic forebear of John Lee Hooker, a character his music shares with that of fellow North Mississippian R. L. Burnside".[3]
In 1966 Kimbrough traveled to Memphis, Tennessee from his home in North Mississippi and recorded for the R&B/gospel producer and owner of the Goldwax record label, Quinton Claunch. Claunch was a founder of Hi Records and is known as the man that gave James Carr and O.V. Wright their start. Kimbrough recorded one session at American Studios. Claunch declined to release the recordings, deeming them too country. Some forty years later, Bruce Watson of Big Legal Mess Records approached Claunch to buy the original master tapes and the rights to release the recordings made that day. These songs were released by Big Legal Mess Records in 2009 as First Recordings. Kimbrough's debut release was a cover version of Lowell Fulson's "Tramp" released as a single on independent label Philwood in 1967. On the label of the record Kimbrough's name was spelled incorrectly as Junior Kimbell and the song "Tramp" was listed as "Tram?" The b-side was "You Can't Leave Me". Among his other early recordings are two duets with his childhood friend Charlie Feathers in 1969. Feathers counted Kimbrough as an early influence and Kimbrough gave Feathers some of his earliest lessons on guitar.
Kimbrough recorded very little in the 1970s, contributing an early version of "Meet Me in the City" to a European blues anthology. With his band, the Soul Blues Boys, Kimbrough recorded again in the 1980s for High Water, releasing a single in 1982 ("Keep Your Hands Off Her" b/w "I Feel Good, Little Girl"). Playing then were bassist John Scales and drummer Calvin Jackson.[4] The label recorded a 1988 session with Kimbrough and the Soul Blues Boys (this time bassist Little Joe Ayers and drummer "Allabu Juju"), releasing it in 1997 with his 1982 single as "Do The Rump".[5] In 1987 Kimbrough had his New York debut with the Lincoln Center.[6]
Kimbrough came to national attention in 1992 with his debut album, All Night Long.[3] Robert Palmer produced the album for Fat Possum, recording it in Kimbrough's old juke joint, a building near Holly Springs that used to be a church,[7] with Junior's son Kent "Kinney" Kimbrough (aka Kenny Malone) on drums and R. L. Burnside's son Garry Burnside on bass guitar. The album featured many of his most celebrated songs, including the title track, the complexly melodic "Meet Me In The City," and "You Better Run" a harrowing ballad of attempted rape. All Night Long earned near-unanimous praise from critics, receiving four stars in Rolling Stone. His stock continued to rise the following year after live footage of him playing "All Night Long" in one of his juke joints appeared in the Robert Mugge directed, Robert Palmer narrated film documentary, Deep Blues: A Musical Pilgrimage to the Crossroads. This performance was actually recorded earlier in 1990.
Beginning around 1992, Kimbrough operated a juke joint known as "Junior's Place" in Chulahoma, Mississippi, which attracted visitors from around the world, including members of U2, Keith Richards, and Iggy Pop. In this period he recorded for the Fat Possum Records label. Labelmate R. L. Burnside, and the Burnside and Kimbrough families often collaborated on musical projects.
A second album for Fat Possum, Sad Days, Lonely Nights, followed in 1994. A video for the album's title track featured Kimbrough, Garry Burnside and Kent Kimbrough playing in Kimbrough's juke joint. The last album he would record, Most Things Haven't Worked Out, appeared on Fat Possum in 1997. Following his death in 1998 in Holly Springs, Fat Possum released two posthumous compilation albums of material Kimbrough recorded in the 1990s, God Knows I Tried (1998) and Meet Me in The City (1999). A greatest hits compilation, You Better Run: The Essential Junior Kimbrough, followed in 2002. Fat Possum also released a tribute album, Sunday Nights: The Songs of Junior Kimbrough, in 2005, which featured Iggy & The Stooges (Kimbrough once toured with frontman Iggy Pop), The Black Keys and Mark Lanegan. The Black Keys have released an album composed entirely of covers of Junior's music, Chulahoma. Richard Johnston, a Kimbrough protégé, keeps this musical tradition alive with one of Junior's sons, via live performances on Beale Street in Memphis.
Junior Kimbrough died of a heart attack in 1998 in Holly Springs following a stroke, at the age of 67.[1] According to his artist bio on the Fat Possum Records website, he is survived by his claimed 36 children. He is buried outside his family's church, the Kimbrough Chapel Missionary Baptist Church near Holly Springs. Rockabilly musician and friend Charlie Feathers called Kimbrough "the beginning and end of all music." This is written on Kimbrough's tombstone. Kimbrough's sons, musicians Kinney and David Malone Kimbrough, kept "Junior's Place" open following his death, until it burned to the ground on April 6, 2000.
Michael Bloomfield *28.07.1943
Michael Bernard „Mike“ Bloomfield (* 28. Juli 1943 in Chicago, Illinois; † 15. Februar 1981 in San Francisco, Kalifornien) war ein US-amerikanischer Blues-Gitarrist.
Geboren in Chicago, war er schon mit 14 ein regelmäßiger Gast in den Blues-Clubs der Chicago South-Side. Hier stieg er regelmäßig in Jam-Sessions mit seinen Idolen wie Muddy Waters, Otis Spann, Howlin’ Wolf ein. Dabei lernte er auch gleichgesinnte Weiße wie Nick Gravenites und Charlie Musselwhite kennen, mit denen er bis zu seinem Lebensende immer wieder zusammen spielte.
Mitte der 1960er Jahre spielte er mit der Paul Butterfield Blues Band zusammen und war an deren gleichnamigen erstem Album beteiligt. Er arbeitete für Bob Dylan auf dessen Highway 61 Revisited Album und trat 1965 mit ihm auf dem Newport Folk Festival auf, wo sich jedoch das Folk-Publikum über die elektrisch verstärkte Rockband aufregte. 1967 war Bloomfield Mitgründer der Gruppe Electric Flag, die allerdings bereits ein Jahr später wieder auseinanderbrach. Mit Al Kooper spielte Bloomfield 1968 eine Seite der Platte Super Session ein, auf der anderen Seite war Stephen Stills neben Al Kooper zu hören. Die Platte erreichte Platz 12 der US-amerikanischen LP-Charts.[1] Ein Jahr später gelangten Bloomfield und Kooper mit The Live Adventures of Mike Bloomfield and Al Kooper bis auf Platz 18. Beide Alben waren damit kommerziell erfolgreicher als die Alben der Butterfield Blues Band und der Electric Flag.
Ende der 1960er zog sich Bloomfield nach San Francisco zurück, wo er unregelmäßig mit seinen alten Kumpels als Bloomfield and Friends auftrat und wenige Platten aufnahm. In dieser Zeit lebte er überwiegend von der Produktion von Soundtracks für Porno-Filme, er lieferte aber 1969 auch den Soundtrack für Haskell Wexlers Medium cool und war 1973 zusammen mit Paul Butterfield und Nick Gravenites an der Musik für den Film Steelyard Blues beteiligt. Mitte der 1970er verlegte er sich auf eher traditionellen akustischen Blues. In den späten 1970er Jahren kämpfte er zunehmend mit gesundheitlichen Problemen und seiner Drogensucht.
Er starb am 15. Februar 1981 in San Francisco an einer Überdosis Heroin.
Bloomfield wurde in die Liste „Rolling Stone's List of the 100 Greatest Guitarists of All Time“ des Rolling Stone Magazins auf Platz 22 aufgenommen.
