1906 Curtis Jones*
1928 Barkin' Bill Smith*
Steve Lury*
Taylor Scott*
Ronnie Keith Owens*
Hans Penzoldt*
John Campbelljohn*
1928 Barkin' Bill Smith*
Steve Lury*
Taylor Scott*
Ronnie Keith Owens*
Hans Penzoldt*
John Campbelljohn*
Happy Birthday
Barkin' Bill Smith *18.08.1928
Barkin' Bill Smith (* 18. August 1928 in Cleveland, Mississippi; † 24. April 2000 in Chicago, Illinois) war ein US-amerikanischer Bluessänger und Songwriter.
Seine Jugend verbrachte Smith in Mississippi, zog aber später nach Detroit und dann weiter nach Chicago. Seinen Namen erhielt er von Homesick James, mit dem er 1958 zusammengearbeitet hatte. Die Namensgebung ist äußerst seltsam, denn seine Stimme war ein üppiger, geschliffener Bariton, der eigentlich eine Antithese zum Gesang des Chicagoblues darstellte.[1] Er sang in Chicago für zahlreiche Bluesbands. Beeinflusst wurde er von Joe Williams (Count Basies Sänger, nicht dem Gitarristen), Brook Benton und Jimmy Witherspoon. [1] Nach langen Jahren machte er 1991 sein Albendebut als Sänger von Dave Specter & the Bluebirds auf "Bluebird Blues" und nachdem er die Gruppe verlassen hatte erschien 1994 sein eigenes Album "Gotcha!", wobei er die Verbindung zu Delmark Records ausnutzen konnte, die Bluebird Blues veröffentlicht haben. Nach 1994 trat er wegen gesundheitlicher Probleme immer seltener auf. [2]
Smith starb 2000 an Bauchspeicheldrüsenkrebs.
http://de.wikipedia.org/wiki/Bill_Smith_%28Bluess%C3%A4nger%29
Barkin' Bill Smith (August 18, 1928 – April 24, 2000)[2][3] was an American Chicago blues and electric blues singer and songwriter.[1] Although he was born in Cleveland, Mississippi,[2] Smith spent his latter years in Chicago.[1]
Biography
Smith was raised in Mississippi, but later relocated to East St. Louis, Detroit and finally Chicago. He obtained his stage name from Homesick James in 1958, after the pair had worked together. Smith sang in front of various blues bands around Chicago for many years, having been initially influenced by Joe Williams, Jimmy Witherspoon and Brook Benton.[1] He finally made his recording debut in 1991, providing the vocals on Dave Specter's first album, Bluebird Blues.[4] His connection with Delmark Records then continued when they issued Smith's own solo debut, Gotcha!, in 1994.[1] Gotcha! featured guitar work by Steve Freund.[5]
In his latter years declining health restricted his live appearances.[6]
Smith died in April 2000 in Chicago, from pancreatic cancer, at the age of 71.
Biography
Smith was raised in Mississippi, but later relocated to East St. Louis, Detroit and finally Chicago. He obtained his stage name from Homesick James in 1958, after the pair had worked together. Smith sang in front of various blues bands around Chicago for many years, having been initially influenced by Joe Williams, Jimmy Witherspoon and Brook Benton.[1] He finally made his recording debut in 1991, providing the vocals on Dave Specter's first album, Bluebird Blues.[4] His connection with Delmark Records then continued when they issued Smith's own solo debut, Gotcha!, in 1994.[1] Gotcha! featured guitar work by Steve Freund.[5]
In his latter years declining health restricted his live appearances.[6]
Smith died in April 2000 in Chicago, from pancreatic cancer, at the age of 71.
Curtis Jones *18.08.1906
Curtis Jones (August 18, 1906 – September 11, 1971) was an American blues pianist.
Jones was born in Naples, Texas, United States, and played guitar whilst young but switched to piano after a move to Dallas. He often played guitar on one or two songs on his albums and at live performances.[2][2] In 1936 he relocated to Chicago, where he recorded between 1937 and 1941 on Vocalion, Bluebird, and OKeh. Among his best-known tunes from these recordings were the hit "Lonesome Bedroom Blues" and the song "Tin Pan Alley".[2] His "Decoration Blues" though unissued at the time, was recorded by Sonny Boy Williamson I in 1938. World War II interrupted his recording career, which he did not resume until 1953, when a single of his, "Wrong Blues"/"Cool Playing Blues", was released on Parrot, featuring L. C. McKinley on guitar.
