1889 Tom Delaney*
1933 Piano C. Red*
1950 Paul Kossoff*
1952 Darrell Nulisch*
1981 Furry Lewis+
1998 Johnny Adams+
Octavia Blues*
Miguel Talavera*
1933 Piano C. Red*
1950 Paul Kossoff*
1952 Darrell Nulisch*
1981 Furry Lewis+
1998 Johnny Adams+
Octavia Blues*
Miguel Talavera*
Happy Birthday
Darrell Nulisch *14.09.1952
Darrell Nulisch (* 14. September 1952, Dallas, Texas) ist ein US-amerikanischer Bluessänger und Mundharmonikaspieler.
Aufgewachsen ist er mit Soulsängern wie Otis Redding und Al Green, die ihn dazu inspirierten, einen ähnlichen Weg zu gehen und an seiner Stimme zu arbeiten.[1] Seine Eltern nahmen ihn in Lokale mit, wenn am Samstag Livemusik gespielt wurde. Jimmy McCracklin und Freddie King waren ebenfalls Favoriten seiner Jugendzeit.[2]In den 1980er-Jahren gehörte er zu den Gründungsmitgliedern von Anson Funderburgh's Rockets und sang auch ein Jahr bei Mike Morgan & The Crawl und bei Ronnie Earl & The Broadcasters, mit dem er auch zwei Alben aufnahm.
1991 begann er seine Solokarriere, zog nach Boston um und veröffentlichte Alben, die seine unglaublichen Mundharmonikafertigkeiten und seine leidenschaftliche Stimme zeigten. Nulisch wurde auch Sänger in James Cottons Tourneeband, da Cotton nach einer Operation nicht mehr singen konnte.[3]
2001 wurde I Like It That Way als bestes Soulblues-Album für den Blues Music Award nominiert. 2010 erhielt er eine Nominierung für den Blues Music Award als bester männlicher Soulbluessänger und das Album Just for You wurde in der Kategorie Bestes Soulblues-Album aufgestellt.
http://de.wikipedia.org/wiki/Darrell_Nulisch
Darrell Nulisch (born September 14, 1952, Dallas, Texas)[1] is an American electric blues singer and harmonica player. Prior to his solo career, he was a member of Anson Funderburgh and the Rockets and The Broadcasters. Nulisch's repertoire incorporates soul combined with R&B and Chicago blues, redesigned to complement his distinctive vocals.[1]
Biography
Nulisch was raised listening to Otis Redding and Al Green. In 1981 he was a founding member of Anson Funderburgh's Rockets and sang with them until 1985. He was then part of Mike Morgan's Crawl, before moving to Massachusetts and joining up with Ronnie Earl's Broadcasters in 1988.[1]
He began his solo career late in 1990, relocating to Boston. James Cotton then asked him to sing with Cotton's band on tour, after Cotton had lost his own voice.[2] Nulisch appeared on Otis Grand's 1996 album, Perfume and Grime, which also utilized Luther Allison.[3]
Several of the songs in Nulisch's repertoire are his own, most of them written with Steve Gomes, who plays bass guitar in Texas Heat, the band that backed Nulisch for a number of years. Other band members included Benjie Porecki (piano), Johnny Moeller (guitar) and Robb Stupka (drums).[1]
Nulisch issued I Like It That Way in 2000.[2] His fan base started to expand from this point.[1] His latest release, Just for You, was released in October 2009. It received a four star rating from Allmusic.
Biography
Nulisch was raised listening to Otis Redding and Al Green. In 1981 he was a founding member of Anson Funderburgh's Rockets and sang with them until 1985. He was then part of Mike Morgan's Crawl, before moving to Massachusetts and joining up with Ronnie Earl's Broadcasters in 1988.[1]
He began his solo career late in 1990, relocating to Boston. James Cotton then asked him to sing with Cotton's band on tour, after Cotton had lost his own voice.[2] Nulisch appeared on Otis Grand's 1996 album, Perfume and Grime, which also utilized Luther Allison.[3]
Several of the songs in Nulisch's repertoire are his own, most of them written with Steve Gomes, who plays bass guitar in Texas Heat, the band that backed Nulisch for a number of years. Other band members included Benjie Porecki (piano), Johnny Moeller (guitar) and Robb Stupka (drums).[1]
Nulisch issued I Like It That Way in 2000.[2] His fan base started to expand from this point.[1] His latest release, Just for You, was released in October 2009. It received a four star rating from Allmusic.
Octavia Blues *14.09.
Octavia is noted for outstanding and dynamic vocal harmonica and guitar performances consisting of exciting original music and/or cover material depending on venue needs. Strong unforgetable shows are the norm for this multi talented artist. Dedicated to the music that drives this performer, the several shows in her musical arsenal include The Octavia Blues Band, Infusion With Octavia Jazz and her Folk show of touching singer songwriter material. Each enchanting performance is top notch. Octavia’s fourth album “A Touch Of Wisdom” is moving singer songwriter material. Drawing on the success of her critically acclaimed Blues album “Down In The Hollow” along with a lifetime of experience performing the music that drives this woman, Octavia and her crankin’ tight Blues band released her fifth self produced album It Ain’t What You Get, It’s What You Give. Soon to be released is Octavia’s sixth album. It is her second Jazz standards CD which is a live performance at the well attended Jazz Duo show with the exceedingly talented Marty Mellinger on piano at the Lititz Library. This proved to be a captivating evening for all. Octavia will follow this album up with her next Blues album. Music, performance and touching people runs through Octavia’s veins!
Octavia’s two Great Aunts sang for the Czar and Czarina of Russia. Cousin Mark Mostovoy was conductor and founder of Philadelphia’s Concerto Soloists and cousins Stephanie Greenberg and Laurie Sonsino are professional classical musicians. Octavia’s mother Sylvia B. Mostovoy Zison was a concert pianist at the age of twelve. Sylvia sang and performed classical and cultural music from Eastern Europe at weddings and events on piano and accordion. Octavia’s Father William Zison had a beautiful rich tennor voice and her Grandfather Benjamin Mostovoy played the concertina at family gatherings.
Octavia’s early exposure to artists such as Frank Sinatra, Ella Fitzgerald, Aretha Franklin, and the Motown family often influence what Octavia brings to her outstanding stage show, albums and videos.
Octavia was born and raised in Philadelphia. Her first stage experience was at the age of five at Garden Pier childrens shows in Atlantic City NJ. Octavia’s journey in music began in 1963 with the guitar. Influenced by Bob Dylan she purchased her first harmonica in 1966. She attended Pennsylvania Academy Of The Fine Arts majoring in sculpture and painting but her passion for live performance dominated her path.
