Dienstag, 9. August 2016

09.08. Robert Shaw, Trudy Lynn, Little Roger * Detroit Junior, Hart Wand, Jerry García, Jean Carroll +












1908 Robert Shaw*
1947 Trudy Lynn*
1960 Hart Wand+
1968 Roger Wade*
1995 Jerry García+
2005 Detroit Junior+
2011Jeanne Carroll+






Happy Birthday

 

Robert Shaw   *09.08.1908




Robert Shaw (August 9, 1908 – May 18, 1985) was an American blues and boogie-woogie pianist,[1] best known for his 1963 album, The Ma Grinder.
Shaw was born in Stafford, Texas, the son of farm owners Jesse and Hettie Shaw. The Shaws had a Steinway grand piano and his sisters had lessons in playing, but Shaw's father was against his son learning the instrument.[2]
Shaw worked with his father on the family's ranch, and played the piano whenever his family was out; the first song he learned being "Aggravatin' Papa Don't You Try to Two-Time Me." In his adolescence, Shaw travelled to Houston to listen to jazz musicians, and at nearby roadhouses. He then found a piano teacher and with his earnings paid for lessons.[2]
He learned his barrelhouse style of playing from musicians in the Fourth Ward, Houston. In the 1920s Shaw was part of the "Santa Fe Circuit", named after touring musicians utilising the Santa Fe freight trains. Although he played in Chicago, Shaw mainly restricted himself to Texas, and performed as a soloist in the clubs and roadhouses of Sugarland, Richmond, Kingsville, Houston and Dallas. In 1930, at the height of the Kilgore oil boom, Shaw played there, and two years on traveled to Kansas City, Kansas, to perform.[2] In 1933 he hosted a radio show in Oklahoma City. He relocated to Texas,[3] first to Fort Worth and then to Austin. Here he settled down and took up residence, owning a grocery store known as the 'Stop and Swat'.[2]
Shaw married Martha Landrum in December 1939, but they had no children. However, Shaw had previously been married, and had a daughter, Verna Mae, and a son, William. For many years Shaw ran his grocery business in Austin in partnership with Martha, and in 1962 was named the black businessman of the year in Austin.[2]
In 1963, Shaw recorded an album, originally called Texas Barrelhouse Piano, produced by Robert "Mack" McCormick. It was originally released by McCormick's Almanac Book and Recording Company, and Chris Strachwitz's Arhoolie Records later reissued the LP, re-titled as The Ma Grinder.[3] The album contained old favourites such as "The Ma Grinder", "The Cows" and "Whores Is Funky", some of them too risque to have been issued previously.[4]
In 1967, seven years before his retirement from the grocery trade, Shaw recommenced concert playing. With the revival of his career, he played at the Kerrville Folk Festival, overseas in Amsterdam, Frankfurt, and at the Berlin Jazz Festival; as well as the Smithsonian Institution's American Folk Life Festival, the World's Fair Expo in Canada, and the New Orleans Jazz & Heritage Festival.[2] He played with the Preservation Hall Jazz Band at the 1973 Austin Aqua Festival,[2] and continued to perform Stateside and in Europe intermittently during the 1970s, turning up unexpectedly in California in 1981 to help Strachwitz celebrate Arhoolie's 20th anniversary.[3]
Shaw died of a heart attack in Austin, on May 16, 1985, and was interred at the Capital Memorial Gardens. Two weeks after his death, the Texas State Senate passed a resolution in honor of Shaw's contribution to the state's musical heritage.






Trudy Lynn   *09.08.1947

 



Trudy Lynn (born August 9, 1947)[2][3] is an American electric blues and soul blues singer and songwriter, whose recorded work has been released on nine albums.[1]
The Allmusic journalist, Alex Henderson, noted that "Lynn isn't one to hold back emotionally; like Koko Taylor and Etta James, she screams, shouts, testifies and gets her points across in a highly convincing way".
She was born Lee Audrey Nelms[3] in the Fifth Ward, Houston, Texas, United States.[5]
Her professional singing career began in the mid-1960s, when she sang with the guitarist Albert Collins and then later, Clarence Green. Use of her stage name of Trudy Lynn was in place when she performed with the Rhythmaires in the late 1960s.[3] Her early work was in the rhythm and blues genre, and she once opened for Ike & Tina Turner.[1] In the 1970s, Lynn expanded her performing base from clubs in Houston, to regional work and then overseas.[3]
Lynn's recording career did not start until 1989, when Ichiban Records released the first of five albums she recorded for them. Her debut, Trudy Sings the Blues, included her cover version of "Ball 'n' Chain".[6] It reached No. 76 in the US Billboard R&B albums chart.[7] The following year, Come to Mama also peaked at No. 76 in the same chart.[7] A mixture of southern soul and blues, her early albums were produced by Buzz Amato.[1] Her 1999 release, U Don't Know What Time It Is, issued by Ruf Records, was short of double entendres in the lyrics, which had been a trademark up to that time.[8] The album included keyboards input from Lucky Peterson, with Bernard Allison on guitar.[9] Her live album, Blues Power: Trudy's Blues (2004), had guitar work by Carl Weathersby.[10]
Her most recent output was I'm Still Here, released in May 2006.[11] It was recorded with the Calvin Owens Blues Orchestra.[12] I'm Still Here was nominated for a Blues Music Award in 2007 in the 'Best Soul Blues Album' category.[13] Lynn herself was nominated as 'Best Soul Blues Artist'.[14] In 2014, Lynn was nominated for a Blues Music Award in the 'Koko Taylor Award (Traditional Blues Female)' category.[15]
Festival work
At the Chicago Blues Festival, one newspaper journalist described her as "enthralling", whilst in her home town at the Juneteenth Blues Festival, she was described as the 'Blues Artist of the Year.'[14] Lynn appeared at the Notodden Blues Festival in both 1999 and 2009, and with Little Milton at the San Francisco Blues Festival in 2001.
http://en.wikipedia.org/wiki/Trudy_Lynn 



TRUDY LYNN CHICAGO BLUES FESTIVAL '91 (4) 








Roger Wade (Little Roger) 09.08.1968






In den letzten zwanzig Jahren hat sich Roger C. Wade (harp/vocals) als herausragender Mundharmonikaspieler der Zunft deutscher Bluestraditionalisten etabliert. Sein ebenso kraftvoller wie sensibler Stil, eindringliches Bluesfeeling gepaart mit einem gesunden Maß an Virtuosität begeistert den Bluesspezialisten und das Partypublikum gleichermaßen. Spontaneität, Humor und eine energiegeladene "Stage presence" - so schätzt das Publikum Roger C. Wade seit über 20 Jahren in Deutschland und Europa.

1968 in Norwich, England geboren, entdeckte Roger Mitte der 80er Jahre nicht nur den British Blues aber hauptsächlich seine Liebe zum klassischen Blues. Nach ersten Gigs als Duo auf den Straßen von England, zog es ihn schon nach Deutschland, wo er Anfang der 90er Jahre in seiner ersten deutschen Bluesband spielte, zunächst als Sideman dann als Frontman und Sänger. Kurz darauf gründete Roger seine erste Band, Excuse My Blues, zusammen mit seiner Frau Marion am Klavier. Die Weichen waren gestellt und die Richtung klar - es ging um Blues, Boogie und RnB. 1994 verbrachte Roger mehrere Monate in den US, wo er mit vielen namhaften Blueskünstlern zwischen New York und San Francisco zusammenspielte.

Nach dieser aufregenden und charakterprägenden Zeit kehrte Roger nach Deutschland zurück und gründete die Band Little Roger & The Houserockers mit seiner Frau Marion am Klavier und Tilmann Michalke an der Gitarre. In den letzten 20 Jahren waren zahlreiche bekannte Musiker als Gast bei Auftritten der Band, u.a. Alex Schulz, Chris Rannenberg, Marc T uvm. Im Jahr 2010 hat die Band eine zweiwöchige Tournee mit RJ Mischo in Europa absolviert. Die Band hat vier CDs aufgenommen, die letzte "Jumping at Jack's Joint" zusammen mit Thomas Feldmann, Sax Gordon und mit Special Guest Marc T, der darüber hinaus zwei CDs der Band produziert hat. Neben den Houserockers steht Roger regelmäßig mit anderen Bands auf der Bühne, insbesondere Jan Mohr and the Backscratchers und das Duo "Roger Mohr."

In the last twenty-five years, Roger C. Wade (harp/vocals) has become a stalwart on the European stage of traditional blues harmonica players. Both powerful and deeply rooted in the blues, his musical approach is not only appreciated by those familiar with the genre but also those that are not. Spontaneity, humour and a large helping of stage presence have enthused audiences for more than 20 years throughout Europe.

Born in 1968 in Norwich, England, Roger discovered his love for traditional blues in the mid 1980s. After busking on the streets of England, Roger moved to Germany, where he played in his first blues band in the early 90s, first as a sideman then as both singer and harp player. Shortly after, Roger founded the band Excuse My Blues, together with his wife Marion on the piano. From then on, the stage was set - Blues, Boogie and RnB. Roger spent several months in the USA in 1994 and played with many renowned artists from New York to San Francisco.

Roger returned to Germany and founded the band Little Roger & The Houserockers, with Marion on the piano and Tilmann Michalke on the guitar. Numerous guests have played with the band over the years, including Alex Schulz, Chris Rannenberg, Marc T and many more. The band also toured with RJ Mischo in 1994.  The Houserockers have recorded four CDs and an EP, the latest being "Jumping at Jack's Joint" with Sax Gordon providing the horn lines. Marc Tee provided vocals on one track, whilst producing two of the CDs. In addition to the Houserockers, Roger is currently the singer and harp player in the band Jan Mohr and the Backscratchers (Jan Mohr, Niels von der Leyen, Dirk Vollbrecht and Andreas Bock) as well as the duo "Roger Mohr" with Jan Mohr on guitar.