Im Januar 2014 erschien unter dem Titel „From His Head To His Heart To His Hands“ eine umfassende Werkschau, bestehend aus drei CDs plus einer DVD.
http://de.wikipedia.org/wiki/Michael_Bloomfield
Roy Rogers (born July 28, 1950, Redding, California, United States) is an American blues rock slide guitarist and record producer.[1] He was named after the singing cowboy, Roy Rogers.[2] Rogers plays a variety of guitar styles related to the Delta blues, but is most often recognized for his virtuoso slide work.
In the 1980s Rogers was a member of John Lee Hooker's Coast to Coast Band. Rogers produced four John Lee Hooker recordings- "The Healer", a Grammy winner, "Mr. Lucky", "Boom Boom" and "Chill Out." He also produced two Grammy nominated recordings for Ramblin' Jack Elliott entitled "Friends of Mine" and "A Long Ride." Roy also co-wrote "Gnawnin' On It" which was nominated for 'Best Female Rock Vocal for Bonnie Raitt', a long-time friend and collaborator.
Rogers has performed and/or recorded with for a diverse spectrum of artists including Linda Ronstadt, Sammy Hagar, Bonnie Raitt, Zucchero, John Gorka and Ramblin' Jack Elliott, Elvin Bishop, Carlos Santana, Steve Miller, and Ray Manzarek. Since 1980, Rogers has also fronted his own trio, The Delta Rhythm Kings.[2] In 2003, Roger's own Slideways reached number 3 on Billboard's 'Split Decision' also charted in 2009. chart for "Top Blues Albums." He has also been nominated for 'Best Blues Guitar Instrumentalist" by The Blues Foundation. Other awards include those from France and Australia with long-time friend Norton Buffalo. His most recent release is his second collaboration with The Doors co-founder Ray Manzarek entitled 'Twisted Tales' which was released on Chops Not Chaps Records in 2013. His releases have been received worldwide, as he has been touring Europe, Brazil, Australia, and Scandinavia since 1982.
Rogers has a brawny way with a lyric, and his command of slide styles is as extensive as anyone's.
http://www.elianacargnelutti.com/about-me/
Michael Bernard "Mike" Bloomfield (July 28, 1943 – February 15, 1981) was an American musician, guitarist, and composer, born in Chicago, Illinois, who became one of the first popular music superstars of the 1960s to earn his reputation almost entirely on his instrumental prowess, since he rarely sang before 1969 and 1970. Respected for his fluid guitar playing, Bloomfield knew and played with many of Chicago's blues legends even before he achieved his own fame, and was one of the primary influences on the mid-to-late 1960s revival of classic Chicago and other styles of blues music. In 2003 he was ranked at number 22 on Rolling Stone's "100 Greatest Guitarists of All Time"[1] and 42nd in 2011 by the same magazine.[2] He was inducted in the Blues Hall of Fame in 2012 and with the Paul Butterfield Blues Band, in the Rock and Roll Hall of Fame in 2015.
Early years
Bloomfield was born into a wealthy Jewish-American family on the North Side of Chicago but preferred music to the family catering equipment business, becoming a blues devotee as a teenager and spending time at Chicago's South Side blues clubs, playing guitar with some black bluesmen (Sleepy John Estes, Yank Rachell, Little Brother Montgomery). Bloomfield's family eventually moved to suburban Glencoe, Illinois, where Bloomfield attended New Trier High School for two years before being expelled. He attended Cornwall Academy in Massachusetts for one year before returning to Chicago where he spent his last year at the local YMCA school.[3]
The young guitarist's talent "was instantly obvious to his mentors," wrote Al Kooper, Bloomfield's later collaborator and close friend, in a 2001 article. "They knew this was not just another white boy; this was someone who truly understood what the blues were all about."[4] Among his early supporters were B. B. King, Muddy Waters, Bob Dylan and Buddy Guy. Michael used to say, 'It's a natural. Black people suffer externally in this country. Jewish people suffer internally. The suffering's the mutual fulcrum for the blues'."[4]
The Butterfield Band
During those haunts, he met Paul Butterfield and Elvin Bishop, ran his own small blues club, the Fickle Pickle, and was discovered by legendary Columbia Records producer/scout John Hammond, who signed him to the label at a time when the label had had no recent association with blues.
Bloomfield recorded a few sessions for Columbia in 1964 (which weren't released until after his death), but ended up joining the original Paul Butterfield Blues Band, which included Bishop and Howlin' Wolf rhythm section alumni Sam Lay and Jerome Arnold.
Their exuberant, electric Chicago blues inspired a generation of white bluesmen, with Bloomfield's work on the band's self-titled debut, and the subsequent record East-West, bringing wide acclaim to the young guitarist. Especially popular was "East-West's" thirteen-minute title track, an instrumental combining elements of blues, jazz, psychedelic rock, and the classical Indian raga. Bloomfield's innovative solos were at the forefront of the ground-breaking piece. He had been inspired to create "East-West" after an all-night LSD trip according to one legend, but a subsequent anthology of the Butterfield band included a booklet saying Bloomfield had also been influenced by John Coltrane and other blues-friendly free-style jazz musicians, plus traditional Indian and Eastern music in creating the piece. (The original title for the piece was "The Raga.")
Bloomfield was also a session musician, gaining wide recognition for his work with Bob Dylan during his first explorations into electric music. Bloomfield's sound was a major part of Dylan's change of style, especially on Highway 61 Revisited; his guitar style melded the blues influence with rock and folk. Al Kooper has since revealed – in the booklet accompanying the posthumous Don't Say That I Ain't Your Man: Essential Blues, 1964–1969 – that Dylan had invited Bloomfield to play with him permanently but that Bloomfield rejected the invitation in order to continue playing the blues with the Butterfield band. But Bloomfield and fellow Butterfield members Jerome Arnold and Sam Lay appeared at the Newport Folk Festival in 1965, backing Dylan for his controversial first live electric performance.
Rock critic Dave Marsh, in Rock and Roll Soul: The 1001 Greatest Singles of All Time, claimed Bloomfield to have been the lead guitarist for Mitch Ryder's hit "Devil with the Blue Dress." However, Marsh's claim is disputed by Bloomfield collaborator Barry Goldberg, who played keyboards on that track. For the online bio, "The Bloomfield Notes" (#6), Barry states that Mike played on the following recording after "Devil", and "Sock it to Me", another track mistakenly credited to Bloomfield.
The Electric Flag
Bloomfield tired of the Butterfield Band's rigorous touring schedule and, relocating to San Francisco, sought to create his own group. Bloomfield left to form the short-lived Electric Flag in 1967 with two longtime Chicago cohorts, organist Barry Goldberg and vocalist Nick Gravenites. The band was intended to feature "American music," a hybrid of blues, soul music, country, rock, and folk, and incorporated an expanded lineup complete with a horn section. The inclusion of drummer Buddy Miles, whom he hired away from Wilson Pickett's touring band, gave Bloomfield license to explore soul and R&B. The Electric Flag debuted at the 1967 Monterey Pop Festival and issued an album, A Long Time Comin', in April 1968 on Columbia Records. Critics complimented the group's distinctive, intriguing sound but found the record itself somewhat uneven. By that time, however, the band was already disintegrating; rivalries between members, shortsighted management, and heroin abuse all took their toll. Shortly after the release of that album, Bloomfield left his own band, with Gravenites, Goldberg, and bassist Harvey Brooks following.
Released in 2002, "Groovin' Is Easy", contains the following 9 songs; "Spotlight", "I Was Robbed Last Night", "I Found Out", "Never Be Lonely Again","Losing Game", "My Baby Wants To Test Me","I Should Have Left Her","You Don't Realize" and "Groovin' Is Easy".
