1906 Blind James Campbell*
1927 Earl May*
1931 Eddie Burks*
1951 Jimmy Yancey+
1977 Driftin’ Slim+
1979 Gaspo Harmônica*
1927 Earl May*
1931 Eddie Burks*
1951 Jimmy Yancey+
1977 Driftin’ Slim+
1979 Gaspo Harmônica*
Happy Birthday
Blind James Campbell *17.09.1906
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http://www.discogs.com/Blind-James-Campbell-Blind-James-Campbell-And-His-Nashville-Street-Band/release/3735130
Blind James Campbell (September 17, 1906 - January 22, 1981[1]) was an American blues singer and guitarist. He is mostly remembered for his 1962-63 recording for the Arhoolie label with his Nashville Street Band.
James Campbell was born in Nashville, Tennessee, on September 17, 1906. He later became known as Blind James Campbell after an accident at a fertilizer plant left him permanently blinded. In 1936 he formed a band and began playing folk, country, pop, jazz and blues music at parties, dances and for other local events. The Nashville Street Band consisted of fiddler Beauford Clay (born 1900) who was a great influence on Campbell's playing, second guitarist Bell Ray (born 1909), bass horn player Ralph Robinson (born 1885), and trumpeter George Bell.
Campbell and his band appeared to be quite content with the steady work they were receiving, and did not seem to have any desire to pursue a career in recording. However, Chris Strachwitz of Arhoolie Records became interested in the band after hearing a field recording of them made by a fellow blues fan, Donald Hill. Hill had recorded Campbell in the spring of 1959 and again in April 1961. Hill's recordings include Campbell singing country songs as well as blues. He also recorded Cambpell and his string band on a street corner in downtown Nashville and recorded him with Beauford Clay. Both the original tapes and digital copies of Hill's recordings have been deposited at Library of Congress as a part of the Hill/Mangurian collection of field recordings made between 1958 and 1961.
After listening to Hill's tapes, Strachwitz set off to Nashville to find and record Campbell and his band. After two recording sessions with Campbell and his band in 1962 and 1963, the Arhoolie LP Blind James Campbell And His Nashville Street Band (Arhoolie 1015) was released in 1963.
While these recordings never excelled Campbell into prominence, and the history of James Campbell and his band since the 1963 recordings is hazy, Strachwitz revisited these recordings and released them on CD in 1995, along with additional tracks from both recording sessions. Certainly, these recordings show evidence of a street band of considerable skill and quality, who were able to play American music from a variety of genres.
James Campbell died in Nashville, Tennessee, on January 22, 1981
http://en.wikipedia.org/wiki/Blind_James_Campbell
https://www.facebook.com/gaspoharmonicaeolyjr
Gaspo "Harmônica" is one of the harmonic icons in south of Brazil . He played with many international known artists, such as Adrian Flores, Eddie C. Campbell, Phil Guy, J.J. Jackson, Honeyboy Edwards, Solon Fishbone, Big Gilson and recently the electric guitar player James Wheeler. With him he recorded an album to be released in 2008 by Blues Special Records. His own work is registered in two albums recorded with the guitar player and composer Oly Jr. The first album, “Na Capa da Gaita”, was released in 2005 and the other one, “Onde está o meu dinheiro...” in 2007. Nowadays he plays the guitar and the harmonics when staging alone, or along with a band.
Ale Ravanelo e Combo com Gaspo Harmônica e no 512
Eddie Burks *17.09.1931
http://avxsearch.se/search?q=eddie+burks
https://idiodextrous.com/idiodextrous/may/
Eddie Burks (September 17, 1931 – January 27, 2005) was an American blues harmonica player and singer, well known for playing in Maxwell Street Market, Chicago, in the 1960s and 1970s, whose later career included a number of album releases, frequent touring, and work on the festival circuit.
Life and career
Burks was born on September 17, 1931, near Greenwood, Mississippi, the 14th and youngest child in a family of sharecroppers.[1] When he was a child one of his brothers was lynched by the Ku Klux Klan.[2]
After moving to Chicago in 1946 he worked in a steel mill. While he did not perform blues because of his religious beliefs, he often attended clubs on the West Side of Chicago.[3] In addition to his steel mill job, Burks was a minister in the Apostolic faith and had a storefront church, but he switched to playing blues full-time after the riots precipitated by the assassination of Martin Luther King in 1968.[2]
He played so often on Maxwell Street Market in the late 1960s and 1970s that he became known as "Jewtown Eddie", after the local name for the area.[1] During this period he also worked as a sideman with the likes of Eddie Shaw and Jimmy Dawkins.[2] He released his first single, "Lowdown Dog", in 1977, and this was followed up by two further releases.[3] However, Burks remained largely unknown outside Chicago until 1990 when he released his debut album Vampire Woman on Rising Son Records (later renamed Rising Son Blues[3]), a label he founded with his wife Maureen Walker.[1] Following this, his solo career took off, and he released further albums, toured frequently, and gained steady work on the festival circuit.[2] In 1994 he appeared in the Academy Award nominated documentary Blues Highway.[1]
After his 70th birthday his health declined as a result of diabetes,[2] but he continued to play in the Chicago clubs until his death in a car accident near Miller, Indiana on January 27, 2005.