Little Roger & The Houserockers - Live in Idstein 2016 
For those who haven't seen the band yet, here is a compilation of songs performed by Little Roger and the Houserockers as part of the Idstein Jazz Festival 2016. Amazing evening with a fantastic crowd!
For those who haven't seen the band yet, here is a compilation of songs performed by Little Roger and the Houserockers as part of the Idstein Jazz Festival 2016. Amazing evening with a fantastic crowd!

Hope this gives you an idea of the show that has made the band popular over the years!

Roger C. Wade - harp/vocals
Tilmann Michalke - guitar
Marion Wade - piano
Stephan Roffmann - Bass
Björn Puls - Drums



Little Roger & The Houserockers - I Wanna Hold You 
A swinging little blues number by the band Little Roger & The Houserockers - I Wanna Hold You. Available on the CD "Jumping At Jack's Joint"

Roger C .Wade (harp)
Tilmann Michalke (guitar)
Marion Wade (piano)
Roman Lieutenant (bass)
Andreas Bock (drums)

https://www.youtube.com/watch?v=G80StVHg_CE 
 








R.I.P.

 

Detroit Junior   +09.08.2005

 


Emery "Detroit Junior" Williams, Jr. (October 26, 1931 – August 9, 2005)[2] was an American Chicago blues pianist, vocalist, and songwriter. He is known for songs such as "So Unhappy", "Call My Job", "If I Hadn't Been High", "Ella" and "Money Tree". His songs have been covered by Koko Taylor, Albert King and other blues artists.
Born in Haynes, Arkansas, United States,[2] Detroit recorded his first single, "Money Tree" with the Bea & Baby label in 1960. His first full album, Chicago Urban Blues, was released in the early 1970s on the Blues on Blues label.[1] He also has recordings on Alligator, Blue Suit, The Sirens Records, and Delmark.
Detroit Junior began his career in Detroit, Michigan, backing touring musicians such as Eddie Boyd, John Lee Hooker, and Amos Milburn. Boyd brought him to Chicago, Illinois in 1956, where he spent the next twelve years. In the early 1970s, Detroit toured and recorded with Howlin' Wolf.[1] After the death of Wolf in 1976, Detroit returned to Chicago, where he lived and performed until his death from heart failure in 2005.[2]
He was survived by his wife Ella, and brothers Keith and Kenneth H. Williams.








Hart Wand   +09.08.1960



Hart A. Wand (March 3, 1887 – August 9, 1960), was an American early fiddler and bandleader from Oklahoma City, Oklahoma, he was of German extraction .In the musical world he is chiefly noted for publishing the "Dallas Blues" in March 1912 (copyrighted in September). "Dallas Blues" was an early example of published twelve-bar blues song.[1][2][3]
Little is known about Wand. He was named for his maternal grandfather, Hart P. Ancker. Wand was an 89er, coming with his parents, a brother, and two sisters from Kansas at age two. His father John, an immigrant from Frankfurt, Germany, and successful druggist in Topeka, immediately after the run set up a tent drugstore in what would become Oklahoma City. After his father's death in 1909, Hart Wand took control of the Wand & Son manufacturing plant in Oklahoma City, and kept up his musical interests. Wand moved his business to Chicago sometime before 1920, and by 1920 had settled in New Orleans. He traveled through Europe, Latin America, and Asia for his business. Samuel Charters, who interviewed Wand for his book The Country Blues (1959), stated that Wand was respected and well liked in New Orleans.[4] Wand's wife, Alberta, died in 1982.


Dallas Blues by Hart Wand (1912, Blues piano) 


https://www.youtube.com/watch?t=18&v=2x7MbQhLaMw 




Jerry García  +09.08.1995






Jerome John „Jerry“ García (* 1. August 1942 in San Francisco; † 9. August 1995 in Lagunitas-Forest Knolls, Kalifornien) war ein US-amerikanischer Musiker, der vor allem als Bandleader der Rockgruppe Grateful Dead bekannt wurde.

Biographie

Jerry García war der Sohn der Krankenschwester Ruth (geb. Clifford) und des spanischen Swingmusikers José Ramon García und wurde nach dem Tin-Pan-Alley-Komponisten Jerome Kern benannt.

Mit vier Jahren verlor García den Mittelfinger seiner rechten Hand, als sein älterer Bruder ihm diesen beim Holzhacken mit einer Axt abtrennte. Ein Jahr später musste García mitansehen, wie sein Vater bei einem Angelunfall ertrank. Er wuchs in den folgenden Jahren bei seinen Großeltern auf, während seine Mutter arbeiten ging.

Musik

Zu seinem 15. Geburtstag 1957 bekam er seine erste Gitarre. Jerry García nahm Zeichenstunden in einem College und spielte in seiner Freizeit Gitarre, hauptsächlich Country, Jazz, Folk und Blues.

1960 verließ er die High School und trat in den Militärdienst ein, wurde aber bald wieder entlassen, nachdem er wiederholt nicht zum Dienst erschienen war. Er kehrte zurück nach San Francisco und traf dort den Dichter Robert Hunter, mit dem er später so gut wie alle seine Lieder für die Grateful Dead und seine Soloprojekte schrieb. García kaufte in Dana Morgans Musikladen ein Banjo von dem jungen Angestellten Bill Kreutzmann, der später Schlagzeuger bei den Grateful Dead wurde. García spielte zu dieser Zeit in einigen Bluegrass-Bands. Zu dieser Zeit gründete er mit Bob Weir, Bob Matthews, Marshall Leicster, Tom Stone und Ron McKernan (alias Pigpen), die sich alle regelmäßig in Dana Morgans Musikladen aufhielten, die Bluegrass-Band Mother McCree's Uptown Jug Champions. Auf Drängen Pigpens entwickelte sich Mother McCree immer mehr zum Elektrischen hin, und so wurden aus der Formation 1965 die Warlocks und später im selben Jahr schließlich die Grateful Dead.

Soloprojekte

1972 begann Jerry García aktiv an seiner Solokarriere zu arbeiten. Bereits 1971 hatte er zusammen mit Howard Wales ein Soloalbum aufgenommen, bei dem aber alle Songs von Wales geschrieben wurden. Sein erstes wirkliches Soloalbum enthielt dann aber hauptsächlich García/Hunter-Kompositionen, von denen einige Eingang in das Grateful-Dead-Repertoire fanden. Bei diesem Album spielt García auch alle Instrumente (Gitarren, Keyboards, Gesang) selbst, wodurch es eine der seltenen Aufnahmen wurde, bei den man Jerry García an einem Tasteninstrument hört. Nur das Schlagzeug wird vom Grateful-Dead-Kollegen Bill Kreutzmann gespielt.

In der Folgezeit spielte García regelmäßig mit seiner Jerry García Band. Außerdem war er Mitglied (beziehungsweise Bandleader) bei Legion of Mary und Old and in the Way. Bei fast allen Soloprojekten begleiteten ihn John Kahn am Bass und Merl Saunders an den Keyboards. Auch Mitglieder der Grateful Dead waren oft Gastmusiker bei Garcías Solobands. Seine Soloarbeiten wurden auch stark von seiner Freundschaft zu David Grisman geprägt, einem Mandolinenspieler, der auch schon mit Jazzikonen wie Stephane Grappelli gespielt hatte. Bei Old And In The Way hatte García schon mit Grisman zusammengearbeitet. 1990 hatten sie wieder Kontakt aufgenommen und seither viel zusammen gejammt und auch Konzerte gegeben. Ihr Stil beinhaltete unter anderem Jazz, Folk und Bluegrass, war aber immer akustisch. 1991 veröffentlichten sie García/Grisman, worauf einige weitere Alben sowie der Film Grateful Dawg im Jahr 2000 folgten. Besonders sind hier die Pizza Tapes hervorzuheben. Dabei handelt es sich um die Aufnahme einer Jam-Session, die den Musikern von einem Pizzaauslieferer gestohlen wurde. Als das Bootleg immer weitere Kreise zog, wurde die Session offiziell veröffentlicht.

Equipment
Gitarren

    „Du konntest einen Verstärker verlieren, du konntest Sachen kaputt machen – und manchmal haben wir das auch. Aber ich hätte Jerry nie in die Augen schauen können und sagen: ‚Ich habe deine Gitarre nicht.‘“

– Steve Parish, Jerry Garcías Equipmentmanager

Jerry García besaß etwa 25 Gitarren. Seine erste Gitarre, die er zu seinem 15. Geburtstag geschenkt bekommen hatte, war eine Danelectro. 1965 spielte er bei den Warlocks auf einer roten Guild Starfire, die auch auf dem ersten Grateful-Dead-Album The Grateful Dead von 1967 zu hören ist. Später in diesem Jahr wechselte er zu einer schwarzen Gibson Les Paul von 1957, mit P90-Tonabnehmern und Bigsby-Tremolo. Im darauf folgenden Jahr spielte er auf einer Gold-Top Les Paul mit P90 Single Coil-Tonabnehmern. Im Sommer 1968 wechselte er zu einer anderen, schwarzen Les Paul, diesmal ohne Tremolo. Im Jahr 1969 spielte er auf einer Gibson SG, mit der er auch auf dem Album Live/Dead zu hören ist. 1970 sah man ihn dann mit einer 63er Sunburst Fender Stratocaster, bevor er im Mai wieder auf seine Gibson SG zurückgriff. Bei den akustischen Aufnahmen in diesem Jahr spielte er eine Martin D-18 und eine ZB Pedal Steel. 1971 wechselte er ein weiteres Mal, diesmal zu einer Sunburst Gibson Les Paul. Im März und April sah man ihn auch mit einer Spezialanfertigung, die von der Firma Alembic stammen soll. Im Mai zeigte er sich mit einer 57er Strat, die er von Graham Nash bekommen hatte.