Work with Al Kooper
Bloomfield also made an impact through his work with Al Kooper, with whom he had played with Stephen Stills, on the album Super Session in 1968. The direct impetus for the record, according to Kooper, was the twosome's having been part of Grape Jam, an improvisational addendum to Moby Grape's Wow earlier in the year.
"Why not do an entire jam album together?" Kooper remembered in 1998, writing the booklet notes for the Bloomfield anthology Don't Say That I Ain't Your Man: Essential Blues, 1964-1969. "At the time, most jazz albums were made using this modus operandi: pick a leader or two co-leaders, hire appropriate sidemen, pick some tunes, make some up and record an entire album on the fly in one or two days. Why not try and legitimize rock by adhering to these standards? In addition, as a fan, I was dissatisfied with Bloomfield's recorded studio output up until then. It seemed that his studio work was inhibited and reined in, compared to his incendiary live performances. Could I put him in a studio setting where he could feel free to just burn like he did in live performances?"
The result was Super Session, a jam album that spotlighted Bloomfield's guitar skills on one side; Bloomfield's chronic insomnia caused him to repair to his San Francisco home, prompting Kooper to invite Stephen Stills to complete the album. It received excellent reviews and became the best-selling album of Bloomfield's career; its success led to a live sequel, The Live Adventures of Mike Bloomfield and Al Kooper, recorded over three nights at Fillmore West in September 1968.
Solo work
Bloomfield continued with solo, session and back-up work from 1969 to 1980, releasing his first solo work It's Not Killing Me in 1969. He recorded an album called Try It Before You Buy It which Columbia declined to release a year later. Bloomfield also helped Janis Joplin put her Kozmic Blues Band (for the album of the same name) together in 1969, co-wrote "Work Me, Lord" for the album, and played the guitar solo on Joplin's blues composition "One Good Man." Columbia also released another 1969 album, a live concert jam, Live at Bill Graham's Fillmore West, including former Butterfield bandmate Mark Naftalin, former Electric Flag bandmates Marcus Doubleday and Snooky Flowers, and a guest appearance by Taj Mahal; and, re-uniting with former bandmates Paul Butterfield and Sam Lay for the Chess Records all-star set, Fathers and Sons, featuring Muddy Waters and Otis Spann, also the same year. Bloomfield also composed and recorded the soundtrack for the film, Medium Cool by his cousin, Haskell Wexler set during the Democratic Convention in Chicago in 1968.
For a time, however, Bloomfield gave up playing because of his heroin addiction:
“ ..and I put the guitar down – didn't touch it.. Shooting junk made everything else unimportant, null and void, nolo contendre. My playing fell apart. I just didn't want to play.[5] ”
During the late 1970s, Bloomfield recorded for several smaller labels, including Takoma Records. Through Guitar Player magazine he also put out an instructional album with a vast array of blues guitar styles, titled If You Love These Blues, Play 'Em as You Please. Bloomfield also performed with John Cale on Cale's soundtrack to the film Caged Heat in 1975.
In 1973, Bloomfield teamed with Dr. John and John Hammond, Jr. for an album called Triumvirate, Bloomfield's final album under his Columbia contract. In 1974 Bloomfield hooked up with a failed supergroup called KGB, from the initials of Ray Kennedy (co-writer of "Sail On, Sailor"), Barry Goldberg on keyboards and Bloomfield on guitar. The band had a rhythm section of Ric Grech on bass and Carmine Appice on drums. Grech and Bloomfield immediately quit after its release, stating they never had faith in the project. The album was not well received, but it did contain the standout track "Sail On, Sailor". Its authorship was credited only to "Wilson-Kennedy", and had a bluesy, darker feel, along with Ray Kennedy's original cocaine related lyrics.[citation needed] Through the 1970s, Bloomfield seemed satisfied to play in local San Francisco Bay Area clubs, sitting in with other bands. During 1979–1981 Bloomfield performed often with the King Perkoff Band, often introducing them as his own "Michael Bloomfield and Friends" outfit. Bloomfield recorded "Hustlin' Queen", written by John Isabeau and Perkoff in 1979. Bloomfield had planned a tour to Sweden to complete an album of his favorites, including "Hustlin' Queen". Aside from a triumphant return to the stage sitting in with Bob Dylan at the Warfield in 1980 his rock star days were behind him.
Death
The exact events and circumstances that led to his death are not clear. What is known is that Bloomfield was found dead of a drug overdose in his car on February 15, 1981.[6] The only details (from unnamed sources) relate that Bloomfield died at a San Francisco party, and was driven to another location in the city by two men who were present at the party. His tombstone is in the Hillside Memorial Park Cemetery, Culver City, near Los Angeles.
Style
Bloomfield's musical influences include Scotty Moore, Chuck Berry, Little Richard, B.B. King, Big Joe Williams, Otis Rush, Albert King, Freddie King and Ray Charles.[7]
Bloomfield originally used the Fender Telecaster, though he had also used a Fender Mustang while recording for Columbia following his 1964 signing to the label. During his tenure with the Butterfield Blues Band he switched to a 1954 Gibson Les Paul model, which he used for some of the East-West sessions and which he was said to have found in Boston. In due course, according to biographers Jan Mark Wolkin and Bill Keenom, Bloomfield swapped that guitar for a 1959 Les Paul Standard and $100. This was the guitar Bloomfield used as a member of the Electric Flag, and on the Super Session album and concerts. He later veered between the Les Paul and the Telecaster, but Bloomfield's use of the Les Paul—as did Keith Richards' with the Rolling Stones and Eric Clapton's with John Mayall—influenced many others to use the model, helping prod Gibson to re-introduce the line (which it had discontinued in 1960) by mid-1968. Bloomfield eventually lost the guitar in Canada; Wolkin and Keenom's biography revealed a club owner kept the guitar as partial compensation after Bloomfield cut short a round of appearances. Its location today is unknown.
Unlike contemporaries such as Jimi Hendrix and Jeff Beck, Bloomfield rarely experimented with feedback and distortion, preferring a loud but clean, almost chiming sound with a healthy amount of reverb. One of his amplifiers of choice was a 1965 Fender Twin Reverb. Bloomfield's solos, like most blues guitarists', were based primarily on the minor pentatonic scale and the blues scale. However, his liberal use of chromatic notes within the pentatonic framework, and his periodic lines based on Indian and Eastern modes, allowed a considerable degree of fluidity to his solos. He was also renowned for his use of vibrato.
Gibson has since released a Michael Bloomfield Les Paul—replicating his 1959 Standard—in recognition of his effect on the blues genre, on helping to influence the revived production of the guitar, and on many other guitarists.[8] Because the actual guitar had been unaccounted for so many years, Gibson relied on hundreds of photographs provided by Bloomfield's family to reproduce the guitar. The model comes in two configurations—a clean Vintage Original Specifications (VOS) version with only Bloomfield's mismatched volume and control knobs, missing toggle switch cover, and kidney-shaped tuners replacing the Gibson originals indicating its inspiration; and, a faithful, process-aged reproduction of the guitar as it was when Bloomfield played it last, complete with the finish smudge below the bridge and various nicks and smudges elsewhere around the body.
His influence among contemporary guitarists continues to be widely felt, primarily in the techniques of vibrato, natural sustain, and economy of notes. Guitarists such as: Joe Bonamassa, Arlen Roth, Carlos Santana, Slash, Jimmy Vivino, Chuck Hammer, Eric Johnson, Elliot Easton, Robben Ford, John Scofield, Jimmy Herring, Phil Keaggy, remain essentially influenced by Bloomfield's early recorded work.