During an Etta James concert at the Keystone in Berkeley, Etta heard a few notes from Octavia’s harmonica and handed Octavia the mic. Following the show Etta invited Octavia to join her tour. During the next several years, after touring with Etta, Octavia continued performing with a wide variety of bands across the United States and Europe. Some other notable artists Octavia performed with are The Allman Brothers Band, Freddy King, The Funky Meters, Gil Scott-Heron and The Iguanas.
Since the mid 80’s Octavia has fronted her own band. After forming Octavia and The Earthblood Blues Band in the early 90’s Octavia and her band opened for B.B. King, Taj Mahal, Mavis Staples, Dr. John, Delbert McClinton, Elvin Bishop, The Muddy Waters Blues Band, Shamika Copeland, and Jeffrey Gaines to name a few.
Venues Octavia performed at across the United States, Great Britain and Canada include The Kimmel Center in Philadelphia, House Of Blues in Atlantic City, The World Café Live in Philadelphia, B.B. King’s Club in NYC, Bimbo’s in San Francisco, Ebbits Field in Denver, The Cambridge Folk Festival in the U.K., Buddy Guy’s Legend’s and Kingston Mines, Chicago, Buscuit & Blues Seattle WA, Kings Palace, Silky O’Sullivan, W.C. Handy Park, and Blues City on Beale Street in Memphis, The Village Underground, Cafe Wha and Ashford and Simpson’s Sugar Bar in New York and Festival International Du Blues De Tremblant, in Montreal… just to name a few.
Octavia Blues Band LIVE. Blues Ain't No Color Babe.
Octavia Blues Band - Gypsy Moon Blues Festival .mp4
Paul Kossoff *14.09.1950
Amsterdam, 16 July 1970 From left to right: Paul Kossoff, Andy Fraser, Simon Kirke, Paul Rodgers & Steve Winwood
Paul Francis Kossoff (* 14. September 1950 in London; † 19. März 1976 in Los Angeles) war ein englischer Rock- und Blues-Gitarrist.[1]
Inhaltsverzeichnis
Allgemein
Paul Kossoff wurde als Gitarrist der englischen Rockgruppe Free bekannt, die mit „All Right Now“ 1970 ihren größten Single-Hit hatten. Er ist der Sohn des britischen Charakterdarstellers David Kossoff.
Anfangsjahre
Mitte der 1960er Jahre gründete er gemeinsam mit dem späteren Free-Drummer Simon Kirke die Gruppe Black Cat Bones, benannt nach einem Zitat aus dem Muddy Waters-Blues „Hoochie Coochie Man“. Im Frühjahr 1968 stießen sie zur Tournee-Band des Blues-Interpreten Champion Jack Dupree. An seinem 1969er Album When You Feel The Feeling You Was Feeling waren dann beide beteiligt.[2] Hierdurch lernte Kossoff den englischen Bluesmusiker Alexis Korner kennen, der ihn wiederum mit dem Bassisten Andy Fraser und dem Sänger Paul Rodgers zusammenführte. Daraus entstand schließlich die Gruppe Free, der er bis 1972 als festes Mitglied angehörte und auf deren Abschiedsalbum „Heartbreaker“ er noch als Gastmusiker mitwirkte. Als die Band sich 1971 zeitweise trennte, nahm er mit Free-Drummer Simon Kirke und den späteren Free-Musikern dem amerikanischen Keyboarder und Sänger John Bundrick sowie dem japanischen Bassisten Tetsu Yamauchi das Album Kossoff, Kirke, Tetsu and Rabbit auf.
Nach Free
1973 nahm Kossoff seine erste Solo-LP „Back Street Crawler“ auf. Das Album war in sich stilistisch und personell etwas uneinheitlich aufgebaut. Anstelle einer festen Begleitband arbeitete er mit verschiedenen Sessionmusikern wie etwa dem gelegentlichen Free-Sideman John „Rabbit“ Bundrick (Keyboards), dem Yes-Schlagzeuger Alan White sowie dem von Brian Auger und Jeff Beck bekannten Bassisten Clive Chaman. Die überwiegend instrumental gehaltenen Stücke bestehen zumeist aus einfachen Riffs und Hooklines, über die Kossoff ausschweifende Improvisationen aufbaut. Bemerkenswert ist die Mitwirkung des Folkjazz-Gitarristen John Martyn auf dem gemeinsam komponierten „Time Away“: über die elektronisch verfremdete Akustik-Gitarre Martyns baut Kossoff expressive langgezogene Melodielinien auf. Lediglich der Song „Molten Gold“ ist ein Song im eigentlichen Sinne. Hierfür führte Kossoff noch einmal die komplette Free-Besetzung zusammen. Basierend auf dem Titel seines Debüt-Albums formierte er kurz darauf mit Keyboarder Mike Montgomery, Bassist Terry Wilson, Sänger Terry Wilson-Slesser und Drummer Tony Braunagel (zuvor Studiomusiker bei John Martyn) die Band Back Street Crawler.
Kossoffs angegriffene Gesundheit war in den letzten Jahren seines Lebens stark von seiner Drogenabhängigkeit (Mandrax) gezeichnet. Er starb 1976 im Alter von 25 Jahren auf einem Flug von Los Angeles nach New York aufgrund von Herzproblemen, die seine Drogensucht verursacht hatte. Seinem Sohn zu Ehren gründete sein Vater David Kossoff die Paul-Kossoff-Foundation, mit der er die Drogenproblematik aktiv bekämpfte.[3]
Ein Tribut an den verstorbenen Kossoff gab es am 24. März 1976 in Santa Monica. The Sweet befanden sich auf einer US-Tournee, bei der Back Street Crawler ursprünglich als Support auftreten sollten. Sie spielten gemeinsam mit Ritchie Blackmore, der sich im Publikum befunden hatte, zu Ehren von Kossoff den Free-Song All Right Now.
Der Gitarrist
Kossoffs Spielweise war eng verwandt mit dem frühen Eric Clapton. Im Gegensatz zu vergleichbaren Gitarristen im Feld des englischen Bluesrocks der späten sechziger Jahre verzichtete Kossoff auf überlange und auf reine Virtuositäts-Demonstration angelegte Solo-Einlagen. Sein melodischer, atmosphärischer und lyrischer Gitarrenstil zeichnet sich zumindest im Kontext von Free durch eine songdienliche Spielweise aus, die oft mit wenigen Noten die Grundstimmung eines Songs umreißt. Eine besondere Spezialität ist sein gefühlvolles Vibrato, das seinen Gitarrensoli eine nahezu gesangliche Ausdrucksstärke verleiht.