Zwischen all diesen Gitarren wechselte García immer wieder hin und her und war doch nie ganz zufrieden mit den Fabrikprodukten, bis er 1972 die erste Gitarre kaufte, die der Gitarrenbauer Doug Irwin jemals baute. Sie kostete 850 $ und ist bekannt als 001. Er bestellte von Doug Irwin eine weitere Gitarre, die speziell auf seine Wünsche zugeschnitten war und erhielt sie im Mai 1973 für 1500 $. Wie viele andere seiner Gitarren verschenkte er die 001. Ihr neuer Besitzer war das Crew-Mitglied Ramrod. Seine neue Gitarre wurde wegen einer entsprechenden Intarsie Wolf genannt. Kaum hatte García die neue Gitarre in den Händen, bestellte er bei Doug Irwin eine weitere Gitarre. Er stellte dabei keine besonderen Anforderungen, sondern verließ sich dabei voll auf Doug. Nachdem er eine Zeit lang eine Aluminium-Gitarre von Travis Bean ausprobiert hatte, spielte er 1977 wieder die Wolf, die er 1979 durch die Tiger ersetzte. Doug Irwin hatte sechs Jahre damit verbracht, sie zu bauen, und Jerry García spielte das 7 kg schwere Instrument 11 Jahre lang. Die Tiger erlaubte es Jerry García, seine Effektgeräte von der Gitarre aus zu steuern. Außerdem besaß die Gitarre einen versteckten Vorverstärker. 1988 wurde die Wolf zeitweise reaktiviert, um für Jerrys MIDI-Synthesizer-Experimente zu dienen. Jerry benutzte die MIDI-Geräte, um seine Gitarre wie eine Trompete oder andere Instrumente klingen zu lassen. 1989 lieferte Doug Irwin die Rosebud aus, die 11.000 $ kostete und als sein Meisterwerk gilt. Diese für Jerry García angefertigten Gitarren waren mit den Tonabnehmern Di Marzio Super II (Humbucker) bzw. Di Marzio SDS-1 (Single Coil) bestückt.

Im Jahr 1993 kam Jerrys nächste Gitarre mit der Post: Stephen Cripe, ein Schreiner aus Florida, der Jahre damit verbracht hatte, individuell angefertigte Inneneinrichtungen von karibischen Yachten zu bauen, hatte eine Gitarre gebaut. Dazu kopierte er Doug Irwins Design der Tiger und veränderte es leicht. Die Gitarre baute er aus einem einzigen Stück ostindischen Palisanders, das er aus einem Opiumbett aus dem 19. Jahrhundert gewann. García war begeistert. Er ließ zwar das elektrische Innenleben überarbeiten, ansonsten war er aber hingerissen von der Gitarre. Er nannte sie „die Gitarre, auf die ich immer gewartet hatte“ und spielte fast nur noch auf diesem Instrument. Sie wurde bekannt unter dem Namen Lightning Bolt (Blitzstrahl). García traf Cripe bei einem Konzert in Florida und bestellte für 6.500 $ eine weitere Gitarre, die als Top Hat bekannt wurde, obwohl García fast nie auf ihr spielte.

Sein letztes Konzert in Chicago begann Jerry García mit Irwins Rosebud, aber während des Konzerts gab es Probleme und García griff auf die Ersatzgitarre der Tour zurück – die Tiger – und beendete sein letztes Konzert mit seinem alten, vertrauten Handwerkszeug. Über die akustischen Gitarren, die García benutzte, ist weniger bekannt. Außer der oben erwähnten Martin spielte er auf verschiedenen Takamine-Instrumenten und einer 1939er Gibson Super 400N, von der angenommen wird, dass es die letzte Gitarre ist, auf der García gespielt hat.

In seinem Testament verfügte Jerry García, dass Doug Irwin alle fünf Gitarren, die dieser für García gebaut hatte, bekommen sollte. Die anderen Bandmitglieder, ausgenommen Phil Lesh, erhoben dagegen Einspruch. Da die Gitarren vom Geld der Band gekauft worden wären, könnten sie nicht Garcías alleiniger Besitz gewesen sein. Diese Kontroverse verärgerte viele Fans, die immer auf die nichtkommerzielle Ausrichtung der Band stolz gewesen sind. Man einigte sich im Januar 1996 schließlich darauf, dass Irwin die Modelle Tiger und Wolf behalten dürfte. Da Irwin 1998 auf Grund eines Autounfalls verarmte, beschloss er, diese Gitarren zu versteigern. Zusammen brachten sie 1,74 Millionen US-Dollar ein, wobei die Käufer unbekannt blieben.

Vom Rolling Stone wurde er auf den sechsundvierzigsten Platz der besten Gitarristen gewählt.[1]

Effektgeräte

In den frühen 1970er Jahren benutzte García fast nur ein Wah-Wah-Pedal von Vox. In den späten 1970er Jahren erweiterte er sein Equipment um einen Mutron Octave Divider, MXR Distortion und einige andere Geräte, z.B. das Mutron III Auto-Wah, das man auf Estimated Prophet hören kann. Auf dem epischen Terrapin Station benutzt García auch einen direkt von seiner Gitarre angesteuerten Synthesizer, mit dem er rasend schnelle, spacige Tonfolgen produziert. In den späten 1980er Jahren verwendete er hauptsächlich Boss-Effektgeräte, zum Beispiel Octave Divider, Turbo Overdrive und zwei Effektschleifen. Außerdem benutzte er extrem teure Lexicon-Effektgeräte, die eigentlich zur Verwendung im Studio hergestellt waren.

Krankheit

1957 hatte Jerry García Bekanntschaft mit Marihuana gemacht und nahm seit 1965 regelmäßig Drogen. Vor allem gegen seine Heroinsucht kämpfte er lange Zeit. 1986 fiel er in ein mehrtägiges Koma. Die Diagnose war Diabetes. Im Jahr 1991 hatte er einen weiteren Zusammenbruch. 1992 musste sogar die Herbsttour abgesagt werden, weil García zu schwer erkrankt war.

Im Sommer 1995 begab er sich in ein Drogen-Rehabilitations-Zentrum 50 km nördlich von San Francisco. Seinen Bandkollegen hatte er erzählt, er ginge mit seiner Frau nach Hawaii in den Urlaub. Am 9. August 1995 um 4:23 Uhr morgens wurde Jerry García in seinem Zimmer von einer Krankenschwester am Boden liegend gefunden. Sie stellte fest, dass er nicht mehr atmete. Wiederbelebungsversuche blieben erfolglos. Die Todesursache war ein Herzinfarkt. Am 13. August wurde im Golden Gate Park ein Erinnerungsgottesdienst gehalten, an dem Bandmitglieder, seine Familie und Freunde und Tausende Fans teilnahmen. US-Präsident Bill Clinton ehrte ihn dabei als eine „amerikanische Ikone“.

Familie

Jerry García heiratete 1963 Sarah Ruppenthal, mit der er seine erste Tochter hatte. Vom 31. Dezember 1981 bis zum Januar 1994 war er mit Carolyn Adams García, auch bekannt als Mountain Girl, verheiratet. Bereits vorher hatte er mit ihr die zwei Töchter bekommen. Aus der außerehelichen Beziehung zu Manasha Matheson entsprang am 20. Dezember 1987 eine weitere Tochter. Nach der Scheidung heiratete er Deborah Koons García, mit der er vom 14. Februar 1994 bis zu seinem Tod verheiratet war. Nach seinem Tod brach zwischen seinen letzten beiden Frauen ein erbitterter Streit über seinen Nachlass aus. García hatte seiner Ex-Frau Carolyn ein beträchtliches Vermögen hinterlassen. Seine letzte Frau bezweifelte seine Zurechnungsfähigkeit aufgrund seiner Drogensucht und beanspruchte das Vermögen für sich. Das Gericht entschied gemäß Garcías Willen und sprach Carolyn ihren Teil des Nachlasses zu.

Kunst

Jerry García war auch als Maler und Zeichner sehr aktiv. Er schuf über 500 Bilder und Zeichnungen. Er studierte Kunst an der California School of Fine Arts, die jetzt San Francisco Art Institute heißt. Er arbeitete mit Wasserfarben, Bleistift und Tinte, fand aber auch Gefallen an digitaler Kunst, wovon beispielsweise das Cover des Grateful Dead Albums Infrared Roses zeugt.

In den USA gibt es eine Krawattenserie, auf der Jerry Garcías Kunst abgedruckt ist. Außerdem werden seine Bilder auf Etiketten von Weinflaschen abgedruckt.

Cherry García

García zu Ehren benannte der bekannte Speiseeisproduzent Ben & Jerry’s eine Eiscreme und einen Low Fat Frozen Yogurt nach ihm. Die Eiscreme wurde noch zu Garcías Lebzeiten 1987 nach ihm benannt. Es hat Kirschgeschmack mit Kirsch- und Knusperschokoladenstücken. Nach dem Tod von García wurde anstelle der Bing-Kirsche die schwarze Späte Traubenkirsche verwendet.