Early years
Bloomfield was born into a wealthy Jewish-American family on the North Side of Chicago but preferred music to the family catering equipment business, becoming a blues devotee as a teenager and spending time at Chicago's South Side blues clubs, playing guitar with some black bluesmen (Sleepy John Estes, Yank Rachell, Little Brother Montgomery). Bloomfield's family eventually moved to suburban Glencoe, Illinois, where Bloomfield attended New Trier High School for two years before being expelled. He attended Cornwall Academy in Massachusetts for one year before returning to Chicago where he spent his last year at the local YMCA school.[3]
The young guitarist's talent "was instantly obvious to his mentors," wrote Al Kooper, Bloomfield's later collaborator and close friend, in a 2001 article. "They knew this was not just another white boy; this was someone who truly understood what the blues were all about."[4] Among his early supporters were B. B. King, Muddy Waters, Bob Dylan and Buddy Guy. Michael used to say, 'It's a natural. Black people suffer externally in this country. Jewish people suffer internally. The suffering's the mutual fulcrum for the blues'."[4]
The Butterfield Band
During those haunts, he met Paul Butterfield and Elvin Bishop, ran his own small blues club, the Fickle Pickle, and was discovered by legendary Columbia Records producer/scout John Hammond, who signed him to the label at a time when the label had had no recent association with blues.
Bloomfield recorded a few sessions for Columbia in 1964 (which weren't released until after his death), but ended up joining the original Paul Butterfield Blues Band, which included Bishop and Howlin' Wolf rhythm section alumni Sam Lay and Jerome Arnold.
Their exuberant, electric Chicago blues inspired a generation of white bluesmen, with Bloomfield's work on the band's self-titled debut, and the subsequent record East-West, bringing wide acclaim to the young guitarist. Especially popular was "East-West's" thirteen-minute title track, an instrumental combining elements of blues, jazz, psychedelic rock, and the classical Indian raga. Bloomfield's innovative solos were at the forefront of the ground-breaking piece. He had been inspired to create "East-West" after an all-night LSD trip according to one legend, but a subsequent anthology of the Butterfield band included a booklet saying Bloomfield had also been influenced by John Coltrane and other blues-friendly free-style jazz musicians, plus traditional Indian and Eastern music in creating the piece. (The original title for the piece was "The Raga.")
Bloomfield was also a session musician, gaining wide recognition for his work with Bob Dylan during his first explorations into electric music. Bloomfield's sound was a major part of Dylan's change of style, especially on Highway 61 Revisited; his guitar style melded the blues influence with rock and folk. Al Kooper has since revealed – in the booklet accompanying the posthumous Don't Say That I Ain't Your Man: Essential Blues, 1964–1969 – that Dylan had invited Bloomfield to play with him permanently but that Bloomfield rejected the invitation in order to continue playing the blues with the Butterfield band. But Bloomfield and fellow Butterfield members Jerome Arnold and Sam Lay appeared at the Newport Folk Festival in 1965, backing Dylan for his controversial first live electric performance.
Rock critic Dave Marsh, in Rock and Roll Soul: The 1001 Greatest Singles of All Time, claimed Bloomfield to have been the lead guitarist for Mitch Ryder's hit "Devil with the Blue Dress." However, Marsh's claim is disputed by Bloomfield collaborator Barry Goldberg, who played keyboards on that track. For the online bio, "The Bloomfield Notes" (#6), Barry states that Mike played on the following recording after "Devil", and "Sock it to Me", another track mistakenly credited to Bloomfield.
The Electric Flag
Bloomfield tired of the Butterfield Band's rigorous touring schedule and, relocating to San Francisco, sought to create his own group. Bloomfield left to form the short-lived Electric Flag in 1967 with two longtime Chicago cohorts, organist Barry Goldberg and vocalist Nick Gravenites. The band was intended to feature "American music," a hybrid of blues, soul music, country, rock, and folk, and incorporated an expanded lineup complete with a horn section. The inclusion of drummer Buddy Miles, whom he hired away from Wilson Pickett's touring band, gave Bloomfield license to explore soul and R&B. The Electric Flag debuted at the 1967 Monterey Pop Festival and issued an album, A Long Time Comin', in April 1968 on Columbia Records. Critics complimented the group's distinctive, intriguing sound but found the record itself somewhat uneven. By that time, however, the band was already disintegrating; rivalries between members, shortsighted management, and heroin abuse all took their toll. Shortly after the release of that album, Bloomfield left his own band, with Gravenites, Goldberg, and bassist Harvey Brooks following.
Released in 2002, "Groovin' Is Easy", contains the following 9 songs; "Spotlight", "I Was Robbed Last Night", "I Found Out", "Never Be Lonely Again","Losing Game", "My Baby Wants To Test Me","I Should Have Left Her","You Don't Realize" and "Groovin' Is Easy".
Work with Al Kooper
Bloomfield also made an impact through his work with Al Kooper, with whom he had played with Stephen Stills, on the album Super Session in 1968. The direct impetus for the record, according to Kooper, was the twosome's having been part of Grape Jam, an improvisational addendum to Moby Grape's Wow earlier in the year.
"Why not do an entire jam album together?" Kooper remembered in 1998, writing the booklet notes for the Bloomfield anthology Don't Say That I Ain't Your Man: Essential Blues, 1964-1969. "At the time, most jazz albums were made using this modus operandi: pick a leader or two co-leaders, hire appropriate sidemen, pick some tunes, make some up and record an entire album on the fly in one or two days. Why not try and legitimize rock by adhering to these standards? In addition, as a fan, I was dissatisfied with Bloomfield's recorded studio output up until then. It seemed that his studio work was inhibited and reined in, compared to his incendiary live performances. Could I put him in a studio setting where he could feel free to just burn like he did in live performances?"
The result was Super Session, a jam album that spotlighted Bloomfield's guitar skills on one side; Bloomfield's chronic insomnia caused him to repair to his San Francisco home, prompting Kooper to invite Stephen Stills to complete the album. It received excellent reviews and became the best-selling album of Bloomfield's career; its success led to a live sequel, The Live Adventures of Mike Bloomfield and Al Kooper, recorded over three nights at Fillmore West in September 1968.
Solo work
Bloomfield continued with solo, session and back-up work from 1969 to 1980, releasing his first solo work It's Not Killing Me in 1969. He recorded an album called Try It Before You Buy It which Columbia declined to release a year later. Bloomfield also helped Janis Joplin put her Kozmic Blues Band (for the album of the same name) together in 1969, co-wrote "Work Me, Lord" for the album, and played the guitar solo on Joplin's blues composition "One Good Man." Columbia also released another 1969 album, a live concert jam, Live at Bill Graham's Fillmore West, including former Butterfield bandmate Mark Naftalin, former Electric Flag bandmates Marcus Doubleday and Snooky Flowers, and a guest appearance by Taj Mahal; and, re-uniting with former bandmates Paul Butterfield and Sam Lay for the Chess Records all-star set, Fathers and Sons, featuring Muddy Waters and Otis Spann, also the same year. Bloomfield also composed and recorded the soundtrack for the film, Medium Cool by his cousin, Haskell Wexler set during the Democratic Convention in Chicago in 1968.
For a time, however, Bloomfield gave up playing because of his heroin addiction:
“ ..and I put the guitar down – didn't touch it.. Shooting junk made everything else unimportant, null and void, nolo contendre. My playing fell apart. I just didn't want to play.[5] ”
During the late 1970s, Bloomfield recorded for several smaller labels, including Takoma Records. Through Guitar Player magazine he also put out an instructional album with a vast array of blues guitar styles, titled If You Love These Blues, Play 'Em as You Please. Bloomfield also performed with John Cale on Cale's soundtrack to the film Caged Heat in 1975.
