1919 Baby Boy Warren*
1921 Jimmy McCracklin*
1942 Son Seals*
1943 Mississippi Slim aka Walter Horn Jr.*
1943 Geoff Muldaur*
1965 Jimi Bott*
1971 King Curtis+
Happy Birthday
Baby Boy Warren *13.8.1919
Baby Boy Warren (* 13. August 1919 in Lake Providence, Louisiana als Robert Henry Warren; † 1. Juli 1977 in Detroit) war ein US-amerikanischer Blues-Sänger und Gitarrist des Detroit Blues.
Baby Boy Warren, der auch unter dem Pseudonym Johnny Williams vermarktet wurde, wuchs in Memphis (Tennessee) auf. Den Spitznamen „Baby Boy“ bekam er bereits als Kind von seinen älteren Brüdern. [1] Schon früh an Musik interessiert, trat er ab 1931 gelegentlich auf, nachdem er von der Schule geflogen war[1] und Gitarrenunterricht bei zwei seiner älteren Brüder hatte.[2] In den 1930er Jahren arbeitete er im W. C. Handy Park in Memphis mit Howling Wolf, Robert Lockwood junior, Little Buddy Doyle und anderen Musikern; er trat auch in der von Helena, Arkansas aus übertragenen Radioshow King Biscuit Time um 1941 zusammen mit Sonny Boy Williamson auf.[1] 1942 zog er nach Detroit, wo er bei General Motors und daneben auch als Musiker arbeitete.[3]
In Detroit hatte Warren 1949/50 erste Aufnahmesessions; fünf Singles wurden dann auf verschiedenen Labels veröffentlicht.[4] Weitere Stücke entstanden 1954 bei einer Session, bei der er von Sonny Boy Williamson begleitet wurde; sie erschienen bei Joe Von Battles JVB-Label und bei Excello Records.[3] Warren nahm in diesem Jahr auch eine Single für das Label Blue Lake auf, an der Pianist Boogie Woogie Red und Gitarrist Calvin Frazier mitwirkten; weitere Einspielungen fanden für die Label Drummond[4] und Gotham Records statt. Er arbeitete in dieser Zeit u.a. auch mit Big John Wrencher zusammen.
In den 1960er Jahren war Warren musikalisch nur wenig aktiv, nahm aber seine Karriere wieder auf, als er 1971 für das Detroit Blues Festival verpflichtet wurde. 1972 tourte er mit Boogie Woogie Red durch Europa und trat als einer der ersten der großen Bluesmusiker im damals frisch gegründeten Wiener Jazzland auf,[1] 1973 gastierte er auf dem Ann Arbor Blues Festival.
Warren starb im Juli 1977 an einem Herzinfarkt und ist auf dem Detroit Memorial Park Cemetery in Macomb County, Michigan begraben.
http://de.wikipedia.org/wiki/Baby_Boy_Warren
Baby Boy Warren (August 13, 1919 – July 1, 1977) was an American blues singer and guitarist, who was a leading figure on the Detroit blues scene in the 1950s.
Early life
He was born Robert Henry Warren in Lake Providence, Louisiana in 1919, but moved with his parents to Memphis, Tennessee at the age of three months.[1] He was interested in music from an early age, and was working occasionally as a musician from around 1931, when he dropped out of school,[1] having learned to play guitar from two of his older brothers.[2] During the 1930s he worked in W. C. Handy Park, Memphis, with Howling Wolf, Robert Jr. Lockwood, Little Buddy Doyle and others, and he appeared on the Helena, Arkansas based King Biscuit Time radio show with Sonny Boy Williamson around 1941.[1] In 1942 he moved to Detroit, where he worked for General Motors while also performing as a musician.[3]
Recordings
Warren's first recording sessions were in 1949 and 1950 in Detroit, with the five resulting singles being released on a number of labels.[4] Tracks recorded at a 1954 session accompanied by Sonny Boy Williamson were released on Joe Von Battle's JVB label, and on Excello Records.[3] Further sessions the same year resulted in a single on the Blue Lake label featuring Boogie Woogie Red on piano and Calvin Frazier on guitar, and a reworking of the Robert Johnson song "Stop Breakin' Down" for the Drummond Label.[4]
Later career and death
Warren was mostly inactive in music during the 1960s, but revived his career to play the Detroit Blues Festival in 1971 and the Ann Arbor Blues Festival in 1973, and to tour Europe with Boogie Woogie Red in 1972.[1] From 1974 to 1976 he was also a featured performer, along with Willie D. Warren, with the Progressive Blues Band, a popular blues band that played in many of Detroit's best blues venues.[5]
He suffered a fatal heart attack at his home on July 1, 1977, and was buried at Detroit Memorial Park Cemetery, Macomb County, Michigan.[1][6]
Personal information
Warren was given the nickname "Baby Boy" by his older brothers as a child. One of 12 children himself, he married twice, in 1935 and the early 1960s, and had seven children. On the Staff, Federal and Swing Time labels he was marketed as Johnny Williams.[1]
Influences
His chief influences were Little Buddy Doyle and Willie "61" Blackwell, especially in his approach to lyrics,[2] and he stated that another musician he particularly admired was Memphis Minnie, who he knew in Memphis in the 1930s.[7] The Penguin Guide to Blues Recordings described him as having brought "a hip, literate humour to the blues lyric".
Early life
He was born Robert Henry Warren in Lake Providence, Louisiana in 1919, but moved with his parents to Memphis, Tennessee at the age of three months.[1] He was interested in music from an early age, and was working occasionally as a musician from around 1931, when he dropped out of school,[1] having learned to play guitar from two of his older brothers.[2] During the 1930s he worked in W. C. Handy Park, Memphis, with Howling Wolf, Robert Jr. Lockwood, Little Buddy Doyle and others, and he appeared on the Helena, Arkansas based King Biscuit Time radio show with Sonny Boy Williamson around 1941.[1] In 1942 he moved to Detroit, where he worked for General Motors while also performing as a musician.[3]
Recordings
Warren's first recording sessions were in 1949 and 1950 in Detroit, with the five resulting singles being released on a number of labels.[4] Tracks recorded at a 1954 session accompanied by Sonny Boy Williamson were released on Joe Von Battle's JVB label, and on Excello Records.[3] Further sessions the same year resulted in a single on the Blue Lake label featuring Boogie Woogie Red on piano and Calvin Frazier on guitar, and a reworking of the Robert Johnson song "Stop Breakin' Down" for the Drummond Label.[4]
Later career and death
Warren was mostly inactive in music during the 1960s, but revived his career to play the Detroit Blues Festival in 1971 and the Ann Arbor Blues Festival in 1973, and to tour Europe with Boogie Woogie Red in 1972.[1] From 1974 to 1976 he was also a featured performer, along with Willie D. Warren, with the Progressive Blues Band, a popular blues band that played in many of Detroit's best blues venues.[5]
He suffered a fatal heart attack at his home on July 1, 1977, and was buried at Detroit Memorial Park Cemetery, Macomb County, Michigan.[1][6]
Personal information
Warren was given the nickname "Baby Boy" by his older brothers as a child. One of 12 children himself, he married twice, in 1935 and the early 1960s, and had seven children. On the Staff, Federal and Swing Time labels he was marketed as Johnny Williams.[1]
Influences
His chief influences were Little Buddy Doyle and Willie "61" Blackwell, especially in his approach to lyrics,[2] and he stated that another musician he particularly admired was Memphis Minnie, who he knew in Memphis in the 1930s.[7] The Penguin Guide to Blues Recordings described him as having brought "a hip, literate humour to the blues lyric".
