1896 Edith Wilson*
1911 Floyd Council*
1914 Booker T. Laury*
1955 Malcolm Holcombe*
1979 Sylvain Choinier*
Peter Hoexter*
1911 Floyd Council*
1914 Booker T. Laury*
1955 Malcolm Holcombe*
1979 Sylvain Choinier*
Peter Hoexter*
Happy Birthday
Booker T. Laury *02.09.1914
Booker T. Laury (September 2, 1914 – September 23, 1995) was an American boogie-woogie, blues, gospel and jazz pianist and singer.[1] Over his lengthy career, Laury worked with various musicians including Memphis Slim and Mose Vinson. He appeared in two films, but did not record his debut album until he was almost eighty years of age.
Lawrence Laury was born in Memphis, Tennessee, and grew up with his lifelong friend, Memphis Slim.[1] At the age of six, after helping his mother play the family's pump organ, Laury learned to play the keyboards. His barrelhouse playing style, which he developed alongside Slim, was based on the influence gained from regular Memphis performers Roosevelt Sykes, Sunnyland Slim, and Speckled Red. In the early 1930s, and in the company of the younger Mose Vinson, Slim and Laury began playing in local clubs.[2]
In 1935, Sykes suggested to Laury and Slim that they relocated to Chicago, with a view of obtaining a recording contract. Slim took up the advice, but Laury decided to remain in Memphis, where he played in gambling houses and clubs for decades. Laury had a large hand-width, which enabled him to span ten keys. His playing dexterity was such that, after losing one finger on his left hand following an accident with a circular saw in the 1950s, he was still able to play well. Based around Memphis' Beale Street, as that area started to degenerate, Laury traveled around Tennessee, Arkansas and Missouri. Despite differing fortunes, the friendship with Slim did not diminish over the years, up to Slim's death in 1988.[2]
In the 1989 Dennis Quaid film, Great Balls of Fire!, the plot had a young Jerry Lee Lewis and Jimmy Swaggart, look into a juke joint to see Laury playing "Big Legged Woman". This attention led to Laury having the opportunity to record later in his life.[2]
Laury appeared in the 1991 documentary film, Deep Blues: A Musical Pilgrimage to the Crossroads.[3] In the film, Laury played "Memphis Blues" in his own living room.[4]
Laury finally recorded his debut album in his late seventies.[2] In 1993, Bullseye Blues Records issued Nothin' But the Blues, which simply incorporated Laury's voice and piano playing his own compositions.[1] The following year, Wolf Records released a live album, containing concert recordings made in 1987.[5]
Booker T. Laury died of cancer, in September 1995 in Memphis, at the age of 81.[2][4] He has a brass note on Beale's Walk of Fame.
https://www.youtube.com/watch?v=qGni_wg3OQk
Floyd Council *02.09.1911
Floyd Council (* 2. September 1911 in Chapel Hill, North Carolina; † 9. Mai 1976 in Sanford, North Carolina) war ein US-amerikanischer Blues-Gitarrist, Mandolinenspieler und Sänger. In den 1930ern machte er mit Blind Boy Fuller und solo Aufnahmen. Auf einigen Platten wird er als "Blind Boy Fuller’s buddy" (Blind Boy Fullers Kumpel) geführt. Andere Aufnahmen erschienen unter den Namen "Dipper Boy Council" und "The Devil’s Daddy-in-Law" (des Teufels Schwiegerpapa).
Seine Karriere als Musiker begann auf den Straßen seiner Heimatstadt, wo er mit Freunden musizierte. Dort wurde er 1937 von dem Talentsucher einer Plattenfirma entdeckt. Er nahm in den folgenden Jahren, nach eigenen Angaben in einem späten Interview, insgesamt 27 Stücke auf. In den 1960ern wurde seine Karriere jäh durch einen Schlaganfall gestoppt. Er verstarb 1976 in seinem Geburtsort.