Jones's first full-length album appeared in 1960 on Bluesville, by which time he had become a noted performer on the Chicago folk music scene.[2] A solo album was released in 1962, by which time Jones had moved to Europe. He lived there and in Morocco for the rest of his life.[2] He made further albums in the UK, including one in 1968 that featured Alexis Korner on guitar.[2]
One of Jones' songs, "Highway 51", was included on Bob Dylan's 1962 debut album, Bob Dylan.
Jones died of heart failure in Munich in 1971, at the age of 65.[3]
Ronnie Keith Owens *18.08.
Unfortunately, after repeated spins of Li’l Ronnie and the Grand Dukes’ Gotta Strange Feeling it is apparent that the final product does not live up to the anticipation of the final product. While there is a lot to like with Li’l Ronnie and the Grand Dukes’ Gotta Strange Feeling the disc is good but not great. The opening track to Gotta Strange Feeling, “Can’t Buy Me Love” musically illustrates both the best and worse of Li’l Ronnie and The Grand Dukes. Li’l Ronnie Owens, to his credit due to the level of musicians assembled as part of The Grand Dukes, and being a first class harp player himself, are able to faithfully and impeccably reproduce the vintage Chess Records sound. Unfortunately, due to Owens’ own work with a vocal mic and his formulaic songwriting, Li’l Ronnie and The Grand Dukes would have never have survived in the old south side Chicago blues club scene.
Figuring I would find some genuine pathos, I couldn’t help but gravitate to the Owens’ penned “Screaming & Crying” track. Opening with a funky acoustic guitar riff courtesy of Ivan Appelrouth (guitarist/co-songwriter) and an inspired harp solo by Owens, once his pitchy and lounge-like vocals start into the song, I can’t help but be distracted.
On the Louis Jordan classic track “Buzz Me,” Li’l Ronnie and The Grand Dukes clearly are in their element as a band and show why Li’l Ronnie Owens has been able to make a 25+ year career out of music. With a musical blueprint in hand, or a set of well chosen cover songs, it isn’t hard to imagine Li’l Ronnie and The Grand Dukes receiving favorable billing on most summertime blues festivals. As presently construed, they wouldn’t headline a major festival, but they would send the majority of festival patrons home happy.
If you find you have a desire for more interpretations of the Chicago Blues sound, then Gotta Strange Feeling is a worthy addition to your musical library. If you’re hoping for a new interpretation of that vintage sound, or proof of Aristotle's theory that the whole is more than the sum of its parts, then I Gotta Strange Feeling that Li’l Ronnie and The Grand Dukes are not for you.
Wang Dang Doodle
Terry Garland and Keith "Li'l Ronnie" Owens doing Willie Dixon's great "Wang Dang Doodle.
Li'l Ronnie & the Grand Dukes @ Blue 5 - 7/6/13
Steve Lury Geb. 18.08.
Playing and touring since the 1960's, British harmonica wizard Steve Lury first met and jammed with Andres Roots in London in 2006, followed by appearances at festivals such as Baltic-Nordic Harmonica (EST), Augustibluus (EST) and Suwalki Blues (POL) and tours of Estonia and Finland with the band Bullfrog Brown. Those early collaborations were documented on the 2009 album "Bullfrog Brown with Steve Lury", which included 50% live and 50% studio material.
In 2011 and 2012, Lury & Roots toured Estonia and Finland as Steve Lury & Andres Roots Roundabout, with ex-Bullfrog Brown bassist Peeter Piik and drummer Kalle Kindel. The shows included festival slots at Viru Folk (EST), Pärnu Bluusipäevad (EST), Kaavi Blues (FIN) and Leppävirta Blues Picnic (FIN).
"Led by Roots on guitar, the group was the best this year's Blues Picnic had to offer. Lury's harmonica sawed and hugged, tore and grabbed with the soulful sound of warmhearted and spine-tingling blues," wrote Finland's Jazzrytmit magazine of their Leppävirta performance, reprising their praise for Kaavi Blues: "Roots is a super-skilled guitarist and we saw fantastic proof of that during yesterday's concert. The band's performance was probably the finest we witnessed all day: confident, masterly and compelling."
