1903 Jimmy Rushing*
1943 Tadeusz Nalepa*
1950 Don Baker*
1968 Uwe Sauer*
1993 Rockin' Dopsie+
1994 Sebastian Kleene*
1943 Tadeusz Nalepa*
1950 Don Baker*
1968 Uwe Sauer*
1993 Rockin' Dopsie+
1994 Sebastian Kleene*
Happy Birthday
Don Baker *26.08.1950
Don Baker (born 26 August 1950) is an Irish blues musician, television personality, and actor.
Baker was born in Whitehall, Dublin. He is a singer-songwriter who plays the harmonica and the guitar. He appeared in several films, his most notable appearance being in In the Name of the Father and On the Nose.[1] He has published harmonica instruction books and videos.[citation needed]
In August 2008, he appeared in RTÉ's reality show Fáilte Towers,[2] finishing in third place, earning money for his charity Health Action Overseas.
http://en.wikipedia.org/wiki/Don_Baker_%28musician%29
Don Baker was born in Whitehall, Dublin in 1950, but by the time he was in his early teens he was already showing his natural talent on the harmonica and guitar.
Living in the Corporation Buildings in inner-city Dublin he was attracted to blues music and by 1973 he was playing all over Germany, Austria, Holland and France, earning a living from the music he not only loved, but was supremely proficient at. He spent a decade on the road, paying his dues, travelling on trains and sleeping on floors.
Don became a significant Irish musical figure in 1979 when he was invited by the Late Late Show to compose a song about inner city Dublin. ‘Dublin’s Inner City’ was the outcome, and the version by The Jolly Beggarmen reached No. 2 in the Irish charts.
Since then, Baker has built a solid reputation as a singer, guitarist, harmonica player and songwriter. Many of his own compositions offer disarmingly honest reflections on aspects of his own life and personality, and he has openly spoken of his deeply spiritual approach to life and people.
He has recorded several acclaimed albums including Almost Illegal, Born With the Blues, Duckin’ & Divin’, Miss You, No Regrets “Live in Concert”, Just Don Baker, No Nonsense and Rain On The Wind. His DVD/video releases include Don Baker Live and Don Baker In Profile.
Mark Feltham (who has played with Oasis, Joe Cocker and Rory Gallagher) rates him as the greatest acoustic harmonica player in the world, and similar acclaim has come his way from both Nashville session musician Charlie McCoy and U2’s Bono. He has written several instruction books for harmonica players, and several tutor videos. The esteem with which he is viewed on the international circuit is clear as he is a regular adjudicator for the World Harmonica Championships (Blues section).
Baker’s harmonica influences include blues legends Sonny Boy Williamson and Sonny Terry, as well as the afore-mentioned McCoy who recorded Baker’s composition, ‘Jordanna’. His guitar playing was, by his own admission, inspired by Mississippi John Hurt, Blind Blake and Robert Johnson, but others also see the influence of more modern players of the calibre of JJ Cale and Mark Knopfler.
Baker made his screen debut in 1993 in the film In The Name of The Father directed by Jim Sheridan, and starring Daniel Day-Lewis and Emma Thompson. He also appeared in Mia, Liebe Meines Lebens in 1998 with Claudia Cardinale, and in 2001’s On The Nose with Dan Ackroyd and Robbie Coltrane.
His 2013 album, My Songs, My Friends, features a selection of his own songs sung and played by a star-studded line-up of guests including Liam O Maonlai, Brian Kennedy, Gemma Hayes, Finbar Furey, Sinead O’Connor, Eleanor McEvoy, John Spillane, Mick Pyro, Clara Rose, Rob Strong, Pat Collins, Martin Furey, Paddy Casey and Declan O’Rourke. It also contains three live bonus tracks recorded by Baker at The Olympia.
Living in the Corporation Buildings in inner-city Dublin he was attracted to blues music and by 1973 he was playing all over Germany, Austria, Holland and France, earning a living from the music he not only loved, but was supremely proficient at. He spent a decade on the road, paying his dues, travelling on trains and sleeping on floors.
Don became a significant Irish musical figure in 1979 when he was invited by the Late Late Show to compose a song about inner city Dublin. ‘Dublin’s Inner City’ was the outcome, and the version by The Jolly Beggarmen reached No. 2 in the Irish charts.
Since then, Baker has built a solid reputation as a singer, guitarist, harmonica player and songwriter. Many of his own compositions offer disarmingly honest reflections on aspects of his own life and personality, and he has openly spoken of his deeply spiritual approach to life and people.
He has recorded several acclaimed albums including Almost Illegal, Born With the Blues, Duckin’ & Divin’, Miss You, No Regrets “Live in Concert”, Just Don Baker, No Nonsense and Rain On The Wind. His DVD/video releases include Don Baker Live and Don Baker In Profile.
Mark Feltham (who has played with Oasis, Joe Cocker and Rory Gallagher) rates him as the greatest acoustic harmonica player in the world, and similar acclaim has come his way from both Nashville session musician Charlie McCoy and U2’s Bono. He has written several instruction books for harmonica players, and several tutor videos. The esteem with which he is viewed on the international circuit is clear as he is a regular adjudicator for the World Harmonica Championships (Blues section).
Baker’s harmonica influences include blues legends Sonny Boy Williamson and Sonny Terry, as well as the afore-mentioned McCoy who recorded Baker’s composition, ‘Jordanna’. His guitar playing was, by his own admission, inspired by Mississippi John Hurt, Blind Blake and Robert Johnson, but others also see the influence of more modern players of the calibre of JJ Cale and Mark Knopfler.
Baker made his screen debut in 1993 in the film In The Name of The Father directed by Jim Sheridan, and starring Daniel Day-Lewis and Emma Thompson. He also appeared in Mia, Liebe Meines Lebens in 1998 with Claudia Cardinale, and in 2001’s On The Nose with Dan Ackroyd and Robbie Coltrane.