Life and career
Burks was born on September 17, 1931, near Greenwood, Mississippi, the 14th and youngest child in a family of sharecroppers.[1] When he was a child one of his brothers was lynched by the Ku Klux Klan.[2]
After moving to Chicago in 1946 he worked in a steel mill. While he did not perform blues because of his religious beliefs, he often attended clubs on the West Side of Chicago.[3] In addition to his steel mill job, Burks was a minister in the Apostolic faith and had a storefront church, but he switched to playing blues full-time after the riots precipitated by the assassination of Martin Luther King in 1968.[2]
He played so often on Maxwell Street Market in the late 1960s and 1970s that he became known as "Jewtown Eddie", after the local name for the area.[1] During this period he also worked as a sideman with the likes of Eddie Shaw and Jimmy Dawkins.[2] He released his first single, "Lowdown Dog", in 1977, and this was followed up by two further releases.[3] However, Burks remained largely unknown outside Chicago until 1990 when he released his debut album Vampire Woman on Rising Son Records (later renamed Rising Son Blues[3]), a label he founded with his wife Maureen Walker.[1] Following this, his solo career took off, and he released further albums, toured frequently, and gained steady work on the festival circuit.[2] In 1994 he appeared in the Academy Award nominated documentary Blues Highway.[1]
After his 70th birthday his health declined as a result of diabetes,[2] but he continued to play in the Chicago clubs until his death in a car accident near Miller, Indiana on January 27, 2005.
Eddie Burks - Sugar Hill Blues (1993)
Earl May *17.09.1927
Earl Charles Barrington May (* 17. September 1927 in New York City; † 4. Januar 2008 in South Orange) war ein US-amerikanischer Jazz-Bassist des Modern Jazz und Swing.
Leben und Wirken
Earl May begann seine Karriere 1949 in New York City, wo er u.a in Minton’s Playhouse mit Musikern wie Lester Young, Mercer Ellington spielte. 1951 wurde Earl May Mitglied des Trios des Pianisten Billy Taylor, mit dem er in Clubs wie dem Hickory House, Birdland und dem Downbeat Club auftrat. In dieser Zeit arbeitete er auch mit Charlie Parker, Miles Davis und spielte auf dem Prestige-Album Lush Life von John Coltrane mit. 1959 war er an Chet Bakers Album Plays The Best Of Lerner And Loewe beteiligt.
1959 verließ Earl May das Billy Taylor Trio, um seine eigene Formation zu gründen; außerdem arbeitete er einige Monate mit Phineas Newborn zusammen, dann als musikalischer Direktor und Arrangeur für die Sängerin Gloria Lynne. Während der 1960er Jahre spielt er auch elektrischen Bass und leitete ein Quartett im New Yorker Playboy Club. Außerdem nahm er mit Dizzy Gillespie, Frank Foster, Cab Calloway, Tommy Flanagan, Linda Hopkins, Doc Cheatham, Charles Brown, Jon Hendricks, Charlie Rouse, Shirley Scott, Sonny Stitt und Winard Harper Schallplatten auf. In den 1970er Jahren begleitete er den Sänger Johnny Hartman.
May war Mitglied im Barry Harris Trio und spielte eine Rolle in der New Yorker Swingszene, spielte auf Swing-Veranstaltungen im Trio von Junior Mance, Benny Powells „The Gift of Love“-Quintett und mit seinem eigenen Quintett, aus dem Altsaxophonisten David Glasser, dem Pianisten Kenny Ham und dem Schlagzeuger Eddie Locke. Seine Schallplatten erschienen auf dem Swinglabel Arbors Records. Mit Billy Taylor nahm er 2003 erneut ein Album auf, mit Percy Brice als Schlagzeuger.
Earl May galt als einer der wenigen linkshändigen Bassisten des Jazz.
Leben und Wirken
Earl May begann seine Karriere 1949 in New York City, wo er u.a in Minton’s Playhouse mit Musikern wie Lester Young, Mercer Ellington spielte. 1951 wurde Earl May Mitglied des Trios des Pianisten Billy Taylor, mit dem er in Clubs wie dem Hickory House, Birdland und dem Downbeat Club auftrat. In dieser Zeit arbeitete er auch mit Charlie Parker, Miles Davis und spielte auf dem Prestige-Album Lush Life von John Coltrane mit. 1959 war er an Chet Bakers Album Plays The Best Of Lerner And Loewe beteiligt.