For their 2013 single "Someplace Nice/Spider In My Bed", Raul Terep replaced Kindel on drums; "Someplace Nice" also appeared on the first volume of the German Wasser-Prawda webzine's 5th anniversary compilation. In September 2013, Lury, Roots and Piik gigged in Glasgow and at the Shetland Blues Festival as a trio, with Paul Archibald sitting in on drums for the festival's Muddy Waters Night programme. Their two nights at the Mareel in Lerwick were recorded and, courtesy of Shetland Arts Development Agency, released on November 17th, 2014 as Steve Lury & Andres Roots "Live In Lerwick".
"This is a very good, sound album with a fine range of material, varied in texture and tempo and featuring rock-solid guitar and harp work throughout," writes Iain Patience in Cashbox Magazine Canada, with the American Bman's Blues Report adding:"Simply cool... With a very stripped down approach but with modern amplification, the notes soar... A real feel of a Muddy Waters band, sans Waters' voice. This band is tight."
In 2011 and 2012, Lury & Roots toured Estonia and Finland as Steve Lury & Andres Roots Roundabout, with ex-Bullfrog Brown bassist Peeter Piik and drummer Kalle Kindel. The shows included festival slots at Viru Folk (EST), Pärnu Bluusipäevad (EST), Kaavi Blues (FIN) and Leppävirta Blues Picnic (FIN).
"Led by Roots on guitar, the group was the best this year's Blues Picnic had to offer. Lury's harmonica sawed and hugged, tore and grabbed with the soulful sound of warmhearted and spine-tingling blues," wrote Finland's Jazzrytmit magazine of their Leppävirta performance, reprising their praise for Kaavi Blues: "Roots is a super-skilled guitarist and we saw fantastic proof of that during yesterday's concert. The band's performance was probably the finest we witnessed all day: confident, masterly and compelling."
For their 2013 single "Someplace Nice/Spider In My Bed", Raul Terep replaced Kindel on drums; "Someplace Nice" also appeared on the first volume of the German Wasser-Prawda webzine's 5th anniversary compilation. In September 2013, Lury, Roots and Piik gigged in Glasgow and at the Shetland Blues Festival as a trio, with Paul Archibald sitting in on drums for the festival's Muddy Waters Night programme. Their two nights at the Mareel in Lerwick were recorded and, courtesy of Shetland Arts Development Agency, released on November 17th, 2014 as Steve Lury & Andres Roots "Live In Lerwick".
"This is a very good, sound album with a fine range of material, varied in texture and tempo and featuring rock-solid guitar and harp work throughout," writes Iain Patience in Cashbox Magazine Canada, with the American Bman's Blues Report adding:"Simply cool... With a very stripped down approach but with modern amplification, the notes soar... A real feel of a Muddy Waters band, sans Waters' voice. This band is tight."
Snakegirl Blues - Bullfrog Brown, Steve Lury
Taylor Scott *18.08.
Die Otis Taylor Band als zweiter Programmpunkt begann sehr zurück
genommen, erweckte zunächst den Eindruck eines minimalistisch
musizierenden Quartetts. Aber weit gefehlt: Mit unvermittelten
Lautstärke-ausbrüchen der beiden Gitarren kam schnell Dynamik ins Spiel
und die Soli des noch nicht einmal 21-jährigen Gitarristen Taylor Scott
hatten eine solche Dringlichkeit, dass sie das Publikum in Picknicklaune
in der prallen Sonne unter dem Bergfried immer wieder zu Szenenapplaus
bewegten. Otis Taylors Blues lebt vom Muskelspiel des Rock, ist aber
kein Blues Rock und erst recht keiner der Marke Joe Bonamassa, der –
eher glatt poliert – sogar für die Popcharts taugt. Taylor, in Chicago
geboren, in Denver aufgewachsen, spielte mit seiner Gruppe erdig,
schmutzig und rau.
It isn't often that music heavily influenced by soul, funk, blues, jazz, and rock & roll comes out of a town like Cheyenne, Wyoming. One listen to Taylor Scott's first full-length solo album, "Lonelier with You," and you'll believe that however unlikely, it happens.
