1902 Ramblin' Thomas *1902 +1945 1)
1925 Jimmy Reed*
1947 Jay Owens*
1954 Martha Phifer Suber*
1957 Paul Orta*
1963 Andrea Giannoni*
1970 Kathleen Pearson*
1985 Little Brother Montgomery+
John Blues*
1) Die genauen Daten ist dem Autor nicht bekannt
Happy Birthday
Jimmy Reed *06.09.1925
http://www.magnetmagazine.com/2010/11/10/the-chapin-sisters-can-feel-jimmy-reeds-baby-what-you-want-me-to-do/
Jimmy Reed (Geburtsname: Mathis James Reed; * 6. September 1925 in Dunleith, Mississippi; † 29. August 1976 in Oakland, Kalifornien) war ein US-amerikanischer Blues-Sänger und -Musiker.
Reed lernte die Grundlagen des Gitarre- und Harmonikaspiels von seinem Freund Eddie Taylor, der selbst als Halbprofi in Kneipen umherzog. Im Jahre 1943 ging Reed nach Chicago, wo er jedoch zunächst zum zweijährigen Militärdienst in die Marine eingezogen wurde. Nach seiner Entlassung und nach der Heirat mit Mary („Mama Reed“) arbeitete er 1945 in Gary/Indiana als Fleischpacker in der Fabrik. Hier bekam er Kontakt zur Bluesszene der Nachbarstadt Chicago, wo er kurzzeitig in die Band von John Brim's Gary Kings aufgenommen wurde, in der auch zeitweise Eddie Taylor spielte. Nachdem Reed beim Chicagoer Blues-Label Chess Records nicht akzeptiert wurde, ging er zum benachbarten Chance Records-Label, wo er mit Unterstützung von John Brim (Gitarre) und Morris Wilkerson (Schlagzeug) die Single High And Lonesome / Roll And Rhumba (Chance #1142) am 6. Juni 1953 einspielen durfte. Sie erschien im Juli 1953 ohne besondere Resonanz, Chance Records befand sich kurz danach im Liquidierungsprozess; Reed arbeitete mittlerweile wieder in einem Schlachthof in Chicago.
Dann hörte Reed von dem im April 1953 gegründeten Label Vee-Jay Records, das zunächst in seinem ehemaligen Wohn- und Arbeitsort Gary beheimatet war. Am 29. Dezember 1953 fand mit Jimmy Reed & His Trio (Eddie Taylor, Bass; Morris Wilkerson, Schlagzeug) eine erste Aufnahmesession statt, in der noch einmal High and Lonesome / Roll and Rhumba eingespielt wurden. Obwohl Vee Jay zuvor im Mai bereits die Spaniels aufgenommen hatte, entschied man sich als überhaupt erste Platte des Katalogs für Jimmy Reed (Vee-Jay #100). Das Privileg nützte nichts, denn die Single konnte nach ihrer Veröffentlichung im Juli 1953 keine Chartnotiz erlangen, während die Spaniels (Vee-Jay #101) bis auf Platz 10 der Rhythm & Blues-Charts vordrangen. Erfolglos blieb auch seine nächste Single I Found My Baby / Jimmy's Boogie (#105), die im Januar 1954 auf den Markt kam. Aber bereits seine dritte Single You Don’t Have to Go / Boogie in the Dark, die aus einer Aufnahmesession vom 30. Dezember 1953 stammte, kam nach ihrer Veröffentlichung im Oktober 1954 bis auf Rang fünf der Rhythm & Blues-Hitparade. Mit Rang drei schnitt die im Januar 1955 veröffentlichte Single Ain't That Lovin' You Baby / Baby, Don't Say That No More (#168) noch besser ab. Dieselbe Platzierung erreichte auch You've Got Me Dizzy / Honey, Don't Let Me Go, die im November 1956 herausgebracht wurde. Ein erstes Crossover gelang mit The Sun Is Shining / Baby, What's On Your Mind (#248), das nach seiner Veröffentlichung im Juni 1957 neben einem Platz 12 in den R&B-Charts auch bis auf Rang 65 der Pop-Hitparade gelangte. Reeds bester Crossover war dann das am 3. April 1957 aufgenommene Honest I Do / Signals of Love, das nach seiner Veröffentlichung im Oktober 1957 einen Rang 32 in den Pop-Charts erreichte und bis auf Platz 4 der R&B-Charts vordringen konnte. Sein erfolgreichster Hit überhaupt wurde im August 1961 mit Bright Lights, Big City / I'm Mr. Luck veröffentlicht und notierte an Rang Drei der R&B-Charts.