Roger 'Syd' Barrett setzte den Namen seiner Band Pink Floyd aus den Vornamen von Pink Anderson und Floyd Council zusammen, von denen er im Hüllentext von Paul Oliver zu der im Jahr 1962 erschienenen Blind Boy Fuller LP Philips BBL-7512 gelesen hatte: "Curley Weaver and Fred McMullen, (...) Pink Anderson or Floyd Council – these were a few amongst the many blues singers that were to be heard in the rolling hills of the Piedmont, or meandering with the streams through the wooded valleys."
Floyd Council (September 2, 1911 – May 9, 1976) was an American blues guitarist, mandolin player, and singer. He became a well-known practitioner of the Piedmont blues sound from that area, popular throughout the southeastern region of the US in the 1930s.
Born in Chapel Hill, North Carolina, United States, to Harrie and Lizzie Council, Floyd began his musical career on the streets of Chapel Hill in the 1920s, performing with two brothers, Leo and Thomas Strowd as "The Chapel Hillbillies". In the late 1920s and early 1930s he and Blind Boy Fuller busked in the Chapel Hill area.[1] He recorded twice for ARC at sessions with Fuller in the mid-thirties, all examples of the Piedmont style.
Council suffered a stroke in the late 1960s which partially paralyzed his throat muscles and slowed his motor skills, but did not significantly damage his cognitive abilities. Folklorist Peter B. Lowry attempted to record him one afternoon in 1970, but he never regained his singing or playing abilities. Accounts say that he remained "quite sharp in mind".
Council died in 1976 of a heart attack, after moving to Sanford, North Carolina. He was buried at White Oak AME Zion Cemetery in Sanford.
The Floyd in Pink Floyd
Syd Barrett, of English psychedelic rock band Pink Floyd, came up with the band's name by juxtaposing the first names of Council and South Carolina bluesman Pink Anderson. He noticed the names in the liner notes of a 1962 Blind Boy Fuller LP (Philips BBL-7512). The text, written by Paul Oliver, read: "Curley Weaver and Fred McMullen, (...) Pink Anderson or Floyd Council - these were a few amongst the many blues singers that were to be heard in the rolling hills of the Piedmont, or meandering with the streams through the wooded valleys."
Edith Wilson (September 2, 1896 – March 30, 1981) was an American blues singer and vaudeville performer.[1][2]
Biography
She was born Edith Goodall in Louisville, Kentucky. Her first professional experience came in 1919 in Louisville's Park Theater.[2] The singer Lena Wilson and her brother, Danny, performed in Louisville; Edith married Danny and joined their act as a trio. Danny, a pianist who had trained at a conservatory in Charleston, South Carolina, encouraged Lena and Edith to sing not just blues but other song forms as well.[3] Together the trio performed on the East Coast in 1920–21, and when they were in New York City Wilson was picked up by Columbia, who recorded her in 1921 with Johnny Dunn's Jazz Hounds.[4] She signed with Columbia in 1921 recorded 17 tunes with Dunn in 1921–22. In 1924 she worked with Fletcher Henderson in New York, where she was slated to sing with Coleman Hawkins, but Hawkins refused to perform because he wanted additional compensation for the performance. She remained a popular Columbia artist through 1925.[2]
Wilson recorded far less than other female blues stars of the 1920s like Bessie Smith (after she left Columbia in 1925, she recorded one record for Brunswick in 1929 and a handful of sides for Victor in 1930); she remained a nightclub and theater singer, working for years on the New York entertainment scene. She sang with Florence Mills in the Lew Leslie Plantation Review in Harlem, and made several trips to England, where she was well received. She sang with The Hot Chocolates revue, performing alongside Louis Armstrong and Fats Waller, and made appearances with Bill Robinson, Duke Ellington, Alberta Hunter, Cab Calloway, and Noble Sissle.[2]
Wilson also did extensive work as an actress, appearing on radio with Amos and Andy and on film in To Have and Have Not (1944). Shortly after World War II Wilson became the face of Aunt Jemima pancake mix. She retired from active performance in 1963, becoming executive secretary for the Negro Actors Guild, but made a comeback in 1973 to play with Eubie Blake, Little Brother Montgomery, and Terry Waldo.[2] Her last live show was given at the 1980 Newport Jazz Festival.[2]
Wilson died in Chicago in March 1981.