"Growing up in Wyoming didn't make it easy to find this music," Taylor says. "We couldn't just walk down the street and hear a great live band on a Friday night. We really had to go out of our way to find it. As a result, I learned to never take music for granted, especially the type that moved me."
Taylor Scott is a guitarist, singer, and songwriter who grew up in Cheyenne. His newest record, "Lonelier with You," was released in the spring of 2014. The album puts the spotlight on honest and memorable song craft, expressive vocals, and Taylor's signature soulful guitar work. Both in the studio and on the road, Taylor is accompanied by a group of musicians who are amazing, both individually and collectively.
"I'm calling what we do 'soul/jam,' because there's not really one genre name for it. When people ask me what type of music we play, it's kind of hard to explain. It's soul music, blues, funk, jazz, rock & roll, jam, and a bunch of other things. It's most like soul music, except the vocals aren't the only focus. We improvise, solo, and play off each other a lot. 'Soul/jam' seems like an appropriate title."
When Scott isn't touring and recording with The Taylor Scott Band, he is playing lead guitar with blues legend Otis Taylor. Over the past few years, Scott has toured all over the U.S., Canada, and Europe.
Taylor Scott is an exciting young artist with unlikely roots whose music and band refuse to be
ignored.
It isn't often that music heavily influenced by soul, funk, blues, jazz, and rock & roll comes out of a town like Cheyenne, Wyoming. One listen to Taylor Scott's first full-length solo album, "Lonelier with You," and you'll believe that however unlikely, it happens.
"Growing up in Wyoming didn't make it easy to find this music," Taylor says. "We couldn't just walk down the street and hear a great live band on a Friday night. We really had to go out of our way to find it. As a result, I learned to never take music for granted, especially the type that moved me."
Taylor Scott is a guitarist, singer, and songwriter who grew up in Cheyenne. His newest record, "Lonelier with You," was released in the spring of 2014. The album puts the spotlight on honest and memorable song craft, expressive vocals, and Taylor's signature soulful guitar work. Both in the studio and on the road, Taylor is accompanied by a group of musicians who are amazing, both individually and collectively.
"I'm calling what we do 'soul/jam,' because there's not really one genre name for it. When people ask me what type of music we play, it's kind of hard to explain. It's soul music, blues, funk, jazz, rock & roll, jam, and a bunch of other things. It's most like soul music, except the vocals aren't the only focus. We improvise, solo, and play off each other a lot. 'Soul/jam' seems like an appropriate title."
When Scott isn't touring and recording with The Taylor Scott Band, he is playing lead guitar with blues legend Otis Taylor. Over the past few years, Scott has toured all over the U.S., Canada, and Europe.
Taylor Scott is an exciting young artist with unlikely roots whose music and band refuse to be
ignored.
OTIS TAYLOR Hey Joe au New Morning à Paris le 01 04 2014 ( Guitariste TAYLOR SCOTT )
John Campbelljohn *18.08.
Die Initialzündung für seine Karriere als (Blues-)Musiker gaben die Allman Brothers bzw. das Slide-Spiel ihres 1971 tödlich verunglückten Gitarristen Duane Allman. "Als ich das erste Mal bewusst ihre Version von Blind Willie McTells ‚Statesboro Blues' hörte, da hatte ich noch keine Ahnung, was eine Slide-Gitarre war oder dass Duane Allman einen Bottleneck benutzte und in offener Stimmung spielte, aber ich fand diesen Sound einfach fantastisch und wollte so etwas auch hinbekommen." Ein Freund gab ihm schließlich den entscheidenden Hinweis auf "open tunings" und Slide-Röhrchen und von da an versuchte er, die Licks seines Idols nachzuspielen - "bis ich irgendwann damit aufhörte, weil ich ja kein Duane-Allman-Klon werden wollte." (Auszug aus einem Interview von Michael Seiz in bluesnews 66)
John Campbelljohn hat sich mit Haut und Haaren der Slidegitarre verschrieben, die er mit seltener Perfektion und Intensität handhabt. Campbelljohn zeigt sich dabei keineswegs als Purist, sondern nimmt immer wieder Anleihen bei anderen Genres. Seiner Herkunft entsprechend fließt etwa das eine oder andere Mal auch ein wenig keltisches Flair ein. Diese Vielfalt verleiht seiner Musik Frische, die insbesondere auch live für gute, launige Stimmung sorgt – ein Rhythmus, der unter die Haut geht.