Reeds sich verstärkende Probleme mit Alkohol und seine Epilepsien verliefen parallel zum wirtschaftlichen Niedergang seiner Plattenfirma. Mit Katalog #709 nahm Reed Anfang 1966 den vielsagenden Titel Don't Think I'm Through seine letzte Single für Vee-Jay auf. Insgesamt hat Reed innerhalb von mehr als 12 Jahren bei Vee-Jay 39 Singles und zahlreiche LPs herausgebracht und brachte davon 18 Titel in die R&B- und 8 Titel in die Pop-Singles-Hitparade. Sein Manager Al Smith verschaffte ihm danach Mitte 1966 einen kurzlebigen Plattenvertrag mit dem neuen ABC-Bluesway-Label. Hier spielte er am 4. und 8. November 1966 insgesamt 12 Titel mit Begleitung durch Lefty Bates und Jimmy Reed jr. (Gitarre, Gesang), Jimmy Gresham (Bass) und Al Duncan (Schlagzeug) ein[1]. Keines der nächsten fünf weiteren Labels brachte ihm den einstigen Erfolg zurück. Um 1970 schwor Jimmy Reed dem Alkohol endgültig ab, aber die Spätfolgen waren ein fragiler Gesundheitszustand, der lange Tourneen verhinderte. Dennoch spielte er auf dem renommierten Ann Arbor Bluesfestival von 1972 und verstarb vier Jahre später. Er wurde posthum in die Blues Hall of Fame der Blues Foundation im Jahre 1980 so wie sein Album "I´m Jimmy Reed" 2008 und die Rock & Roll Hall of Fame im Jahre 1991 aufgenommen.
Stil
Reed schrieb die meisten Titel selbst. Er konnte sie jedoch nicht auswendig, sondern hatte meistens seine Frau „Mama Reed“ bei den Aufnahmesessions dabei. „Gib mir den Text, Mama Reed“ bat er sie, und ihre geflüsterte Soufflage ist etwa in „You Got Me Dizzy“ schwach zu hören[2]. Reed spielte Gitarre und Mundharmonika zugleich (die Harmonika war mit Hilfe eines Gestells um seinen Hals befestigt, ähnlich wie später bei Bob Dylan). Während Reed für den Boogie-Rhythmus auf der Gitarre sorgte und ein Harpsolo blies, spielte Eddie Taylor auf der Leadgitarre markante Blueslicks und Riffs, die in die Popgeschichte eingehen sollten. Reeds Vortrag war locker und leicht, eher distanziert und nicht so intensiv oder aufdringlich wie der anderer zeitgenössischer Bluesinterpreten. Eddie Taylor hat mit seiner Rhythmus- und Bassgitarre die meisten Sessions im Trio bestritten und war mitverantwortlich für den typischen Jimmy Reed-Sound. Taylor war die treibende Kraft beim Erfolg von Reed[3]. Reed war für Vee Jay der konstanteste Verkaufserfolg, zumal seine Platten ab 1957 fast regelmäßig auch als Crossover in die Pop-Hitparade kamen. Reed erreichte mit seinem entspannten Stil eine größere Zuhörerschaft als viele Interpreten vom legendären Chess Records.
Coverversionen/Statistik
Für Jimmy Reed sind BMI zufolge 164 Musiktitel urheberrechtlich registriert[4], von denen drei einen BMI-Award erhielten.
Reeds sauberer und entspannter Vortrag inspirierte spätere Interpreten zum Cover seiner Kompositionen. Meistgecoverte Titel sind Big Boss Man (37), Baby, What You Want Me to Do (31) und You Don’t Have to Go (10)[5]. So übernahm Elvis Presley Ain’t That Lovin‘ You, während Baby What You Want Me to Do von John Cale, wiederum Elvis Presley, Hot Tuna, Them, Grateful Dead, Van Halen oder den Byrds übernommen wurde. Der Big Boss Man ist in Fassungen von Grateful Dead, John Hammond, wiederum Elvis Presley zu hören, während Big Legged Woman durch Jerry Lee Lewis übernommen wurde. Honest I Do schließlich haben die Rolling Stones ziemlich authentisch gecovert.
Mathis James "Jimmy" Reed (September 6, 1925 – August 29, 1976)[1] was an American blues musician and songwriter, notable for bringing his distinctive style of blues to mainstream audiences. Reed was a major player in the field of electric blues, as opposed to the more acoustic-based sound of many of his contemporaries.[2] His music had a significant impact on many rock and roll artists who followed, such as Elvis Presley, Eric Clapton, Billy Gibbons, Hank Williams, Jr, Stevie Ray Vaughan, Jerry Garcia and the Rolling Stones.