Instrumente
Paul Kossoffs Hauptinstrument war anfänglich eine aus dem Jahr 1960 stammende Gibson Les Paul Standard mit „Flametop“-Maserung. Auch andere „Bursts“ von 1958 und 1959 kamen zum Einsatz.
Später spielte er auch Les Paul Deluxes (mit Mini-„Humbucker“-Tonabnehmern), eine Les Paul Custom, sowie eine ES 335 von Gibson. In Verbindung mit den zeitgenössischen Marshall Plexi Verstärkern machte dies seinen typischen, bluesigen und sustainreichen Gitarrensound aus. Es handelt sich bei diesen Marshalls im Grunde genommen um „Clean“-Verstärker, die erst bei sehr hoher Lautstärke anfangen zu verzerren. Es fällt auf, dass Kossoff auf alten Videomitschnitten von Auftritten häufig mit Bass-Cabinets unter den Topteilen zu sehen ist. Auch Orange Matamps kamen des Öfteren zum Einsatz.
Er benutzte auch Fender Stratocaster Gitarren (von denen eine auch auf dem Cover seines ersten Solo-Albums abgebildet ist), u. a. zu hören im Lied „The Stealer“ oder auf dem gesamten „Kossoff, Kirke, Tetsu and Rabbit“-Album.
Inhaltsverzeichnis
Allgemein
Paul Kossoff wurde als Gitarrist der englischen Rockgruppe Free bekannt, die mit „All Right Now“ 1970 ihren größten Single-Hit hatten. Er ist der Sohn des britischen Charakterdarstellers David Kossoff.
Anfangsjahre
Mitte der 1960er Jahre gründete er gemeinsam mit dem späteren Free-Drummer Simon Kirke die Gruppe Black Cat Bones, benannt nach einem Zitat aus dem Muddy Waters-Blues „Hoochie Coochie Man“. Im Frühjahr 1968 stießen sie zur Tournee-Band des Blues-Interpreten Champion Jack Dupree. An seinem 1969er Album When You Feel The Feeling You Was Feeling waren dann beide beteiligt.[2] Hierdurch lernte Kossoff den englischen Bluesmusiker Alexis Korner kennen, der ihn wiederum mit dem Bassisten Andy Fraser und dem Sänger Paul Rodgers zusammenführte. Daraus entstand schließlich die Gruppe Free, der er bis 1972 als festes Mitglied angehörte und auf deren Abschiedsalbum „Heartbreaker“ er noch als Gastmusiker mitwirkte. Als die Band sich 1971 zeitweise trennte, nahm er mit Free-Drummer Simon Kirke und den späteren Free-Musikern dem amerikanischen Keyboarder und Sänger John Bundrick sowie dem japanischen Bassisten Tetsu Yamauchi das Album Kossoff, Kirke, Tetsu and Rabbit auf.
Nach Free
1973 nahm Kossoff seine erste Solo-LP „Back Street Crawler“ auf. Das Album war in sich stilistisch und personell etwas uneinheitlich aufgebaut. Anstelle einer festen Begleitband arbeitete er mit verschiedenen Sessionmusikern wie etwa dem gelegentlichen Free-Sideman John „Rabbit“ Bundrick (Keyboards), dem Yes-Schlagzeuger Alan White sowie dem von Brian Auger und Jeff Beck bekannten Bassisten Clive Chaman. Die überwiegend instrumental gehaltenen Stücke bestehen zumeist aus einfachen Riffs und Hooklines, über die Kossoff ausschweifende Improvisationen aufbaut. Bemerkenswert ist die Mitwirkung des Folkjazz-Gitarristen John Martyn auf dem gemeinsam komponierten „Time Away“: über die elektronisch verfremdete Akustik-Gitarre Martyns baut Kossoff expressive langgezogene Melodielinien auf. Lediglich der Song „Molten Gold“ ist ein Song im eigentlichen Sinne. Hierfür führte Kossoff noch einmal die komplette Free-Besetzung zusammen. Basierend auf dem Titel seines Debüt-Albums formierte er kurz darauf mit Keyboarder Mike Montgomery, Bassist Terry Wilson, Sänger Terry Wilson-Slesser und Drummer Tony Braunagel (zuvor Studiomusiker bei John Martyn) die Band Back Street Crawler.
Kossoffs angegriffene Gesundheit war in den letzten Jahren seines Lebens stark von seiner Drogenabhängigkeit (Mandrax) gezeichnet. Er starb 1976 im Alter von 25 Jahren auf einem Flug von Los Angeles nach New York aufgrund von Herzproblemen, die seine Drogensucht verursacht hatte. Seinem Sohn zu Ehren gründete sein Vater David Kossoff die Paul-Kossoff-Foundation, mit der er die Drogenproblematik aktiv bekämpfte.[3]
Ein Tribut an den verstorbenen Kossoff gab es am 24. März 1976 in Santa Monica. The Sweet befanden sich auf einer US-Tournee, bei der Back Street Crawler ursprünglich als Support auftreten sollten. Sie spielten gemeinsam mit Ritchie Blackmore, der sich im Publikum befunden hatte, zu Ehren von Kossoff den Free-Song All Right Now.
Der Gitarrist
Kossoffs Spielweise war eng verwandt mit dem frühen Eric Clapton. Im Gegensatz zu vergleichbaren Gitarristen im Feld des englischen Bluesrocks der späten sechziger Jahre verzichtete Kossoff auf überlange und auf reine Virtuositäts-Demonstration angelegte Solo-Einlagen. Sein melodischer, atmosphärischer und lyrischer Gitarrenstil zeichnet sich zumindest im Kontext von Free durch eine songdienliche Spielweise aus, die oft mit wenigen Noten die Grundstimmung eines Songs umreißt. Eine besondere Spezialität ist sein gefühlvolles Vibrato, das seinen Gitarrensoli eine nahezu gesangliche Ausdrucksstärke verleiht.
Instrumente
Paul Kossoffs Hauptinstrument war anfänglich eine aus dem Jahr 1960 stammende Gibson Les Paul Standard mit „Flametop“-Maserung. Auch andere „Bursts“ von 1958 und 1959 kamen zum Einsatz.
Später spielte er auch Les Paul Deluxes (mit Mini-„Humbucker“-Tonabnehmern), eine Les Paul Custom, sowie eine ES 335 von Gibson. In Verbindung mit den zeitgenössischen Marshall Plexi Verstärkern machte dies seinen typischen, bluesigen und sustainreichen Gitarrensound aus. Es handelt sich bei diesen Marshalls im Grunde genommen um „Clean“-Verstärker, die erst bei sehr hoher Lautstärke anfangen zu verzerren. Es fällt auf, dass Kossoff auf alten Videomitschnitten von Auftritten häufig mit Bass-Cabinets unter den Topteilen zu sehen ist. Auch Orange Matamps kamen des Öfteren zum Einsatz.