In 1973, Bloomfield teamed with Dr. John and John Hammond, Jr. for an album called Triumvirate, Bloomfield's final album under his Columbia contract. In 1974 Bloomfield hooked up with a failed supergroup called KGB, from the initials of Ray Kennedy (co-writer of "Sail On, Sailor"), Barry Goldberg on keyboards and Bloomfield on guitar. The band had a rhythm section of Ric Grech on bass and Carmine Appice on drums. Grech and Bloomfield immediately quit after its release, stating they never had faith in the project. The album was not well received, but it did contain the standout track "Sail On, Sailor". Its authorship was credited only to "Wilson-Kennedy", and had a bluesy, darker feel, along with Ray Kennedy's original cocaine related lyrics.[citation needed] Through the 1970s, Bloomfield seemed satisfied to play in local San Francisco Bay Area clubs, sitting in with other bands. During 1979–1981 Bloomfield performed often with the King Perkoff Band, often introducing them as his own "Michael Bloomfield and Friends" outfit. Bloomfield recorded "Hustlin' Queen", written by John Isabeau and Perkoff in 1979. Bloomfield had planned a tour to Sweden to complete an album of his favorites, including "Hustlin' Queen". Aside from a triumphant return to the stage sitting in with Bob Dylan at the Warfield in 1980 his rock star days were behind him.
Death
The exact events and circumstances that led to his death are not clear. What is known is that Bloomfield was found dead of a drug overdose in his car on February 15, 1981.[6] The only details (from unnamed sources) relate that Bloomfield died at a San Francisco party, and was driven to another location in the city by two men who were present at the party. His tombstone is in the Hillside Memorial Park Cemetery, Culver City, near Los Angeles.
Style
Bloomfield's musical influences include Scotty Moore, Chuck Berry, Little Richard, B.B. King, Big Joe Williams, Otis Rush, Albert King, Freddie King and Ray Charles.[7]
Bloomfield originally used the Fender Telecaster, though he had also used a Fender Mustang while recording for Columbia following his 1964 signing to the label. During his tenure with the Butterfield Blues Band he switched to a 1954 Gibson Les Paul model, which he used for some of the East-West sessions and which he was said to have found in Boston. In due course, according to biographers Jan Mark Wolkin and Bill Keenom, Bloomfield swapped that guitar for a 1959 Les Paul Standard and $100. This was the guitar Bloomfield used as a member of the Electric Flag, and on the Super Session album and concerts. He later veered between the Les Paul and the Telecaster, but Bloomfield's use of the Les Paul—as did Keith Richards' with the Rolling Stones and Eric Clapton's with John Mayall—influenced many others to use the model, helping prod Gibson to re-introduce the line (which it had discontinued in 1960) by mid-1968. Bloomfield eventually lost the guitar in Canada; Wolkin and Keenom's biography revealed a club owner kept the guitar as partial compensation after Bloomfield cut short a round of appearances. Its location today is unknown.
Unlike contemporaries such as Jimi Hendrix and Jeff Beck, Bloomfield rarely experimented with feedback and distortion, preferring a loud but clean, almost chiming sound with a healthy amount of reverb. One of his amplifiers of choice was a 1965 Fender Twin Reverb. Bloomfield's solos, like most blues guitarists', were based primarily on the minor pentatonic scale and the blues scale. However, his liberal use of chromatic notes within the pentatonic framework, and his periodic lines based on Indian and Eastern modes, allowed a considerable degree of fluidity to his solos. He was also renowned for his use of vibrato.
Gibson has since released a Michael Bloomfield Les Paul—replicating his 1959 Standard—in recognition of his effect on the blues genre, on helping to influence the revived production of the guitar, and on many other guitarists.[8] Because the actual guitar had been unaccounted for so many years, Gibson relied on hundreds of photographs provided by Bloomfield's family to reproduce the guitar. The model comes in two configurations—a clean Vintage Original Specifications (VOS) version with only Bloomfield's mismatched volume and control knobs, missing toggle switch cover, and kidney-shaped tuners replacing the Gibson originals indicating its inspiration; and, a faithful, process-aged reproduction of the guitar as it was when Bloomfield played it last, complete with the finish smudge below the bridge and various nicks and smudges elsewhere around the body.
His influence among contemporary guitarists continues to be widely felt, primarily in the techniques of vibrato, natural sustain, and economy of notes. Guitarists such as: Joe Bonamassa, Arlen Roth, Carlos Santana, Slash, Jimmy Vivino, Chuck Hammer, Eric Johnson, Elliot Easton, Robben Ford, John Scofield, Jimmy Herring, Phil Keaggy, remain essentially influenced by Bloomfield's early recorded work.
Michael Bloomfield 1978 Full Album
Michael Bloomfield - Takoma TAK 7070
1 - Guitar King
2 - Knockin' Myself Out
3 - My Children, My Children (I Call You)
4 - Women Loving Each Other
5 - Sloppy Drunk
6 - You Took My Money
7 - See That My Grave Is Kept Clean
8 - The Gospel Truth
1 - Guitar King
2 - Knockin' Myself Out
3 - My Children, My Children (I Call You)
4 - Women Loving Each Other
5 - Sloppy Drunk
6 - You Took My Money
7 - See That My Grave Is Kept Clean
8 - The Gospel Truth
Roy Rogers *28.07.1950
Roy Rogers (born July 28, 1950, Redding, California, United States) is an American blues rock slide guitarist and record producer.[1] He was named after the singing cowboy, Roy Rogers.[2] Rogers plays a variety of guitar styles related to the Delta blues, but is most often recognized for his virtuoso slide work.In the 1980s Rogers was a member of John Lee Hooker's Coast to Coast Band. Rogers produced four John Lee Hooker recordings- "The Healer", a Grammy winner, "Mr. Lucky", "Boom Boom" and "Chill Out." He also produced two Grammy nominated recordings for Ramblin' Jack Elliott entitled "Friends of Mine" and "A Long Ride." Roy also co-wrote "Gnawnin' On It" which was nominated for 'Best Female Rock Vocal for Bonnie Raitt', a long-time friend and collaborator.
Rogers has performed and/or recorded with for a diverse spectrum of artists including Linda Ronstadt, Sammy Hagar, Bonnie Raitt, Zucchero, John Gorka and Ramblin' Jack Elliott, Elvin Bishop, Carlos Santana, Steve Miller, and Ray Manzarek. Since 1980, Rogers has also fronted his own trio, The Delta Rhythm Kings.[2] In 2003, Roger's own Slideways reached number 3 on Billboard's 'Split Decision' also charted in 2009. chart for "Top Blues Albums." He has also been nominated for 'Best Blues Guitar Instrumentalist" by The Blues Foundation. Other awards include those from France and Australia with long-time friend Norton Buffalo. His most recent release is his second collaboration with The Doors co-founder Ray Manzarek entitled 'Twisted Tales' which was released on Chops Not Chaps Records in 2013. His releases have been received worldwide, as he has been touring Europe, Brazil, Australia, and Scandinavia since 1982.
Rogers has a brawny way with a lyric, and his command of slide styles is as extensive as anyone's.