Jerome John "Jerry" Garcia (August 1, 1942 – August 9, 1995) was an American musician best known for his lead guitar work, singing and songwriting with the band the Grateful Dead, which came to prominence during the counterculture era in the 1960s.[2][3] Though he disavowed the role, Garcia was viewed by many as the leader or "spokesman" of the group.[2][3][4][5]

One of its founders, Garcia performed with the Grateful Dead for their entire thirty-year career (1965–1995). Garcia also founded and participated in a variety of side projects, including the Saunders–Garcia Band (with longtime friend Merl Saunders), the Jerry Garcia Band, Old and in the Way, the Garcia/Grisman acoustic duo, Legion of Mary, and the New Riders of the Purple Sage (which Garcia co-founded with John Dawson and David Nelson).[2] He also released several solo albums, and contributed to a number of albums by other artists over the years as a session musician. He was well known for his distinctive guitar playing and was ranked 46th in Rolling Stone's "100 Greatest Guitarists of All Time" cover story.[6]

Later in life, Garcia was sometimes ill because of his diabetes, and in 1986 went into a diabetic coma that nearly cost him his life. Although his overall health improved somewhat after that, he also struggled with heroin and cocaine addictions,[4][5] and was staying in a California drug rehabilitation facility when he died of a heart attack in August 1995.[3][5]

Childhood and early life

Jerry Garcia's ancestors on his father's side were from Galicia in northwest Spain. His mother's ancestors were Irish and Swedish.[7] He was born in San Francisco, California, on August 1, 1942, to Jose Ramon "Joe" Garcia and Ruth Marie "Bobbie" (née Clifford) Garcia,[8][9][10] who was herself born in San Francisco.[7] His parents named him after composer Jerome Kern.[8][11][12] Jerome John was their second child, preceded by Clifford Ramon "Tiff", who was born in 1937.[13][14] Shortly before Clifford's birth, their father and a partner leased a building in downtown San Francisco and turned it into a bar, partly in response to Jose being blackballed from a musicians' union for moonlighting.[15]

Garcia was influenced by music at an early age,[16] taking piano lessons for much of his childhood.[17] His father was a retired professional musician and his mother enjoyed playing the piano.[8] His father's extended family—who had emigrated from Spain in 1919—would often sing during reunions.[14]

At age four,[18][19] while the family was vacationing in the Santa Cruz Mountains, two-thirds of Garcia's right middle finger was accidentally cut off.[20][21] Garcia and his brother Tiff were chopping wood. As Tiff began to swing, Jerry put his finger on the wood to hold it in place. The axe came down too close to Jerry's finger, severing most of it.[22] After his mother wrapped his hand in a towel, Garcia's father drove him over 30 miles to the nearest hospital.[20] A few weeks later, Garcia—who had not looked at his finger since the accident—was surprised to discover most of it missing when the bandage he was wearing came off during a bath.[23] Garcia later confided that he often used it to his advantage in his youth, showing it off to other children in his neighborhood.

Garcia experienced several tragic events during his youth. Less than a year after losing most of his finger, his father died. While on vacation with his family near Arcata in Northern California in 1947, his father went fly-fishing in the Trinity River, part of the Six Rivers National Forest.[24] Not long after entering he slipped on a rock underfoot, plunging into the deep rapids of the river. The incident was witnessed by a group of boys who immediately sought help, beckoning a pair of nearby fishermen. By the time he was pulled from the water, he had already drowned. Garcia later claimed to have seen his father fall into the river, but Dennis McNally, author of the book A Long Strange Trip: The Inside Story of the Grateful Dead, asserts that he did not, instead forming the memory from hearing the story repeated many times.[12] Blair Jackson, who wrote the biography Garcia: An American Life, lends weight to McNally's claim, citing that the newspaper article describing Jose's death made no mention of Garcia being at the scene—even misidentifying him as his parents' daughter.[24]

Following the accident, Garcia's mother took over her husband's bar, buying out his partner for full ownership. As a result, Ruth Garcia began working full-time, sending Jerry and his brother to live just down the road with their maternal grandparents, Tillie and William Clifford. During the five-year period in which he lived with his grandparents, Garcia enjoyed a large amount of autonomy and attended Monroe School, the local elementary school. At the school, Garcia was greatly encouraged in his artistic abilities by his third grade teacher: through her, he discovered that "being a creative person was a viable possibility in life."[25] According to Garcia, it was around this time that he was opened up to country and to bluegrass by his grandmother, whom he recalled enjoyed listening to the Grand Ole Opry. His elder brother, Clifford, however, staunchly believed the contrary, insisting that Garcia was "fantasizing all [that] ... she'd been to Opry, but she didn't listen to it on the radio." It was at this point that Garcia started playing the banjo, his first stringed instrument.[26]

In 1953, Garcia's mother married Wally Matusiewicz.[27] Subsequently, Garcia and his brother moved back home with their mother and new stepfather. However, due to the roughneck reputation of their neighborhood at the time, the Excelsior District, Garcia's mother moved their family to Menlo Park.[27] During their stay in Menlo Park, Garcia became acquainted with racism and antisemitism, things he disliked intensely.[27] The same year, Garcia was also introduced to rock and roll and rhythm and blues by his brother, and enjoyed listening to the likes of Ray Charles, John Lee Hooker, B. B. King, Hank Ballard, and, later, Chuck Berry.[28] Clifford often memorized the vocals for his favorite songs, and would then make Garcia learn the harmony parts, a move to which Garcia later attributed much of his early ear training.[28]

In mid-1957, Garcia began smoking cigarettes and was introduced to marijuana.[29][30] Garcia would later reminisce about the first time he smoked marijuana: "Me and a friend of mine went up into the hills with two joints, the San Francisco foothills, and smoked these joints and just got so high and laughed and roared and went skipping down the streets doing funny things and just having a helluva time".[16] During this time, Garcia also took up an art program at the San Francisco Art Institute to further his burgeoning interest in the visual arts.[18] The teacher there was Wally Hedrick, an artist who came to prominence during the 1960s. During the classes, he often encouraged Garcia in his drawing and painting skills.[31]

In June of the same year, Garcia graduated from the local Menlo Oaks school. He then moved with his family back to San Francisco, where they lived in an apartment above the newly built bar, the old one having previously been torn down to make way for a freeway entrance.[32] Two months later, on Garcia's fifteenth birthday, his mother purchased him an accordion, to his great disappointment.[16] Garcia had long been captivated by many rhythm and blues artists, especially Chuck Berry and Bo Diddley: his one wish at this point was to have an electric guitar.[32] After some pleading, his mother exchanged the accordion for a Danelectro with a small amplifier at a local pawnshop.[33] Garcia's stepfather, who was somewhat proficient with instruments, helped tune his guitar to an unusual open tuning.[29]

After a short stint at Denman Junior High School, Garcia attended tenth grade at Balboa High School in 1958, where he often got into trouble for skipping classes and fighting.[34] Consequently, in 1959, Garcia's mother again moved the family to get Garcia to stay out of trouble, this time to Cazadero, a small town in Sonoma County, 90 miles north of San Francisco.[34] This turn of events did not sit well with Garcia. To get to Analy High School, the nearest school, he had to travel by bus thirty miles to Sebastopol, a move which only made him more unhappy.[35] Garcia did, however, join a band at his school known as the Chords. After performing and winning a contest, the band's reward was recording a song—they chose "Raunchy" by Bill Justis.[36]

Recording career
Relocation and band beginnings

Garcia stole his mother's car in 1960, and as punishment he was forced to join the United States Army. He received basic training at Fort Ord.[16] After training, he was transferred to Fort Winfield Scott in the Presidio of San Francisco.[37] Garcia spent most of his time in the army at his leisure, missing roll call and accruing many counts of AWOL.[38] As a result, Garcia was given a general discharge on December 14, 1960.[39]

In January 1961, Garcia drove down to East Palo Alto to see Laird Grant, an old friend from middle school.[40] He had bought a 1950 Cadillac sedan from a cook in the army, which barely made it to Grant's residence before it broke down.[40] Garcia spent the next few weeks sleeping where friends would allow, eventually using his car as a home. Through Grant, Garcia met Dave McQueen in February, who, after hearing Garcia perform some blues, introduced him to local people and to the Chateau, a rooming house located near Stanford University which was then a popular hangout.[41]

On February 20, 1961, Garcia got into a car with Paul Speegle, a sixteen-year-old artist and acquaintance of Garcia; Lee Adams, the house manager of the Chateau and driver of the car; and Alan Trist, a companion of theirs.[41] After speeding past the Palo Alto Veterans Hospital, the car encountered a curve and, traveling around ninety miles per hour, collided with the guard rail, sending the car rolling turbulently.[42][43] Garcia was hurled through the windshield of the car into a nearby field with such force he was literally thrown out of his shoes and would later be unable to recall the ejection.[42] Lee Adams, the driver, and Alan Trist, who was seated in the back, were thrown from the car as well, suffering from abdominal injuries and a spine fracture, respectively.[42] Garcia escaped with a broken collarbone, while Speegle, still in the car, was fatally injured.[43]

The accident served as an awakening for Garcia, who later commented: "That's where my life began. Before then I was always living at less than capacity. I was idling. That was the slingshot for the rest of my life. It was like a second chance. Then I got serious".[44] It was at this time that Garcia began to realize that he needed to begin playing the guitar in earnest—a move which meant giving up his love of drawing and painting.[45]

In April 1961, Garcia first met Robert Hunter, who would become a long-time friend of and lyricist for the Grateful Dead, collaborating principally with Garcia.[2][8] The two involved themselves in the South Bay and San Francisco art and music scenes, sometimes playing at Menlo Park's Kepler's Books.[8] Garcia performed his first concert with Hunter, each earning five dollars. Garcia and Hunter also played in a band called the Wildwood Boys with David Nelson, who would later play with Garcia in the New Riders of the Purple Sage and contribute to several Grateful Dead album cuts.[18]

In 1962, Garcia met Phil Lesh, the eventual bassist of the Grateful Dead, during a party in Menlo Park's bohemian Perry Lane neighborhood (where Ken Kesey lived).[46] Lesh would later write in his autobiography that Garcia reminded him of pictures he had seen of the composer Claude Debussy, with his "dark, curly hair, goatee, Impressionist eyes".[18] While attending another party in Palo Alto, Lesh approached Garcia to suggest they record Garcia on Lesh's tape recorder and produce a radio show for the progressive, community-supported Berkeley radio station KPFA.[18] Using an old Wollensak tape recorder, they recorded "Matty Groves" and "The Long Black Veil", among several other tunes. Their efforts were not in vain. These recordings became a central feature of a 90-minute KPFA special broadcast, "The Long Black Veil and Other Ballads: An Evening with Jerry Garcia".[18] The link between KPFA and the Grateful Dead continues to this day, having included many fundraisers, interviews, live concert broadcasts, taped band performances and all-day or all-weekend "Dead-only" marathons.