Biography
She was born Edith Goodall in Louisville, Kentucky. Her first professional experience came in 1919 in Louisville's Park Theater.[2] The singer Lena Wilson and her brother, Danny, performed in Louisville; Edith married Danny and joined their act as a trio. Danny, a pianist who had trained at a conservatory in Charleston, South Carolina, encouraged Lena and Edith to sing not just blues but other song forms as well.[3] Together the trio performed on the East Coast in 1920–21, and when they were in New York City Wilson was picked up by Columbia, who recorded her in 1921 with Johnny Dunn's Jazz Hounds.[4] She signed with Columbia in 1921 recorded 17 tunes with Dunn in 1921–22. In 1924 she worked with Fletcher Henderson in New York, where she was slated to sing with Coleman Hawkins, but Hawkins refused to perform because he wanted additional compensation for the performance. She remained a popular Columbia artist through 1925.[2]
Wilson recorded far less than other female blues stars of the 1920s like Bessie Smith (after she left Columbia in 1925, she recorded one record for Brunswick in 1929 and a handful of sides for Victor in 1930); she remained a nightclub and theater singer, working for years on the New York entertainment scene. She sang with Florence Mills in the Lew Leslie Plantation Review in Harlem, and made several trips to England, where she was well received. She sang with The Hot Chocolates revue, performing alongside Louis Armstrong and Fats Waller, and made appearances with Bill Robinson, Duke Ellington, Alberta Hunter, Cab Calloway, and Noble Sissle.[2]
Wilson also did extensive work as an actress, appearing on radio with Amos and Andy and on film in To Have and Have Not (1944). Shortly after World War II Wilson became the face of Aunt Jemima pancake mix. She retired from active performance in 1963, becoming executive secretary for the Negro Actors Guild, but made a comeback in 1973 to play with Eubie Blake, Little Brother Montgomery, and Terry Waldo.[2] Her last live show was given at the 1980 Newport Jazz Festival.[2]
Wilson died in Chicago in March 1981.
Malcolm Holcombe *02.09.1955
Malcolm Holcombe is an acclaimed singer/songwriter in the insurgent country/folk vein who grew up in Weaverville, N.C. The release of his debut album, 1996's A Hundred Lies -- which featured his moody poetry, country blues guitar, and rumbling baritone -- was met with acclaim from USA Today and Rolling Stone's David Fricke, among others, and garnered comparisons to folks such as John Prine and Tom Waits. (The album was originally recorded for Geffen and then re-released on Hip-O). He has also earned raves in print from such Nashville notables as Lucinda Williams. Holcombe has also played as a duo with Durham, NC, native Valorie Miller. The two have toured nationally with Shelby Lynne and opened for artists such as Merle Haggard and Wilco.
Acclaimed singer-songwriter Malcolm Holcombe, whose “heartfelt baritone” (NPR) delivers “haunted country, acoustic blues and rugged folk” (Rolling Stone), will release his 14th studio album, Another Black Hole (Gypsy Eyes Music), February 12, 2016.
Produced by Grammy-winning producer and engineer Ray Kennedy and Brian Brinkerhoff, Another Black Hole features Holcombe’s rasping vocals and bright, percussive guitar accentuating his insightful lyrics. “It is Malcolm’s perception of the world that make his songs hit you like a gunpowder blast. His gruff and tough delivery is a primordial power full of grit, spit and anthropomorphic expression,” says Kennedy.
Recorded at Room & Board Studios in Nashville, TN, and the 10-song set features longtime musical compatriots including Jared Tyler (dobro, baritone guitar, banjo, mandolin and harmony vocals), Dave Roe (upright and electric bass), Ken Coomer (drums and percussion), Tony Joe White (electric guitar), Future Man (percussion) and Drea Merritt (vocal harmony).
Born and raised in the Blue Ridge mountains of North Carolina, Holcombe is highly regarded and recognized by contemporaries in Americana music including Emmylou Harris, Wilco, Steve Earle. An “emotionally captivating” (Isthmus), performer, Holcombe has shared the stage with Merle Haggard, Richard Thompson, John Hammond, Leon Russell, Wilco and Shelby Lynne.