Für sein exquisites Gitarrenspiel erhielt er bereits zahlreiche Auszeichnungen. Im Herbst 1993 veröffentlichte er sein von Kritikern überaus gut aufgenommenes Debüt-Album "How Does It Feel". Der internationale Durchbruch kam dann 1999 mit „Hook, Slide & Sinker“. Sein Album „Nerves of Steel“ aus dem Jahr 2000 „hebt das Leistungsniveau seines Slide-Spiels in neue Dimensionen“ so der „Rolling Stone“. 2003 folgte das im Hamburger Downtown Bluesclub live aufgenommene Album „The World is Crazy“ sowie im Jahr 2006 „Weight of the World“, für das er die Auszeichnung „Blues Recording of the Year“ bei den East Coast Music Awards erhielt. Ihre aktuelle CD „Celtic Blues“ erschien im Frühjahr 2011. Unzählige Live-Auftritte in Radio und Fernsehen sowie ausgedehnte Touren hat John Campbelljohn mittlerweile absolviert. Seine Auftritte auf großen Festivals in Europa von Fehmarn über Luzern bis Italien und Kroatien gehörten zu den jeweiligen Höhepunkten.
In his solo, acoustic blues performances he makes the most of the song. Campbelljohn soulfully commands the stage with rich vocals, while his powerfully prolific technique on guitar or trusty dobro lap steel further embellishes each composition. His power trio ups the ante with an electric sound that can pummel an audience into submission or captivate them with the subtleties of ace musicians driven solely by the love of their craft.
A tight rhythm section fronted by Campbelljohn’s distinctive prowess on slide guitar quickly demonstrates that, although John’s a Cape Bretoner, he’s been cut from a plaid of a very different color. Power blues that touch on rock, reggae and roots with a few overtones of pure country – these are John Campbelljohn’s stock and trade. He’s also added the wondrous sounds of the pedal steel to his live band shows to haunting effect. The overall quality of the musicianship, the energy of his delivery and the guaranteed good times that spring from the band’s performances are proof of the pudding.
Acoustically, John combines the influences of such diverse players as Fred McDowell, Ry Cooder and John Hammond while his electric shows earmark everyone from Sonny Landreth to Johnny Winter, Clapton to Duane Allman. A simple listen to any of his six CD releases tell the tale that John Campbelljohn – solo or otherwise – is a born performer and a credit to his accomplishments: Blues Artist of the Year, Guitarist of the Year, Slide Guitarist of the Year.
pedal steel Healeys low resHis is a sophisticated, well-informed and progressive definition of the blues and his distinctive edge has been applauded from Sydney to Stuttgart.
Treat yourself to something truly fan-friendly and fun – a compliment to any fine establishment hoping to make a serious claim on grown-up entertainment with a no-nonsense master of many genres.
As many a mainlander will tell you, if you want to make a success of yourself, you have to do it away. Unless, of course, you’re a Caper and your heart and soul are inextricably tied to the land for reasons that no outlander could ever comprehend. Despite the fact that Cape Breton is a hotbed of traditional Celtic music with its high energy fiddle-playing and step-dancing, John Campbelljohn focused his energies in other directions. Learning his first guitar chords at age 14 from his steel-working Dad, Chas, it was hearing the first strains of Duane Allman’s “Statesboro Blues” at a high school dance that set him on a course from which there was no return. Learning slide guitar became Campbelljohn’s sole obsession. Step dancing could wait.
He, in truth, had been spoken to by the blues and he responded in kind, injecting his music with the same sense of frenetic energy, raw emotionalism and pile-driving rhythms that fire the regions rich legacy of Celtic fare. Musically, Campbelljohn covers a lot of ground – his is an eclectic grasp of the blues grounded in the subtleties of Fred McDowell, Son House and Earl Hooker, yet channeled through a stylistic bisque that name-checks the mastery of Sonny Landreth, Duane Allman and Johnny Winter. Depending on the muse, he can veer off into territory that embraces reggae, roots-rock and (with the help of his pedal steel) pure country. Yet the core of his sound is a sophisticated, well-informed and progressive definition of the blues. He may follow a slightly different path than that taken by his tartan-clad brethren but the “guts” inherent in the Cape Breton sound remain true-to-form and Campbelljohn’s unique calling card no matter where his travels take him. The distinctiveness of his sound has been applauded and appreciated from Sydney to Stuttgart. In fact, his reputation abroad has blossomed into a German label contract on the Taxim label.