His 2013 album, My Songs, My Friends, features a selection of his own songs sung and played by a star-studded line-up of guests including Liam O Maonlai, Brian Kennedy, Gemma Hayes, Finbar Furey, Sinead O’Connor, Eleanor McEvoy, John Spillane, Mick Pyro, Clara Rose, Rob Strong, Pat Collins, Martin Furey, Paddy Casey and Declan O’Rourke. It also contains three live bonus tracks recorded by Baker at The Olympia.
Don Baker Ireland's Best Harmonica Player "Don's Train"
Don Baker - Born With The Blues (Live At The Olympia 1991)
Jimmy Rushing *26.01.1903
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Jimmy Rushing (* 26. August 1903[1] in Oklahoma City, Oklahoma; † 8. Juni 1972 in New York; eigentlich James Andrew Rushing) war ein US-amerikanischer Blues- und Jazzsänger und Liedtexter.
Rushing stammte aus einer musikalischen Familie; sein Vater war Trompeter in Brass Bands und bei Paraden; die Mutter sang im Kirchenchor und deren Bruder, der Pianist und Sänger Wesley Manning, brachte ihn mit dem Blues in Berührung. Einen Bordellsong seines Onkels, „Tricks Ain’t Walkin’ No More“, einen unanständigen Dialog zwischen einem Zuhälter und seiner Bediensteten, nahm er später auf.
Er spielte früh autodidaktisch Violine und Klavier. Schon 1923/24 tourte er im Mittleren Westen und Kalifornien als Blues-Sänger. In Los Angeles sang er mit Jelly Roll Morton und Harvey Brooks, kehrte dann aber nach Oklahoma zurück.[2] 1927 ging er zu den Blue Devils von Walter Page, einer der bekanntesten Territory Bands im Südwesten der USA, (wo er bald darauf mit Count Basie zusammentraf[3]) und in das Orchester von Bennie Moten (ab 1929 bis zu nach Motens Tod 1935). Er arbeitete dann weiter im neu gegründeten Count Basie Orchestra; zwischen 1937 und 1939 nahm er mit der Basie-Band zwanzig Titel für Decca Records auf.
Rushing gehörte zur Gruppe der „Blues-Shouter“, und er wurde zu seinem Bluesgesang oft von Basies Band begleitet, die mit Wurzeln im Kansas City Jazz einen stark Blues beeinflussten Swing spielte. In der Basie-Band war er von 1935 bis 1948. Neben den obligatorischen Jump-Nummern, die Rushing häufig sang, ließ Basie spezielle Blues-Titel für ihn schreiben; schon seine erste Plattenaufnahme, der „Blue Devil Blues“ von 1929 mit den Blue Devils gab diese Form vor, und seine dritte Platte, „That’s Too, Do“ (1930) nimmt zwei spätere Klassiker aus der Basie-Ära vorweg, „Good Morning Blues“[4] und „Sent for You Yesterday“ (1938). Als wohl berühmteste Aufnahme von Rushing mit Basie gilt „Goin’ to Chicago Blues“, der auch mit der Band als „I Left My Baby“ eingespielt wurde. Alle Rushing Blues-Titel verbanden alte Volkstexte mit den eigenen des Sängers; er komprimierte sie zu kompakten und beweglichen, aus Viertelnoten bestehenden Phrasen wie „sayin’ Son, you've a home, as long as I've got mine“ oder „I sent for you yesterday, here I come today.“[5]
In seine Zeit in der Basie-Band fallen auch Aufnahmen mit Benny Goodman, Bob Crosby und anderen Bandleadern; nach rund 13 Jahren bei Basie zog er sich, als Basie die Band 1950 vorübergehend auflöste, zunächst zurück und bildete dann eine eigene Gruppe. In der Folge hatte er Gastauftritte u.a. 1957 bei der Basie-Band auf dem Newport Jazz Festival und 1959 bei Duke Ellingtons Jazz Party (Columbia). Rushings Solokarriere begann mit einer Reihe reiner Bluesplatten, die er mit einem eigenen Sextett für Vanguard und Columbia (Little Jimmy Rushing und The Big Brass) einspielte; Vorbilder waren dafür auch die klassischen Aufnahmen von Bessie Smith und Clara Smith. Er arbeitete auch mit dem Dave Brubeck Quartett zusammen; 1959 trat er mit den Buck Clayton All-Stars in Kopenhagen auf. 1963 entstand sein Album Five Feet of Soul mit dem Arrangeur Al Cohn. Er trat dann mit dem Tenorsaxophonisten Zoot Sims im New Yorker Half Note auf, mit ihm entstanden jedoch keine Aufnahmen. 1967 nahm der mit Earl Hines Quartett auf; für ein letztes Album für RCA Victor (The You and Me That Used to Be) nahm er 1970 mit seiner Band um Zoot Sims, Al Cohn mit den Gastsolisten Budd Johnson und Ray Nance meist Jazz-Standards auf.
Wegen seiner rundlichen Figur hatte er den Spitznamen „Mr. Five by Five“ (was auch sein Erkennungssong wurde, „he is five feet tall and he’s five feet wide“). Eine Leukämieerkrankung 1971 beendete seine Karriere.