Jimi Bott *13.08.1965
While still in high school Jimi started his professional career at the tender age of 17 with well-known Bay Area blues men, Paul Durkett and Byrd Hale. At 19 he joined Mark Hummel and the Blues Survivors, starting what would be the beginning of a perpetual life on the road. On his 21st birthday he auditioned for and won the gig of his dreams with Rod Piazza and the Mighty Flyers, the very same band that had inspired him to become a professional drummer. After a total of 8 years with The Fabulous Thunderbirds Jimi has left the band to take a break from touring, and to work in his Portland based studio, Roseleaf Studios. Currently he is playing with his new band, Woodbrain, in Portland and in the Pacific Northwest. His discography boasts impressive credits to over 60 CD's and countless live performances with other blues greats.
Born in San Francisco on August 13, 1965, some would say that music is in his blood. His father, Ken Bott, was his earliest musical influence. He would sing and play guitar every night after work entertaining Jimi, his brother Jere, their mom and two dogs (the audience was nearly spellbound each evening). Ken bought Jimi his very first drum and paid for his lessons. His mother Lee, though often rattled by his constant practicing, was always encouraging and supportive. Later, he and his brother Jere would record and produce their father's very late debut CD entitled The Blues From Bottsville (click here for more information and to buy a copy). At the age of 72, Ken was finally able to realize his life-long dream to write and record an album. The Blues From Bottsville features Jim Wallace, one of Portland's most seasoned blues musicians, on harmonica as well as Marc Ford, famous guitarist for the Black Crowes & Ben Harper. Only released as a limited pressing, the CD was very well received on the west coast and in blues magazines, such as Blues Revue. The CD also won Ken his first professional gig at the renowned Portland Riverfront Blues Festival. Ken was backed by Jere and Jimi's local band (featuring Jim Wallace and young guitarist, Wayne Morely) and they tore the house down!
Jimi was privileged to be schooled by two of the best drum instructors in the country. From 1980 to 1983 he studied with the Bay Area great, Forrest Elledge. Later, while living in Los Angeles, he was one of the famous Murray Spivack's last (and according to Murray, one of his best) students ever, an incredible compliment considering Murray's list of students includes world-famous drummers such as Joe Morello (Dave Brubeck), David Garibaldi (Tower of Power), Louie Bellson and Chuck Silverman. Hand technician geniuses, both Forrest and Murray befriended Jimi and passed on their vast knowledge of stick control, musicality, and sense of rhythm. Forrest and Murray's influence flows through every performance of Jimi's.
Although Jimi's first love is blues, as a drummer he excels in many other genres. Check out his now-defunct band, Mad Hattie (Soul Fishin'), and hear him play different styles that bridge jazz, country, punk and electric bluegrass (click here for more information and to buy a CD). Jimi is also one hell of a rock drummer and he has played with several mainstream players including rock guitar hero, Marc Ford (The Black Crowes & Ben Harper). While on hiatus from The Fabulous Thunderbirds in 1998 to 2000, Marc and Jimi, along with Luther Russell and Fred Trujillo, formed the crushing rock band Federale. A blend of The Band meets Neil Young, Federale never made a commercially released CD. They became a cult Internet sensation and toured the country with other underground greats Government Mule and The Mother Hips. Only a handful of demos and live recordings remain. Jimi is currently working on gathering these together as another possible archival project.
A current resident of Portland, OR, Jimi is a regular on the music scene there. He can be seen playing with many of the city's great musicians. Among his favorites are: Jim Wallace, Marco Savo, Curtis Salgado, and Lloyd Jones.
Jimmy McCracklin *13.08.1921
Jimmy McCracklin (* 13. August 1921 in St. Louis, Missouri; † 20. Dezember 2012 in San Pablo, Kalifornien[1]) war ein US-amerikanischer Bluespianist, Sänger und Komponist. Er ist ein Vertreter des West Coast und Jump Blues. Während seiner fast sieben Jahrzehnte umfassenden Karriere nahm McCracklin mehr als 30 Alben auf, von denen einige Goldstatus erreichten. Nach eigener Aussage schrieb er nahezu tausend Songs.[2]
McCracklins großes Vorbild war der Bluespianist Walter Davis, den er als Junge kennenlernte. In jungen Jahren war McCracklin auch als Boxer tätig, entschied sich aber für die Musik. Nach seinem Militärdienst während des Zweiten Weltkriegs zog er an die Westküste, wo er 1945 mit Miss Mattie Left Me seine erste Aufnahme machte. 1946 gründete er seine eigene Band Jimmy McCracklin and His Blues Blasters.
Es folgten zahlreiche Aufnahmen für verschiedene Label. 1958 hatte er seinen ersten größeren Hit mit The Walk. Weitere Erfolgsnummern waren unter anderem Just Got to Know (1961), Shame, Shame, Shame (1962), Every Night, Every Day (1965) und My Answer (1966). 1962 erschien sein erstes Album Jimmy McCracklin Sings. 1967 hatten Otis Redding und Carla Thomas mit Tramp einen Hit, dessen Autoren McCracklin und Lowell Fulson sind; 1987 brachten Salt’N’Pepa das Stück erneut in die Charts.
McCracklin wurde 1990 mit dem Pioneer Award der Rhythm and Blues Foundation und 2007 mit dem Living Legend and Hall of Fame Award bei den Bay Area Black Music Awards ausgezeichnet. 2008 wurde er in die Blues Hall of Fame aufgenommen.
http://de.wikipedia.org/wiki/Jimmy_McCracklin
Jimmy McCracklin (August 13, 1921 – December 20, 2012) was an American pianist, vocalist, and songwriter. His style contained West Coast blues, Jump blues, and R&B.[1] Over a career that spanned seven decades, he said he had written almost a thousand songs and had recorded hundreds of them.[2] McCracklin recorded over 30 albums, and earned four gold records. Tom Mazzolini of the San Francisco Blues Festival said of him, "He was probably the most important musician to come out of the Bay Area in the post-World War II years."[3]
Biography
McCracklin was born James David Walker on 13 August 1921. Sources differ as to whether he was born in Helena, Arkansas[3] or St. Louis, Missouri.[4] He joined the United States Navy in 1938, later settled in Richmond, California, and began playing at the local Club Savoy owned by his sister-in-law Willie Mae "Granny" Johnson.[5] The room-length bar served beer and wine, and Granny Johnson served home-cooked meals of greens, ribs, chicken, and other southern cuisine. A house band composed of Bay Area based musicians alternated with and frequently backed performers such as B. B. King, Charles Brown, and L. C. Robinson. Later in 1963 he would write and record a song "Club Savoy" on his I Just Gotta Know album.