Biography
Reed was born in Dunleith, Mississippi, in 1925, learning the harmonica and guitar from Eddie Taylor, a close friend.[3] After spending several years busking and performing in the area, Reed moved to Chicago, Illinois, in 1943 before being drafted into the US Navy during World War II. In 1945, Reed was discharged and moved back to Mississippi for a brief period, marrying his girlfriend, Mary "Mama" Reed, before moving to Gary, Indiana to work at an Armour & Co. meat packing plant. Mama Reed appears as an uncredited background singer on many of his songs, notably the major hits "Baby What You Want Me to Do", "Big Boss Man" and "Bright Lights, Big City".[3]
By the 1950s, Reed had established himself as a popular musician and joined the "Gary Kings" with John Brim, as well as playing on the street with Willie Joe Duncan. Reed failed to gain a recording contract with Chess Records, but signed with Vee-Jay Records through Brim's drummer, Albert King. At Vee-Jay, Reed began playing again with Eddie Taylor and soon released "You Don't Have to Go", his first hit record. This was followed by a long string of hits.
Reed maintained his reputation despite his rampant alcoholism; sometimes his wife had to help him remember the lyrics to his songs while recording. In 1957, Reed developed epilepsy, though the condition was not correctly diagnosed for a long time, as Reed and doctors assumed it was delirium tremens.[4]
In spite of his numerous hits, Reed's personal problems prevented him from achieving the same level of fame as other popular blues artists of the time, though he had more hit songs than many others. When Vee-Jay Records closed down, Reed's manager signed a contract with the fledgling ABC-Bluesway label, but Reed was never able to score another hit.
In 1968 he toured Europe with the American Folk Blues Festival.[2]
Jimmy Reed died in Oakland, California in 1976,[1] of respiratory failure,[5] eight days short of his 51st birthday. He is interred in the Lincoln Cemetery in Worth, Illinois.
In 1991 Reed was posthumously inducted into the Rock and Roll Hall of Fame.
Influence
The Rolling Stones have cited Reed as a major influence on their sound, and their early set lists included many of Reed's songs, including tracks like "Ain't That Lovin' You Baby", "The Sun is Shining" (also played at the Stones' 1969 Altamont concert), "Bright Lights, Big City" and "Shame, Shame, Shame" ; the B-side of their February 1964 hit single "Not Fade Away" was a pastiche of "Shame, Shame, Shame" entitled "Little by Little". Their first album, The Rolling Stones, (subtitled England's Newest Hit Makers in America), released in April 1964, featured both "Little by Little" and their cover of Reed's "Honest I Do".
The Yardbirds recorded an instrumental dedicated to him entitled "Like Jimmy Reed Again", which was released on the "definitive edition" of their album Having a Rave Up.
Van Morrison's group Them covered "Bright Lights, Big City" and "Baby, What You Want Me To Do", both of which can be found on The Story of Them Featuring Van Morrison.
"Big Boss Man" was sung regularly by Ron "Pigpen" McKernan with the Grateful Dead during the 1960s and early 1970s and appears on their live album Skull and Roses. It was revived a few times by Jerry Garcia with the Dead during the 1980s. Bob Weir of the Dead also played it a few times with Kingfish in the mid 70s, and more recently with Ratdog. Phil Lesh also plays it with Phil & Friends. The Grateful Dead have also performed "Baby What You Want Me to Do" with Brent Mydland on vocals.
Elvis Presley recorded several of Reed's songs, scoring a 1967 hit with "Big Boss Man" and recording several performances of "Baby, What You Want Me to Do" for his 1968 Comeback TV Special. (However, Presley's 1964 hit, "Ain't That Lovin' You Baby" is a different song than that recorded by Reed.) The song "Baby, What You Want Me to Do" was also covered by Wishbone Ash on their 1972 live album, Live Dates. "Baby What You Want Me to Do" was also frequently performed by Etta James and Hot Tuna. Johnny and Edgar Winter performed the song live in 1975 and included it on Johnny and Edgar Winter Together.
Reed's recordings of "Big Boss Man" and "Bright Lights, Big City" were both voted onto the list of The Rock and Roll Hall of Fame's 500 Songs that Shaped Rock and Roll.
Noted Austin, Texas, musicians, Omar Kent Dykes and Jimmie Vaughan released an album entitled On the Jimmy Reed Highway as a tribute to Reed.[6]
Bill Cosby covered four of Reed's songs – "Bright Lights, Big City", "Big Boss Man", "Hush Hush" and "Aw Shucks, Hush Your Mouth" – on his 1967 album Silver Throat: Bill Cosby Sings.
Steve Miller Band covered 5 of Reed's songs – "You're So Fine" on his 1968 album Sailor; "I Wanna Be Loved (But By Only You)", "Big Boss Man", "Caress Me Baby" and "Ain't That Lovin' You Baby" on his 1986 album Living in the 20th Century.
Neil Young historically plays Reed's music to his audience before his shows.
British punk pioneer Billy Childish and his band Thee Headcoats released an EP of Reed covers entitled The Jimmy Reed Experience on Get Hip Records in 1997.