Würdigung
Nach Ansicht von Leonard Feather etablierte sich Rushing mit einer „ausgeprägren Klangfarbe, einem überschäumenden Vortrag und rhythmischen Schwung als ein ausgezeichneter Blues-Shouter, obwohl er von sich selbst meinte, dass er die Blues-Merkmale eher beschränke.“[6] Für die Kritiker Richard Cook und Brian Morton ging seine schiere physische Präsenz einher mit einer großartigen Stimme; er sei ein „netter und freundlicher Mann“ gewesen, der bis zu seinem Tod 1972 aktiv gewesen sei. Sein Begleitmusiker Rudy Powell äußerte über ihn: „Jims größter Einfluss ist das funky feeling. Er kennt den Blues (...)“. Ähnlich wie seine Lieblingssänger Louis Armstrong und Bing Crosby „vermittelt Rushing den Eindruck einer schweren, rauhen Stimme, die so geschmeidig wirkt, weil er Rhythmus und Akzente in einer bestimmten Weise einsetzt. Um die Geschmeidigkeit zu erreichen, muss er swingen oder aber es geht gar nichts, etwas, das er von Coleman Hawkins gelernt hatte,“ schrieb der Autor Will Friedwald. [7]
http://de.wikipedia.org/wiki/Jimmy_Rushing
James Andrew Rushing (August 26, 1901[1][2] – June 8, 1972), known as Jimmy Rushing, was an American blues shouter, balladeer, and swing jazz singer from Oklahoma City, Oklahoma, United States, best known as the featured vocalist of Count Basie's Orchestra from 1935 to 1948.[3]
Rushing was known as "Mr. Five by Five" and was the subject of an eponymous 1942 popular song that was a hit for Harry James and others—the lyrics describing Rushing's rotund build: "he's five feet tall and he's five feet wide".[3] He joined Walter Page's Blue Devils in 1927, then joined Bennie Moten's band in 1929.[3] He stayed with the successor Count Basie band when Moten died in 1935.[3]
Rushing said that his first time singing in front of an audience was in 1924. He was playing piano at a club when the featured singer, Carlyn Williams, invited him to do a vocal. "I got out there and broke it up. I was a singer from then on," he said.[4]
Rushing was a powerful singer who had a range from baritone to tenor. He could project his voice so that it soared over the horn and reed sections in a big-band setting. Basie claimed that Rushing "never had an equal" as a blues vocalist, though Rushing "really thought of himself as a ballad singer."[5][6] George Frazier, author of Harvard Blues, called Rushing's distinctive voice "a magnificent gargle". Dave Brubeck defined Rushing's status among blues singers as "the daddy of them all."[4] Late in his life Rushing said of his singing style, "I don't know what kind of blues singer you'd call me. I just sing 'em"[4] Among his best known recordings are "Going to Chicago" with Basie, and "Harvard Blues", with a famous saxophone solo by Don Byas.
6 External links
Life and career
Rushing was born into a family with musical talent and accomplishments. His father, Andrew Rushing, was a trumpeter and his mother, Cora and her brother were singers. He studied music theory with Zelia N. Breaux at Oklahoma City's Douglass High School, and was unusual among his musical contemporaries for having attended college, at Wilberforce University.[7][8][9] Rushing was inspired to pursue music and eventually sing blues by his uncle Wesley Manning and George "Fathead" Thomas of McKinney's Cotton Pickers.[10] Rushing toured the Mid-West and California as an itinerant blues singer in 1923 and 1924 before moving to Los Angeles, California, where he played piano and sang with Jelly Roll Morton. Rushing also sang with Billy King before moving on to Page's Blue Devils in 1927. He, along with other members of the Blue Devils, defected to the Bennie Moten band in 1929.
Moten died in 1935, and Rushing joined Count Basie for what would be a 13-year tenure. Due to his tutelage under his mentor Moten, Rushing was a proponent of the Kansas City jump blues tradition, well exemplified by his performances of "Sent For You Yesterday" and "Boogie Woogie" for the Count Basie Orchestra. After leaving Basie, his recording career soared, as a solo artist and a singer with other bands.
When the Basie band broke up in 1950 he briefly retired, then formed his own group. He also made a guest appearance with Duke Ellington for the 1959 album Jazz Party.[11] In 1960, he recorded an album with the Dave Brubeck Quartet, known for their cerebral cool jazz sound, but the album was nonetheless described by critic Scott Yanow as "a surprising success."[12]
Rushing appeared in the 1957 television special Sound of Jazz, singing one of his signature songs "I Left My Baby" backed by many of his former Basie band compatriots. In 1958 he was among the legendary musicians included in an Esquire magazine photo by Art Kane later memorialized in the documentary film A Great Day in Harlem.[13]
In 1958 Rushing toured the UK with Humphrey Lyttelton and his Band. A BBC broadcast with Rushing accompanied by Lyttelton's specially organised big band was released on CD in 2009.
In 1969 Rushing appeared in The Learning Tree, the first major studio feature film directed by an African-American, Gordon Parks.[14]
After he became ill with leukemia in 1971, Rushing's performing career ended. He died on June 8, 1972, in New York City, and was buried at the Maple Grove Cemetery, Kew Gardens, in Queens, New York.
Rushing was married twice. He had two sons, Robert and William, with his second wife Connie, with whom he was married from the 1940s until his death. Connie Rushing is credited with two compositions on her husband's 1968 solo album, "livin' the blues."[15]
Jimmy Rushing was one of eight jazz and blues legends honored in a set of United States Postal Service stamps issued in 1994.[16]
Critical Assessment
Rushing was held in high critical esteem during his career, and this has continued after his death. Whitney Balliett, jazz critic for The New Yorker, wrote of Rushing that "His supple, rich voice and his elegant accent have the curious effect of making the typical roughhouse blues lyric seem like a song by Noël Coward".[17] Critic Nat Hentoff, who ranks Rushing as one of the "greatest blues singers," credits him as a seminal influence in the development of post-World War II popular Black music. Hentoff writes that rhythm and blues "has its roots in the blues shouting of Jimmy Rushing...and in the equally stentorian delivery of Joe Turner..."[18] Scott Yanow describes Rushing as the "perfect big band singer," who "was famous for his ability to sing blues, but in reality he could sing almost anything."[19] In an essay about his fellow Oklahoman, author Ralph Ellison writes that it was "when Jimmy's voice began to soar with the spirit of the blues that the dancers – and the musicians – achieve that feeling of communion which was true meaning of the public jazz dance." Ellison says Rushing began as a singer of ballads, "bringing to them a sincerity and a feeling for dramatizing the lyrics in the musical phrase which charged the banal lines with the mysterious potentiality of meaning which haunts the blues." In contrast with Rushing's reputation, he "seldom comes across as a blues 'shouter,' but maintains the lyricism which has always been his way with the blues," says Ellison.[20] According to Gary Giddins, Rushing "brought operatic fervor to the blues,"[21] and of his time with Count Basie notes that "just about every record they made together is a classic."[22]
During his career Rushing was honored with many awards by music critics, including four-time Best Male Singer in the Critic's Poll of Melody Maker, and four-time Best Male Singer in the International Critic's Poll of Down Beat.[23] His 1970 album, The You And Me That Used To Be, was named Jazz Album of the Year by Down Beat.