His recorded a debut single for Globe Records, "Miss Mattie Left Me", in 1945, and recorded "Street Loafin' Woman in 1946. McCracklin recorded for a number of labels in Los Angeles and Oakland, prior to joining Modern Records in 1949-1950. He formed a group called Jimmy McCracklin and his Blues Blasters in 1946, with guitarist Lafayette Thomas who remained with group until the early 1960s.[6]
His popularity increased after appearing on the TV pop Dick Clark's American Bandstand in support of his self-written single "The Walk" (1957),[7] subsequently released by Checker Records in 1958. It went to No. 5 on the Billboard R&B chart and No. 7 on the pop chart,[8] after more than 10 years of McCracklin selling records in the black community on a series of small labels. Jimmy McCracklin Sings, his first solo album, was released in 1962, in the West Coast blues style. In 1962, McCracklin recorded "Just Got to Know" for his own Art-Tone label in Oakland, after the record made No. 2 on the R&B chart. For a brief period in the early 1970s McCracklin ran the Continental Club in San Francisco. He booked blues acts such as T-Bone Walker, Irma Thomas, Big Joe Turner, Big Mama Thornton, and Etta James.[9] In 1967, Otis Redding and Carla Thomas had success with "Tramp", a song credited to McCracklin and Lowell Fulson. Salt-n-Pepa made a hip-hop hit out of the song in 1987. Oakland Blues (1968) was an album arranged and directed by McCracklin, and produced by World Pacific. The California rock-n-roll "roots music" band The Blasters named themselves after McCracklin's backing band The Blues Blasters. Blasters' lead singer Phil Alvin explained the origin of the band's name: "I thought Joe Turner’s backup band on Atlantic records – I had these 78s – I thought they were the Blues Blasters. It ends up it was Jimmy McCracklin's. I just took the 'Blues' off and Joe finally told me, that’s Jimmy McCracklin’s name, but you tell ‘im I gave you permission to steal it."[1]
McCracklin continued to tour and produce new albums in the 1980s and 1990s.[10] Bob Dylan has cited McCracklin as a favorite.[11] He played at the San Francisco Blues Festival in 1973, 1977, 1980, 1981, 1984 and 2007. He was given a Pioneer Award by the Rhythm and Blues Foundation in 1990, and the Living Legend and Hall of Fame award at the Bay Area Black Music Awards, in 2007.[12] McCracklin continued to write, record, and perform into the 21st century.
He died in San Pablo, California, in the San Francisco Bay Area, on December 20, 2012, after a long illness, aged 91.
Biography
McCracklin was born James David Walker on 13 August 1921. Sources differ as to whether he was born in Helena, Arkansas[3] or St. Louis, Missouri.[4] He joined the United States Navy in 1938, later settled in Richmond, California, and began playing at the local Club Savoy owned by his sister-in-law Willie Mae "Granny" Johnson.[5] The room-length bar served beer and wine, and Granny Johnson served home-cooked meals of greens, ribs, chicken, and other southern cuisine. A house band composed of Bay Area based musicians alternated with and frequently backed performers such as B. B. King, Charles Brown, and L. C. Robinson. Later in 1963 he would write and record a song "Club Savoy" on his I Just Gotta Know album.
His recorded a debut single for Globe Records, "Miss Mattie Left Me", in 1945, and recorded "Street Loafin' Woman in 1946. McCracklin recorded for a number of labels in Los Angeles and Oakland, prior to joining Modern Records in 1949-1950. He formed a group called Jimmy McCracklin and his Blues Blasters in 1946, with guitarist Lafayette Thomas who remained with group until the early 1960s.[6]
His popularity increased after appearing on the TV pop Dick Clark's American Bandstand in support of his self-written single "The Walk" (1957),[7] subsequently released by Checker Records in 1958. It went to No. 5 on the Billboard R&B chart and No. 7 on the pop chart,[8] after more than 10 years of McCracklin selling records in the black community on a series of small labels. Jimmy McCracklin Sings, his first solo album, was released in 1962, in the West Coast blues style. In 1962, McCracklin recorded "Just Got to Know" for his own Art-Tone label in Oakland, after the record made No. 2 on the R&B chart. For a brief period in the early 1970s McCracklin ran the Continental Club in San Francisco. He booked blues acts such as T-Bone Walker, Irma Thomas, Big Joe Turner, Big Mama Thornton, and Etta James.[9] In 1967, Otis Redding and Carla Thomas had success with "Tramp", a song credited to McCracklin and Lowell Fulson. Salt-n-Pepa made a hip-hop hit out of the song in 1987. Oakland Blues (1968) was an album arranged and directed by McCracklin, and produced by World Pacific. The California rock-n-roll "roots music" band The Blasters named themselves after McCracklin's backing band The Blues Blasters. Blasters' lead singer Phil Alvin explained the origin of the band's name: "I thought Joe Turner’s backup band on Atlantic records – I had these 78s – I thought they were the Blues Blasters. It ends up it was Jimmy McCracklin's. I just took the 'Blues' off and Joe finally told me, that’s Jimmy McCracklin’s name, but you tell ‘im I gave you permission to steal it."[1]
McCracklin continued to tour and produce new albums in the 1980s and 1990s.[10] Bob Dylan has cited McCracklin as a favorite.[11] He played at the San Francisco Blues Festival in 1973, 1977, 1980, 1981, 1984 and 2007. He was given a Pioneer Award by the Rhythm and Blues Foundation in 1990, and the Living Legend and Hall of Fame award at the Bay Area Black Music Awards, in 2007.[12] McCracklin continued to write, record, and perform into the 21st century.
He died in San Pablo, California, in the San Francisco Bay Area, on December 20, 2012, after a long illness, aged 91.
Geoff Muldaur *13.08.1943
Geoff Muldaur (* 13. August 1943) ist ein US-amerikanischer Folksänger und Gitarrist. Er war Gründungsmitglied der Jim Kweskin Jug Band aus Cambridge (Massachusetts), und Mitglied von Paul Butterfields Band Better Days. Er ist eine der großen Stimmen aus der Folk- und Bluesszene der amerikanischen Ostküste.Biografie
Geoff Muldaur im Kult in Niederstetten (2006)
Muldaur wuchs in Pelham, New York auf und ging schon als Teenager nach New York um in die Jazz-Clubs und die Shows des DJs Alan Freed zu kommen. Er hört dort Leadbelly und verfällt dem Folk- und Countryblues. Beim Studium an der Boston University entdeckt er die dortige Folkszene. Danach lebt er ein Jahr in New Orleans und trampt durch die USA. 1963 erscheint seine erste Platte auf dem Label Prestige. Bald danach wird er Mitglied der Jim Kweskin Jug Band, die den eher steifen Ansatz der Folk-Szene dieser Zeit revolutionieren sollte. Nach dem Auseinanderbrechen der Kweskin Band veröffentlicht er mit seiner damaligen Ehefrau Maria Muldaur zwei erfolgreiche Alben als Duo. Es folgen mehrere Soloalben und zwei Alben mit Amos Garrett. Er arbeitet mit so berühmten Musikern wie Bonnie Raitt, Eric Von Schmidt, Jerry Garcia, Bob Dylan, John Cale, David Lindley, Van Dyke Parks und Garth Hudson. Zwar wird er von seinen Musikerkollegen hoch bewundert, doch der große Durchbruch beim Publikum gelingt ihm nicht.
Es gibt nur drei weiße Bluessänger. Geoff Muldaur steht für mindestens zwei von ihnen. (Richard Thompson)
1981 verschwindet er aus der Musikszene. Er verdient sich seinen Lebensunterhalt als Geschäftsführer des Labels Hannibal und als Software-Programmierer für die Produktion von Autozubehörteilen. In dieser Zeit schreibt er Musik für Dokumentarfilme und Werbespots. Live ist er nur noch selten zu hören – so beim Wiederaufleben des legendären Newport Folk Festivals im Jahre 1985. Freunde und innerer Zwang bringen ihn 1998 zurück ins Studio. Mit der Veröffentlichung The Secret Handshake und der Mischung aus Blues, Ragtime, Folk und einem Hauch von Bebop schließt sich der Kreis zurück zu seinen musikalischen Anfängen in den 1960er. Die Kritiker feiern ihn, das Publikum will ihn wieder hören und weitere Veröffentlichungen (so zum Beispiel eine CD mit Titeln des Kornettisten Bix Beiderbecke) sollten folgen. Seitdem ist er wieder verstärkt auf Tour – voll mit alten Songs und Geschichten.