Garcia soon began playing and teaching acoustic guitar and banjo.[18] One of Garcia's students was Bob Matthews, who later engineered many of the Grateful Dead's albums.[47] Matthews attended Menlo-Atherton high school and was friends with Bob Weir, and on New Year's Eve 1963, he introduced Weir and Garcia.[47]

Between 1962 and 1964, Garcia sang and performed mainly bluegrass, old-time, and folk music. One of the bands Garcia performed with was the Sleepy Hollow Hog Stompers, a bluegrass act. The group consisted of Jerry Garcia on guitar, banjo, vocals, and harmonica, Marshall Leicester on banjo, guitar, and vocals, and Dick Arnold on fiddle and vocals.[48] Soon after this, Garcia, Weir, Ron "Pigpen" McKernan, and several of their friends formed a jug band called Mother McCree's Uptown Jug Champions. Around this time, the psychedelic LSD was gaining popularity. Garcia first began using LSD in 1964; later, when asked how it changed his life, he remarked: "Well, it changed everything [...] the effect was that it freed me because I suddenly realized that my little attempt at having a straight life and doing that was really a fiction and just wasn't going to work out. Luckily I wasn't far enough into it for it to be shattering or anything; it was like a realization that just made me feel immensely relieved".[16]

In 1965, Mother McCree's Uptown Jug Champions evolved into the Warlocks, with the addition of Phil Lesh on bass guitar and Bill Kreutzmann on percussion. However, the band discovered that another group (which would later become the Velvet Underground) was performing under their newly selected name, prompting another name change. Garcia came up with "Grateful Dead" by opening a Funk & Wagnalls dictionary to an entry for "Grateful dead".[16][17][18] The definition for "Grateful Dead" was "a dead person, or his angel, showing gratitude to someone who, as an act of charity, arranged their burial".[49] The band's first reaction was disapproval.[16][17] Garcia later explained the group's reaction: "I didn't like it really, I just found it to be really powerful. [Bob] Weir didn't like it, [Bill] Kreutzmann didn't like it and nobody really wanted to hear about it. [...]"[16] Despite their dislike of the name, it quickly spread by word of mouth, and soon became their official title.

Career with the Grateful Dead

Garcia served as lead guitarist, as well as one of the principal vocalists and songwriters of the Grateful Dead for their entire career. Garcia composed such songs as "Dark Star",[50] "Franklin's Tower",[50] and "Scarlet Begonias",[50] among many others. Robert Hunter, an ardent collaborator with the band, wrote the lyrics to all but a few of Garcia's songs.

Garcia was well-noted for his "soulful extended guitar improvisations",[3] which would frequently feature interplay between him and his fellow band members. His fame, as well as the band's, arguably rested on their ability to never play a song the same way twice.[4] Often, Garcia would take cues from rhythm guitarist Bob Weir, remarking that "there are some [...] kinds of ideas that would really throw me if I had to create a harmonic bridge between all the things going on rhythmically with two drums and Phil [Lesh's] innovative bass playing. Weir's ability to solve that sort of problem is extraordinary. [...] Harmonically, I take a lot of my solo cues from Bob."[51]

When asked to describe his approach to soloing, Garcia commented: "It keeps on changing. I still basically revolve around the melody and the way it's broken up into phrases as I perceive them. With most solos, I tend to play something that phrases the way the melody does; my phrases may be more dense or have different value, but they'll occur in the same places in the song. [...]"[52]

Garcia and the band toured almost constantly from their formation in 1965 until Garcia's death in 1995, a stint which gave credit to the name "endless tour". Periodically, there were breaks due to exhaustion or health problems, often due to unstable health and/or Garcia's drug use. During their three-decade span, the Grateful Dead played 2,314 shows.[4]

Garcia's mature guitar-playing melded elements from the various kinds of music that had enthralled him. Echoes of bluegrass playing (such as Arthur Smith and Doc Watson) could be heard. But the "roots music" behind bluegrass had its influence, too, and melodic riffs from Celtic fiddle jigs can be distinguished.[citation needed] There was also early rock (like Lonnie Mack, James Burton, and Chuck Berry), contemporary blues (Freddie King and Lowell Fulsom), country and western (Roy Nichols and Don Rich), and jazz (Charlie Christian and Django Reinhardt) to be heard in Garcia's style. Don Rich was the sparkling country guitar player in Buck Owens's "the Buckaroos" band of the 1960s, but besides Rich's style, both Garcia's pedal steel guitar playing (on Grateful Dead records and others) and his standard electric guitar work, were influenced by another of Owens's Buckaroos of that time, pedal steel player Tom Brumley. And as an improvisational soloist, John Coltrane was one of his greatest personal and musical influences.

Garcia later described his playing style as having "descended from barroom rock and roll, country guitar. Just 'cause that's where all my stuff comes from. It's like that blues instrumental stuff that was happening in the late Fifties and early Sixties, like Freddie King." Garcia's style could vary with the song being played and the instrument he was using. But his playing had a number of so-called "signatures". Among these were lead lines based on rhythmic triplets (examples include the songs "Good Morning Little School Girl", "New Speedway Boogie", "Brokedown Palace", "Deal", "Loser", "Truckin'", "That's It for the Other One", "U.S. Blues", "Sugaree", and "Don't Ease Me In").

Side projects

In addition to the Grateful Dead, Garcia had numerous side projects, the most notable being the Jerry Garcia Band. He was also involved with various acoustic projects such as Old and in the Way and other bluegrass bands, including collaborations with noted bluegrass mandolinist David Grisman. The documentary film Grateful Dawg chronicles the deep, long-term friendship between Garcia and Grisman.[53]

Other groups of which Garcia was a member at one time or another include the Black Mountain Boys,[54] Legion of Mary, Reconstruction, and the Jerry Garcia Acoustic Band. Garcia was also an appreciative fan of jazz artists and improvisation: he played with jazz keyboardists Merl Saunders and Howard Wales for many years in various groups and jam sessions, and he appeared on saxophonist Ornette Coleman's 1988 album, Virgin Beauty. His collaboration with Merl Saunders and Muruga Booker on the world music album Blues From the Rainforest launched the Rainforest Band.

Garcia also spent a lot of time in the recording studio helping out fellow musician friends in session work, often adding guitar, vocals, pedal steel, sometimes banjo and piano and even producing. He played on over 50 studio albums the styles of which were eclectic and varied, including bluegrass, rock, folk, blues, country, jazz, electronic music, gospel, funk, and reggae. Artists who sought Garcia's help included the likes of Jefferson Airplane (most notably Surrealistic Pillow, Garcia being listed as their "spiritual advisor"). Garcia himself recalled in a mid-1967 interview that he'd played the high lead on "Today," played on "Plastic Fantastic Lover" and "Comin' Back to Me" on that album. Others include Tom Fogerty, David Bromberg, Robert Hunter (Liberty, on Relix Records), Paul Pena, Peter Rowan, Warren Zevon, Country Joe McDonald, Pete Sears, Ken Nordine, Ornette Coleman, Bruce Hornsby, Bob Dylan, It's a Beautiful Day, and many more. In 1995 Garcia played on three tracks for the CD Blue Incantation by guitarist Sanjay Mishra, making it his last studio collaboration.

Throughout the early 1970s, Garcia, Lesh, Grateful Dead drummer Mickey Hart, and David Crosby collaborated intermittently with MIT-educated composer and biologist Ned Lagin on several projects in the realm of early ambient music; these include the album Seastones (released by the Dead on their Round Records subsidiary) and L, an unfinished dance work.

Garcia also lent pedal steel guitar to fellow-San Francisco musicians New Riders of the Purple Sage from their initial dates in 1969 to October 1971, when increased commitments with the Dead forced him to opt out of the group. He appears as a band member on their debut album New Riders of the Purple Sage, and produced Home, Home on the Road, a 1974 live album by the band. He also contributed pedal steel guitar to the enduring hit "Teach Your Children" by Crosby, Stills, Nash, & Young. Garcia also played steel guitar licks on Brewer & Shipley's 1970 album Tarkio. Despite considering himself a novice on the pedal steel, Garcia routinely ranked high in player polls. After a long lapse from playing the pedal steel, he played it once more during several of the Dead's concerts with Bob Dylan in the summer of 1987.

In 1988, Garcia agreed to perform at several major benefits including the "Soviet American Peace Walk" concert at the Band Shell, in Golden Gate Park, San Francisco, that drew 25,000 people. He was asked to play by longtime friend and fellow musician, Pete Sears, who played piano with all the bands that day, and also procured all the other musicians. Garcia, Mickey Hart and Steve Parish played the show, then were given a police escort to a Grateful Dead show across the bay later that night. Garcia also played with Nick Gravenites and Pete Sears at a benefit given for Vietnam Veteran, peace activist, Brian Willson who lost both legs when a train carrying weapons to military dictatorships in El Salvador ran over him at Concord Naval Base in California.

Having previously studied at the San Francisco Art Institute as a teenager, Garcia embarked on a second career in the visual arts in the late 1980s. He offered for sale and auction to the public a number of illustrations, lithographs, and water colors. Some of those pieces became the basis of a line of men's neckties characterized by bright colors and abstract patterns. Years after Garcia's death, new styles and designs continue to be produced and sold. Some ties that were produced began as etchings, other designs came from his drawings, paintings, and digital art.