Kathleen Pearson *06.09.1970
https://www.facebook.com/KathleenKATpearson
Kathleen ‘Kat’ Pearson-Thomas was born circa 1969 in Long Beach
California . Moving to London she joined "Black Girl Rock" who appeared
on The Word and recorded the hit single "Things Can Only Get Better"
with D:Ream, which to lead to a tour of the UK, Belgium, Russia and
Italy. She then signed to Columbia Records with a band called Comanche
Park that issued an album "Crucify" and wrote the music for channel 4’s
"Naked City". The band appeared to sell-out crowds at The Shepard’s Bush
Empire, The Forum in Kentish Town and The Grand in Clapham before they
embarked on a two-year tour of Europe, dates included the prestigious
Montreux Jazz Festival in Switzerland.
After the band disbanded Kat decided to move into the theatre business and appeared in "Funny Girl" at the Bloomsbury Theatre and "What’s Love Got To Do With It" at The Hackney Empire. At the same time she became a photo model and was videoed pouting in the Chemical Brothers hit video "Block Rockin’ Beats" and in a slew of other adverts including the famous "Bald is Beautiful" look for Carlsberg Beer. During this time she also appeared on Top of the Pops, TFI Friday and the Jonathan Ross Show and The Shane Richie Experience with LuLu as a singer/bass player. Kat also toured extensively as a dancer throughout Italy with M.A.R.S ‘Pump up The Volume.
After the band disbanded Kat decided to move into the theatre business and appeared in "Funny Girl" at the Bloomsbury Theatre and "What’s Love Got To Do With It" at The Hackney Empire. At the same time she became a photo model and was videoed pouting in the Chemical Brothers hit video "Block Rockin’ Beats" and in a slew of other adverts including the famous "Bald is Beautiful" look for Carlsberg Beer. During this time she also appeared on Top of the Pops, TFI Friday and the Jonathan Ross Show and The Shane Richie Experience with LuLu as a singer/bass player. Kat also toured extensively as a dancer throughout Italy with M.A.R.S ‘Pump up The Volume.
Kathleen Pearson Spain
Ramblin' Thomas *1902 +1945
Willard „Ramblin’“ Thomas (* 1902 in Logansport, De Soto Parish, Louisiana; † 1945 in Memphis, Tennessee) war ein US-amerikanischer Musiker (Gesang, Gitarre) des Country Blues und Songwriter.
Leben und Wirken
Willard Thomas stammte aus einer Familie mit neun Kindern; sein Vater spielte Fiddle und die drei Brüder Joe L., Jesse und Willard lernten Gitarre, wobei Willard Slide-Gitarren-Techniken praktizierte.[1] Thomas spielte zunächst in Shreveport, Louisiana und in Oklahoma[2], dann ab Ende der 1920er-Jahre im Vergnügungsviertel Deep Ellum in Dallas; sein Gitarrenspiel war von Blind Lemon Jefferson, Lonnie Johnson und Blind Blake beeinflusst.
Er trat u. a. auf seinen ausgedehnten Tourneen in San Antonio, Oklahoma wahrscheinlich auch in St. Louis auf.[1] Zwischen 1928 und 1932 nahm er in Dallas und Chicago für Paramount Records (mit Bernice Edwards und Sharlie English[3]) und Victor Records („Ground Hog Blues“) auf.[4][5] Seine Erfahrungen als Reisender brachte er in „Ramblin’ Man“ und in „Ramblin' Blues“ (1928) ein:
Well I took this brownskin woman, from my best friend
And that rascal got lucky an’ stole her back again.[6]
Im „No Job Blues“ verarbeitete er die Folgen von Arbeitslosigkeit, als er wegen eines Gesetzes des US-Kongress von 1887 wegen Vagabundentums in Alabama inhaftiert wurde:
I been walking all day, and all of the night too.
’Cause my meal-ticket woman have quit me, and I can’t find no work to do.
I pickin’ up the newspaper, and I look-ed pickin’ in the ads,
And the policeman came along, and he arrested me for vag.
(gesprochen) Now, boys, Yall ought to see me in my black and white suit, It won’t do!
Asked the judge, Judge, what may be my fine?'
He said: 'Get you apick and shavel, and get up down and mine.'
I’m a poor vag prisoner, working in the ice and snow,
I got to get me another meal-ticket woman, so I won’t have to work no more.[7]
In „Hard Dallas Blues“ schilderte Thomas, wie wenig willkommen er sich in Dallas gefühlt hat:
And Dallas is hard, I don’t care how you work,
There will be somebody covering on your pay-day to collect.
Man don’t never make Dallas your home,
When you look for your friends they will all be gone.[8]
In den folgenden Jahren lebte er in Houston und in Fort Worth.[9] Ramblin’ Thomas starb 1945 an den Folgen einer Tuberkulose-Erkrankung. Thomas soll Robert Johnson und Black Ace beeinflusst haben.