1959 verließ Earl May das Billy Taylor Trio, um seine eigene Formation zu gründen; außerdem arbeitete er einige Monate mit Phineas Newborn zusammen, dann als musikalischer Direktor und Arrangeur für die Sängerin Gloria Lynne. Während der 1960er Jahre spielt er auch elektrischen Bass und leitete ein Quartett im New Yorker Playboy Club. Außerdem nahm er mit Dizzy Gillespie, Frank Foster, Cab Calloway, Tommy Flanagan, Linda Hopkins, Doc Cheatham, Charles Brown, Jon Hendricks, Charlie Rouse, Shirley Scott, Sonny Stitt und Winard Harper Schallplatten auf. In den 1970er Jahren begleitete er den Sänger Johnny Hartman.
May war Mitglied im Barry Harris Trio und spielte eine Rolle in der New Yorker Swingszene, spielte auf Swing-Veranstaltungen im Trio von Junior Mance, Benny Powells „The Gift of Love“-Quintett und mit seinem eigenen Quintett, aus dem Altsaxophonisten David Glasser, dem Pianisten Kenny Ham und dem Schlagzeuger Eddie Locke. Seine Schallplatten erschienen auf dem Swinglabel Arbors Records. Mit Billy Taylor nahm er 2003 erneut ein Album auf, mit Percy Brice als Schlagzeuger.
Earl May galt als einer der wenigen linkshändigen Bassisten des Jazz.
Earl May was one of the most prodigious and prolific bassists of the postwar era, lending his rich, round sound to sessions headlined by jazz icons John Coltrane, Chet Baker, and Dizzy Gillespie. Born September 17, 1927, in New York City, May first gravitated to drums, but at 14 acquired an acoustic bass, later making his professional debut at the Bronx's 845 Club. While working an insurance job by day, he moonlighted across the New York club circuit, eventually catching the attention of drummer Connie Kay, who invited him to sit in behind the immortal Lester Young at Harlem's now-legendary Minton's Playhouse. After his stint with Young, May joined pianist Dr. Billy Taylor in 1951, finally quitting his insurance gig to play music full-time. The Billy Taylor Trio was a fixture at nightspots including the Hickory House, Birdland, and the Downbeat Club, and as their notoriety spread May was also invited to sit in with singer Gloria Lynne during her residency at the Copacabana. During the early '50s, May studied under pioneering jazz bassist Charles Mingus, an experience that greatly expanded both his craft and vision in addition to setting the stage for the 1957 Rudy Van Gelder-produced collaboration with Coltrane and drummer Art Taylor that yielded the now-classic Lush Life. By the end of the decade May ranked among the busiest bassists in jazz, backing Baker (Chet Baker Plays the Best of Lerner and Loewe), Herbie Mann (Live at the Village Gate), and Buddy Rich (The Driver). With the advent of the 1960s, May made the switch from acoustic to electric bass, coaxing from the instrument an usually warm and earthy sound. In addition to leading his own Earl May Quartet, he remained a first-call session player, now tailoring his approach to match a generation of soul-jazz greats like Stanley Turrentine, Shirley Scott, and Lou Donaldson. In the decades to follow May enjoyed significant tenures behind Dizzy Gillespie, Junior Mance, and Barry Harris. He also headlined a handful of sessions, including his 2006 swan song, Swingin' the Blues. May continued performing until just days before a massive heart attack claimed his life on January 4, 2008; he was 80 years old.
1975 - Dizzy Gillispie sings the blues w Oscar Peterson (Live Video)
Don't you just love the screen title of the song.. :-) with Al Gaffa on
guitar; Earl May on fender bass; and Mickey Roker, drums.
The Subject is Jazz: Tony Scott - Blues for an African Friend
Tony Scott playing Blues for an African Friend from the 1958 TV program,
The Subject is Jazz, featuring Tony Scott on clarinet, Billy Taylor on
piano, Earl May on bass, Ed Thigpen on drums, Doc Severinsen on trumpet,
Jimmy Cleveland on trombone, and Mundell Lowe on guitar.
R.I.P.
Jimmy Yancey +17.09.1951
Jimmy Yancey (* 20. Februar 1898[1] in Chicago; † 17. September 1951 in Chicago; eigentlich James Edward Yancey) war ein schwarzer Blues- und Boogie Woogie-Pianist, dessen Eigenart es war, alle seine Stücke, egal in welcher Tonart, immer mit dem Ton Es zu beenden.