Er benutzte auch Fender Stratocaster Gitarren (von denen eine auch auf dem Cover seines ersten Solo-Albums abgebildet ist), u. a. zu hören im Lied „The Stealer“ oder auf dem gesamten „Kossoff, Kirke, Tetsu and Rabbit“-Album.
Paul Francis Kossoff (14 September 1950 – 19 March 1976) was an English guitarist best known as a member of the band Free.
Kossoff was ranked 51st in Rolling Stone magazine list of the "100 Greatest Guitarists of All Time".[1]
Early days
Kossoff was the son of Margaret (Jenkins) and the British actor David Kossoff.[2][3][4] His father was of Russian-Jewish descent. Kossoff started playing the guitar in the mid-1960s, being taught by session guitarist Colin Falconer, and at age 15 helped to found the band Black Cat Bones. The band played with touring blues piano player Champion Jack Dupree, did many supporting shows for Fleetwood Mac and other gigs with Fleetwood Mac cofounder Peter Green. Kossoff jammed and spent hours discussing blues playing and players. Kossoff's bandmate in Black Cat Bones was drummer Simon Kirke, and the two went on to play on Champion Jack Dupree's April 1968 album When You Feel the Feeling You Was Feeling.[5]
Free
In April 1968 Kossoff and Kirke teamed up with Paul Rodgers (vocals) and Andy Fraser (bass) to form Free. They did the Transit circuit for two years and recorded two albums: Tons of Sobs (1968) and Free (1969). Both albums showcased the band's blues- and soul-influenced sound, a style which was in contrast to some of their progressive and heavier counterparts at the time.
Success came in 1970 when their third album, Fire and Water (1970), spawned the big hit "All Right Now". The band played the Isle of Wight festival to both audience and critical acclaim. Sellout tours in the United Kingdom, Europe, and Japan followed, but after the release of the next album, Highway (1970), band pressures led to a split. The live album Free Live, recorded in 1970, was released in 1971 as a farewell record. While Rodgers and Fraser pursued unsuccessful solo projects, Kossoff and Kirke teamed up with Texan keyboard player John "Rabbit" Bundrick and Japanese bass player Tetsu Yamauchi to release the 1971 album Kossoff, Kirke, Tetsu and Rabbit.
Free reformed and released the album Free at Last (1972). Following its release Fraser decided he had had enough and quit to form Sharks. Free drafted Tetsu and Rabbit for Free's 1973 album Heartbreaker (1973) after which the group disbanded.
Rodgers and Kirke went on to form the successful Bad Company while Kossoff released a solo album, Back Street Crawler (1973). He then accompanied John Martyn on a 1975 tour before assembling a group called Back Street Crawler.
Back Street Crawler released two albums: The Band Plays On in 1975 and 2nd Street in 1976. Recordings from one of the band's UK concerts in 1975 were also released under the title Live at Croydon Fairfield Halls 15/6/75.
When Free supported Blind Faith in the United States(1969), Eric Clapton was impressed enough to ask Kossoff to demonstrate his vibrato technique to him.[citation needed] Kossoff's guitar playing was also much in demand for session work and he contributed solos on several albums including: Jim Capaldi's Oh How We Danced (1972), Martha Veléz's Fiends and Angels (1969); Blondel's Mulgrave Street (1974); Uncle Dog's Old Hat (1972), Michael Gately's Gately's Cafe (1971) and Mike Vernon's 1971 album Bring It Back Home.
He also played on four demos by Ken Hensley (eventually released on the 1994 album titled From Time to Time) and three tracks which appear on the CD-only issue of John Martyn's Live At Leeds album from 1975.
An unreleased guitar solo also surfaced in 2006 on the title track to the album All One by David Elliot who recorded with Paul Kossoff in the 70s.
The song "Seagull", from Jim Capaldi's 1975 solo album Short Cut Draw Blood, was reputedly written about Kossoff.[citation needed]
A 16-track career retrospective, Koss, was issued in 1977.
The late 1990s saw a renewed interest in Kossoff, and another career retrospective was released, 1997's 14-track Blue Soul (actually a reissue of a double vinyl release from the mid-1980s of the same name), as well as the five-disc Free box set Songs of Yesterday, and a Free biography entitled Heavy Load: The Story of Free.
Death
Kossoff's unhappiness with the end of Free and his drug addictions contributed to a drastic decline in the guitarist's health. On a flight from Los Angeles to New York on 19 March 1976, Kossoff died from heroin-related heart problems. The day before, he had a jam session with keyboard player Dennis Provisor. He was cremated and interred at the Golders Green Crematorium. His epitaph reads "All Right Now".
Legacy
Following Kossoff's death, his father, actor David Kossoff, established the Paul Kossoff Foundation which aimed to present the realities of drug addiction to children. Kossoff's father spent the remainder of his life campaigning against drugs, touring a one-man stage performance about the death of Paul and its effect on the family.
Kossoff was ranked 51st in Rolling Stone magazine list of the "100 Greatest Guitarists of All Time".[1]
Early days
Kossoff was the son of Margaret (Jenkins) and the British actor David Kossoff.[2][3][4] His father was of Russian-Jewish descent. Kossoff started playing the guitar in the mid-1960s, being taught by session guitarist Colin Falconer, and at age 15 helped to found the band Black Cat Bones. The band played with touring blues piano player Champion Jack Dupree, did many supporting shows for Fleetwood Mac and other gigs with Fleetwood Mac cofounder Peter Green. Kossoff jammed and spent hours discussing blues playing and players. Kossoff's bandmate in Black Cat Bones was drummer Simon Kirke, and the two went on to play on Champion Jack Dupree's April 1968 album When You Feel the Feeling You Was Feeling.[5]
Free
In April 1968 Kossoff and Kirke teamed up with Paul Rodgers (vocals) and Andy Fraser (bass) to form Free. They did the Transit circuit for two years and recorded two albums: Tons of Sobs (1968) and Free (1969). Both albums showcased the band's blues- and soul-influenced sound, a style which was in contrast to some of their progressive and heavier counterparts at the time.
Success came in 1970 when their third album, Fire and Water (1970), spawned the big hit "All Right Now". The band played the Isle of Wight festival to both audience and critical acclaim. Sellout tours in the United Kingdom, Europe, and Japan followed, but after the release of the next album, Highway (1970), band pressures led to a split. The live album Free Live, recorded in 1970, was released in 1971 as a farewell record. While Rodgers and Fraser pursued unsuccessful solo projects, Kossoff and Kirke teamed up with Texan keyboard player John "Rabbit" Bundrick and Japanese bass player Tetsu Yamauchi to release the 1971 album Kossoff, Kirke, Tetsu and Rabbit.