Leben und Wirken
Willard Thomas stammte aus einer Familie mit neun Kindern; sein Vater spielte Fiddle und die drei Brüder Joe L., Jesse und Willard lernten Gitarre, wobei Willard Slide-Gitarren-Techniken praktizierte.[1] Thomas spielte zunächst in Shreveport, Louisiana und in Oklahoma[2], dann ab Ende der 1920er-Jahre im Vergnügungsviertel Deep Ellum in Dallas; sein Gitarrenspiel war von Blind Lemon Jefferson, Lonnie Johnson und Blind Blake beeinflusst.
Er trat u. a. auf seinen ausgedehnten Tourneen in San Antonio, Oklahoma wahrscheinlich auch in St. Louis auf.[1] Zwischen 1928 und 1932 nahm er in Dallas und Chicago für Paramount Records (mit Bernice Edwards und Sharlie English[3]) und Victor Records („Ground Hog Blues“) auf.[4][5] Seine Erfahrungen als Reisender brachte er in „Ramblin’ Man“ und in „Ramblin' Blues“ (1928) ein:
Well I took this brownskin woman, from my best friend
And that rascal got lucky an’ stole her back again.[6]
Im „No Job Blues“ verarbeitete er die Folgen von Arbeitslosigkeit, als er wegen eines Gesetzes des US-Kongress von 1887 wegen Vagabundentums in Alabama inhaftiert wurde:
I been walking all day, and all of the night too.
’Cause my meal-ticket woman have quit me, and I can’t find no work to do.
I pickin’ up the newspaper, and I look-ed pickin’ in the ads,
And the policeman came along, and he arrested me for vag.
(gesprochen) Now, boys, Yall ought to see me in my black and white suit, It won’t do!
Asked the judge, Judge, what may be my fine?'
He said: 'Get you apick and shavel, and get up down and mine.'
I’m a poor vag prisoner, working in the ice and snow,
I got to get me another meal-ticket woman, so I won’t have to work no more.[7]
In „Hard Dallas Blues“ schilderte Thomas, wie wenig willkommen er sich in Dallas gefühlt hat:
And Dallas is hard, I don’t care how you work,
There will be somebody covering on your pay-day to collect.
Man don’t never make Dallas your home,
When you look for your friends they will all be gone.[8]
In den folgenden Jahren lebte er in Houston und in Fort Worth.[9] Ramblin’ Thomas starb 1945 an den Folgen einer Tuberkulose-Erkrankung. Thomas soll Robert Johnson und Black Ace beeinflusst haben.
Ramblin' Thomas (1902–1945)[1] was an American country blues singer, guitarist and songwriter.[2] He was the brother of another blues musician, Jesse Thomas. Thomas is best remembered for his slide guitar playing, and recording several pieces in the late 1920s and early 1930s.[3] Blues scholars seem undecided if Thomas's nickname of Ramblin' was in reference to his style of playing, or itinerant nature.[1][4]
Biography
Willard Thomas was born in Logansport, Louisiana, one of nine children. His father played the fiddle, and three brothers Joe L., Jesse, and Willard learnt to play the guitar, with Willard particularly practising slide guitar techniques.[1] Thomas relocated to Deep Ellum, Dallas, Texas in the late 1920s, and was influenced by the playing of Lonnie Johnson. He performed in San Antonio, Oklahoma and possibly St. Louis, Missouri in his subsequent travels.[1] Thomas recorded in both Dallas and Chicago between 1928 and 1932, for Paramount Records and Victor Records.[5][6]
Thomas reportedly died of tuberculosis in 1945 in Memphis, Tennessee. Document Records are amongst the record labels (previously there were LP issues on Heritage, Biograph, and Matchbox Records) to have released retrospective compilations of Thomas' work on CD.
Biography
Willard Thomas was born in Logansport, Louisiana, one of nine children. His father played the fiddle, and three brothers Joe L., Jesse, and Willard learnt to play the guitar, with Willard particularly practising slide guitar techniques.[1] Thomas relocated to Deep Ellum, Dallas, Texas in the late 1920s, and was influenced by the playing of Lonnie Johnson. He performed in San Antonio, Oklahoma and possibly St. Louis, Missouri in his subsequent travels.[1] Thomas recorded in both Dallas and Chicago between 1928 and 1932, for Paramount Records and Victor Records.[5][6]
Thomas reportedly died of tuberculosis in 1945 in Memphis, Tennessee. Document Records are amongst the record labels (previously there were LP issues on Heritage, Biograph, and Matchbox Records) to have released retrospective compilations of Thomas' work on CD.