„König der Slidegitarre“ wird er verschiedentlich genannt, und ohne Zweifel zählt Roy Rogers zu den großen Stilisten dieses Instrumentes. Geboren 1950 in Kalifornien, wuchs Rogers in der San Francisco Bay Area auf. Im Alter von zwölf Jahren kam er – wie Kid Ramos – zur Gitarre und entwickelte bald eine Vorliebe für den Blues, vor allem in der Ausprägung Robert Johnsons. Der Slide-Sound des Deltas wurde zu einer bestimmenden Einflussgröße. 1976 nahm Roy Rogers sein erstes Album auf und gilt seit dieser Zeit als Maß aller Dinge, die moderne Slidegitarre betreffend. Zahlreiche Grammy- und W.C. Handy Award-Nominierungen sprechen darüber eine beredte Sprache. In den Blickpunkt eines größeren, über den Blues hinausgehenden Publikums rückte der Gitarrist, als er in den 1980ern mit John Lee Hookers Coast To Coast Band tourte und schließlich für die Blueslegende auch als Produzent, unter anderem des legendären Albums „The Healer“ – wofür er auch den Grammy erhielt –, fungierte. Seine Musik war überdies oftmals auch in Filmen – unter anderem in „Einer flog über das Kuckucksnest“ - und TV-Produktionen zu hören. Sein Album „Slideways“, erschienen 2002 auf Evidence Records, gilt nahezu als revolutionär, eine vollkommen auf die Slidegitarre konzentrierte Instrumentalplatte, in unglaublicher Virtuosität angesiedelt.
Roy Rogers (slide guitar) - Walkin Blues
Eliana Cargnelutti *28.07.
Mit "Electric Woman" betitelte die italienische Blues-Rockerin Eliana Cargnelutti ihr Debüt-Album, das mir nun zum Rezensieren vorliegt. Produziert wurde die Platte vom anerkannten amerikanischen Blueser Albert Castiglia, der sich nebenbei auch als Slide-Gitarrist auf dem Tonträger verewigte, und Labelchef Thomas Ruf, einer der bekanntesten Bluesförderer der Gegenwart.
Kenner der 'Blauen Szene' haben längst erkannt: Alben, die aus dem Hause Ruf Records stammen, kann man sich fast blind zulegen, denn eines ist so klar wie ein gesunder Bachverlauf: Die Qualität der Ruf-Produktionen ist stets sehr hoch. So auch die von "Electric Woman" und eines kristallisiert sich relativ schnell heraus: Die junge Südeuropäerin kann nicht nur kraftvoll und markant singen, sondern weiß auch - wen wunderst? - glänzend mit 'nem Sechssaiter umzugehen.
Dass Eliana Cargnelutti keine 'Memme' ist, eher sogar mutig musiziert, unterstreicht sie ziemlich fett, indem sie sich gar an einen AC/DC-Klassiker heranwagt. Doch wer nun vermutet, dass sich die Lady den handelsüblichen Titeln wie, High Voltage, "Highway To Hell" oder "Thunderstruck" - um nur einige bekannte Beispiele zu erwähnen - bedient, den muss ich 'positiv enttäuschen'. "There's Gonna Be Some Rockin'" von der 76er Dirty Deeds...-Platte hat sie sich ausgesucht und verdient allein für diese Auswahl meinen uneingeschränkten Respekt. Auch deshalb, weil sie nicht verkrampft versucht, 1:1 nachzuspielen, sondern mit großartiger Eigeninterpretation dem Teil genau die Würze verleiht, damit sich dieser Oldie äußerst geschmackvoll aus den Boxen widerspiegelt. Mit "Soulshine" von den Allman Brothers (einigen vielleicht eher als Gov't Mule-Klassiker bekannt) und der Savoy Brown-Nummer "Street Corner Talking" bedient sie sich noch weiteren fremden Gedankengutes. Warum auch nicht? Solche Praktiken offenbaren zahlreiche Musiker, und wenn die Künstler, so wie Frau Cargnelutti, ihre persönliche Note beimischen, gibt es von meiner Seite aus nichts zu bemängeln.
Die 'elektrische Frau' versprüht enorm viel Spielfreude, offenbart viel Gefühl in ihren Soli und kann sich dadurch glänzend in Szene setzen. Dabei legt sie nicht so viel Wert auf sterile Gitarrenläufe, sondern lässt die Saiten ihrer Klampfen mit leichter Rohheit vom Stapel. Gut so Eliana, denn dadurch klingt "Electric Woman" immer interessant und lässt in 'keinster' Weise Langeweile aufkommen. Aber nicht nur deswegen, denn was allein Hammond-Spezi John Ginty bei "Everbody Needs Love" in die Tasten haut, ist absolut spitzenmäßig! Auch sonst sorgt er mit dosiertem Einsatz für einen erstklassigen Klangteppich, ebenso wie Rufs Haus- und Edelbasser Roger Inniss und Schlagzeuger Jamie Little. Durch die rhythmische Zusammenarbeit der drei, kann sich die Cargnelutti völlig sorgenfrei nach Herzenslust austoben.
Kenner der 'Blauen Szene' haben längst erkannt: Alben, die aus dem Hause Ruf Records stammen, kann man sich fast blind zulegen, denn eines ist so klar wie ein gesunder Bachverlauf: Die Qualität der Ruf-Produktionen ist stets sehr hoch. So auch die von "Electric Woman" und eines kristallisiert sich relativ schnell heraus: Die junge Südeuropäerin kann nicht nur kraftvoll und markant singen, sondern weiß auch - wen wunderst? - glänzend mit 'nem Sechssaiter umzugehen.
Dass Eliana Cargnelutti keine 'Memme' ist, eher sogar mutig musiziert, unterstreicht sie ziemlich fett, indem sie sich gar an einen AC/DC-Klassiker heranwagt. Doch wer nun vermutet, dass sich die Lady den handelsüblichen Titeln wie, High Voltage, "Highway To Hell" oder "Thunderstruck" - um nur einige bekannte Beispiele zu erwähnen - bedient, den muss ich 'positiv enttäuschen'. "There's Gonna Be Some Rockin'" von der 76er Dirty Deeds...-Platte hat sie sich ausgesucht und verdient allein für diese Auswahl meinen uneingeschränkten Respekt. Auch deshalb, weil sie nicht verkrampft versucht, 1:1 nachzuspielen, sondern mit großartiger Eigeninterpretation dem Teil genau die Würze verleiht, damit sich dieser Oldie äußerst geschmackvoll aus den Boxen widerspiegelt. Mit "Soulshine" von den Allman Brothers (einigen vielleicht eher als Gov't Mule-Klassiker bekannt) und der Savoy Brown-Nummer "Street Corner Talking" bedient sie sich noch weiteren fremden Gedankengutes. Warum auch nicht? Solche Praktiken offenbaren zahlreiche Musiker, und wenn die Künstler, so wie Frau Cargnelutti, ihre persönliche Note beimischen, gibt es von meiner Seite aus nichts zu bemängeln.
Die 'elektrische Frau' versprüht enorm viel Spielfreude, offenbart viel Gefühl in ihren Soli und kann sich dadurch glänzend in Szene setzen. Dabei legt sie nicht so viel Wert auf sterile Gitarrenläufe, sondern lässt die Saiten ihrer Klampfen mit leichter Rohheit vom Stapel. Gut so Eliana, denn dadurch klingt "Electric Woman" immer interessant und lässt in 'keinster' Weise Langeweile aufkommen. Aber nicht nur deswegen, denn was allein Hammond-Spezi John Ginty bei "Everbody Needs Love" in die Tasten haut, ist absolut spitzenmäßig! Auch sonst sorgt er mit dosiertem Einsatz für einen erstklassigen Klangteppich, ebenso wie Rufs Haus- und Edelbasser Roger Inniss und Schlagzeuger Jamie Little. Durch die rhythmische Zusammenarbeit der drei, kann sich die Cargnelutti völlig sorgenfrei nach Herzenslust austoben.