Fehmarn low resJohn released his debut in ’93 and, as his originality begged immediate attention, with accolades pouring in across the next six releases: Blues Artist of the Year, Guitarist of the Year, Slide Guitarist of the Year. Regular nominations and a mantle-full of awards – as well as constant recognition and critical praise for both his recordings and his live performances – keep him in the limelight and feed his soul but, in true Maritime tradition, he prefers to further refine his craft in a self-driven quest for perfectionism that comes with the territory. Not content to be revered for the originality of his songwriting, his celebrated slide skills, his cut-to-measure vocals and his fan-friendly stage prowess, Campbelljohn can now add pedal steel guitar to his already sizable arsenal. At the same time, he is amping up his home recording capabilities to lay down his more adventurous ideas at his convenience as well as offer help to up-and-coming talent in search of hands-on direction.
John Campbelljohn is an exceptional blues musician with great instincts, tastefully concise solos and a no-nonsense approach to giving his fans the good times they not only deserve – but have come to expect. John Campbelljohn is one nose-to-the-grindstone artist who is rarely satisfied with doing his absolute best and it is this very drive and ambition which keeps him in the foreground.
John Campbelljohn: front man; sideman; consummate showman; proud Cape Bretoner; Canadian bluesman. He’s redefined success at home and away.
And – thankfully – there’s still no sign of his step-dancing.
John Campbell John Mix - Dimitris Lesini Blues
John Campbell John Mix - Dimitris Lesini Blues
John Campbelljohn Trio - Tanz Des Siebenschlafers/I Want To Get Up
John Campbelljohn - Rollin' & Tumblin'
John Campbelljohn - Kokomo Blues
John Campbelljohn - Knocked Down
John Campbelljohn - Lockdown
John Campbelljohn Trio - Kathaline
John Campbelljohn - Rock This House
John Campbelljohn - Johnny Rock 'N' Roll
John Campbelljohn - The World Is Crazy
John Campbelljohn Trio - Weight Of The World
John Campbelljohn Trio - Sydney Steel
John Campbelljohn - Don't You Get Your Fingers Dirty
John Campbelljohn - Do The Right Thing
John Campbelljohn - Baby Please Don
John Campbelljohn Trio - Light At The End Of The Tunnel
John Campbelljohn - The ballad of Shorty and Jimmy Jones
John Campbelljohn - Ready For A Riot
John Campbelljohn - Honey,I've Had My Fill
John Campbelljohn - 30 Dirty Women
John Campbelljohn Trio - He Love 'Er
John Campbelljohn - Excuse My Behavior
John Campbelljohn Trio - Ice Cubes In Her Wine
John Campbelljohn - Good to go
John Campbelljohn - I Wanna Get Up
John Campbelljohn - Snake oil
John Campbelljohn Trio - Take It Out On The Street
John Campbelljohn - I'd Rather Be Rich Than Famous
John Campbelljohn - Baby Bloomer Blues
John Campbelljohn - Punching Bag
John Campbelljohn - Land of the livin'
John Campbelljohn Trio - Dance Of The Seven-Sleeper
John Campbelljohn - Don't You Burn Your Bridges
John Campbelljohn Trio - That's Just Fine
John Campbelljohn - Let's Get Twisted
John Campbelljohn Trio - Don't Let The Drinkin' Do The Thinkin'
John Campbelljohn - The Big Dig
John Campbelljohn Trio - Tanz Des Siebenschlafers/I Want To Get Up
John Campbelljohn - Rollin' & Tumblin'
John Campbelljohn - Kokomo Blues
John Campbelljohn - Knocked Down
John Campbelljohn - Lockdown
John Campbelljohn Trio - Kathaline