Garcia's artistic endeavors were represented by the Weir Gallery[55] in Berkeley, California from 1989 to 1996. During this period, Roberta Weir provided Garcia with new art techniques to use, sponsored his first solo show in 1990, and prepared blank etching plates for him to draw on.[56] These would then be processed and printed by gallery staff and brought back to Garcia for approval and signature, usually with a passing of stacks of paper backstage at a Dead show. His annual shows at the Weir Gallery garnered much attention, leading to further shows in New York and other cities. Garcia was an early adopter of digital art media; his artistic style was as varied as his musical output, and he carried small notebooks for pen and ink sketches wherever he toured. Roberta Weir continues to maintain an archive of the artwork of Jerry Garcia.[57]

Personal life

Garcia met his first wife, Sara Ruppenthal Garcia, in 1963.[18] She was working at the coffee house in the back of Kepler's Bookstore where Garcia, Hunter, and Nelson performed. They married on April 23, 1963, and on December 8 of that year their daughter Heather was born.[58]

During August 1970, Garcia's mother Ruth was involved in a car accident near Twin Peaks in San Francisco.[18] Garcia, who was recording the album American Beauty at the time, often left the sessions to visit his mother with his brother Clifford. She died on September 28, 1970. That same year, Garcia participated in the soundtrack for the film Zabriskie Point.

Carolyn Adams, also known as "Mountain Girl" or "M.G." moved into 710 Ashbury with Garcia in 1966. In 1967, Sara and Jerry divorced.[59] Carolyn Adams gave birth to Garcia's second and third daughters, Annabelle Walker Garcia (February 2, 1970) and Theresa Adams "Trixie" Garcia (September 21, 1974) while she was still officially married to Merry Prankster George Walker. Adams and Walker divorced in 1978. Adams and Garcia married in 1981.[58]

In 1974, around the time Blues for Allah was being created, Garcia met Deborah Koons, the woman who would much later become his third wife and widow.[18] Garcia moved into a home with Koons in 1974. In 1978, Adams left California and moved to Oregon where she resided near author Ken Kesey, who was the father of her first daughter, Sunshine Kesey. Adams remained in Oregon for nine years while Garcia continued to live in California with band manager Rock Scully and Nora Sage, who later became Garcia's art representative.[60] Garcia and Adams officially divorced in 1994.

In Chicago during the autumn of 1978, Garcia began a long friendship with the artist Manasha Matheson. In August 1990, Garcia and Manasha married in San Anselmo, California in a spiritual ceremony, free of legal convention. They shared a family home together in California with their daughter, Keelin Noel Garcia.[57] In 1992, Garcia dedicated his first art book (J. Garcia: Paintings, Drawings and Sketches) to Manasha: "For Manasha, with love, Jerry".[61]

Garcia and girlfriend Barbara Meier, who had met in December of the previous year, separated at the beginning of the Dead's 1993 spring tour. In 1994, Garcia renewed his acquaintance with Deborah Koons. They married on February 14, 1994, in Sausalito, California.[18]

Lifestyle and health

Garcia and his fellow musicians were subjected to a handful of drug busts during their lifetime. On October 2, 1967, 710 Ashbury Street in San Francisco (where the Grateful Dead had taken up residence the year before) was raided after a police tip-off.[18] Grateful Dead members Phil Lesh, Bob Weir, and Ron "Pigpen" McKernan were apprehended on marijuana charges which were later dropped, although Garcia himself was not arrested.[62] The following year, Garcia's picture was used in a campaign commercial for Richard Nixon.[63]

Most of the band were arrested again in January 1970, after they flew to New Orleans from Hawaii.[18] After returning to their hotel from a performance, the band checked into their rooms, only to be quickly raided by police. Approximately fifteen people were arrested on the spot, including many of the road crew, management, and nearly all of the Grateful Dead (except Garcia, who arrived later, and McKernan, who was not taking drugs at the time).[18]

While touring in late 1973, the band began to use cocaine. During the band's hiatus in 1975, Garcia was introduced to a smokeable form of heroin. Influenced by the stresses of creating and releasing The Grateful Dead Movie in 1977, Garcia became increasingly dependent upon heroin and cocaine. This factor—combined with the alcohol and drug abuse of several other members of the Grateful Dead—produced turbulent times for the band: the band's chemistry began "cracking and crumbling",[18] resulting in poor group cohesion. As a result, Keith and Donna Jean Godchaux left the band in February 1979. With the addition of keyboardist Brent Mydland, the band reached new commercial heights. Though things seemed to be getting better for the band, Garcia's health was declining. By 1983, Garcia's demeanor onstage had appeared to change. Despite still playing the guitar with great passion and intensity, there were times that he would appear disengaged; as such, shows were often inconsistent. Years of heavy smoking had affected his voice, and he gained considerable weight. By 1984, he would often rest his chin on the microphone during performances. The so-called "endless tour"—the result of years of financial risks, drug use, and poor business decisions—had taken its toll.

Garcia's decade-long heroin addiction culminated in the rest of the band holding an intervention in January 1985.[18] Given the choice between the band or the drugs, Garcia agreed to check into a rehabilitation center in Oakland, California. A few days later in January, before the start of his program in Oakland, Garcia was arrested for drug possession in Golden Gate Park; he subsequently attended a drug diversion program. Throughout 1985, he fought to kick his habit while on tour, and by 1986, was completely clean.

Precipitated by an unhealthy weight, bad eating habits, and recent drug use, Garcia collapsed into a diabetic coma in July 1986, waking up five days later.[4][5] He later spoke about this period of unconsciousness as surreal: "Well, I had some very weird experiences. My main experience was one of furious activity and tremendous struggle in a sort of futuristic, space-ship vehicle with insectoid presences. After I came out of my coma, I had this image of myself as these little hunks of protoplasm that were stuck together kind of like stamps with perforations between them that you could snap off."[17] Garcia's coma had a profound effect on him: it forced him to have to relearn how to play the guitar, as well as other, more basic skills. Within a handful of months, he quickly recovered, playing with the Jerry Garcia Band and the Grateful Dead again later that year.[18] Garcia frequently saw a woman named Manasha Matheson during this period. Together they produced Garcia's fourth and final child, a girl named Keelin Noel Garcia, who was born December 20, 1987.[58] (Jerry, Keelin, and Manasha toured and shared a home together as a family until 1993.) After Garcia's recovery, the band released a comeback album In the Dark in 1987, which became their best selling studio album. Inspired by Garcia's improved health and a successful album, the band's energy and chemistry peaked in the late 1980s and early 1990s.

Keyboardist Brent Mydland died of a drug overdose in July 1990. His death greatly affected Garcia, leading him to believe that the band's chemistry would never be the same. Before beginning the fall tour, the band acquired keyboardists Vince Welnick and Bruce Hornsby. The power of Hornsby's keys musically drove Garcia to new heights on stage. As the band continued through 1991, Garcia became concerned with the band's future. He was exhausted from five straight years of touring. He thought a break was necessary, mainly so that the band could come back with fresh material. The idea was put off by the pressures of management, and the touring continued. Garcia's decrease in both stamina and interest to continue touring caused him to use narcotics again. Though his relapse was brief, the band was quick to react. Soon after the last show of the tour in Denver, Garcia was confronted by the band with another intervention. After a disastrous meeting, Garcia invited Phil Lesh over to his home in San Rafael, California, where he explained that after the meeting he would start attending a methadone clinic. Garcia said that he wanted to clean up in his own way, and return to making music.[18]

After returning from the band's 1992 summer tour, Garcia became sick, a throwback to his diabetic coma in 1986.[18] Refusing to go to the hospital, he instead enlisted the aid of acupuncturist Yen Wei Choong and a licensed doctor to treat him at home. Garcia recovered over the following days, despite the Grateful Dead having to cancel their fall tour to allow him time to recuperate. Garcia then reduced his cigarette smoking and began losing weight. He also became a vegetarian.[64]

By the beginning of 1995, Garcia's physical and mental condition declined. His playing ability suffered to the point where he would turn down the volume of his guitar, and he often had to be reminded of what song he was performing.[18] Due to his frail condition, he began to use narcotics again to dull the pain.

In light of his second drug relapse and current condition, Garcia checked himself into the Betty Ford Center during July 1995. His stay was limited, lasting only two weeks. Motivated by the experience, he then checked into the Serenity Knolls treatment center in Forest Knolls, California.[5][65]

Death

On August 9, 1995, at 4:23 am, eight days after his 53rd birthday, Garcia was found dead in his room at the rehabilitation clinic.[5][65] The cause of death was a heart attack.[66] Garcia had long struggled with drug addiction,[5] weight problems, sleep apnea,[5] heavy smoking, and diabetes—all of which contributed to his physical decline. Lesh remarked that upon hearing of Garcia's death, "I was struck numb; I had lost my oldest surviving friend, my brother."[18] Garcia's funeral was held on August 12, at St. Stephen's Episcopal Church in Belvedere.[18][65] It was attended by his family, the remaining Grateful Dead members, and their friends (including former basketball player Bill Walton and musician Bob Dylan) and his widow Deborah Koons,[65] who barred Garcia's former wives from the ceremony.[18]

On August 13, a municipally sanctioned public memorial took place in the Polo Fields of San Francisco's Golden Gate Park, and was attended by approximately 25,000 people.[18] Crowds produced hundreds of flowers, gifts, images, and a bagpipe rendition of "Amazing Grace"[65] in remembrance. In the Haight, a single white rose was reportedly tied to a tree near the Dead's former Ashbury house, where a group of followers gathered to mourn.[67]

On the morning of April 4, 1996, after a total lunar eclipse earlier that day, Weir and Deborah Koons, accompanied by Sanjay Mishra, spread half of Garcia's ashes into the Ganges River at the holy city of Rishikesh, India,[18][68][69] a site sacred to Hindus. The remaining ashes were poured into the San Francisco Bay. Koons did not allow one of Garcia's ex-wives, Carolyn "Mountain Girl" Garcia, to attend the spreading of the ashes.[70]

Musical equipment

Garcia played many guitars during his career, which ranged from Fender Stratocasters and Gibson SGs to custom-made instruments. During his thirty-odd years as a musician, Garcia used about 25 guitars.[71]

In 1965, when Garcia was playing with the Warlocks, he used a Guild Starfire,[71] which he also used on the début album of the Grateful Dead. Beginning in late 1967 and ending in 1968, Garcia played various colored Gibson Les Paul guitars. In 1969, he picked up the Gibson SG and used it for most of that year and 1970, except for a small period in between where he used a Sunburst Fender Stratocaster.