Eliana Cargnelutti, italian guitarist and singer, graduated in jazz guitar at the conservatory “G. Frescobaldi” in Ferrara introducing a thesis on Mike Stern. Eliana is the new hope of italian rock blues. A strong singer and a crafty guitarist, one of the rare real front women of the italian scene.
She plays a flavor of rock blues with a bit of everything in between: electric funk, mixed with pop and jazzy instrumentals, raw rock, tight blues grooves, illuminated by her skills as an electric guitarist. Her sets truly have something for everyone. Eliana is well known in the Italian blues scene thanks to her infectious persona.
Her band, features known musicians from the italian blues scene: Simone Serafini, Loris De Checchi and Carmine Bloisi from Padua. The melting of their personalities gives life to the subtles of musical nuances. Her band, features known musicians from the italian blues scene: Simone Serafini, Loris De Checchi and Carmine Bloisi from Padua. The melting of their personalities gives life to the subtles of musical nuances.
Eliana has played with various Italian blues artists like Enrico Crivellaro, Rudy Rotta, Tolo Marton, Roberto Formignani, W.I.N.D., Jimmy Joe and in other situations with Roberto Manuzzi and Ellade Bandini (Guccini), Andrea Rigonat (Elisa), Otis Grand, John Craig (guitarist of Ike & Tina Turner), Peter Stroud (guitarist of Sheryl Crow) and the Joe Pitts Band, with whom she played in various Italian and American festivals. She also recorded a CD with them, in Arkansas, USA (2009). She has collaborated with the progressive rock/klezmer group Passover from Trieste for a tour in Tokyo, Japan (2010) for a tour and a live album in the United States, Boston (2012).
She did her part in the international Tour with the Blues Caravan project “Girls With Guitars” of Ruf Record label for all the 2015. Eliana was the winner of the Blues Contest in Pordenone, Italy, in 2010, she won the blues award as the “best new young artist” at “Oscar del Blues” in Modena, Italy. She was named one of the five “best female guitarists” in the rock blues scene at the American “Jimi Awards” in 2015 and she was nominated the 5th best female guitar player of the rock blues world by Blues E-news magazine.
Her first Cd “Love Affairs” went out the 12th November 2013 for VideoRadio Label. Her second Cd “Electric Woman” went out in January 2015 for Ruf Record Label. She also recorded the Cd “Girls with guitars “ in 2015, for Ruf Records Label.
She plays a flavor of rock blues with a bit of everything in between: electric funk, mixed with pop and jazzy instrumentals, raw rock, tight blues grooves, illuminated by her skills as an electric guitarist. Her sets truly have something for everyone. Eliana is well known in the Italian blues scene thanks to her infectious persona.
Her band, features known musicians from the italian blues scene: Simone Serafini, Loris De Checchi and Carmine Bloisi from Padua. The melting of their personalities gives life to the subtles of musical nuances. Her band, features known musicians from the italian blues scene: Simone Serafini, Loris De Checchi and Carmine Bloisi from Padua. The melting of their personalities gives life to the subtles of musical nuances.
Eliana has played with various Italian blues artists like Enrico Crivellaro, Rudy Rotta, Tolo Marton, Roberto Formignani, W.I.N.D., Jimmy Joe and in other situations with Roberto Manuzzi and Ellade Bandini (Guccini), Andrea Rigonat (Elisa), Otis Grand, John Craig (guitarist of Ike & Tina Turner), Peter Stroud (guitarist of Sheryl Crow) and the Joe Pitts Band, with whom she played in various Italian and American festivals. She also recorded a CD with them, in Arkansas, USA (2009). She has collaborated with the progressive rock/klezmer group Passover from Trieste for a tour in Tokyo, Japan (2010) for a tour and a live album in the United States, Boston (2012).
She did her part in the international Tour with the Blues Caravan project “Girls With Guitars” of Ruf Record label for all the 2015. Eliana was the winner of the Blues Contest in Pordenone, Italy, in 2010, she won the blues award as the “best new young artist” at “Oscar del Blues” in Modena, Italy. She was named one of the five “best female guitarists” in the rock blues scene at the American “Jimi Awards” in 2015 and she was nominated the 5th best female guitar player of the rock blues world by Blues E-news magazine.
Her first Cd “Love Affairs” went out the 12th November 2013 for VideoRadio Label. Her second Cd “Electric Woman” went out in January 2015 for Ruf Record Label. She also recorded the Cd “Girls with guitars “ in 2015, for Ruf Records Label.
http://www.elianacargnelutti.com/about-me/
Eliana is young italian rock blues guitar player and singer.
Her band features known musicians from the italian blues scene: Simone Serafini, Loris De Checchi and Carmine Bloisi from Padua. The melting of their personalities gives life to the subtles of musical nuances. She plays a flavor of rock blues with a bit of everything in between: electric funk, mixed with pop and jazzy instrumentals, raw rock, tight blues grooves, illuminated by her skills as an electric guitarist. Her sets truly have something for everyone! Eliana is well known in the Italian blues scene thanks to her infectious persona. She has also performed in Japan and in the United States to critical acclaim.
Her first cd is called "Love affairs" (videoradio label 2013), but now she is a Ruf Records Label artist.
Eliana played with Otis Grand (London), Joe Pitts Band (Arkansas - Joe Pitts & Eliana tour - 2010 USA), John Craig (Musical director of Ike and Tina Turner, in Little Rock, 25° anniversario Arkansas river blues Society), Scott Henderson, Enrico Crivellaro, Rudy Rotta, Jimmy Joe's band, W.i.n.d., Roberto Manuzzi (Guccini), Andrea Rigonat e Noochie (Elisa), Teo Ciavarella (Lucio Dalla, Paolo Conte), Ellade Bandini (De Andrè, Guccini), Tolo Marton (Orme), Franco Toro, Roberto Formignani, Passover (prog rock-klezmer band that toured also in USA and Japan 3).
Eliana's first CD "LOVE AFFAIRS" went out the 12th november 2013, label Videoradio.
Eliana's second CD "ELECTRIC WOMAN" went out in february 2015 for Ruf Records Label.
She record also another CD in 2015: GIRLS WITH GUITARS 2015, RUF RECORDS LABEL, blues caravan tour.
https://www.facebook.com/elianacargnelutti/about?section=bio&pnref=about Her band features known musicians from the italian blues scene: Simone Serafini, Loris De Checchi and Carmine Bloisi from Padua. The melting of their personalities gives life to the subtles of musical nuances. She plays a flavor of rock blues with a bit of everything in between: electric funk, mixed with pop and jazzy instrumentals, raw rock, tight blues grooves, illuminated by her skills as an electric guitarist. Her sets truly have something for everyone! Eliana is well known in the Italian blues scene thanks to her infectious persona. She has also performed in Japan and in the United States to critical acclaim.
Her first cd is called "Love affairs" (videoradio label 2013), but now she is a Ruf Records Label artist.
Eliana played with Otis Grand (London), Joe Pitts Band (Arkansas - Joe Pitts & Eliana tour - 2010 USA), John Craig (Musical director of Ike and Tina Turner, in Little Rock, 25° anniversario Arkansas river blues Society), Scott Henderson, Enrico Crivellaro, Rudy Rotta, Jimmy Joe's band, W.i.n.d., Roberto Manuzzi (Guccini), Andrea Rigonat e Noochie (Elisa), Teo Ciavarella (Lucio Dalla, Paolo Conte), Ellade Bandini (De Andrè, Guccini), Tolo Marton (Orme), Franco Toro, Roberto Formignani, Passover (prog rock-klezmer band that toured also in USA and Japan 3).