Schon im Alter von sechs Jahren trat Yancey öffentlich auf Vaudevilleshows als Sänger und Stepptänzer auf. Später ging er auf Tourneen in den USA und Europa. Ab 1915 ließ er sich in seiner Heimatstadt Chicago nieder, begann eigene Songs zu komponieren und spielte in Clubs und bei House Rent Partys. 1925 wurde er dann Platzwart vom Comiskey Park für das Baseball-Team Chicago White Sox. Außerhalb von Chicago wurde Yancey erst 1936 populär, als Meade „Lux“ Lewis einen seiner Songs (Yancey Special) coverte und veröffentlichte. Erst im Mai 1939 machte Yancey mit den Songs The Fives und Jimmy's Stuff selbst eigene Aufnahmen, die Dan Qualey produzierte. Später veröffentlichte Yancey dann auf Victor, OKeh und Bluebird. 1948 trat er zusammen mit seiner Ehefrau Estelle „Mama“ Yancey in der Carnegie Hall in New York City auf.
Obwohl Yancey am Ende seines Lebens ein gewisses Maß an Berühmtheit erlangt hatte, gab er bis zu seinem Tode 1951 nie seinen Job als Platzwart bei den Chicago White Sox auf. 1986 wurde Yancey postum in der Kategorie „Frühe Einflüsse“ in die Rock and Roll Hall of Fame aufgenommen.
James Edwards "Jimmy" Yancey (February 20, 1894 – September 17, 1951)[1][2][3] was an African American boogie-woogie pianist, composer, and lyricist. One reviewer noted him as "one of the pioneers of this raucous, rapid-fire, eight-to-the-bar piano style".[2]
Biography
Yancey was born in Chicago in (depending on the source) 1894[2] or 1898.[3] His older brother, Alonzo Yancey (1894–1944) was also a pianist, while their father was a vaudeville guitarist and singer. By age ten, Yancey had toured across the United States as a tap dancer and singer, and by twenty he had toured throughout Europe. He began teaching himself piano at 15, and by 1915 had become a noted pianist and was already influencing younger musicians, including Meade Lux Lewis and Albert Ammons.[1][2]
While he played in a boogie-woogie style, with a strong-repeated figure in the left hand and melodic decoration in the right, his playing was delicate and subtle, rather than hard driving. He popularized the left-hand figure that became known as the "Yancey bass", later used in Pee Wee Crayton's "Blues After Hours", Guitar Slim's "The Things That I Used to Do", and many other songs.[4] Yancey favored keys—such as E flat and A flat—that were atypical for barrelhouse blues.[1] Distinctively, he ended many pieces in the key of E-flat, even if he had played in a different key right up to the ending.
Although influential from a young age, Yancey did not record at all through his early career, performing only at house parties and clubs. His first recordings in 1939 created a considerable stir in blues and jazz circles.[5]
While most of his recordings were solo, later in his career he and his wife Estelle Yancey recorded together (she as a vocalist) under the name 'Jimmy and Mama Yancey'.[4] They appeared in concert at Carnegie Hall in 1948,[1] and recorded their first album in 1951—released by Atlantic Records the following year.[1]
During World War I, Yancey played baseball for the Chicago All-Americans, a Negro league baseball team. Throughout his life, he held on to his job as a groundskeeper for the Chicago White Sox.[4]
Yancey died of a stroke secondary to diabetes in Chicago on September 17, 1951.[3] He was inducted into the Rock and Roll Hall of Fame in 1986.
Roots of Blues -- Jimmy Yancey „Rolling The Stone"
Er hat nicht nur als Driftin' Slim Schallplatten aufgenommen, sondern auch als Model 'T' Slim und unter seinem wirklichen Namen Elmon Mickle.
Driftin' Slim (February 24, 1919 – September 15, 1977[1]) was an African-American blues singer, guitarist and harmonica player.
Biography
Born Elmon Mickle in Keo, Arkansas, he not only recorded as Driftin' Slim, but also as Model 'T' Slim and under his real name. His recordings were released on the - amongst others - Modern, RPM, Blue Horizon, Styletone, Milestone, Kent, and Flyright record labels.
By the turn of the 1970s, ill health had forced Slim to retire from the music industry and when he died, a chapter of American music — that of the one-man band — had virtually died with him.[1] Slim died in Los Angeles, California, in September 1977.
Biography
Born Elmon Mickle in Keo, Arkansas, he not only recorded as Driftin' Slim, but also as Model 'T' Slim and under his real name. His recordings were released on the - amongst others - Modern, RPM, Blue Horizon, Styletone, Milestone, Kent, and Flyright record labels.
By the turn of the 1970s, ill health had forced Slim to retire from the music industry and when he died, a chapter of American music — that of the one-man band — had virtually died with him.[1] Slim died in Los Angeles, California, in September 1977.
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