In the end, who can explain the secret of endurance? Why does one marriage last and another does not? Why does one song or album catch our ear while others, arguably as good, slip past us? What convinces an artist or musician to continue pursuing the craft in a time of audiences with short attention spans and diminishing financial returns?
On the eve of releasing Another Black Hole, his fourteenth album (including a duet album cut with North Carolina music legend Sam Milner back in the 80s), Malcolm Holcombe is in no mood to ponder such things. “They’re free to like it or change the CD or completely ignore it,” he says over the telephone from New Haven, CT. “It all depends on how bad their conscience is.”
Those who have paid attention to Holcombe’s music will find more of what they expect here: Holcombe’s rasping vocals and bright, percussive guitar accentuating his insightful lyrics. A few of Holcombe’s longtime musical compatriots show up to help him out, most notably Jared Tyler, who plays guitar, banjo, mandolin, dobro and offers background harmonies and rock solid rhythm section David Roe on bass and Ken Coomer on drums. Swamp pop legend Tony Joe White plays electric guitar on a number of cuts, including the hard rocking “Papermill Man,” and the visionary percussionist Futureman, also known as Roy Wooten, inventor of the drumitar, lends percussion on several cuts. Drea Merritt drops by to sing harmonies as well.
Last year, Holcombe released The RCA Sessions, a retrospective of his two decades of recordings. For most of this time, Malcolm has handled his own career from his hometown of Swannanoa, NC, a few miles down the road from Weaverville, where he was born in 1955. Another Black Hole does not indicate a change of direction for Holcombe, only a widening and deepening of the groove he has worked for most of his years playing and singing. Lyrically, the songs mingle Holcombe’s off the cuff wisdom and sharp-eyed commentary on the human condition. Without staking a political or spiritual position, Holcombe’s songs make it clear that he sees his place with those who suffer at the end of the “suits and ties in the cubicles,” as he sings in “To Get By.” But because he sees things in human terms and in the terms of survival, Holcombe heads down to “Rice’s Grocery down on Main Street/ We got credit there.”
Ray Kennedy, who has produced several of Malcolm’s albums, including Another Black Hole, says, “Malcolm Holcombe is fiercely striking every time you encounter him on or off stage. You just get sucked into his extraordinary world of the twisting of words and wisdom that come from a bottomless well. The melodies and fierce rhythms wrap his narrative into an event where you find yourself at his unique musical carnival. Then suddenly he slays you with a sweet love ballad or a sarcastic social commentary.”
In “Leavin’ Anna,” Holcombe croons “A working man’s a working man/ Makes the flowers grow.” The laborers, the displaced, the papermill worker, the man who spends “nickels and dimes like hundred dollar bills,” these are Malcolm Holcombe’s people and the ones who live in his songs. But he is far less interested in talking about his own songs than in talking about other musicians whose names come up in the course of a conversation.
When country singing legend Don Williams is mentioned, Malcolm says, “I used to listen to that Portrait album all the time,” and asks if Williams played a couple of his more popular songs in a recent concert. He also speaks fondly of Les Paul and, later, of Keith Richards: “He’s rock and roll all day long, ain’t he?”
Recently Warren Haynes, another musician native to western North Carolina, has mentioned Malcolm’s name in interviews. Typically, Holcombe was unaware of this, but filled with praise for Haynes. “He’s a real gentleman. I’m glad to call him a friend,” he says. “He taught me how to bend a string on a guitar.”
Chances are that Another Black Hole will not be mentioned at Grammy time, but it is a strong addition to an ever-strengthening catalogue of music made by a humble craftsman in western North Carolina. “It is Malcolm’s perception of the world that make his songs hit you like a gunpowder blast. His gruff and tough delivery is a primordial power full of grit, spit and anthropomorphic expression,” says Ray Kennedy. Trends come and go. What is real is the ground beneath our feet, the sky above us, the struggle to earn a living. These are Malcolm Holcombe’s timeless subjects and the spin he puts on them makes our journey here more bearable.
by Al Maginnes
Produced by Grammy-winning producer and engineer Ray Kennedy and Brian Brinkerhoff, Another Black Hole features Holcombe’s rasping vocals and bright, percussive guitar accentuating his insightful lyrics. “It is Malcolm’s perception of the world that make his songs hit you like a gunpowder blast. His gruff and tough delivery is a primordial power full of grit, spit and anthropomorphic expression,” says Kennedy.