Seine Tochter Clare Muldaur ist inzwischen in seine Fußstapfen getreten und ihm als Songwriterin gefolgt.
Seine Schwester ist die Schauspielerin Diana Muldaur.
http://de.wikipedia.org/wiki/Geoff_Muldaur
Geoff Muldaur (born August 12, 1943, Pelham, New York, United States)[1][2][3] is an American musician and a founding member of the Jim Kweskin Jug Band[4] of Cambridge, Massachusetts; a member of Paul Butterfield's Better Days; and an accomplished solo guitarist, singer, songwriter, composer, and arranger.
Career
After establishing an impressive reputation with the Kweskin Jug Band during the 1960s, Geoff and then-wife, Maria Muldaur recorded their first album, Pottery Pie, on Warner Bros. Records in 1969.[5] It was on this album that Muldaur recorded his celebrated version of "Brazil" (original title "Aquarela do Brasil") which became the title inspiration and the opening theme for Terry Gilliam's 1985 film Brazil.[6] After recording Pottery Pie, the Muldaurs moved to the burgeoning folk, blues and folk-rock in Woodstock, New York. They separated in 1972, shortly after Geoff joined Paul Butterfield's Better Days group.[7]
After leaving the Butterfield band in 1976, Muldaur recorded two more solo albums for Warner Bros. Records, a duo album with Amos Garrett, a solo album on the Flying Fish Records label and a jump band album, Geoff Muldaur and the Nite Lites for Hannibal Records. During this period, Muldaur also recorded with Bobby Charles, Jerry Garcia, Eric Von Schmidt, Bonnie Raitt and John Cale. In the early 1980s, Muldaur left the stage and recording studio for a working sabbatical.[8] During this period, he composed scores for film and television, winning an Emmy Award, and produced albums for Lenny Pickett and the Borneo Horns, and the Richard Greene String Quartet.
Muldaur emerged in 1998 with The Secret Handshake. After two more albums in 1999 and 2000, he recorded the semi-classical, jazz album Private Astronomy, a Vision of the Music of Bix Beiderbecke on the Deutsche Grammophon label in 2003.
In 2009, Muldaur formed a roots super-group for work on a new album. Dubbing themselves Geoff Muldaur And The Texas Sheiks, folk and American music luminary Stephen Bruton, Grammy-winning Dobro player Cindy Cashdollar, fiddle virtuoso Suzy Thompson, guitarist Johnny Nicholas and bassist Bruce Hughes joined Muldaur in the studio for a pair of recording sessions in 2008. Bruton died in May 2009. Texas Sheiks was released on September 22, 2009, on Tradition & Moderne.
His sister is the actress Diana Muldaur. His daughters, Jenni Muldaur and Clare, are also musicians. His daughter, Dardanella Slavin, is a chiropractor.
Muldaur is the author of "Moles Moan" which has been recorded by his friend Tom Rush. This song has been used as a theme song for many folk music radio programs, most notably by Gene Shay.
Son Seals (* 13. August 1942 in Osceola, Arkansas; † 20. Dezember 2004 in Chicago) war ein US-amerikanischer Blues-Musiker.
Geboren in Osceola/Arkansas wo er auch aufwuchs, sein Vater Jim "Son" Seals betrieb einen Juke Joint. schon mit 13 begann er Schlagzeug zu spielen, zuerst in der Band von Robert Nighthawk. Mit 16 hatte er sich außerdem das Gitarre-Spielen beigebracht und trat im T-99-Club, mit seinem Schwager Walter Jacobs (Little Walter), auf. Sie standen dabei u.a. mit Albert King, Bobby Bland, Junior Parker und Rosco Gordon auf der Bühne. Mit 19 trat er sehr häufig im Rebel Club in Osceola auf und als jemand für ein Plattenlabel auf der Suche nach Little Walter war, wurde er stattdessen genommen. Sein erste Band hieß Son Seals & The Upsetters. 1971 ging er nach Chicago, wo ihn Bruce Iglauer entdeckte und bei Alligator Records unter Vertrag nahm. Er trat häufig im Flamingo Club in der South side von Chicago auf.
Er veröffentlichte zehn Alben und hatte mit „Funky Bitch“ einen der größten Blues-Hits. Seine Markenzeichen war sein exzellentes Gitarrenspiel und seine raue Bluesstimme. Dem alten Stil des Blues ist er trotz eines kurzen Ausfluges in die Funk-Beat-Szene stets treu geblieben.
Bereits mit 13 Jahren fing er mit der Musik an und 1959 gründete er seine erste Band. Sein Mentor wurde der Gitarrist Albert King. Mit ihm und mit Blues-Stars wie Earl Hooker und Robert Nighthawk trat er auf.
In den Jahren 1985, 1987 und 2001 erhielt Son Seals dreimal den höchstangesehenen Preis der Blues-Szene, den W. C. Handy Blues Award, und wurde 2009 in die Blues Hall of Fame aufgenommen.
Zeit seines Lebens hatte Son Seals viele Probleme, nicht nur gesundheitlich. 12 von 14 Kindern bzw. Stiefkindern der Familie Seals starben, nur seine Schwester und er überlebten. Seine Frau schoss ihm im Streit ins Kinn. Sein Bein musste wegen Diabetes amputiert werden. Bei einem Brand in seinem Haus wurden fast alle seine Wertsachen zerstört und während er einen Auftritt absolvierte, brachen Unbekannte in sein Haus ein und stahlen seine wertvolle Gitarrensammlung. Letztendlich starb er an den Folgen seines schweren Diabetes mellitus.
http://www.ratpackstlouis.com/m6.htm
Geoff Muldaur (born August 12, 1943, Pelham, New York, United States)[1][2][3] is an American musician and a founding member of the Jim Kweskin Jug Band[4] of Cambridge, Massachusetts; a member of Paul Butterfield's Better Days; and an accomplished solo guitarist, singer, songwriter, composer, and arranger.
Career
After establishing an impressive reputation with the Kweskin Jug Band during the 1960s, Geoff and then-wife, Maria Muldaur recorded their first album, Pottery Pie, on Warner Bros. Records in 1969.[5] It was on this album that Muldaur recorded his celebrated version of "Brazil" (original title "Aquarela do Brasil") which became the title inspiration and the opening theme for Terry Gilliam's 1985 film Brazil.[6] After recording Pottery Pie, the Muldaurs moved to the burgeoning folk, blues and folk-rock in Woodstock, New York. They separated in 1972, shortly after Geoff joined Paul Butterfield's Better Days group.[7]After leaving the Butterfield band in 1976, Muldaur recorded two more solo albums for Warner Bros. Records, a duo album with Amos Garrett, a solo album on the Flying Fish Records label and a jump band album, Geoff Muldaur and the Nite Lites for Hannibal Records. During this period, Muldaur also recorded with Bobby Charles, Jerry Garcia, Eric Von Schmidt, Bonnie Raitt and John Cale. In the early 1980s, Muldaur left the stage and recording studio for a working sabbatical.[8] During this period, he composed scores for film and television, winning an Emmy Award, and produced albums for Lenny Pickett and the Borneo Horns, and the Richard Greene String Quartet.
Muldaur emerged in 1998 with The Secret Handshake. After two more albums in 1999 and 2000, he recorded the semi-classical, jazz album Private Astronomy, a Vision of the Music of Bix Beiderbecke on the Deutsche Grammophon label in 2003.