During Garcia's "pedal steel flirtation period" (as Bob Weir referred to it in Anthem to Beauty), from approximately 1969 to 1974, he initially played a Fender Pedal Steel, and then upgraded a ZB Custom D-10,[72] especially in his earlier public performances. Although this was a double neck guitar, Garcia often would choose not to attach the last 5 pedal rods for the rear or Western Swing neck.[citation needed] Additionally, he was playing an Emmons D-10[73] at the time of the Grateful Dead's and New Riders of the Purple Sage's final appearances at the Fillmore East in late April 1971.[citation needed]

In 1969, Garcia played pedal steel on three notable outside recordings: the track "The Farm" on the Jefferson Airplane album Volunteers; and the hit singles "One Toke Over The Line" by Brewer and Shipley and "Teach Your Children" by Crosby, Stills, Nash & Young from their album Déjà Vu, released in 1970. Garcia played on the latter album in exchange for harmony lessons for the Grateful Dead, who were at the time recording Workingman's Dead.[74]

In 1971, Garcia began playing a Sunburst Les Paul. That March, he received a guitar that little is known about today. It is said to be an early Alembic project or referred to as Peanut. In May, Garcia began using a '57 Stratocaster that was given to him by Graham Nash, however, Garcia did not add the Alligator sticker to the pickguard until later that year in the fall. Throughout the summer, Garcia played a double-cutaway Les Paul TV Junior. Images of these can be seen at dozin.com.[75]

In 1972, Garcia used a Fender Stratocaster nicknamed Alligator for its alligator sticker on the pickguard.[71] The guitar was given to him by Graham Nash. This was in part, due to damage to his first custom-made guitar, made by Doug Irwin at Alembic. This guitar, nicknamed Wolf for a memorable sticker Garcia added below the tailpiece, cost $1500 – extremely high for the time.[76]

Wolf was made with an ebony fingerboard and featured numerous embellishments like alternating grain designs in the headstock, ivory inlays, and fret marker dots made of sterling silver. The body was composed of western maple wood which had a core of purpleheart. Garcia later had former Alembic employee Doug Irwin replace the electronics inside the guitar, at which point he added his own logo to the headstock alongside the Alembic logo. The system included two interchangeable plates for configuring pickups: one was made for strictly single coils, while the other accommodated humbuckers. Shortly after receiving the modified instrument, Garcia requested another custom guitar from Irwin with the advice "don't hold back."[76]

During the Grateful Dead's European Tour, Wolf was dropped on several occasions, one of which caused a minor crack in the headstock. Garcia returned it to Irwin to fix; during its two-year absence Garcia played predominantly Travis Bean guitars. On September 28, 1977, Irwin delivered the renovated Wolf back to Garcia.[76] The wolf sticker which gave the guitar its name had now been inlaid into the instrument; it also featured an effects loop between the pick-ups and controls (so inline effects would "see" the same signal at all times) which was bypassable. Irwin also put a new face on the headstock with only his logo (he later claimed to have built the guitar himself, though pictures through time clearly show the progression of logos, from Alembic, to Alembic & Irwin, to only Irwin). In The Grateful Dead Movie Garcia is playing Wolf and this film provides excellent views of Wolf.[original research?]

Nearly seven years after he first requested it, Garcia received his third custom guitar from Irwin in 1979 (the first Irwin was "Eagle", the second was "Wolf").[77] The first concert that Garcia played Tiger was August 4, 1979 at the Oakland Auditorium Arena.[77] It was named Tiger from the inlay on the preamp cover.[78] The body of Tiger was of rich quality: the top layer was cocobolo, with the preceding layers being maple stripe, vermilion, and flame maple, in that order.[78] The neck was made of western maple with an ebony fingerboard. The pickups consisted of a single coil DiMarzio SDS-1 and two humbucker DiMarzio Super IIs which were easily removable due to Garcia's preference for replacing his pickups every year or two.[78] The electronics were composed of an effects bypass loop, which allowed Garcia to control the sound of his effects through the tone and volume controls on the guitar, and a preamplifier/buffer which rested behind a plate in the back of the guitar. In terms of weight, everything included made Tiger tip the scales at 13½ pounds. This was Garcia's principal guitar for the next eleven years, and most played.

In the late eighties Garcia, Weir and CSN (along with many others) endorsed Alvarez Yairi acoustic guitars. There are many photographs circulating (mostly promotional) of Garcia playing a DY99 Virtuoso Custom with a Modulus Graphite neck. He opted to play with the less decorated model but the promotional photo from the Alvarez Yairi catalog has him holding the "tree of life" model. This hand-built guitar was notable for the collaboration between Japanese luthier Kazuo Yairi and Modulus Graphite of San Rafael. As with most things Garcia, with his passing, the DY99 model is rendered legend and valuable among collectors.

In 1990, Irwin completed Rosebud, Garcia's fourth custom guitar.[79] It was similar to his previous guitar Tiger in many respects, but featured different inlays and electronics, tone and volume controls, and weight. Rosebud, unlike Tiger, was configured with three humbuckers; the neck and bridge pickups shared a tone control, while the middle had its own. Atop the guitar was a Roland GK-2 pickup which fed the controller set inside the guitar. The GK2 was used in junction with the Roland GR-50 rack mount synthesizer. The GR-50 synthesizer in turn drove a Korg M1R synthesizer producing the MIDI effects heard during live performances of this period as heard on the Grateful Dead recording 'Without a Net'.[79][80] Sections of the guitar were hollowed out to bring the weight down to 11½ pounds. The inlay, a dancing skeleton holding a rose, covers a plate just below the bridge. The final cost of the instrument was $11,000.[79]

In 1993, carpenter-turned-luthier Stephen Cripe tried his hand at making an instrument for Garcia.[71] After researching Tiger through pictures and films, Cripe set out on what would soon become known as Lightning Bolt, again named for its inlay.[81] The guitar used Brazilian rosewood for the fingerboard and East Indian rosewood for the body, which, with admitted irony from Cripe, was taken from a 19th-century bed used by opium smokers.[81] Built purely from guesswork, Lightning Bolt was a hit with Garcia, who began using the guitar exclusively. Soon after, Garcia requested that Cripe build a backup of the guitar. Cripe, who had not measured or photographed the original, was told simply to "wing it."[81]

Cripe later delivered the backup, which was known by the name Top Hat. Garcia bought it from him for the price of $6,500, making it the first guitar that Cripe had ever sold.[81] However, infatuated with Lightning Bolt, Garcia rarely used the backup.

After Garcia's death, the ownership of his Wolf and Tiger came into question. According to Garcia's will,[58] his guitars were to go to Doug Irwin, who had constructed them.[82][83] The remaining Grateful Dead members disagreed—they considered his guitars to be property of the band, leading to a lawsuit between the two parties.[82][83] In 2001, Irwin won the case. Irwin, being a victim of a hit-and-run accident in 1998,[83] was left nearly penniless. He placed Garcia's guitars up for auction in hopes of being able to start another guitar workshop.[82]

On May 8, 2002, Wolf and Tiger, among other memorabilia, were placed for auction at Studio 54 in New York City.[82] Tiger was purchased for $957,500, while Wolf was bought for $789,500. Together, the instruments were bought for $1.74 million, setting a new world record.[83] Wolf is in a private collection kept in a secure climate controlled room in a private residence at Utica, N.Y., and Tiger is in the private collection of Indianapolis Colts owner Jim Irsay.[84]

Legacy

Garcia appeared in the 1977 movie Close Encounters of the Third Kind as an extra during the scenes in India in a crowd shot.[85] During the following year, the Grateful Dead would occasionally improvise the theme from Close Encounters in concert.

In 1987, ice cream manufacturer Ben & Jerry's came out with Cherry Garcia, which is named after the guitarist and consists of "cherry ice cream with cherries and fudge flakes".[86][87][88][89]

Garcia was inducted into the Rock and Roll Hall of Fame as a member of the Grateful Dead in 1994.[90] Garcia did not attend the event.

Famous guitar player and known Garcia fan Warren Haynes wrote the song "Patchwork Quilt" in memory of Garcia. Grammy award winning reggae artist Burning Spear paid homage by releasing the song "Play Jerry" in 1997.

In the episode titled "Halloween: The Final Chapter" on the show Roseanne, aired shortly after his death on October 31, 1995, a tribute to Jerry Garcia was made, and the character name of the baby was Jerry Garcia Conner.

In 2003, Rolling Stone Magazine ranked Jerry Garcia 13th in their list of the 100 Greatest Guitarists of All Time.[6]

In 2005, rapper Proof from the group D12 released an album named after Garcia, Searching for Jerry Garcia. The album was released ten years to the day of Garcia's death.

In the 1996 comedy Flirting with Disaster, the newborn child of the two protagonists name their son Garcia in honor of Jerry Garcia.

Ween recorded the song, "So Long Jerry" during the sessions for their 12 Golden Country Greats album, but it was left off the album, eventually appearing on the "Piss Up a Rope" single.