Free reformed and released the album Free at Last (1972). Following its release Fraser decided he had had enough and quit to form Sharks. Free drafted Tetsu and Rabbit for Free's 1973 album Heartbreaker (1973) after which the group disbanded.
Rodgers and Kirke went on to form the successful Bad Company while Kossoff released a solo album, Back Street Crawler (1973). He then accompanied John Martyn on a 1975 tour before assembling a group called Back Street Crawler.
Back Street Crawler released two albums: The Band Plays On in 1975 and 2nd Street in 1976. Recordings from one of the band's UK concerts in 1975 were also released under the title Live at Croydon Fairfield Halls 15/6/75.
When Free supported Blind Faith in the United States(1969), Eric Clapton was impressed enough to ask Kossoff to demonstrate his vibrato technique to him.[citation needed] Kossoff's guitar playing was also much in demand for session work and he contributed solos on several albums including: Jim Capaldi's Oh How We Danced (1972), Martha Veléz's Fiends and Angels (1969); Blondel's Mulgrave Street (1974); Uncle Dog's Old Hat (1972), Michael Gately's Gately's Cafe (1971) and Mike Vernon's 1971 album Bring It Back Home.
He also played on four demos by Ken Hensley (eventually released on the 1994 album titled From Time to Time) and three tracks which appear on the CD-only issue of John Martyn's Live At Leeds album from 1975.
An unreleased guitar solo also surfaced in 2006 on the title track to the album All One by David Elliot who recorded with Paul Kossoff in the 70s.
The song "Seagull", from Jim Capaldi's 1975 solo album Short Cut Draw Blood, was reputedly written about Kossoff.[citation needed]
A 16-track career retrospective, Koss, was issued in 1977.
The late 1990s saw a renewed interest in Kossoff, and another career retrospective was released, 1997's 14-track Blue Soul (actually a reissue of a double vinyl release from the mid-1980s of the same name), as well as the five-disc Free box set Songs of Yesterday, and a Free biography entitled Heavy Load: The Story of Free.
Death
Kossoff's unhappiness with the end of Free and his drug addictions contributed to a drastic decline in the guitarist's health. On a flight from Los Angeles to New York on 19 March 1976, Kossoff died from heroin-related heart problems. The day before, he had a jam session with keyboard player Dennis Provisor. He was cremated and interred at the Golders Green Crematorium. His epitaph reads "All Right Now".
Legacy
Following Kossoff's death, his father, actor David Kossoff, established the Paul Kossoff Foundation which aimed to present the realities of drug addiction to children. Kossoff's father spent the remainder of his life campaigning against drugs, touring a one-man stage performance about the death of Paul and its effect on the family.
Free - All Right Now [totp]
Free - "Moonshine" - live - best guitar solo ever (Paul Kossoff)
Piano C. Red *14.09.1933
b. James Wheeler, 14 September 1933, Montevallo, Alabama, USA. By day a cab driver, in the evenings James Wheeler transforms himself into Chicago boogie-woogie legend, Piano C. Red. His first yearnings to be involved in music were inspired by his mother, who sang spiritual songs around the house. He was tutored by a local piano player known as Fat Lilly, who was initially reluctant until Wheeler bribed him with moonshine whiskey. Wheeler moved to Chicago in 1956. He began his recording career with Chess Records in 1963, recording versions of "Slow Down And Cool It" and "Hundred And Two". He also shared a stage with many of the blues greats of the time, including Elmore James, Muddy Waters and Memphis Slim. However, like many of his ilk, he never enjoyed access to a full-time recording contract. By the 90s, when he finally began to achieve more than local acclaim, he had retired to performing only occasional sets at selected Chicago restaurants and cafés. Despite this, he and his Flat Foot Boogie Band consistently play engaging, Little Richard/Ray Charles-styled pop-blues well into the early hours. Among his best compositions is the autobiographical "Cab Drivin' Man", which was also the title of his debut album.
Chicago blues piano player Piano C. Red, who performed with Muddy Waters, B.B King, Fats Domino and Buddy Guy before being paralyzed in 2006, has died on 03.06.2013.
Red's son, James Britton, confirmed Tuesday that his 79-year-old father died Monday. He says his father's health had been deteriorating since the shooting that paralyzed him. Red was shot during a robbery.
In a news release, publicist June Rosner says Red spent years driving a cab by day and playing in the city's blues clubs at night. She says Red began playing professionally in Chicago at age 19.
His given name was Cecil Fain. He was 16 years old and living in Atlanta when his professional career began.
In 1999, Red released a CD entitled "Cab Driving Man."
Red's son, James Britton, confirmed Tuesday that his 79-year-old father died Monday. He says his father's health had been deteriorating since the shooting that paralyzed him. Red was shot during a robbery.
In a news release, publicist June Rosner says Red spent years driving a cab by day and playing in the city's blues clubs at night. She says Red began playing professionally in Chicago at age 19.
His given name was Cecil Fain. He was 16 years old and living in Atlanta when his professional career began.
In 1999, Red released a CD entitled "Cab Driving Man."
PIANO C RED - HUNDRED AND TWO
Tom Delaney *14.09.1889
Tom
Delaney (* 14. September 1889 in Charleston, South Carolina; † 16.
Dezember 1963 in Baltimore, Maryland) war ein früher US-amerikanischer
Blues-Musiker. Bekannt wurden seine Stücke vor allem durch andere
Interpreten, obwohl er selbst Aufnahmen eigener Titel machte, etwa I'm
Leavin' Just to Ease My Worried Mind and Bow-Legged Mama (beide 1925).
In den 1920ern wurde Delaney vom Musikmanager Joe Davis vermarktet. Zu seinen Erfolgstiteln dieser Zeit gehören Sinful Blues, erstmals veröffentlicht 1923, Down Home Blues, 1924 ein Hit für Ethel Waters, If I Lose, Let Me Lose, ein Erfolg für Maggie Jones, und Troublesome Blues, interpretiert von Clara Smith.
Etliche Kompositionen Delaneys wurden nie aufgenommen, darunter Goopher Dust Blues, Grievin Mama und All the Girls Like Big Dick.
In den 1920ern wurde Delaney vom Musikmanager Joe Davis vermarktet. Zu seinen Erfolgstiteln dieser Zeit gehören Sinful Blues, erstmals veröffentlicht 1923, Down Home Blues, 1924 ein Hit für Ethel Waters, If I Lose, Let Me Lose, ein Erfolg für Maggie Jones, und Troublesome Blues, interpretiert von Clara Smith.