In 2009, Muldaur formed a roots super-group for work on a new album. Dubbing themselves Geoff Muldaur And The Texas Sheiks, folk and American music luminary Stephen Bruton, Grammy-winning Dobro player Cindy Cashdollar, fiddle virtuoso Suzy Thompson, guitarist Johnny Nicholas and bassist Bruce Hughes joined Muldaur in the studio for a pair of recording sessions in 2008. Bruton died in May 2009. Texas Sheiks was released on September 22, 2009, on Tradition & Moderne.
His sister is the actress Diana Muldaur. His daughters, Jenni Muldaur and Clare, are also musicians. His daughter, Dardanella Slavin, is a chiropractor.
Muldaur is the author of "Moles Moan" which has been recorded by his friend Tom Rush. This song has been used as a theme song for many folk music radio programs, most notably by Gene Shay.
Geoff Muldaur - Downtown Blues
Son Seals *13.08.1942
Son Seals (* 13. August 1942 in Osceola, Arkansas; † 20. Dezember 2004 in Chicago) war ein US-amerikanischer Blues-Musiker.
Geboren in Osceola/Arkansas wo er auch aufwuchs, sein Vater Jim "Son" Seals betrieb einen Juke Joint. schon mit 13 begann er Schlagzeug zu spielen, zuerst in der Band von Robert Nighthawk. Mit 16 hatte er sich außerdem das Gitarre-Spielen beigebracht und trat im T-99-Club, mit seinem Schwager Walter Jacobs (Little Walter), auf. Sie standen dabei u.a. mit Albert King, Bobby Bland, Junior Parker und Rosco Gordon auf der Bühne. Mit 19 trat er sehr häufig im Rebel Club in Osceola auf und als jemand für ein Plattenlabel auf der Suche nach Little Walter war, wurde er stattdessen genommen. Sein erste Band hieß Son Seals & The Upsetters. 1971 ging er nach Chicago, wo ihn Bruce Iglauer entdeckte und bei Alligator Records unter Vertrag nahm. Er trat häufig im Flamingo Club in der South side von Chicago auf.
Er veröffentlichte zehn Alben und hatte mit „Funky Bitch“ einen der größten Blues-Hits. Seine Markenzeichen war sein exzellentes Gitarrenspiel und seine raue Bluesstimme. Dem alten Stil des Blues ist er trotz eines kurzen Ausfluges in die Funk-Beat-Szene stets treu geblieben.
Bereits mit 13 Jahren fing er mit der Musik an und 1959 gründete er seine erste Band. Sein Mentor wurde der Gitarrist Albert King. Mit ihm und mit Blues-Stars wie Earl Hooker und Robert Nighthawk trat er auf.
In den Jahren 1985, 1987 und 2001 erhielt Son Seals dreimal den höchstangesehenen Preis der Blues-Szene, den W. C. Handy Blues Award, und wurde 2009 in die Blues Hall of Fame aufgenommen.
Zeit seines Lebens hatte Son Seals viele Probleme, nicht nur gesundheitlich. 12 von 14 Kindern bzw. Stiefkindern der Familie Seals starben, nur seine Schwester und er überlebten. Seine Frau schoss ihm im Streit ins Kinn. Sein Bein musste wegen Diabetes amputiert werden. Bei einem Brand in seinem Haus wurden fast alle seine Wertsachen zerstört und während er einen Auftritt absolvierte, brachen Unbekannte in sein Haus ein und stahlen seine wertvolle Gitarrensammlung. Letztendlich starb er an den Folgen seines schweren Diabetes mellitus.
http://de.wikipedia.org/wiki/Son_Seals
Frank "Son" Seals (August 13, 1942 – December 20, 2004[2]) was an American electric blues guitarist and singer.
Career
He was born in Osceola, Arkansas where his father, Jim "Son" Seals, owned a small juke joint. He began performing professionally by the age of 13, first as a drummer with Robert Nighthawk, and later as a guitarist. At age 16, he began to play at the T-99, a local upper echelon club, with Walter Jefferson, “Little Walter”, who was his brother in law. At the T-99, he played with many other musicians, such as Albert King, Rufus Thomas, Bobby Bland, Junior Parker, and Rosco Gordon. Their varying styles contributed to the development of Seals' own playing techniques. While playing at the T-99, he was also introduced to country-western music by Jimmy Grubbs, who would ask Seals to gig with his group every now and then on both drums and guitar. At 19 years old, he formed his own band to fill in at a local club in Osceola called the Rebel Club. Shortly thereafter, a man from Little Rock, Arkansas came to find “Little Walter” for a gig at his club, but when he turned it down the offer went to Seals. The band members were “Old man Horse” (Johnny Moore) on piano, Alvin Goodberry on either drums, guitar, bass, or piano, “Little Bob” (Robinson) on vocals, and Walter Lee “Skinny Dynamo” Harris on piano. The band’s name was “Son Seals and the Upsetters.”[3]
In 1971, Seals moved to Chicago. His career took off after he was discovered by Bruce Iglauer of Alligator Records at the 'Flamingo Club' in Chicago's South Side. His debut album, The Son Seals Blues Band, was released in 1973. The album included "Your Love Is Like a Cancer" and "Hot Sauce". Seals followed up with 1976's Midnight Son and 1978's Live and Burning. He continued releasing albums throughout the next two decades, all but one on Alligator Records. These included Chicago Fire (1980), Bad Axe (1984), Living in the Danger Zone (1991), Nothing But the Truth and Live-Spontaneous Combustion (1996). He received the W.C. Handy Award in 1985, 1987, and 2001.
Author Andrew Vachss was a friend of Seals, and used his influence to promote Seals' music. Vachss gave Seals several cameo appearances in his novels[4] and co-wrote songs with him for his 2000 album, Lettin' Go.[5] Vachss dedicated the novel Mask Market to Seals' memory.[6]
In 2002, Seals was featured on the Bo Diddley tribute album, Hey Bo Diddley - A Tribute!, performing the song "My Story" (aka "Story of Bo Diddley").
Seals had a number of problems in his life. He survived all but one of his fourteen siblings, and in 1997 he was shot in the jaw by his wife, sustaining injuries which required reconstructive surgery.[7] Also, in 1999 part of his left leg was amputated, due to complications from diabetes. He lost belongings in a fire that destroyed his home while he was away performing live, and several of his prized guitars were stolen from his home.[8] After his health problems Seals used a number of different accompanying bands, such as James Soleberg's, Jimmy Vivino's, and Big Jim Kohler's, while on the road.
The band Phish performed Seals' song "Funky Bitch", and brought him on stage on multiple occasions.
Seals died in 2004, at the age of 62, from complications of diabetes; he was survived by his sister and fourteen children.[9]
[10]
In 2009 Son Seals was inducted into the Blues Hall of Fame in the "Performer" category.