Rushing was known as "Mr. Five by Five" and was the subject of an eponymous 1942 popular song that was a hit for Harry James and others—the lyrics describing Rushing's rotund build: "he's five feet tall and he's five feet wide".[3] He joined Walter Page's Blue Devils in 1927, then joined Bennie Moten's band in 1929.[3] He stayed with the successor Count Basie band when Moten died in 1935.[3]
Rushing said that his first time singing in front of an audience was in 1924. He was playing piano at a club when the featured singer, Carlyn Williams, invited him to do a vocal. "I got out there and broke it up. I was a singer from then on," he said.[4]
Rushing was a powerful singer who had a range from baritone to tenor. He could project his voice so that it soared over the horn and reed sections in a big-band setting. Basie claimed that Rushing "never had an equal" as a blues vocalist, though Rushing "really thought of himself as a ballad singer."[5][6] George Frazier, author of Harvard Blues, called Rushing's distinctive voice "a magnificent gargle". Dave Brubeck defined Rushing's status among blues singers as "the daddy of them all."[4] Late in his life Rushing said of his singing style, "I don't know what kind of blues singer you'd call me. I just sing 'em"[4] Among his best known recordings are "Going to Chicago" with Basie, and "Harvard Blues", with a famous saxophone solo by Don Byas.
6 External links
Life and career
Rushing was born into a family with musical talent and accomplishments. His father, Andrew Rushing, was a trumpeter and his mother, Cora and her brother were singers. He studied music theory with Zelia N. Breaux at Oklahoma City's Douglass High School, and was unusual among his musical contemporaries for having attended college, at Wilberforce University.[7][8][9] Rushing was inspired to pursue music and eventually sing blues by his uncle Wesley Manning and George "Fathead" Thomas of McKinney's Cotton Pickers.[10] Rushing toured the Mid-West and California as an itinerant blues singer in 1923 and 1924 before moving to Los Angeles, California, where he played piano and sang with Jelly Roll Morton. Rushing also sang with Billy King before moving on to Page's Blue Devils in 1927. He, along with other members of the Blue Devils, defected to the Bennie Moten band in 1929.
Moten died in 1935, and Rushing joined Count Basie for what would be a 13-year tenure. Due to his tutelage under his mentor Moten, Rushing was a proponent of the Kansas City jump blues tradition, well exemplified by his performances of "Sent For You Yesterday" and "Boogie Woogie" for the Count Basie Orchestra. After leaving Basie, his recording career soared, as a solo artist and a singer with other bands.
When the Basie band broke up in 1950 he briefly retired, then formed his own group. He also made a guest appearance with Duke Ellington for the 1959 album Jazz Party.[11] In 1960, he recorded an album with the Dave Brubeck Quartet, known for their cerebral cool jazz sound, but the album was nonetheless described by critic Scott Yanow as "a surprising success."[12]
Rushing appeared in the 1957 television special Sound of Jazz, singing one of his signature songs "I Left My Baby" backed by many of his former Basie band compatriots. In 1958 he was among the legendary musicians included in an Esquire magazine photo by Art Kane later memorialized in the documentary film A Great Day in Harlem.[13]
In 1958 Rushing toured the UK with Humphrey Lyttelton and his Band. A BBC broadcast with Rushing accompanied by Lyttelton's specially organised big band was released on CD in 2009.
In 1969 Rushing appeared in The Learning Tree, the first major studio feature film directed by an African-American, Gordon Parks.[14]
After he became ill with leukemia in 1971, Rushing's performing career ended. He died on June 8, 1972, in New York City, and was buried at the Maple Grove Cemetery, Kew Gardens, in Queens, New York.
Rushing was married twice. He had two sons, Robert and William, with his second wife Connie, with whom he was married from the 1940s until his death. Connie Rushing is credited with two compositions on her husband's 1968 solo album, "livin' the blues."[15]
Jimmy Rushing was one of eight jazz and blues legends honored in a set of United States Postal Service stamps issued in 1994.[16]
Critical Assessment
Rushing was held in high critical esteem during his career, and this has continued after his death. Whitney Balliett, jazz critic for The New Yorker, wrote of Rushing that "His supple, rich voice and his elegant accent have the curious effect of making the typical roughhouse blues lyric seem like a song by Noël Coward".[17] Critic Nat Hentoff, who ranks Rushing as one of the "greatest blues singers," credits him as a seminal influence in the development of post-World War II popular Black music. Hentoff writes that rhythm and blues "has its roots in the blues shouting of Jimmy Rushing...and in the equally stentorian delivery of Joe Turner..."[18] Scott Yanow describes Rushing as the "perfect big band singer," who "was famous for his ability to sing blues, but in reality he could sing almost anything."[19] In an essay about his fellow Oklahoman, author Ralph Ellison writes that it was "when Jimmy's voice began to soar with the spirit of the blues that the dancers – and the musicians – achieve that feeling of communion which was true meaning of the public jazz dance." Ellison says Rushing began as a singer of ballads, "bringing to them a sincerity and a feeling for dramatizing the lyrics in the musical phrase which charged the banal lines with the mysterious potentiality of meaning which haunts the blues." In contrast with Rushing's reputation, he "seldom comes across as a blues 'shouter,' but maintains the lyricism which has always been his way with the blues," says Ellison.[20] According to Gary Giddins, Rushing "brought operatic fervor to the blues,"[21] and of his time with Count Basie notes that "just about every record they made together is a classic."[22]
During his career Rushing was honored with many awards by music critics, including four-time Best Male Singer in the Critic's Poll of Melody Maker, and four-time Best Male Singer in the International Critic's Poll of Down Beat.[23] His 1970 album, The You And Me That Used To Be, was named Jazz Album of the Year by Down Beat.