Etliche Kompositionen Delaneys wurden nie aufgenommen, darunter Goopher Dust Blues, Grievin Mama und All the Girls Like Big Dick.
Tom
Delaney was one of the more popular and prolific composers of blues
songs in the '20s. He was better known for the behind the scenes
activity of composing, although he did make a few appearances
interpreting his own songs on record. Much Delaney material was fodder
for recording artists and publishers of this era, always on the lookout
for new blues material at a time when the large audience for such
product had just recently been recognized. Delaney's "Down Home Blues"
was a fantastic success for Ethel Waters in 1924, while the Helen Gross
recording of "I Wanna Jazz Some More" became famous for his rhymes about
"Miss Susan Green from New Orleans."
"Sinful Blues", first published in 1923, was an example of one of the many Delaney titles that fell into control of producer, publisher and record company manager Joe Davis. Davis continued exploiting Delaney material throughout the decade, examples of which include Maggie Jones recording the resigned "If I Lose, Let Me Lose" for Columbia and Clara Smith coming up with an unhassled version of "Troublesome Blues". Not every song he came up with made it all the way to a recording session or sheet music form, however. "Goopher Dust Blues", which may or may not include a spelling mistake in its title and "Grievin Mama" were Delaney titles that were never recorded for undisclosed reasons; "All the Girls Like Big Dick", on the other hand, obviously went too far even in the sex-crazed climate of the '20s. Davis wouldn't even think about releasing this song later in the '50s when naughty "party" records became a fad. Delaney's recordings on his own largely date from 1925 and include "I'm Leavin' Just to Ease My Worried Mind" and "Bow-Legged Mama".
"Sinful Blues", first published in 1923, was an example of one of the many Delaney titles that fell into control of producer, publisher and record company manager Joe Davis. Davis continued exploiting Delaney material throughout the decade, examples of which include Maggie Jones recording the resigned "If I Lose, Let Me Lose" for Columbia and Clara Smith coming up with an unhassled version of "Troublesome Blues". Not every song he came up with made it all the way to a recording session or sheet music form, however. "Goopher Dust Blues", which may or may not include a spelling mistake in its title and "Grievin Mama" were Delaney titles that were never recorded for undisclosed reasons; "All the Girls Like Big Dick", on the other hand, obviously went too far even in the sex-crazed climate of the '20s. Davis wouldn't even think about releasing this song later in the '50s when naughty "party" records became a fad. Delaney's recordings on his own largely date from 1925 and include "I'm Leavin' Just to Ease My Worried Mind" and "Bow-Legged Mama".
Tom Delaney Bow-Legged Mama (COLUMBIA 14122-D) (1925)
Composed by Tom Delaney
Tom Delaney:Vocals
Fred Longshaw:Piano
Recorded in New York City, N.Y. Thursday, June 18, 1925
https://www.youtube.com/watch?v=RoY8mZnw3hI
Miguel Talavera *14.09.
Miguel is one of the best blues guitarists in Mediterranean area. He is virtuoso all type of acoustic and electric guitars. He created his own excellent original style taking inspiration from different kind of music, jazz, blues, country, funky, etc. He used to play with Jam Band (rock), Train Time (blues, 60's), Men in Blue, Wede (afro-reggae), Blow (70's), Kendo (afro), The Midnight Rockets (blues), Rio Seco (country), Tableau de Blues, Sam Lardner (country rock) and more.
Now he plays with: Miguel Talavera Power Trio, Barcelona Bluegrass Band, Morgan Club, Sultans of Swing and JoanPau Cumellas. He has accompanied numerous international artists like: Angela Brown, Kenny Neal, The Supremes, The Platters, James Kakande, Blue Highway, Carter Brothers, Tino Gonzales, Tony Triscka, Big Mama, Amadeu Casas, Carles Segarra (Los Rebeldes), Julian Vaughan, Steve de Swardt, Julio Lobos (Manu Chao), Jordi Mena, Simao Felix, La Vella Dixieland, Jordi Gas (Jarabe de Palo), Orquesta Mondragón, Santiago Auserón (Radio Futura, Juan Perro), Dyango, Sheilah Weaver (The Supremes), Quico Pi de La Serra, Vargas Blues Band, Raimundo Amador, etc.
He has performed in many festivals in Spain and Europe. Likewise Miguel does pedagogic meetings and workshops of guitar: Racó (Music School in Gavà) and in Musician´s Workshop in Barcelona. He works as coordinator of modern music in Music School in Sant Viçenç dels Horts.
Interview by Michael Limnios
Miguel, when was your first desire to become involved in the blues & who were your first idols?
When I was 15 years old I discovered Eric Clapton, John Mayall, Albert Collins, Bo Diddley, B.B. King, Muddy Waters, Howlin Wolf, Johnny Winter, etc, etc,… All the masters
red more:http://blues.gr/profiles/blogs/virtuoso-catalan-guitarist-miguel-talavera-talks-about-localNow he plays with: Miguel Talavera Power Trio, Barcelona Bluegrass Band, Morgan Club, Sultans of Swing and JoanPau Cumellas. He has accompanied numerous international artists like: Angela Brown, Kenny Neal, The Supremes, The Platters, James Kakande, Blue Highway, Carter Brothers, Tino Gonzales, Tony Triscka, Big Mama, Amadeu Casas, Carles Segarra (Los Rebeldes), Julian Vaughan, Steve de Swardt, Julio Lobos (Manu Chao), Jordi Mena, Simao Felix, La Vella Dixieland, Jordi Gas (Jarabe de Palo), Orquesta Mondragón, Santiago Auserón (Radio Futura, Juan Perro), Dyango, Sheilah Weaver (The Supremes), Quico Pi de La Serra, Vargas Blues Band, Raimundo Amador, etc.
He has performed in many festivals in Spain and Europe. Likewise Miguel does pedagogic meetings and workshops of guitar: Racó (Music School in Gavà) and in Musician´s Workshop in Barcelona. He works as coordinator of modern music in Music School in Sant Viçenç dels Horts.
Interview by Michael Limnios
Miguel, when was your first desire to become involved in the blues & who were your first idols?
When I was 15 years old I discovered Eric Clapton, John Mayall, Albert Collins, Bo Diddley, B.B. King, Muddy Waters, Howlin Wolf, Johnny Winter, etc, etc,… All the masters
Miguel Talavera Power Trio - House of Blues al Hot Blues
'Walking Blues' Joan Pau Cumellas & Miguel Talavera Band (15)
Joan Pau Cumellas (C harmonica, vocals), Miguel Talavera (guitar)
Enric Illa (drums), Pep Pérez Cucurella (bass)
Enric Illa (drums), Pep Pérez Cucurella (bass)
R.I.P.