Recorded at Room & Board Studios in Nashville, TN, and the 10-song set features longtime musical compatriots including Jared Tyler (dobro, baritone guitar, banjo, mandolin and harmony vocals), Dave Roe (upright and electric bass), Ken Coomer (drums and percussion), Tony Joe White (electric guitar), Future Man (percussion) and Drea Merritt (vocal harmony).
Born and raised in the Blue Ridge mountains of North Carolina, Holcombe is highly regarded and recognized by contemporaries in Americana music including Emmylou Harris, Wilco, Steve Earle. An “emotionally captivating” (Isthmus), performer, Holcombe has shared the stage with Merle Haggard, Richard Thompson, John Hammond, Leon Russell, Wilco and Shelby Lynne.
In the end, who can explain the secret of endurance? Why does one marriage last and another does not? Why does one song or album catch our ear while others, arguably as good, slip past us? What convinces an artist or musician to continue pursuing the craft in a time of audiences with short attention spans and diminishing financial returns?
On the eve of releasing Another Black Hole, his fourteenth album (including a duet album cut with North Carolina music legend Sam Milner back in the 80s), Malcolm Holcombe is in no mood to ponder such things. “They’re free to like it or change the CD or completely ignore it,” he says over the telephone from New Haven, CT. “It all depends on how bad their conscience is.”
Those who have paid attention to Holcombe’s music will find more of what they expect here: Holcombe’s rasping vocals and bright, percussive guitar accentuating his insightful lyrics. A few of Holcombe’s longtime musical compatriots show up to help him out, most notably Jared Tyler, who plays guitar, banjo, mandolin, dobro and offers background harmonies and rock solid rhythm section David Roe on bass and Ken Coomer on drums. Swamp pop legend Tony Joe White plays electric guitar on a number of cuts, including the hard rocking “Papermill Man,” and the visionary percussionist Futureman, also known as Roy Wooten, inventor of the drumitar, lends percussion on several cuts. Drea Merritt drops by to sing harmonies as well.
Last year, Holcombe released The RCA Sessions, a retrospective of his two decades of recordings. For most of this time, Malcolm has handled his own career from his hometown of Swannanoa, NC, a few miles down the road from Weaverville, where he was born in 1955. Another Black Hole does not indicate a change of direction for Holcombe, only a widening and deepening of the groove he has worked for most of his years playing and singing. Lyrically, the songs mingle Holcombe’s off the cuff wisdom and sharp-eyed commentary on the human condition. Without staking a political or spiritual position, Holcombe’s songs make it clear that he sees his place with those who suffer at the end of the “suits and ties in the cubicles,” as he sings in “To Get By.” But because he sees things in human terms and in the terms of survival, Holcombe heads down to “Rice’s Grocery down on Main Street/ We got credit there.”
Ray Kennedy, who has produced several of Malcolm’s albums, including Another Black Hole, says, “Malcolm Holcombe is fiercely striking every time you encounter him on or off stage. You just get sucked into his extraordinary world of the twisting of words and wisdom that come from a bottomless well. The melodies and fierce rhythms wrap his narrative into an event where you find yourself at his unique musical carnival. Then suddenly he slays you with a sweet love ballad or a sarcastic social commentary.”
In “Leavin’ Anna,” Holcombe croons “A working man’s a working man/ Makes the flowers grow.” The laborers, the displaced, the papermill worker, the man who spends “nickels and dimes like hundred dollar bills,” these are Malcolm Holcombe’s people and the ones who live in his songs. But he is far less interested in talking about his own songs than in talking about other musicians whose names come up in the course of a conversation.