Career
He was born in Osceola, Arkansas where his father, Jim "Son" Seals, owned a small juke joint. He began performing professionally by the age of 13, first as a drummer with Robert Nighthawk, and later as a guitarist. At age 16, he began to play at the T-99, a local upper echelon club, with Walter Jefferson, “Little Walter”, who was his brother in law. At the T-99, he played with many other musicians, such as Albert King, Rufus Thomas, Bobby Bland, Junior Parker, and Rosco Gordon. Their varying styles contributed to the development of Seals' own playing techniques. While playing at the T-99, he was also introduced to country-western music by Jimmy Grubbs, who would ask Seals to gig with his group every now and then on both drums and guitar. At 19 years old, he formed his own band to fill in at a local club in Osceola called the Rebel Club. Shortly thereafter, a man from Little Rock, Arkansas came to find “Little Walter” for a gig at his club, but when he turned it down the offer went to Seals. The band members were “Old man Horse” (Johnny Moore) on piano, Alvin Goodberry on either drums, guitar, bass, or piano, “Little Bob” (Robinson) on vocals, and Walter Lee “Skinny Dynamo” Harris on piano. The band’s name was “Son Seals and the Upsetters.”[3]
In 1971, Seals moved to Chicago. His career took off after he was discovered by Bruce Iglauer of Alligator Records at the 'Flamingo Club' in Chicago's South Side. His debut album, The Son Seals Blues Band, was released in 1973. The album included "Your Love Is Like a Cancer" and "Hot Sauce". Seals followed up with 1976's Midnight Son and 1978's Live and Burning. He continued releasing albums throughout the next two decades, all but one on Alligator Records. These included Chicago Fire (1980), Bad Axe (1984), Living in the Danger Zone (1991), Nothing But the Truth and Live-Spontaneous Combustion (1996). He received the W.C. Handy Award in 1985, 1987, and 2001.
Author Andrew Vachss was a friend of Seals, and used his influence to promote Seals' music. Vachss gave Seals several cameo appearances in his novels[4] and co-wrote songs with him for his 2000 album, Lettin' Go.[5] Vachss dedicated the novel Mask Market to Seals' memory.[6]
In 2002, Seals was featured on the Bo Diddley tribute album, Hey Bo Diddley - A Tribute!, performing the song "My Story" (aka "Story of Bo Diddley").
Seals had a number of problems in his life. He survived all but one of his fourteen siblings, and in 1997 he was shot in the jaw by his wife, sustaining injuries which required reconstructive surgery.[7] Also, in 1999 part of his left leg was amputated, due to complications from diabetes. He lost belongings in a fire that destroyed his home while he was away performing live, and several of his prized guitars were stolen from his home.[8] After his health problems Seals used a number of different accompanying bands, such as James Soleberg's, Jimmy Vivino's, and Big Jim Kohler's, while on the road.
The band Phish performed Seals' song "Funky Bitch", and brought him on stage on multiple occasions.
Seals died in 2004, at the age of 62, from complications of diabetes; he was survived by his sister and fourteen children.[9]
[10]
In 2009 Son Seals was inducted into the Blues Hall of Fame in the "Performer" category.
Mississippi Slim aka Walter Horn Jr. *13.08.1943
Walter Horn Jr. (13 August 1943 – 14 April 2010), known by the stage name Mississippi Slim, was an American blues singer and performer.
Horn was born in Shelby and grew up in Greenville, Mississippi. In the early 1960s he worked as a tractor driver while singing in local clubs, and in 1968 moved to Chicago to pursue a singing career.[1] Using the name Mississippi Slim, he performed in clubs in Chicago where he became known for his multicolored hair and mismatched clothing, and toured with other blues singers such as Junior Wells.[2] In 1974, he recorded "Crying In The Arms of Another Love", released by Sunflower Records.[1]
He returned to live in Mississippi in 1994, continuing to perform in local clubs and at festivals, and becoming active in Mississippi's "Blues In Schools" Project. He recorded an album, Miracles, in 1999.[1]
He died in 2010 at the age of 66, after suffering a massive heart attack.
Horn was born in Shelby and grew up in Greenville, Mississippi. In the early 1960s he worked as a tractor driver while singing in local clubs, and in 1968 moved to Chicago to pursue a singing career.[1] Using the name Mississippi Slim, he performed in clubs in Chicago where he became known for his multicolored hair and mismatched clothing, and toured with other blues singers such as Junior Wells.[2] In 1974, he recorded "Crying In The Arms of Another Love", released by Sunflower Records.[1]
He returned to live in Mississippi in 1994, continuing to perform in local clubs and at festivals, and becoming active in Mississippi's "Blues In Schools" Project. He recorded an album, Miracles, in 1999.[1]
He died in 2010 at the age of 66, after suffering a massive heart attack.
https://en.wikipedia.org/wiki/Mississippi_Slim_%28blues_musician%29
Mississippi Slim- Get Your Education
R.I.P.
King Curtis +13.08.1971
King Curtis (eigentlich: Curtis Ousley; * 7. Februar 1934 in Fort Worth, Texas; † 13. August 1971 in New York City) war ein US-amerikanischer Tenorsaxophonist des Rock'n'Roll und Rhythm and Blues der 1950er und 1960er Jahre.
Mitglied in anderen Bands
King Curtis spielte ab 1952 zunächst in den Bands von Lionel Hampton und Horace Silver. Ersichtlich erste Plattenaufnahmen stammen aus Houston vom 10. Januar 1952, nämlich der bislang unveröffentlichte Titel Bad Luck Baby (Hummingbird Records) mit dem Sänger und Pianisten Melvin Daniels für RPM. Im April 1953 entstand in Forth Worth Boogie In The Moonlight / I’ll Be There erneut für Melvin Daniels (RPM #383).
New York
Curtis siedelte im Jahr 1956 nach New York um. Hier spielte er zunächst mit Sonny Thompsons Band am 11. Oktober 1956 den Titel Gum Shoe ein, kurz danach entstand seine erste eigene Aufnahme als King Curtis im Dezember 1956 mit den Titeln Kings Rock / Dynamite At Midnight (Januar 1957; Apollo #507). Er wirkte bei der Originalaufnahme von Got My Mojo Working von Ann Cole & The Suburbans am 27. Januar 1957 (Baton #237) mit, die im April 1957 erschien. Berühmt wurde der Song erst in der Fassung von Muddy Waters, der den Titel bereits am 1. Dezember 1956 aufgenommen, ihn jedoch von Ann Cole übernommen hatte[1]. Danach wurde im Juni 1957 mit dem King Curtis Orchestra der Steel Guitar Rag (DeLuxe #6142) veröffentlicht.
Wie Curtis selbst in einem Interview bestätigte, wurde er von Talentsucher Jesse Stone beim Auftritt in einem New Yorker Club für Atlantic Records entdeckt[2]. Seine erste Single für das Tochterlabel Atco entstand am 5. Februar 1958 mit Birth Of The Blues / Just Smoochin’ (Atco #6114). Ab Oktober 1957 wurde er als Ersatz für die Atlantic-Sessionmusiker Jesse Powell, Arnett Cobb und Al Sears als Sessionspieler bei einer Vielzahl von Interpreten eingesetzt wie Chuck Willis (30. Oktober 1957 Betty And Dupree und drei weitere Titel, 14. Februar 1958 What Am I Living For, Hang Up My Rock’n Roll Shoes und 2 weitere Titel, zwischen Februar und April 1958 sechs weitere Songs), Big Joe Turner (22. Januar 1958 vier Titel), Ruth Brown (30. Juli 1958 drei Titel, 28. Oktober 1958 bei Mama He Treats Your Daughter Mean, 5-10-15 Hours und zwei weitere Songs), LaVern Baker (11. September 1958 I Cried A Tear und drei weitere, 18. Dezember 1958 bei vier Titeln) oder Clyde McPhatter, wo oft sein charakteristisch stotterndes Stakkato-Saxophon hörbar ist. Erstmals spielt er Tenorsaxophon bei der Coasters-Aufnahmesession am 17. März 1958, wo er bei Yakety Yak und drei weiteren Aufnahmen zu hören ist. Erneut macht er sich am 11. Dezember 1958 bei Charlie Brown und zwei weiteren Titeln für die Coasters nützlich.