Furry Lewis +14.09.1981
Walter "Furry" Lewis (* 6. März 1893 in Greenwood, Mississippi; † 14. September 1981 in Memphis, Tennessee) war ein US-amerikanischer Blues-Gitarrist und -Sänger.
Er war einer der bedeutendsten Vertreter des Memphis Blues und einer der ersten der Blues-Veteranen, die im Zuge des amerikanischen Blues-Revivals der 1960er "wiederentdeckt" wurden. Zu seinen bekanntesten Stücken gehören Billy Lyons & Stack-o-Lee, Judge Harsh Blues und Kassie Jones.
Werdegang
Den Spitznamen "Furry" (dt. pelzig) erhielt er bereits als Kind. Seine Eltern, Walter und Victoria, trennten sich noch vor seiner Geburt, die Kinder blieben bei der Mutter. Im Alter von 7 Jahren zog seine Familie nach Memphis, wo ein gewisser "Blind Joe" ihm das Gitarrespielen beibrachte. Von ihm lernte er auch zwei seiner bekanntesten Stücke, Kassie Jones und John Henry.
Schon früh spielte Lewis in Kneipen und auf der Straße, einige Male auch im Orchester von W. C. Handy, der ihm, gemeinsam mit dem Kneipenbesitzer Chad Fields, seine erste Gitarre schenkte, die er 20 Jahre lang spielen sollte. Zeitweise trat er auch in Medicine Shows auf, in der von Dr. Willie Lewis lernte er Jim Jackson kennen.
1916 verlor Lewis ein Bein, als er sich beim Aufspringen auf einen Zug mit dem Fuß in der Kupplung verhakte. Dennoch zog er weiterhin als Musiker umher und trat u. a. mit Gus Cannon, Will Shade, Memphis Minnie, Bessie Smith, Blind Lemon Jefferson, Texas Alexander und Frank Stokes auf.
1923 wurde er bei der Stadtreinigung in Memphis angestellt, wo er bis zu seinem Ruhestand 1968 arbeitete. 1925 tat er sich mit Will Shade, Dewey Thomas und Hambone Lewis zur Memphis Jug Band zusammen. Anfang 1927 wurden er und Jim Jackson von Talentsuchern entdeckt; am 20. April dieses Jahres machte er, begleitet von Landers Waller als zweitem Gitarristen, bei einigen Stücken von Charles Johnson an der Mandoline, in Chicago seine ersten Aufnahmen für das Label Vocalion Records. Drei weitere Aufnahmesitzungen, diesmal stets solo, folgten im Oktober 1927 (ebenfalls in Chicago) sowie im August 1928 und im September 1929, jeweils in Memphis. Die Weltwirtschaftskrise beendete 1929 seine Plattenkarriere, dennoch trat er auch in den nächsten Jahrzehnten regelmäßig auf, vor allem in der Beale Street, aber auch auf privaten Festen.
Alter
1959 wurde Furry Lewis von Sam Charters wiederentdeckt und hatte bis zu seinem Tod 1981 noch beträchtlichen Erfolg. Er spielte bei Festivals und trat in der Johnny Carson Show auf.
1976, fünf Jahre vor seinem Tod, veröffentlichte Joni Mitchell auf ihrer LP Hejira den Song "Furry Sings The Blues" über ihn, der ihm jedoch missfiel.
Walter E. "Furry" Lewis (March 6, 1893 – September 14, 1981)[1] was an American country blues guitarist and songwriter from Memphis, Tennessee. Lewis was one of the first of the old-time blues musicians of the 1920s to be brought out of retirement, and given a new lease of recording life, by the folk blues revival of the 1960s.
Walter E. Lewis was born in Greenwood, Mississippi, United States, but his family moved to Memphis when he was aged seven.[1] Lewis acquired the nickname "Furry" from childhood playmates.[2] By 1908, he was playing solo for parties, in taverns, and on the street. He was also invited to play several dates with W. C. Handy's Orchestra.[2]
His travels exposed him to a wide variety of performers including Bessie Smith, Blind Lemon Jefferson, and Alger "Texas" Alexander. Like his contemporary Frank Stokes, he was tired of the road and took a permanent job in 1922. His position as a street sweeper for the City of Memphis, a job he would hold until his retirement in 1966, allowed him to remain active in the Memphis music scene.[2]
In 1927, Lewis cut his first records in Chicago for the Vocalion label.[3] A year later he recorded for the Victor label at the Memphis Auditorium in a session with the Memphis Jug Band, Jim Jackson, Frank Stokes, and others. He again recorded for Vocalion in Memphis in 1929.[2] The tracks were mostly blues but included two-part versions of "Casey Jones" and "John Henry". He sometimes fingerpicked, sometimes played with a slide.[4] He recorded many successful records in the late 1920s including "Kassie Jones", "Billy Lyons & Stack-O-Lee" and "Judge Harsh Blues" (later called "Good Morning Judge").
In 1969, Lewis was recorded by the record producer, Terry Manning, at home in Lewis' Fourth Street apartment near Beale Street. These recordings were released in Europe at the time by Barclay Records, and then again in the early 1990s by Lucky Seven Records in the United States, and again in 2006 by Universal. Joni Mitchell's song, "Furry Sings the Blues", (on her Hejira album) is about her visit to Furry Lewis' apartment and a mostly ruined Beale Street on February 5, 1976. Lewis despised the Mitchell song and demanded she pay him royalties.[5]
In 1972 he was the featured performer in the Memphis Blues Caravan, which included Bukka White, Sleepy John Estes, Clarence Nelson, Hammy Nixon, Memphis Piano Red, Sam Chatmon, and Mose Vinson.[citation needed]
Before he died, Lewis opened twice for The Rolling Stones, played on The Tonight Show Starring Johnny Carson, had a part in a Burt Reynolds movie, W.W. and the Dixie Dancekings (1975), and had a profile in Playboy magazine.[1][4]
Lewis began to lose his eyesight because of cataracts in his final years. He contracted pneumonia in 1981, which led to his death from heart failure in Memphis on September 14 of that year, at the age of 88.[6] He is buried in the Hollywood Cemetery in South Memphis, where his grave bears two headstones, the second purchased by fans.