John Campbelljohn - Rock This House
John Campbelljohn - Johnny Rock 'N' Roll
John Campbelljohn - The World Is Crazy
John Campbelljohn Trio - Weight Of The World
John Campbelljohn Trio - Sydney Steel
John Campbelljohn - Don't You Get Your Fingers Dirty
John Campbelljohn - Do The Right Thing
John Campbelljohn - Baby Please Don
John Campbelljohn Trio - Light At The End Of The Tunnel
John Campbelljohn - The ballad of Shorty and Jimmy Jones
John Campbelljohn - Ready For A Riot
John Campbelljohn - Honey,I've Had My Fill
John Campbelljohn - 30 Dirty Women
John Campbelljohn Trio - He Love 'Er
John Campbelljohn - Excuse My Behavior
John Campbelljohn Trio - Ice Cubes In Her Wine
John Campbelljohn - Good to go
John Campbelljohn - I Wanna Get Up
John Campbelljohn - Snake oil
John Campbelljohn Trio - Take It Out On The Street
John Campbelljohn - I'd Rather Be Rich Than Famous
John Campbelljohn - Baby Bloomer Blues
John Campbelljohn - Punching Bag
John Campbelljohn - Land of the livin'
John Campbelljohn Trio - Dance Of The Seven-Sleeper
John Campbelljohn - Don't You Burn Your Bridges
John Campbelljohn Trio - That's Just Fine
John Campbelljohn - Let's Get Twisted
John Campbelljohn Trio - Don't Let The Drinkin' Do The Thinkin'
John Campbelljohn - The Big Dig
John Campbelljohn & Neil Robertson's Double Down Blues
Sydney Steel - John Campbelljohn w/ Stan Carew
Hans Penzoldt *18.08.
Hans Penzoldt („Eastman“ aus Thüringen) traf nach der Wende in Kempten auf das Allgäuer Blues-Urgestein Siggi Neher. In Süddeutschland wohlbekannt, sind die beiden unter dem Namen „East- und Westman“ auch in Guntersblum mittlerweile eine feste Größe in der Konzertlandschaft. Seit 2008 sind der fantastische Harpvirtuose und der charismatische Sänger und Gitarrist durch zahlreiche Konzerte im Ort bekannt, jedoch waren sie, wie die Veranstalter des Kulturvereins Guntersblum feststellen mussten, zuletzt vor 5 Jahren zu einem eigenständigen Konzert im Kleinkunstkeller des Museums – und das, obwohl viele Gäste immer wieder von Hans Penzoldts legendärem Solostück „Train“ schwärmen.
Siggi Neher besticht durch seine Joe Cocker ähnliche Reibeisenstimme und superbes Gitarrenspiel. 1998 wählte die Jury von “Johnos Bluesbar“ (dem zweitbekanntesten Bluesclub Australiens) Siggi Neher bei einem Gesangswettbewerb auf den 2.Platz. Seine hörenswerten rockigen und bluesigen Eigenkompositionen prägen das Konzert des Duos. Neher´s „Cruising“ lässt bewusst Erinnerungen an Deep Purple´s „Child in Time“ wach werden.
Hans Penzoldt zählt zu den „besten Harmonikaspielern Europas" (Harmonica Player). Der gebürtige Thüringer beherrscht manche Spieltechniken auf der Blues-Harp wie kaum ein anderer. An manchen Stellen ist nicht zu bemerken, wann er eigentlich Luft holt. Seine Auftritte mit Stars wie Carey Bell, Katie Webster, Terry Williams (ex Dire Straits), Brian Breeze (ex Eric Clapton Band), Spencer Davis Group, Alvin Lee und vielen anderen sind legendär. Dass Penzoldt unter dem Einfluss von H. Levy und dem modernen Jazz der diatonischen Mundharmonika (Blues-Harp) eine etwas veränderte Identität gibt, bereichert die Musik des Duos nachhaltig. Neben seinen beeindruckenden musikalischen Fähigkeiten ist Hans Penzoldt auch Konstrukteur einer Mundharmonika, auf der Töne gleichzeitig gespielt werden können, die auf normalen Mundharmonikas nicht möglich sind.
Train-eastman Hans Penzoldt/Guntersblum
East & Westman Boogie H
Keine Kommentare:
Kommentar veröffentlichen