Going To Chicago Jimmy Rushing
Tadeusz Nalepa *26.08.1943
Tadeusz Nalepa (* 26. August 1943 in Zgłobień; † 4. März 2007 in Warschau) war ein polnischer Gitarrist, Komponist und Sänger.
Nalepa beendete die Musikschule von Rzeszów in den Klassen für Geige, Klarinette und Kontrabass. Erste Beachtung fand er bei einem Talentwettbewerb für junge Musiktalente in Stettin 1963 gemeinsam mit der Sängerin Mira Kubasińska. Mit Mira Kubasińska gründete er 1965 die Band Blackout, für die Nalepa die Musik zu Texten des Poeten Bogdan Loebl schrieb. Der Durchbruch gelang Nalepa ab 1968 mit der neu gegründeten Bluesrockband Breakout, die ebenfalls mit Mira Kubasińska als Sängerin auftrat. Die Band bestand bis 1983 und nahm 10 Langspielplatten auf. Ab 1983 spielte er vor allem solo und trat mit diversen anderen polnischen Bands auf. Außerdem komponierte er die Musik zu zwei Spielfilmen.
2003 erhielt er den Orden Polonia Restituta.
http://de.wikipedia.org/wiki/Tadeusz_Nalepa
Tadeusz Nalepa (26 August 1943 in Zgłobień, Poland – 4 March 2007, Warsaw) – was a Polish composer, guitar player, vocalist, and lyricist.
Career
Nalepa graduated from the Music Academy in Rzeszów in the departments of violin, clarinet and contrabass. He received recognition in the category of duets at the 2nd annual "Festival of Young Talents" in Szczecin in 1963 along with Mira Kubasinska. They were married and had a son, named Piotr.
In 1965, Nalepa formed with Stan Borys band Blackout and started composing music to the lyrics of a poet, Bogdan Loebl. The Blackout's first concert was on September 3, 1965 in a club Łącznościowiec in Rzeszów. Tadeusz Nalepa recorded a self-titled album with Blackout along with six smaller recordings. The group disbanded in 1967.
In 1968, Nalepa formed a group called Breakout which existed for 13 years before disbanding in 1981. Breakout had released 10 albums. In 1982, he debuted as a solo artist in the Gwardia Hall in Warsaw in concert "Rock-Blok". The same year he recorded an album for Izabela Trojanowska as well as formed his own band which consisted of (besides Nalepa): Ryszard Olesinski (guitar), Andrzej Nowak (guitar), Bogdan Kowalewski (bass) and Marek Surzyn (drums).
On the May 25, 1985, Nalepa re-formed Breakout because of the band's 20th anniversary.
In 1986, magazine Jazz Forum named him the best musician, composer and guitar player. Along with the other winners, he took part in the concert series "Blues/Rock Top '86" and at the same time, he also started co-operating with another polish rock/blues band Dżem, (literally Jam). The two released a successful album Numero Uno.
After series of concerts abroad, Nalepa released a dual album, To mój blues (My Blues), which consisted recordings between 1982 and 1988.
In 1993, he performed with Nalepa-Breakout and the group released an album Jesteś w piekle (You are in Hell) and in the same year he was awarded the Maria Jurkowska Award by the III Program of the Polish Radio.
The following albums, as Tadeusz Nalepa, were released with different band members. His last release was a DVD 60 urodziny (60th birthday) (the only one in his catalogue), released in 2006 which contained a show from 22 November 2003. It was reissued later on as a DVD+Cd.
In 2003, Nalepa was awarded the Knight's Cross of the Polonia Restituta.
Nalepa became very ill in the recent years and he had to be dialised because of the kidney problem. He died on 4 March 2007 due to serious illness of his digestive system.
Career
Nalepa graduated from the Music Academy in Rzeszów in the departments of violin, clarinet and contrabass. He received recognition in the category of duets at the 2nd annual "Festival of Young Talents" in Szczecin in 1963 along with Mira Kubasinska. They were married and had a son, named Piotr.
In 1965, Nalepa formed with Stan Borys band Blackout and started composing music to the lyrics of a poet, Bogdan Loebl. The Blackout's first concert was on September 3, 1965 in a club Łącznościowiec in Rzeszów. Tadeusz Nalepa recorded a self-titled album with Blackout along with six smaller recordings. The group disbanded in 1967.
In 1968, Nalepa formed a group called Breakout which existed for 13 years before disbanding in 1981. Breakout had released 10 albums. In 1982, he debuted as a solo artist in the Gwardia Hall in Warsaw in concert "Rock-Blok". The same year he recorded an album for Izabela Trojanowska as well as formed his own band which consisted of (besides Nalepa): Ryszard Olesinski (guitar), Andrzej Nowak (guitar), Bogdan Kowalewski (bass) and Marek Surzyn (drums).
On the May 25, 1985, Nalepa re-formed Breakout because of the band's 20th anniversary.
In 1986, magazine Jazz Forum named him the best musician, composer and guitar player. Along with the other winners, he took part in the concert series "Blues/Rock Top '86" and at the same time, he also started co-operating with another polish rock/blues band Dżem, (literally Jam). The two released a successful album Numero Uno.