When country singing legend Don Williams is mentioned, Malcolm says, “I used to listen to that Portrait album all the time,” and asks if Williams played a couple of his more popular songs in a recent concert. He also speaks fondly of Les Paul and, later, of Keith Richards: “He’s rock and roll all day long, ain’t he?”
Recently Warren Haynes, another musician native to western North Carolina, has mentioned Malcolm’s name in interviews. Typically, Holcombe was unaware of this, but filled with praise for Haynes. “He’s a real gentleman. I’m glad to call him a friend,” he says. “He taught me how to bend a string on a guitar.”
Chances are that Another Black Hole will not be mentioned at Grammy time, but it is a strong addition to an ever-strengthening catalogue of music made by a humble craftsman in western North Carolina. “It is Malcolm’s perception of the world that make his songs hit you like a gunpowder blast. His gruff and tough delivery is a primordial power full of grit, spit and anthropomorphic expression,” says Ray Kennedy. Trends come and go. What is real is the ground beneath our feet, the sky above us, the struggle to earn a living. These are Malcolm Holcombe’s timeless subjects and the spin he puts on them makes our journey here more bearable.
by Al Maginnes
MALCOLM HOLCOMBE - PITIFUL BLUES (BalconyTV)
Dreihundertfünfzig Studenten der 4. und 3. College Lencloître und Latillé besuchten am Dienstagnachmittag in einer Konzerthalle in Multimedia King Biscuit Vorschlag der Antenne des Jeunesses musicales de France Chatellerault.
King Biscuit Norman ist eine Gruppe, bestehend aus zwei Mitgliedern des "Vibrierende Défricheurs" Choinier Sylvain (Gitarre, Gesang, Fuß) und Frederic Jouhannet (Violine Megafon, Violine-Cop, Violine, Banjo, Füße). Es hat seinen Namen von einem Radioprogramm, das seit 1941 von Arkansas sendet, ein Pionier in der Blues-Verbreitung und die Anerkennung der afroamerikanischen Kultur. Es wird von der Musik der alten Blues des Deltas von Alan Lomax aufgezeichnet Mississippi inspiriert. "Aber wir unsere eigene Identität geschaffen haben , indem sie ein Geschenk von Musik mit einem wilden Geige erhalten Mischen: Violine, Banjo, Fiddle-Cop, frisiert Gitarrenständer und steigern das Tempo der Füße" , sagt Sylvain Choinier. Eine Originalität, die College-Studenten angezogen.
King Biscuit Norman ist eine Gruppe, bestehend aus zwei Mitgliedern des "Vibrierende Défricheurs" Choinier Sylvain (Gitarre, Gesang, Fuß) und Frederic Jouhannet (Violine Megafon, Violine-Cop, Violine, Banjo, Füße). Es hat seinen Namen von einem Radioprogramm, das seit 1941 von Arkansas sendet, ein Pionier in der Blues-Verbreitung und die Anerkennung der afroamerikanischen Kultur. Es wird von der Musik der alten Blues des Deltas von Alan Lomax aufgezeichnet Mississippi inspiriert. "Aber wir unsere eigene Identität geschaffen haben , indem sie ein Geschenk von Musik mit einem wilden Geige erhalten Mischen: Violine, Banjo, Fiddle-Cop, frisiert Gitarrenständer und steigern das Tempo der Füße" , sagt Sylvain Choinier. Eine Originalität, die College-Studenten angezogen.
übrsetzt mit Google
Sylvain Choinier & André Pasquet duo @ Nuit du Gonzo #14 (L'Oreille Qui Traîne)
Shake shake shake - King Biscuit live @ le 106
https://kingbiscuit.bandcamp.com/releases
Peter Hoexter *02.09.
Peter spielt, fast immer und überall, die Bluesharp - seit Oktober 2012 auch bei CLAPTONMANIA.
Sein Spiel auf der Mundharmonika "würzt" den Gesamtsound - mal rough, hot & spicy, mal soft.
Sein Spiel auf der Mundharmonika "würzt" den Gesamtsound - mal rough, hot & spicy, mal soft.
Kanal 21 Fernsehkonzert - Claptonmania - Crossroads
Fernsehkonzert: "Claptonmania" aus Hameln
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