Jay Owens *06.09.1947
Jay Owens (September 6, 1947 – November 26, 2005)[2] was a blind American electric blues and soul blues guitarist, singer and songwriter.[1]
Life and career
Isaac Jerome Owens was born in Lake City, Florida, United States.[1] His mother was a minister in a local church, where Owens first learned to sing. He learned to appreciate blues from an uncle of his.[3] Having obtained his first guitar, Owens was playing music professionally by the time he left high school.[4]
Owens played alongside his friend, Johnny Kay, in the 1970s and 1980s, leading a succession of bands playing in the Tampa Bay and St. Petersberg area of Florida.[1] In such a role he supported many other musicians such as O. V. Wright, Al Green, Stevie Wonder, Donny Hathaway, Aaron Neville and Little Milton.[4]
Mike Vernon produced Owens' debut solo album, The Blues Soul of Jay Owens, which was released on Atlantic Records in 1993, and featured Pete Wingfield playing keyboards[5] It won Living Blues magazine's 'Best Blues Album' and 'Best Debut Album' awards.[3] In 1995, EastWest issued Movin' On, which included contributions as before from Vernon and Wingfield, whilst Dave Bronze played bass guitar on the collection.[6]
He was also a prolific songwriter, and his songs have been recorded by Jim Leverton ("Only Human"),[7] James Booker ("1-2-3" and "One Hell of a Nerve"),[8][9] and K. T. Oslin ("Come On-A My House").[10]
In 1997, Owens moved to Orlando, Florida after spending twenty years in New York.[4]
Owens died at his home in Orlando, at the age of 58, from complications of diabetes in November 2005.
Andrea Giannoni *06.09.1963
A NIGHT WITH THE JERSEY DEVIL - Cesare Carugi & Andrea Giannoni
John Blues *06.09.
Welcome to Johns World of modern Blues!
John Blues präsentiert ein weit gefächertes Soundspektrum, das sich stilistisch gesehen kaum in eine einzelne Musikschublade packen lässt.
In kreativen Eigenkompositionen und adäquaten Arrangements verbindet er fusionierte Stil- Varianten mit handwerklichem Können.
Ob Blues, New Country, Folk, Funk, Jazz, Reggae, Soul, American Guitar Rock... alles wirkt erfrischender und doch irgendwie anders.
Nach vier veröffentlichten Alben in den Jahren 2003, 2004, 2005 und 2006 mit seinem John O`Groats Band Projekt folgte 2008 nun das erste Solo Album. 13 brandneue Songs zeigen erneut die modernisierte Vielfalt und Kreativität dieses facettenreichen Vollblutmusikers.
Das neue Solo Album NOBODY’S CHILD (2008) erzielte seit dem Erscheinen immer mehr an Aufmerksamkeiten und Achtungserfolgen in den Vereinigten Staaten (USA) und dem europäischen Ausland.
Dabei wurde der Song (Single Auskopplung) MIDDLE OF NOWHERE zum Selbstläufer in den verschiedensten Radiosendern der USA, Dänemark, Frankreich, England, Italien, etc.
Indian View
Paul Orta *06.09.1957
Paul Orta has fronted his band The Kingpins (a.k.a. The International Playboys) and various other groups around the world. He has played in the U.S.A., Spain, England, Ireland, France, Norway, Germany, Belgium, Italy, Austria, Russia, Portugal, Poland, Brazil, Sweden, Switzerland, Denmark & The Netherlands. He has opened for B.B. King, John Lee Hooker, Stevie Ray Vaughn, Van Morrison, The Fabulous Thunderbirds, Junior Walker, James Cotton, Buckwheat Zydeco, Dennis Quaid band with Huey Lewis to name a few. Paul Orta is also on: see discography.
Paul Orta born in Port Arthur, Texas (hometown of Janice Joplin) was first influenced by Louis Armstrong at the age of 7. After 9 years of playing the coronet in the school band, Paul Orta quit because the band never played blues or Jazz. Within a half a year he picked up the Harmonica and in three months, he was in his first professional band (The Bayou Boogie Band) when he was 16. They played in Golden Triangle (southeast Texas) and Louisiana for three years.
In 1979 Paul Orta moved to Austin, Texas and he won Kerrville Folk Festival in 1980. Later he formed The Backdoor Men with Port Arthur native Bill Jones (guitar) and with help of Eddie Stout (bass) evolved into The Kingpins. Afterwards he entered the “Antones the University of the Blues”. Playing with blues greats as Jimmy Rogers, Snooky Pryor, Eddie Taylor, Sunnyland Slim, Hubert Sumlin, Luther Tucker, Ted Harvey, Matt “Guitar” Murphy, Pinetop Perkins, Wayne Benett, Willie “Big Eyes” Smith, Henry Grey and Robert Lockwood Jr. Everytime Snooky played at Antones annual festival he invited Paul Orta to play with him . Jimmy Roger also employed him as harp player for the festivals. One his favorite memories is was playing a weekly gig for 3 months with Sumlin (Howlin Wolf’s guitar player).