According to fellow Bay Area guitar player Henry Kaiser, Garcia is "the most recorded guitarist in history. With more than 2,200 Grateful Dead concerts, and 1,000 Jerry Garcia Band concerts captured on tape – as well as numerous studio sessions – there are about 15,000 hours of his guitar work preserved for the ages."[91]

On July 30, 2004, Melvin Seals was the first Jerry Garcia Band (JGB) member to headline an outdoor music and camping festival called the Grateful Garcia Gathering. Jerry Garcia Band drummer David Kemper joined Melvin Seals and JGB in 2007. Other musicians and friends of Garcia include Donna Jean Godchaux, Mookie Siegel, Pete Sears, G.E. Smith, Chuck Hammer, Barry Sless, Jackie Greene, Brian Lesh, Sanjay Mishra, and Mark Karan.

On July 21, 2005, the San Francisco Recreation and Park Commission passed a resolution to name the amphitheater in McLaren Park "The Jerry Garcia Amphitheater."[92] The amphitheater is located in the Excelsior District, where Garcia grew up. The first show to happen at the Jerry Garcia Amphitheater was Jerry Day 2005 on August 7, 2005. Jerry's brother, Tiff Garcia, was the first person to welcome everybody to the "Jerry Garcia Amphitheater." Jerry Day is an annual celebration of Garcia in his childhood neighborhood. The dedication ceremony (Jerry Day 2) on October 29, 2005 was officiated by mayor Gavin Newsom.

On September 24, 2005, the Comes a Time: A Celebration of the Music & Spirit of Jerry Garcia tribute concert was held at the Hearst Greek Theatre in Berkeley, California.[93] The concert featured Bob Weir, Bill Kreutzmann, Mickey Hart, Bruce Hornsby, Trey Anastasio, Warren Haynes, Jimmy Herring, Michael Kang, Jay Lane, Jeff Chimenti, Mark Karan, Robin Sylvester, Kenny Brooks, Melvin Seals, Merl Saunders, Marty Holland, Stu Allen, Gloria Jones, and Jackie LaBranch.

Georgia-based composer Lee Johnson released an orchestral tribute to the music of the Grateful Dead, recorded with the Russian National Orchestra, entitled "Dead Symphony: Lee Johnson Symphony No. 6." Johnson was interviewed on NPR on the July 26, 2008 broadcast of Weekend Edition, and gave much credit to the genius and craft of Garcia's songwriting. A live performance with the Baltimore Symphony Orchestra, conducted by Johnson himself, was held Friday, August 1.[94]

In 2010 the Santa Barbara Bowl in California opened Jerry Garcia Glen along the walk up to the venue. There is a statue of Garcia's right hand along the way.

Seattle rock band Soundgarden wrote and recorded the instrumental song "Jerry Garcia's Finger", dedicated to the singer, which was released as a b-side with their single "Pretty Noose".

The Argentinian band Massacre included a song called "A Jerry Garcia" (To Jerry Garcia) on their album Juguetes para olvidar.

Numerous music festivals across the United States and Uxbridge, Middlesex, UK hold annual events in memory of Jerry Garcia.

One of the tracks in NOFX's album Heavy Petting Zoo relates to the death of Jerry Garcia, albeit with a reference to the wrong date of death.

In 2013, in partnership with the family of Jerry Garcia, The Capitol Theatre christened its lobby bar as Garcia's in honor of the late Grateful Dead guitarist and singer, who counted the Port Chester, New York, rock palace among his favorite venues in the country.

"On the historic corner of Haight and Ashbury, Madame Tussauds unveils Jerry Garcia's wax figure with his daughter Keelin and wife Manasha. The family was filled with emotion and pride as the late legend remains an iconic representation of the city's vibrant culture, which he was a major part of. Now his legacy lives on as an official wax figure at Madame Tussauds San Francisco, where Bay Area visitors will have the opportunity to view Jerry..."[95] "They've been doing this since the likes of Voltaire and Benjamin Franklin, and it's an incredible honor to have Jerry included," says Manasha Garcia.

On May 14, 2015 an all-star lineup held a tribute concert for Garcia at Merriweather Post Pavilion in Columbia, Maryland. The event was called "Dear Jerry".[96]

In 2015, Jerry Garcia's ex-wife, Manasha Garcia and their daughter, Keelin Garcia launched The Jerry Garcia Foundation, a nonprofit charity that supports projects for artistic, environmental, and humanitarian causes. The Foundation's Board members are Bob Weir, Peter Shapiro, Glenn Fischer, Irwin Sternberg, Daniel Shiner, TRI Studios CEO, Christopher McCutcheon and Fender Music Foundation Executive Director, Lynn Robison. Keelin Garcia said, "It is a tremendous honor to participate in nonprofit work that is in accordance with my father's values."

Garcia & Saunders - All Blues - 6/4/74 


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


Jerry Garcia Band - Tangled Up In Blue 


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


Jerry Garcia and John Kahn - Deep Elem Blues (5-5-82) 


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


Grateful Dead - Deal [Live at Gizah Sound & Light Theater, Cairo, Egypt, Sept. 16th, 1978] 


https://www.youtube.com/watch?v=q0BznyjqEt8 






Jeanne Carroll  +09.08.2011




Albertha Jeanne Carroll (* 15. Januar 1931 in Ruleville, Mississippi; † 9. August 2011 in Aalst, Belgien[1]) war eine US-amerikanische Blues- und Jazzsängerin.

Leben und Wirken

Carroll wuchs im Bundesstaat Mississippi in der Nähe von Clarksdale auf und zog mit ihrer Familie über Memphis nach Chicago, wo sie sich bald in der Jazz- und Blues-Clubszene etablieren konnte. Während des Zweiten Weltkriegs sang sie im Charlie Agnew Orchestra, das später im El Rancho in Las Vegas engagiert war;[2] außerdem trat sie 1944 in dem Film-Musical Sing a Jingle (Regie: Edward C. Lilley) auf.[3] Sie kehrte schließlich nach Chicago zurück, wo sie in Clubs sang und für das Label Adelphi Records aufnahm.[4] Im Laufe ihrer Karriere trat sie mit den Orchestern von Count Basie, Duke Ellington sowie mit Muddy Waters, Willie Dixon, Little Brother Montgomery (Vicksburg Blues, 1969) oder Buddy Guy auf.

Mitte der 1960er Jahre ging sie im pazifischen Raum mit Franz Jacksons All-Stars zur Truppenunterhaltung der US-Soldaten auf Tournee. In den 1970er Jahren tourte sie mit den Art Hodes Jazz Four durch Nordamerika und trat mit der Bessie, Billie & Bo Musical Revue in Chicago auf. Vorübergehend lebte sie ab den 1980er Jahren in Europa und konzertierte u. a. auf den Ingolstädter Jazztagen und zuletzt Anfang 2011 im Berliner A-Trane. Sie arbeitete mit deutschen Jazz- und Blues-Musikern, wie mit dem Basic Blues Trio von Ignaz Netzer, Wolfgang Bernreuther und Gerd Gorke.[5] In den 1990er Jahren tourte sie jahrelang mit der bekannten deutschen Bluesband Blues Mafia mit Roland Bergmann (Bass), Georg Gorke (Harmonica), Burkhard Elger (Piano), Rainer Achterhold (Gitarre), Peter Samland (Schlagzeug), Rüdiger Wilke (Sax). Im Jahre 2000 nahmen sie zusammen die Live CD ("Delivering") auf. Ihre Tochter Karen ist ebenfalls Bluessängerin.[6] Carroll starb zwei Tage, nachdem sie bei einem Auftritt am 7. August 2011 mit ihrer Tochter Karen auf dem Festival Blues Oan Daa Stoazze in Hamme (Belgien) einen Herzinfarkt erlitten hatte.[1]

Die Sängerin ist nicht mit der gleichnamigen Schauspielerin Jean Carroll (1911–2010) zu verwechseln.

Ehrungen

Der Chicago Tribune verlieh ihr 1972 den Titel Singer Of The Century.

b. 15 January 1931, Ruleville, Mississippi, USA. Carroll sang from infancy in the local church and by her late teens was performing in Chicago clubs. Through the 50s she shared stages and sometimes performed with noted blues and jazz artists of the period. Singing the blues, she also toured nationally with jazz and blues package shows, occasionally travelling abroad. In the 60s, Carroll appeared in Canada, performing at concerts and on television. She sang often with Franz Jackson’s Chicago-based band, making records and also touring US military bases in the Pacific and southeast Asia. Among other artists with whom she has performed is Little Brother Montgomery, recording in Chicago with the pianist’s trio in 1968/9 for FM, Matchbox and Adelphi Records. Also in the group were bass player Truck Parham and drummer Red Saunders.

In the 70s Carroll continued to work mainly in Chicago, recording there with pianist Erwin Helfer. In the early 80s, she recorded in Chicago with pianist and singer Marc Lincoln Braun, drummer J.C. Heard and others. She also toured Europe where she was met with considerable acclaim. In the early 90s she recorded in Germany with the Jumping Jivers, a multi-national band that also included saxophonists Bob Ruckerl and Diane Ellis, jazz journalist Mike Hennessey on piano, and Al Merritt on drums. By the late 90s, Carroll had decided to settle in Germany where she sang with her own trio, which included pianist Christian Rannenberg and blues harpist Ignaz Netzer. Her daughter, Karen Carroll, is also an accomplished blues singer.


Money - Jeanne Carroll & blue heat 


https://www.youtube.com/watch?v=aCD06BgHU8M 


Jeanne Carroll - Kansas City 


https://www.youtube.com/watch?v=Rp-QCE60tBo 



04/11 Blues Mafia feat Jeanne Carroll LIVE Hoochie Coochie Man 
Die BLUESMAFIA 1991 im tscheschichen TV.

Rainer Achterholt: Gitarre
Burhard Ellger: Bass/Gitarre
Gerd Gorke: Blues Harmonica
Peter Samland: Schlagzeug
Jeanne Carroll: Gesang


https://www.youtube.com/watch?v=H404NPXix50 



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