After series of concerts abroad, Nalepa released a dual album, To mój blues (My Blues), which consisted recordings between 1982 and 1988.
In 1993, he performed with Nalepa-Breakout and the group released an album Jesteś w piekle (You are in Hell) and in the same year he was awarded the Maria Jurkowska Award by the III Program of the Polish Radio.
The following albums, as Tadeusz Nalepa, were released with different band members. His last release was a DVD 60 urodziny (60th birthday) (the only one in his catalogue), released in 2006 which contained a show from 22 November 2003. It was reissued later on as a DVD+Cd.
In 2003, Nalepa was awarded the Knight's Cross of the Polonia Restituta.
Nalepa became very ill in the recent years and he had to be dialised because of the kidney problem. He died on 4 March 2007 due to serious illness of his digestive system.
Tadeusz Nalepa Blues Band Sopot 1991 nowy 1
Sebastian Kleene *26.08.1994
2009 zog Familie Zergiebel nach Nideggen – Rath, dem Dorf, in dem auch Familie Kleene ihre Residenz besitzt. Irgendwann im Winter machten sich Moritz Zergiebel und die Geschwister Sebastian Kleene und sein jüngerer Bruder Maximilian Kleene das erste Mal untereinander bekannt. Schnell wurde klar, dass Musik in beiden Familien eine sehr große Rolle spielt. Nach einem Jahr und mehreren Treffen und Konversationen über Musik tauschte Moritz seine Playstation 2 gegen die Bass Gitarre eines Bekannten aus. Schon 2 Tage nachdem er den Bass erhielt, hatte er sich selbst einige Bassläufe beigebracht und diese den Geschwistern Maximilian und Sebastian präsentiert. Fasziniert von einem Instrument, beschlossen nun die Geschwister Maximilian und Sebastian auch musikalisch tätig zu werden.
Noch zu Weihnachten des selben Jahres (welches nur noch einen Monat hin war), wünschten sich Sebastian und Maximilian jeweils auch ein Instrument. Sebastian empfand viel Interesse am Gitarrenspiel. Maximilian blieb nichts anderes übrig als spontan zu beschließen, Schlagzeug zu spielen. Schon zum Neujahrsfest 2010 war es soweit, dass die gegründete Band 7 Tage nach dem Weihnachtsfest (an dem Maximilian und Sebastian Schlagzeug und Gitarre geschenkt bekommen hatten), ihr erstes Konzert mit 5 Songs, darunter 3 eigene instrumentale Stücke, wohlbemerkt ohne jeglichen Unterricht, vor den Familien geben konnten. Man merkte sofort, dass die Band zusammenpasst. In den Wochen nach dem Konzert verbrachte die neu gegründete Band jedes Wochenende im Proberaum (Keller der Familie Kleene), um zu proben, zu jammen, zu experimentieren und vor allem, um Spaß und Freude an der Musik zu haben. Damals waren der Einfachheit wegen hauptsächlich Rockklassiker im Repertoire. Auf dem ersten richtigen öffentlichen Gig in der Altstadt Nideggen im Mai 2012 spielten sie nur Covers von The Beatles, ACDC, Lynrd Skynrd und wohl am wichtigsten, Chuck Berry und Muddy Waters. Aber vor allem der Musikstil von John Lee Hooker, Chuck Berry oder Muddy Waters ist der Band wohl am wichtigsten, da dieser Musikstil der Band am meisten entsprach und ihrem eigenen Verständnis von Musik und seiner musikalischen Vielfalt gerecht wurde, ohne sich dabei selbst zu verfälschen.
Im Rhythm and Blues konnte sich die Band jedoch frei entfalten und somit auch musikalisch ein eigenes Niveau erreichen. Nach einer kurzen Diskussionsrunde von 2 Minuten (wohl die wichtigsten 2 Minuten der 3 Jungs), beschloss die Band, dem Rythm and Blues treu zu bleiben und sich von niemandem abhängig zu machen. Zudem hat die Band sich einen Namen gegeben - The Backyard Band. Die musikalische Freiheit stand absolut im Vordergrund. Während dieser Zeit hat sich Moritz eine E-Gitarre zugelegt und spielte nun zusätzlich zum Gesang die Lead-Gitarre in der Band, da Sabastian sich als äußerst begabter Rhthmusgitarrist erwies. Sein Stil wurde prägend für die Band, denn auf Grund seines Rhythmischen Gitarrenspiels in Verbindung mit den laufenden Drumrhythmen von Maximilian, konnte Moritz nun als Leadgitarrist die Musik der Band interessanter gestalten. Maximilian schaffte es bis heute, voll und ganz, auf Schlagzeugunterricht zu verzichten. Ihm genügten bis jetzt, Lehrbücher, Youtube, der Austausch mit Freunden, das Exerimentieren und der große Einfluss von seinen Lieblingsschlagzeugern Keith Moon, John Henry Bonham und Charlie Watts. Sebastian erlangte durch wiederholtes Hören seiner Bluesidole wie Muddy Waters, Howlin‘ Wolf, BB King und Hubert Sumlin und ständiges Nachspielen der Bluesrhythmen sein derzeitiges Gitarrenspiel. Moritz versuchte ebenfalls die Riffs seiner Musikidole wie Chuck Berry, George Harrison und John Lennon nachzuspielen. Es war für Moritz wie ein Wunder, als er entdeckte, dass man mit den Riffs von Chuck Berry nahezu zu jedem Blues und jeder Tonart spielen kann. Nun war es soweit und die Band konnte beginnen, eigene Songs zu schreiben. Bei einer Bandprobe fiel Moritz eine Mundharmonika auf, die in einer Ecke lag. Mitten in einem Blues-Jam schnappte sich Moritz dann die Mundharmonika und spielte einfach drauf los. Natürlich fehlten die Tricks eines Mundharmonikaspielers, doch Moritz wollte sich unbedingt, was Mundharmonikas angeht, weiterbilden. Gesagt, getan, kaufte sich Moritz seine erste „Blues-Harp“. Innerhalb einer halben Stunde, die Moritz alleine auf seinem Zimmer verbrachte, lernte er, wie man eine Blues-Harp spielt. Daraufhin wurde die Mundharmonika zum festen Bestandteil der Band und Moritz entwickelte sich im Mundharmonikaspiel immer weiter. Nach einigen privaten Gigs und Konzerten in Düren und Umgebung kam es dazu, dass sich der Produzent Jürgen Wirtz, welcher sich zufällig beim Gig der Backyard Band in Harry’s American Bar Düren (Juli 2013), welches im Zuge der Jazztage veranstaltet wurde, an diesem Abend spontan entschied, durch die Dürener Kneipen zu wandern, um zu gucken, was für Musik gemacht wird. Beim Gig der Backyard Band hielt er inne und schaute sich das Restkonzert der Band an. Nach dem Gig sprach er mit Moritz ausfürlich darüber, dass er von unserer Musik total begeistert sei und entschied sich mit der Band in Kontakt zu bleiben, um bald in seinem Studio das erste Album aufzunehmen. Der Gig in Harrys American bar gilt bis heute noch als der Durchbruch der Band in der Stadt Düren und hatte eine einzigartige klassische Clubatmosphäre. Die Interpretation ihrer Musik und insbesondere der für viele unbekannten Coverlieder, ist aufgrund der Besetzung ihrem musikalischen Stil entsprechend einzigartig in Dynamik und Aussagekraft und vermittelt den Konzerten einen ganz besonderen, unkonventionellen, unverbrauchten und natürlichen, mit Spielfreude dargebotenen Musikstil.