Laten Johnny Adams (* 5. Januar 1932 in New Orleans; † 14. September 1998 in Baton Rouge) war ein US-amerikanischer Blues-Sänger. Wegen der erstaunlichen Bandbreite seiner Stimme trug er den Spitznamen „Tan Canary“ („brauner Kanarienvogel“). Sein Stil war von der Gospel-Musik beeinflusst, mit der er seine Karriere begann, doch wechselte er 1959 zu weltlicher Musik und landete mit Dorothy La Bostries Komposition I Won’t Cry einen internationalen Hit. In 1968 und 1969 folgten weitere Erfolge mit Release Me und Reconsider Me.[1]
In den 1980er und 1990er Jahren nahm Johnny Adams mehrere preisgekrönte Alben bei Rounder Records auf, die in Deutschland zum größten Teil auf Zensor erschienen. Noch 1997 war er Gaststar für das Album R + B = Ruth Brown. Nach einem langen Krebsleiden starb er 1998 in Baton Rouge.
In den 1980er und 1990er Jahren nahm Johnny Adams mehrere preisgekrönte Alben bei Rounder Records auf, die in Deutschland zum größten Teil auf Zensor erschienen. Noch 1997 war er Gaststar für das Album R + B = Ruth Brown. Nach einem langen Krebsleiden starb er 1998 in Baton Rouge.
Laten John Adams (January 5, 1932 – September 14, 1998), known as Johnny Adams, was an American blues, jazz and gospel singer, known as "The Tan Canary" for the multi-octave range of his singing voice, his swooping vocal mannerisms and falsetto. His biggest hits were his versions of "Release Me" and "Reconsider Me" in the late 1960s.
Life and career
He was born in New Orleans, Louisiana, the oldest of 10 children, and became a professional musician on leaving school. He began his career singing gospel with the Soul Revivers and Bessie Griffin's Consolators, but crossed over to secular music in 1959.[1] His neighbor, songwriter Dorothy LaBostrie, supposedly persuaded him to start performing secular music after hearing him sing in the bathtub, and he recorded LaBostrie's ballad "I Won't Cry" for Joe Ruffino's local Ric label. Produced by teenager Mac Rebennack (later known as Dr. John), the record became a local hit, and he recorded several more singles for the label over the next three years, mostly produced either by Rebennack or Eddie Bo. His first national hit came in 1962, when "A Losing Battle", written by Rebennack, reached #27 on the Billboard R&B chart.[2][3]
After Ruffino's death in 1963, Adams left Ric and recorded for a succession of labels, including Eddie Bo's Gone Records, the Los Angeles-based Modern Records, and Wardell Quezergue's Watch label. However, his records had limited success until he signed with Shelby Singleton's Nashville-based SSS International Records in 1968. A reissue of his recording of "Release Me", originally released on Watch, reached Number 34 on the R&B chart and #82 on the pop chart. Its follow-up, "Reconsider Me", a country song produced by Singleton, became his biggest hit, reaching Number 8 on the R&B chart and Number 28 on the pop chart in 1969. Two more singles, "I Can't Be All Bad" and "I Won't Cry" (a reissue of the Ric recording) were lesser hits later the same year, and the label released an album, Heart and Soul. However, he left SSS International in 1971, and recorded unsuccessfully for several labels, including Atlantic and Ariola, over the next few years.[3] At the same time, he began performing regularly at Dorothy's Medallion Lounge in New Orleans as well as touring nightclubs in the south.[4]
In 1983, he signed with Rounder Records, and began recording a series of nine critically acclaimed albums with producer Scott Billington. Beginning with From the Heart in 1984, the records encompassed a wide range of jazz, blues and R&B styles while highlighting Adams' voice. The albums included tributes to songwriters Percy Mayfield and Doc Pomus, as well as the jazz-influenced Good Morning Heartache which included the work of composers like George Gershwin and Harold Arlen. The albums, which also included Room With A View Of The Blues (1988), Walking On A Tightrope (1989), and The Real Me (1991), brought him a number of awards, including a W.C. Handy Award. He also toured internationally, including frequent trips to Europe, and worked and recorded with such musicians as Aaron Neville, Harry Connick Jr., Lonnie Smith, and Dr. John.[1][3]
He died in Baton Rouge, Louisiana, in 1998 after a long battle with prostate cancer.
Life and career
He was born in New Orleans, Louisiana, the oldest of 10 children, and became a professional musician on leaving school. He began his career singing gospel with the Soul Revivers and Bessie Griffin's Consolators, but crossed over to secular music in 1959.[1] His neighbor, songwriter Dorothy LaBostrie, supposedly persuaded him to start performing secular music after hearing him sing in the bathtub, and he recorded LaBostrie's ballad "I Won't Cry" for Joe Ruffino's local Ric label. Produced by teenager Mac Rebennack (later known as Dr. John), the record became a local hit, and he recorded several more singles for the label over the next three years, mostly produced either by Rebennack or Eddie Bo. His first national hit came in 1962, when "A Losing Battle", written by Rebennack, reached #27 on the Billboard R&B chart.[2][3]
After Ruffino's death in 1963, Adams left Ric and recorded for a succession of labels, including Eddie Bo's Gone Records, the Los Angeles-based Modern Records, and Wardell Quezergue's Watch label. However, his records had limited success until he signed with Shelby Singleton's Nashville-based SSS International Records in 1968. A reissue of his recording of "Release Me", originally released on Watch, reached Number 34 on the R&B chart and #82 on the pop chart. Its follow-up, "Reconsider Me", a country song produced by Singleton, became his biggest hit, reaching Number 8 on the R&B chart and Number 28 on the pop chart in 1969. Two more singles, "I Can't Be All Bad" and "I Won't Cry" (a reissue of the Ric recording) were lesser hits later the same year, and the label released an album, Heart and Soul. However, he left SSS International in 1971, and recorded unsuccessfully for several labels, including Atlantic and Ariola, over the next few years.[3] At the same time, he began performing regularly at Dorothy's Medallion Lounge in New Orleans as well as touring nightclubs in the south.[4]
In 1983, he signed with Rounder Records, and began recording a series of nine critically acclaimed albums with producer Scott Billington. Beginning with From the Heart in 1984, the records encompassed a wide range of jazz, blues and R&B styles while highlighting Adams' voice. The albums included tributes to songwriters Percy Mayfield and Doc Pomus, as well as the jazz-influenced Good Morning Heartache which included the work of composers like George Gershwin and Harold Arlen. The albums, which also included Room With A View Of The Blues (1988), Walking On A Tightrope (1989), and The Real Me (1991), brought him a number of awards, including a W.C. Handy Award. He also toured internationally, including frequent trips to Europe, and worked and recorded with such musicians as Aaron Neville, Harry Connick Jr., Lonnie Smith, and Dr. John.[1][3]
He died in Baton Rouge, Louisiana, in 1998 after a long battle with prostate cancer.
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