Curtis nutzt die Zeit bei Atlantic Records auch, um sich mit weiteren Sessionmusikern zu Aufnahmen zusammenzuschließen. Am 5. Februar 1958 versammelt er Sessionmusiker als King Curtis Octet um sich und spielt vier Titel ein. Am 1. Juli 1958 taucht sein Name beim King Curtis Sextet bei drei Titeln auf, am 24. April 1959 spielt er Henry Mancinis Peter Gunn ein.
Inzwischen hatte Curtis seine Saxophon-Dienste beispielsweise Buddy Holly am 10. September 1958 bei Reminiscing (hat Curtis zusammen mit Holly komponiert) und für die überhaupt erste Single von Waylon Jennings (Jole Blon, aufgenommen in derselben Session)[3], den Shirelles bei Boys oder Clyde McPhatter für A Lover's Question angeboten. Am 27. September 1958 (und nochmals am 4. und 20. Oktober 1958) begleitet er die Three Suns auf deren LP Swingin’ On A Star, danach taucht Curtis auch bei dem Millionenseller Kansas City in der Fassung von Wilbert Harrison auf, der im Februar 1959 aufgenommen wird. Kurz darauf begleitet er die Drifters am 6. März 1959 bei There Goes My Baby, im November 1959 erscheint seine erste eigene LP Have Tenor Sax Will Blow, die seine Instrumentenfähigkeiten zum Ausdruck bringt.
Die sechziger Jahre
Curtis konzentriert sich in den folgenden Jahren auf LPs und ist weiterhin häufiger Gast in Tonstudios. Bei dem kleinen Label Prestige entstehen am 18. September 1960 die Titel Do You Have Soul Now?, Jeep's Blues, Soul Meeting, What Is This Thing Called Love?, Lazy Soul und All The Way, aufgenommen in den Tonstudios von Rudy Van Gelder (Englewood Cliffs, New Jersey) mit Nat Adderley (Kornett), Wynton Kelly (Piano), Sam Jones (Bass) und Belton Evans (Schlagzeug). Auf der für den 25. April 1961 anberaumten Session werden für die LP Trouble in Mind die Songs Trouble in Mind, But That’s Allright, I Have To Worry und Jivin‘ Time eingepegelt. In der Session vom 19. September 1961 entstehen The Hucklebuck / So Rare; am 5. Januar 1962 Free For All, Low Down, I’ll Wait For You; am 15. Februar 1962 When The Saints Go Marchin’ In. Für TruSound Records werden am 19. und 22. September 1961 Titel für die LP Old Gold verewigt. Dasselbe Plattenlabel terminiert für den 11. Juli 1961 und 5. Januar 1962 Sessions für die LP It’s Party Time, am 15. Februar 1962 werden Songs für die LP Doin‘ The Dixie Twist aufgenommen.
Ein intensives Labelhopping bringt King Curtis danach zu Enjoy Records (1961-62), King Records (King Curtis Stomp / Steel Guitar Rag; 1962 #5647), Capitol Records (1962-65) und schließlich im Jahr 1965 zurück zu Atlantic Records, wo er bis zu seinem Tod bleibt. Für dessen Tochterlabel spielt er die LP Live at Small’s Paradise in Harlem (Atco #33-198) ein, live aufgenommen am 22. Juli 1966 und veröffentlicht im Februar 1967. Es entstehen Titel wie There Is Something On Your Mind zusammen mit Cornell Dupree, Jimmy Spruill und Joe Puma (Gitarre), Paul Griffin (Piano), Charles Rainey (Bass), Willie Bridges (Baritonsaxophon), Melvin Lastie (Kornett) und Ray Lucas (Schlagzeug).
Seine kommerzielle Instrumentalmusik brachte ihm lediglich bescheidene Hitparadenerfolge ein. Beste Platzierung erreichte seine im Februar 1962 veröffentlichte Single Soul Twist mit einem R&B-Number-1-Hit und Rang 17 der Pop-Hitparade, die überhaupt erste Platte des kleinen Labels Enjoy. Hier wurde er von seiner Begleitband Noble Knights (später Kingpins) unterstützt, die sich aus Paul Griffin (Piano), Ernie Hayes (Orgel), Al Casey oder Billy Butler (Gitarre), Jimmy Lewis oder Jerry Jermott (Bass) und Ray Lucas (Schlagzeug) zusammensetzte. Spätere Bandmitglieder waren Cornell Dupree und Hugh McCracken (Gitarre), Richard Tee (Piano), Chuck Rainey (Bass) und Pretty Purdie (Schlagzeug). Bei Capitol entstehen für seine LP Soul Serenade am 24. Januar 1964 unter anderem die Klassiker Honky Tonk und Night Train. Zusammen mit seinem ehemaligen Atlantic-Sessionkollegen Al Caiola nimmt er im selben Jahr den Guitar Boogie Shuffle auf. Capitol ist unzufrieden über die schlechten Hitparadenergebnisse, sodass Curtis nach drei Jahren zu Atlantic Records wechselt. Hier wird wiederum beim Tochterlabel Atco Records im Oktober 1966 die LP That Lovin‘ Feelin‘ herausgebracht, im März 1967 kommt die LP Plays The Great Memphis Hits auf den Markt, mit der er sich auf Instrumentalversionen großer Vokalhits konzentrierte. Hieraus wurde das rhythmusintensive Jump Back als Single ausgekoppelt. Die Instrumentalversionen großer Vokalhits setzt er mit der LP King Size Soul im Dezember 1967 fort.
Zusammen mit Jerry Wexler begann er, Aufnahmen für andere Interpreten zu produzieren, später auch alleine. Zu den Künstlern, die er produzierte, gehören Freddy King, Roberta Flack, Delaney & Bonnie, Donny Hathaway und Sam Moore.
Zwischen 1962 und 1971 brachte er 15 Hot100-Hits hervor. Er taucht bei knapp 220 LPs als Sessionspieler auf. King Curtis gilt deshalb als einer der produktivsten Sessionspieler der fünfziger und frühen sechziger Jahre, wobei ihm die Produzenten häufig die Freiheit von improvisatorischen Solos ließen. Er nahm jedoch eine große Anzahl eigener Instrumentalaufnahmen mit seinen Tenor- oder Altsaxophon, manchmal auch mit Gitarre, auf.
Am 13. August 1971 wurde King Curtis vor seiner New Yorker Wohnung von einem Drogenabhängigen erstochen. Auf Curtis’ Beerdigung waren unter anderem Aretha Franklin, Jerry Wexler, Stevie Wonder, Duane Allman und Rev. Jesse Jackson zugegen. Die Allman Brothers bauten als Tribut bei einem Konzert kurz nach Curtis' Tod die Soul Serenade in ihr You Don’t Love Me ein.