Anschließend kam die Albumproduktion, bei der die Backyard Band 8 ihrer eigenen Songs in Jürgen Wirtz Studio – Mariaweiler – an einem Tag und Live eingespielt aufnahmen. Jürgen war sehr glücklich über das Resultat und die Art der Rythm and Blues Aufnahmen.
Duch einen sehr guten Freund der Band, Klaus Humme gelang es beim Stadfest im Düren 2013 mit dabei zu sein. Dies war ein sehr denkwürdiger Sonntagabend für die Band. Nach diversen Organisationsänderungen der Spielzeit wurde es sehr bedenklich in den Köpfen der Bandmitglieder, ob überhaupt aus dem Konzert noch etwas Vernünftiges werden kann. Das Wetter sollte sich verschlechtern und der Annaplatz Dürens begann sich zu leeren. Die Backyard Band begann aus Rücksicht auf eine Abendmesse in der benachbarten Kirche erst um 19.00 Uhr mit ihrem Gig. Der Platz war fast leer, aber nach den ersten beiden Songs füllte sich plötzlich der Annaplatz wieder, das Wetter stabilisierte sich und die Band spielte 2 Stunden voller Leidenschaft und Energie, als gäbe es keinen Morgen mehr. Es ist bis jetzt das beste Konzert der Bandgeschichte gewesen und für die meisten Besucher war es auch das beste Konzert der Stadtfestgeschichte der vergangenen Jahre, da die Präsentation Spielfreude und Authentizität vermittelte. Nun wartet die Band auf mehr Gigs und kann es kaum erwarten, wieder irgendwo aufzutreten.
Die Backyard Band ist eine Band, welche sich von Gig zu Gig musikalisch immer weiter entwickelt hat und gleichzeitig den Spaß an ihrer eigenen Musik vermittelt.
The BackYard Band - Dead Love
https://www.youtube.com/watch?v=xIwOM0DdmoI
http://www.kurz-und-lang.de/die-band/
The Backyard Band Live im Haus der Jugend Düsseldorf 13.02.2016
Uwe Sauer *26.08.1968
Sie leben in der Provinz und lieben heißen Großstadtblues.
1991 gründeten die Brüder Uwe und Arnd Sauer im thüringischen Steinbach die Bluesband „Kurz & Lang“. Ihnen zur Seite standen Marco Matthä (voc, harm), Steffen Herbst (dr) und Gitarrist Ringo Fleischmann. Ihren ersten öffentlichen Auftritt hatte die Band im Jahr 1993 auf dem Open Air in Oettersdorf.
Häufige Besetzungswechsel ließen kaum eine kontinuierliche Arbeit zu und wirkten sich negativ auf die Qualität und das Profil der Band aus, so dass man 1999 einen Schlussstrich zog.
Doch schon ein Jahr später wagte man einen Neubeginn und startete als „Rollin Fork Blues Band“. 2005 besannen sich die Jungs auf ihre Anfänge und nahmen den „alten“ Bandnamen wieder an. Seit dieser Zeit spielt „Kurz & Lang“ in stabiler Besetzung: Frank Weisheit (g), Arnd Sauer (dr), Christoph Gallas (bg, p, org), Marco Matthä (voc, harm) und Uwe Sauer (g, fl, voc).
Musikalisch orientiert sich die Band an Blueslegenden wie Muddy Waters oder John Lee Hoker; greift aber auch gern auf „Canned Heat“ oder die Stones zurück. Besonders sehenswert ist das einmalige Joe-Cocker-Cover. Beharrlich arbeitet „Kurz & Lang“ an einem eigenen Stil, den sie als Rockin’ Blues bezeichnen und den sie durch ihre Eigenkompositionen versuchen umzusetzen. Im Jahr 2010 erschien ihr Debütalbum "Es ist Zeit". Das Album bietet ausschließlich deutschsprachige Eigenkompositionen.
1991 gründeten die Brüder Uwe und Arnd Sauer im thüringischen Steinbach die Bluesband „Kurz & Lang“. Ihnen zur Seite standen Marco Matthä (voc, harm), Steffen Herbst (dr) und Gitarrist Ringo Fleischmann. Ihren ersten öffentlichen Auftritt hatte die Band im Jahr 1993 auf dem Open Air in Oettersdorf.