Paul Orta has also toured and recorded with Texas Guitar Tornado U.P. Wilson (U.S.A. and Europe). He can be heard on over a dozen albums and be heard on over 3 dozen different compilations and various albums in North & South America, Europe, Japan, Africa and Australia. In addition he has performed with second generation bluesmen like Kim Wilson, Derek O’Brian, Tommy Shannon and many others.
Past members of Paul Orta’s band have included Uncle John Turner (Johhny Winter), Keith Ferguson (The Fabulous Thunderbirds), Mike Kindred (Stevie Vaughn), Wesley Starr (Delbert McClinton), Jimmy Carl Black (Frank Zappa) and Freddie Waldon (Anson Funderburg and the Rockets).
He was also nominated “Texas Harmonica Tornado” by Buddy Magazine in 1987. Paul Orta has played at the Battle of the Harmonicas in San Francisco and the Texas Harmonica Rumble in Austin, Texas.
Hohner Harmonicas endorsed him in 1990 . He helped Kendrick Amplifiers design a amplifier called the “Texas Crude”. PaulOrta also is endorsed with The Harp Depot, Shaker Mic’s, The Amp Room, Tony Ramos Harps, Jimmy Gorden Harmonicas, Mauro Pionzio Harmonicas. In fact Paul Orta is one of the few harmonica players endorsed with both Hohner U.S.A., and Hohner Europe. He also designed his own special “slide harp” which allows one to play various postions on one harmonica.
Paul Orta also has worked as a producer for Ervin Charles “Greyhound Blues”, Wild Bill Pitre “I was raised on a farm” and “Shuffle with Lester” (with Lazy Lester).
He has also has been a and active promoter of “Blues in the Schools”. Paul Orta is also a songwriter whose songs have been covered by different groups around the world.
Paul Orta who has been based in most of the past decade in Europe is currently living in Port Arthur. At the moment he has been taking some time off the road, and working on several recordings to be released later this year 2009.
Paul Orta - Help Me Baby
Paul Orta in Jujuy Argentina
Martha Phifer *06.09.1954
Mattie Phifer has been belting the blues for over 40 years. In the 80's, she toured with the Sensible Pumps and had the honor of opening for Koko Taylor, "The Queen of the Blues". In the 90's, Mattie Phifer perfomed on two occasions at the Smithsonian Institute in a "Tribute to the Women of the Blues". In 1998, Mattie's original tune, "I'm Too Cool" was included on Nappy Brown's cd, "Who's been Foolin You". Mattie joined together with Rick Marshall, Greg Willard, and Dave McNeer in 2003 to form the Phifer Marshall Band who went on to represent Richmond Virginia's River City Blues Society at the International Blues Challenge on Beale Street in Memphis, Tennessee. Most recently, Mattie's original tune, "Please Call Daddy" has been selected to be included in a compilation album featuring the best female harmonica players in the world.
Mattie performs with her band, "The Mattie Phifer Band" as well as bringing to the stage the acoustic solo act entitled "Nothing But the Blues," in which Mattie performs the songs of Willie Dixon, Ida Cox, and Sippie Wallace, just to name a few of the blues greats. Mattie's passion and mission is to pay tribute to the great men and women of the blues. With the Mattie Phifer Band or Mattie Phifer Solo the audience is sure to get "NOTHIN BUT THE BLUES"!
Mattie Phifer Band July 2014
Mattie Phifer Band featuring Freddie Vanderford and Brandon Turner at Pelion 2013
R.I.P.
Little Brother Montgomery +06.09.1985
Eurreal Wilford "Little Brother" Montgomery (* 18. April 1906 in Kentwood, Louisiana; † 6. September 1985 in Chicago, Illinois) war ein amerikanischer Blues- und Jazz-Pianist und -Sänger.
Anfang der 1920er Jahre spielte er zunächst solo in Holzfäller- und Terpentinarbeiter-Lagern in Louisiana und Mississippi, später tourte er mit den Orchestern von Clarence Desdunes und Buddy Petit. Nach Chicago wo er seine ersten Plattenaufnahmen machte, kam er im Jahre 1928. Von 1931 bis 1938 leitete er dann eine eigene Band in Jackson zog aber 1941 wieder zurück nach Chicago, wo er den Rest seines Lebens verbrachte. Von dort aus unternahm er ausgedehnte Tourneen durch die USA und nach Europa, u. a. anlässlich des American Folk Blues Festival 1966.
In der Nachkriegszeit hat er regelmäßig Plattenaufnahmen gemacht, und zwar auf den folgenden Plattenlabeln: 77 Records, Prestige, Bluesville, Folkways, Riverside, Adelphi, Blues Beacon, Delmark, Storyville, Aves, Takoma, JSP, Flyright, Magpie, Earwig und seiner eigenen Plattenfirma "FM".