http://de.wikipedia.org/wiki/King_Curtis
Curtis Ousley (February 7, 1934 – August 13, 1971), who performed under the stage name King Curtis, was an American saxophone virtuoso known for rhythm and blues, rock and roll, soul, blues, funk and soul jazz. Variously a bandleader, band member, and session musician, he was also a musical director and record producer. Adept at tenor, alto, and soprano saxophone, he was best known for his distinctive riffs and solos such as on "Yakety Yak", which later became the inspiration for Boots Randolph's "Yakety Sax" and his own "Memphis Soul Stew".[1]
Early life
Curtis Ousley was adopted, with his sister, Josephine Ousley Allen. They were raised together in Fort Worth, Texas. Ousley attended I.M. Terrell High School, and studied and performed music with schoolmate Ornette Coleman.[2]
Career
Curtis started playing saxophone at the age of twelve in the Fort Worth area. He took interest in many musical genres including jazz, rhythm and blues, and popular music. As a student pursuing music, he turned down college scholarships in order to join the Lionel Hampton Band.[3] During his time with Hampton, he was able to write and arrange music and learn guitar.[3] In 1952 Curtis decided to move to New York and became a session musician, recording for such labels as Prestige, Enjoy, Capitol, and Atco. He recorded with Nat Adderley, Wynton Kelly,[3] Buddy Holly, Waylon Jennings and Andy Williams.[4]
Stylistically, Curtis took inspiration from saxophonists Lester Young, Louis Jordan, Illinois Jacquet, Earl Bostic, and Gene Ammons.[3] Known for his syncopated and percussive style, he was both versatile and powerful as a musician. He put together a group during his time as a session musician that included Richard Tee, Cornell Dupree, Jerry Jemmott, and Bernard Purdie.[4]
Move into rock
King Curtis enjoyed playing jazz and rhythm & blues but decided he would make more money as a rhythm & blues musician, stating in a 1971 interview with Charlie Gillet that "I love the authentic rhythm & blues more than anything, and I also like to live well." From the 1950s until the mid-1960s, he worked as a session player, recording under his own name and with others such as the Coasters, with whom he recorded "Yakety Yak." Buddy Holly hired him for session work, during which they recorded "Reminiscing." Holly wrote this song, but gave Curtis the songwriting credit for flying down to the session. His best-known singles from this period are "Soul Twist" and "Soul Serenade." He provided backing on a number of songs for LaVern Baker, including her 1958 hit single "I Cried a Tear", where his saxophone became "a second voice".[5]
In 1965, he moved to Atlantic Records and recorded his most successful singles, "Memphis Soul Stew" and "Ode to Billie Joe" (1967). He worked with The Coasters, led Aretha Franklin's backing band The Kingpins. The Kingpins opened for The Beatles during their 1965 performance at Shea Stadium. Curtis produced records, often working with Jerry Wexler and recorded for Groove Records during this period, including the Joe South song "Games People Play" with guitarist Duane Allman.[6]
In 1970, he appeared with Aretha Franklin and The Kingpins on Aretha Live at Fillmore West, and another record, Live at Fillmore West. In July 1971, Curtis recorded saxophone solos on "It's So Hard" and "I Don't Wanna Be a Soldier" from John Lennon's Imagine.[7] Along with The Rimshots, he recorded the original theme song for the 1971 hit television show, Soul Train, titled "Hot Potatoes."
Death
Curtis was killed on August 13, 1971 when he was stabbed during an argument with a pair of drug dealers he discovered on the steps outside his Manhattan apartment.[8][9]
On the day of Curtis' funeral Atlantic Records closed their offices.[10] Jesse Jackson administered the service and as the mourners filed in, Curtis' band 'The Kingpins' played "Soul Serenade". Among those attending were Ousley's immediate family, including sister Josephine Ousley Allen, other family members, Aretha Franklin, Cissy Houston, Brook Benton and Duane Allman.[11] Franklin sang the closing spiritual "Never Grow Old" and Stevie Wonder performed "Abraham, Martin and John and now King Curtis".[12]
Curtis was subsequently buried in a red granite-fronted wall crypt in the 'West Gallery of Forsythia Court' mausoleum at Pinelawn Memorial Park in Farmingdale, New York, the same cemetery that holds jazz greats Count Basie and John Coltrane.[13]
Awards
In 1970, a year before his death, Curtis won the Best R&B Instrumental Performance Grammy for "Games People Play".[14]
Curtis was posthumously inducted into the Rock and Roll Hall of Fame on March 6, 2000.
https://en.wikipedia.org/wiki/King_CurtisEarly life
Curtis Ousley was adopted, with his sister, Josephine Ousley Allen. They were raised together in Fort Worth, Texas. Ousley attended I.M. Terrell High School, and studied and performed music with schoolmate Ornette Coleman.[2]
Career
Curtis started playing saxophone at the age of twelve in the Fort Worth area. He took interest in many musical genres including jazz, rhythm and blues, and popular music. As a student pursuing music, he turned down college scholarships in order to join the Lionel Hampton Band.[3] During his time with Hampton, he was able to write and arrange music and learn guitar.[3] In 1952 Curtis decided to move to New York and became a session musician, recording for such labels as Prestige, Enjoy, Capitol, and Atco. He recorded with Nat Adderley, Wynton Kelly,[3] Buddy Holly, Waylon Jennings and Andy Williams.[4]
Stylistically, Curtis took inspiration from saxophonists Lester Young, Louis Jordan, Illinois Jacquet, Earl Bostic, and Gene Ammons.[3] Known for his syncopated and percussive style, he was both versatile and powerful as a musician. He put together a group during his time as a session musician that included Richard Tee, Cornell Dupree, Jerry Jemmott, and Bernard Purdie.[4]
Move into rock
King Curtis enjoyed playing jazz and rhythm & blues but decided he would make more money as a rhythm & blues musician, stating in a 1971 interview with Charlie Gillet that "I love the authentic rhythm & blues more than anything, and I also like to live well." From the 1950s until the mid-1960s, he worked as a session player, recording under his own name and with others such as the Coasters, with whom he recorded "Yakety Yak." Buddy Holly hired him for session work, during which they recorded "Reminiscing." Holly wrote this song, but gave Curtis the songwriting credit for flying down to the session. His best-known singles from this period are "Soul Twist" and "Soul Serenade." He provided backing on a number of songs for LaVern Baker, including her 1958 hit single "I Cried a Tear", where his saxophone became "a second voice".[5]
In 1965, he moved to Atlantic Records and recorded his most successful singles, "Memphis Soul Stew" and "Ode to Billie Joe" (1967). He worked with The Coasters, led Aretha Franklin's backing band The Kingpins. The Kingpins opened for The Beatles during their 1965 performance at Shea Stadium. Curtis produced records, often working with Jerry Wexler and recorded for Groove Records during this period, including the Joe South song "Games People Play" with guitarist Duane Allman.[6]
In 1970, he appeared with Aretha Franklin and The Kingpins on Aretha Live at Fillmore West, and another record, Live at Fillmore West. In July 1971, Curtis recorded saxophone solos on "It's So Hard" and "I Don't Wanna Be a Soldier" from John Lennon's Imagine.[7] Along with The Rimshots, he recorded the original theme song for the 1971 hit television show, Soul Train, titled "Hot Potatoes."
Death
Curtis was killed on August 13, 1971 when he was stabbed during an argument with a pair of drug dealers he discovered on the steps outside his Manhattan apartment.[8][9]
On the day of Curtis' funeral Atlantic Records closed their offices.[10] Jesse Jackson administered the service and as the mourners filed in, Curtis' band 'The Kingpins' played "Soul Serenade". Among those attending were Ousley's immediate family, including sister Josephine Ousley Allen, other family members, Aretha Franklin, Cissy Houston, Brook Benton and Duane Allman.[11] Franklin sang the closing spiritual "Never Grow Old" and Stevie Wonder performed "Abraham, Martin and John and now King Curtis".[12]
Curtis was subsequently buried in a red granite-fronted wall crypt in the 'West Gallery of Forsythia Court' mausoleum at Pinelawn Memorial Park in Farmingdale, New York, the same cemetery that holds jazz greats Count Basie and John Coltrane.[13]
Awards
In 1970, a year before his death, Curtis won the Best R&B Instrumental Performance Grammy for "Games People Play".[14]
Curtis was posthumously inducted into the Rock and Roll Hall of Fame on March 6, 2000.
Curtis King blues band
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