Häufige Besetzungswechsel ließen kaum eine kontinuierliche Arbeit zu und wirkten sich negativ auf die Qualität und das Profil der Band aus, so dass man 1999 einen Schlussstrich zog.
Doch schon ein Jahr später wagte man einen Neubeginn und startete als „Rollin Fork Blues Band“. 2005 besannen sich die Jungs auf ihre Anfänge und nahmen den „alten“ Bandnamen wieder an. Seit dieser Zeit spielt „Kurz & Lang“ in stabiler Besetzung: Frank Weisheit (g), Arnd Sauer (dr), Christoph Gallas (bg, p, org), Marco Matthä (voc, harm) und Uwe Sauer (g, fl, voc).
Musikalisch orientiert sich die Band an Blueslegenden wie Muddy Waters oder John Lee Hoker; greift aber auch gern auf „Canned Heat“ oder die Stones zurück. Besonders sehenswert ist das einmalige Joe-Cocker-Cover. Beharrlich arbeitet „Kurz & Lang“ an einem eigenen Stil, den sie als Rockin’ Blues bezeichnen und den sie durch ihre Eigenkompositionen versuchen umzusetzen. Im Jahr 2010 erschien ihr Debütalbum "Es ist Zeit". Das Album bietet ausschließlich deutschsprachige Eigenkompositionen.
Am Anfang war Uwe eher mit dem kommenden Nachwuchs beschäftigt und wollte gar nicht so richtig mitmachen bei der Krawallband in der Probengarage. Dennoch war er immer mit einem Ohr am Rohr. So dauerte es auch nicht lange und bei der nächsten Probe stand auch er tapfer mit uns im Krach.
Das war auch gut so, sonst würde heute eine charakteristische Gesangsstimme in unserer Band fehlen. Songs von Canned Heat oder Joe Cocker wären nicht möglich gewesen.
Im Laufe seiner Bandzugehörigkeit musste Uwe ein hohes Maß an Flexibilität mitbringen, denn er wechselte oft die Instrumente.
Anfangs schlug er sich mit der Rhythmusgitarre durch. Nach einem größeren `Personalabbau` stieg er um auf den Bass. Nach einiger Zeit bekam Uwe wieder die Gitarre umgehängt, auf der er sich zu einem korrekten Leadgitarristen weiterentwickelte. Nachdem der nächste Bassist die Gruppe verlassen hat zeigt er nun wieder sein Können am Bass.
Uwe kümmert sich nebenher um das Organisatorische.
Das war auch gut so, sonst würde heute eine charakteristische Gesangsstimme in unserer Band fehlen. Songs von Canned Heat oder Joe Cocker wären nicht möglich gewesen.
Im Laufe seiner Bandzugehörigkeit musste Uwe ein hohes Maß an Flexibilität mitbringen, denn er wechselte oft die Instrumente.
Anfangs schlug er sich mit der Rhythmusgitarre durch. Nach einem größeren `Personalabbau` stieg er um auf den Bass. Nach einiger Zeit bekam Uwe wieder die Gitarre umgehängt, auf der er sich zu einem korrekten Leadgitarristen weiterentwickelte. Nachdem der nächste Bassist die Gruppe verlassen hat zeigt er nun wieder sein Können am Bass.
Uwe kümmert sich nebenher um das Organisatorische.
Kurz & Lang
Kurz & Lang - Der alte Mann @ Waffenrod 23.8.2014
R.I.P.
Rockin' Dopsie +26.08.1993
Rockin' Dopsie (a.k.a. Rockin' Dupsee) (February 10, 1932 – August 26, 1993) was born Alton Rubin in Carencro, Louisiana. He was a leading Zydeco musician and accordion player who enjoyed popular success first in Europe and later in the United States.[1]
Career
Dopsie began performing professionally in the late 1940s in Lafayette, Louisiana.[1] His first language was Louisiana Creole French.
Dopsie's debut album came out on Sonet Records of Sweden. He recorded five albums for that label over the next few years and made frequent European tours starting in 1979. His song "That Was Your Mother" with Paul Simon appeared on the Graceland album (1986). Dopsie later recorded with Bob Dylan and appeared in the film Delta Heat in 1992.[1]
Death and legacy
Since Dopsie's death from heart failure in 1993, his band, The Twisters, continues to perform. Now led by his son Dopsie Jr. (accordionist, vocalist and washboard player), with another son Alton Jr., on drums, the band is called Rockin' Dopsie, Jr. & The Zydeco Twisters.[2] Dopsie's younger son Dwayne also plays accordion and leads his own band, Dwayne Dopsie & the Zydeco Hellraisers.[3]
Dopsie is related to Chanda Rubin, who is a professional tennis championship player .
Career
Dopsie began performing professionally in the late 1940s in Lafayette, Louisiana.[1] His first language was Louisiana Creole French.
Dopsie's debut album came out on Sonet Records of Sweden. He recorded five albums for that label over the next few years and made frequent European tours starting in 1979. His song "That Was Your Mother" with Paul Simon appeared on the Graceland album (1986). Dopsie later recorded with Bob Dylan and appeared in the film Delta Heat in 1992.[1]
Death and legacy
Since Dopsie's death from heart failure in 1993, his band, The Twisters, continues to perform. Now led by his son Dopsie Jr. (accordionist, vocalist and washboard player), with another son Alton Jr., on drums, the band is called Rockin' Dopsie, Jr. & The Zydeco Twisters.[2] Dopsie's younger son Dwayne also plays accordion and leads his own band, Dwayne Dopsie & the Zydeco Hellraisers.[3]
Dopsie is related to Chanda Rubin, who is a professional tennis championship player .
Rockin' Dopsie Jr. - Fire @ Oyster Fest 2012
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