Eliana's first CD "LOVE AFFAIRS" went out the 12th november 2013, label Videoradio.
Eliana's second CD "ELECTRIC WOMAN" went out in february 2015 for Ruf Records Label.
She record also another CD in 2015: GIRLS WITH GUITARS 2015, RUF RECORDS LABEL, blues caravan tour.
Cargnelutti Eliana FREE JAM 'Sweet Home Chicago' live @Al'trove Pistoia 06.07.2013
https://www.youtube.com/watch?v=oxktpIeunOo&x-yt-ts=1422579428&x-yt-cl=85114404
http://www.arts.state.ms.us/folklife/artist.php?dirname=holmes_jimmy
Jimmy 'Duck' Holmes 28.07.1947
Nun
kommt der Chef höchstpersönlich! Jimmy „Duck“ Holmes ist der Besitzer
des Original-Blue Front Cafes, diesem legendären Club in Betonia,
Missisippi, welcher der Bühne am Kapuzinerzipfel ihren Namen und auch
ihr Erscheinungsbild gibt.
Jimmy „Duck“ Holmes wurde 1947 als
Sohn von Cary und Mary Holmes geboren. Kurz nach seiner Geburt
eröffneten seine Eltern das Blue Front Cafe. Sie schufteten als
Landpächter, hatten zehn eigene Kinder und fünf Enkel, die Kinder einer
früh verstorbenen Tochter, durchzubringen.
Das Blue Front Cafe
half ihnen zu überleben und avancierte zum Treffpunkt der Arbeiter und
Musiker der Region. Während der Baumwollernte hatte das Blue Front Cafe
immer 24 Stunden geöffnet. Die Blueser kamen und gingen, Session folgte
auf Session.
Jimmy wuchs in diesem Ambiente auf und wusste
bereits als Bub, dass er Musiker werden wollte. Musikalisch ist er sehr
von Jack Owens beeinflusst, dem wichtigsten Exponenten des
Mississippi-Country-Blues.
1970, nach dem Tod seines Vaters,
übernahm Jimmy das Blue Front Cafe – und war da fortan der Wirt und
Konzertveranstalter. Seine erste CD nahm er erst 2006 auf. Das
Musikbusiness ist nicht sein Ding – und lange Reisen mag er auch nicht.
Trotz einer immensen Flugangst kommt er nach Rapperswil-Jona, ans
blues’n’jazz, ins Blue Front Cafe. Es ist uns eine Ehre!
Bentonia, MS: home to the legendary Skip James, famous for his falsetto
vocals and his mastery of a rare blues guitar style that has become
known as the “Bentonia style”.
The origin of the style goes back
to a chance meeting between Bentonian Henry Stuckey and black Bahamian
soldiers in France during World War I. Stuckey learned an odd E-minor
guitar tuning from the Bahamians and when he returned home taught it to
his brother Jacob and to Skip James and the younger Jack Owens.
As
these musicians traded ideas in the semi-isolated area of Bentonia,
James and Owens perfected the style by adding dark, introspective
lyrics. With his overwhelming personality coming through his
recordings, James created a haunting and unique sound that continues to
influence blues and folk music today. Though James died in 1969 and
Owens in 1997, this local style is preserved in the playing of Duck
Holmes.
While Duck comes from a much younger generation, it
seems he was destined to soak up the sounds and feel of the Bentonia
style whether he was trying to or not. Born Jimmy Charles Holmes on
July 28, 1947, Duck grew up two houses down from Henry and Jacob
Stuckey. In 1948, his mother and father opened the Blue Front Café
where they served cold drinks and offered live music. This music was
often provided by the Stuckeys or Jack Owens and harmonica player Bud
Spires.
When Duck took over the Blue Front in 1970, he began
arranging for Jack and Bud to play more regularly at the café. With the
encouragement of Jack, Duck began honing his skills and has emerged as
one of, if not the only living practitioners of the Bentonia style.
vocals and his mastery of a rare blues guitar style that has become
known as the “Bentonia style”.
The origin of the style goes back
to a chance meeting between Bentonian Henry Stuckey and black Bahamian
soldiers in France during World War I. Stuckey learned an odd E-minor
guitar tuning from the Bahamians and when he returned home taught it to
his brother Jacob and to Skip James and the younger Jack Owens.
As
these musicians traded ideas in the semi-isolated area of Bentonia,
James and Owens perfected the style by adding dark, introspective
lyrics. With his overwhelming personality coming through his
recordings, James created a haunting and unique sound that continues to
influence blues and folk music today. Though James died in 1969 and
Owens in 1997, this local style is preserved in the playing of Duck
Holmes.
While Duck comes from a much younger generation, it
seems he was destined to soak up the sounds and feel of the Bentonia
style whether he was trying to or not. Born Jimmy Charles Holmes on
July 28, 1947, Duck grew up two houses down from Henry and Jacob
Stuckey. In 1948, his mother and father opened the Blue Front Café
where they served cold drinks and offered live music. This music was
often provided by the Stuckeys or Jack Owens and harmonica player Bud
Spires.
When Duck took over the Blue Front in 1970, he began
arranging for Jack and Bud to play more regularly at the café. With the
encouragement of Jack, Duck began honing his skills and has emerged as
one of, if not the only living practitioners of the Bentonia style.
Jimmy 'Duck' Holmes
last survivor of the Bentonia blues
Among
blueslovers the small town of Bentonia has gained a fair amount of fame
because of a very specific style of country blues that developed here
in this hidden spot in the Mississippi Delta. A style which experts
describe as a mournful guitar sound and haunting lyrics in a remarkable
open D-minor tuning. Blues scholar David Evans called it "one of the
eeriest, loneliest and deepest blues sounds ever recorded".
Henry
Stuckey, Skip James and Jack Owens were the most outstanding
representatives of this blues style and nowadays there seems to be only
one man left to play the Bentonia blues. His name is Jimmy ‘Duck’
Holmes.
Holmes was born in 1947 and has lived his entire life in
and around Bentonia. Holmes has always been surrounded by the music of
local bluesmen and in the Seventies the fairly renowned Jack Owens
taught him how to play country blues.
"I've been around blues my
whole life", Holmes says. "It's not really something I chose. I feel
like it chose me. I'm just happy that people seem to like what I'm
doing."
When Jack Owens died in 1997 most people thought that this specific Bentonia blues style was dead and gone too.
Although
Jimmy ‘Duck’ Holmes played the blues for a couple of decades, he only
released his debut album 'Back to Bentonia' in 2006. Many blues lovers
were deeply impressed by the album and some critics called it a
masterpiece. The album was subsequently awarded with three Living Blues
Awards.
When I visited Holmes in May 2007 I asked him what exactly
defined that Bentonia style he was playing. He told me he didn't know.
"That's up to other people. Blues scholars maybe can tell you. I just
play the way I've learned it and I've played it all my life. What more
can you say …." He then picked up his guitar and started to play this
very peculiar kind of country blues. Yeah, what more can you say…
In
2007 Holmes came up with his second album and his powerful voice and
great guitar playing were again praised around the world.
Since
1970 Jimmy 'Duck' Holmes is the owner of the Blue Front Cafe, a juke
joint that his parents started in 1948. It is one of the oldest still
operating Mississippi juke joints. Holmes also organizes the annual
Bentonia Blues Festival.
http://www.yellowdog.nl/Bluesartists/JimmyDuckHolmesEng/tabid/299/Default.aspx
http://en.wikipedia.org/wiki/Jimmy_%22Duck%22_Holmes
http://en.wikipedia.org/wiki/Jimmy_%22Duck%22_Holmes
Keine Kommentare:
Kommentar veröffentlichen