Eurreal
Wilford "Little Brother" Montgomery (April 18, 1906 – September 6,
1985[2]) was an American jazz, boogie-woogie and blues pianist and
singer.[1]
Largely self-taught, Montgomery is often thought of as just a blues pianist, but he was an important blues pianist with an original style. He was also quite versatile, however, and worked in jazz bands including larger ensembles that used written arrangements. Although he did not read music, he learned band routines by ear; once through an arrangement and he had it memorized.
Career
Montgomery was born in the town of Kentwood, Louisiana, a sawmill town near the Mississippi Border, across Lake Pontchartrain from the city of New Orleans, where he spent much of his childhood. As a child he looked like his father, Harper Montgomery, and was called Little Brother Harper. The name evolved into Little Brother Montgomery, a nickname which stuck. He started playing piano at the age of 4, and by age 11 he was playing at various barrelhouses in Louisiana. His own musical influence was Jelly Roll Morton, who used to visit the Montgomery household.
Early on he played at African American lumber and turpentine camps in Louisiana, Arkansas, and Mississippi, then with the bands of Clarence Desdunes and Buddy Petit. He first went to Chicago from 1928 to 1931, where he made his first recordings. From 1931 through 1938 he led a band in Jackson.
In 1942 Montgomery moved back to Chicago, which would be his base for the rest of his life, with various tours to other United States cities and Europe.[2] In the late 1950s he was "discovered" by wider white audiences. He toured briefly with Otis Rush in 1956.[3] His fame grew in the 1960s, and he continued to make many recordings, including on his own record label, FM Records (formed in 1969).[2] FM came from Floberg, his wife Jan's maiden name and Montgomery, his own surname.
Montgomery toured Europe several times in the 1960s, and recorded some of his albums there.[4] Montgomery appeared at many blues and folk festivals during the following decade and was considered a living legend, a link to the early days of blues and New Orleans.[3]
Among his original compositions are "Shreveport Farewell", "Farrish Street Jive", and "Vicksburg Blues". His instrumental "Crescent City Blues" served as the basis for a song of the same name by Gordon Jenkins, which in turn was adapted by Johnny Cash as "Folsom Prison Blues."[5]
In 1968, Montgomery contributed to two albums by Spanky and Our Gang; Like to Get to Know You and Anything You Choose b/w Without Rhyme Or Reason.
Montgomery died on September 6, 1985, in Champaign, Illinois, and is interred in the Oak Woods Cemetery.
In 2013, Montgomery was posthumously inducted to the Blues Hall of Fame.[6]
Paul Gayten is his nephew.
Largely self-taught, Montgomery is often thought of as just a blues pianist, but he was an important blues pianist with an original style. He was also quite versatile, however, and worked in jazz bands including larger ensembles that used written arrangements. Although he did not read music, he learned band routines by ear; once through an arrangement and he had it memorized.
Career
Montgomery was born in the town of Kentwood, Louisiana, a sawmill town near the Mississippi Border, across Lake Pontchartrain from the city of New Orleans, where he spent much of his childhood. As a child he looked like his father, Harper Montgomery, and was called Little Brother Harper. The name evolved into Little Brother Montgomery, a nickname which stuck. He started playing piano at the age of 4, and by age 11 he was playing at various barrelhouses in Louisiana. His own musical influence was Jelly Roll Morton, who used to visit the Montgomery household.
Early on he played at African American lumber and turpentine camps in Louisiana, Arkansas, and Mississippi, then with the bands of Clarence Desdunes and Buddy Petit. He first went to Chicago from 1928 to 1931, where he made his first recordings. From 1931 through 1938 he led a band in Jackson.
In 1942 Montgomery moved back to Chicago, which would be his base for the rest of his life, with various tours to other United States cities and Europe.[2] In the late 1950s he was "discovered" by wider white audiences. He toured briefly with Otis Rush in 1956.[3] His fame grew in the 1960s, and he continued to make many recordings, including on his own record label, FM Records (formed in 1969).[2] FM came from Floberg, his wife Jan's maiden name and Montgomery, his own surname.
Montgomery toured Europe several times in the 1960s, and recorded some of his albums there.[4] Montgomery appeared at many blues and folk festivals during the following decade and was considered a living legend, a link to the early days of blues and New Orleans.[3]
Among his original compositions are "Shreveport Farewell", "Farrish Street Jive", and "Vicksburg Blues". His instrumental "Crescent City Blues" served as the basis for a song of the same name by Gordon Jenkins, which in turn was adapted by Johnny Cash as "Folsom Prison Blues."[5]
In 1968, Montgomery contributed to two albums by Spanky and Our Gang; Like to Get to Know You and Anything You Choose b/w Without Rhyme Or Reason.
Montgomery died on September 6, 1985, in Champaign, Illinois, and is interred in the Oak Woods Cemetery.
In 2013, Montgomery was posthumously inducted to the Blues Hall of Fame.[6]
Paul Gayten is his nephew.
Little Brother Montgomery - Vicksburg Blues - Chicago (1976)
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