1880 Richard "Rabbit" Brown* ca.1880 +ca.1937 1)
1943 Trixie Smith+
1964 Bo Carter+
1965 Little George Sueref*
2009 Sam Carr+
1) Die genauen Daten ist dem Autor nicht bekannt
1943 Trixie Smith+
1964 Bo Carter+
1965 Little George Sueref*
2009 Sam Carr+
1) Die genauen Daten ist dem Autor nicht bekannt
R.I.P.
Bo Carter +21.09.1964
Bo Carter (* 21. März 1893 in Bolton, Mississippi; † 21. September 1964), eigentlich Armenter Chatmon, war ein US-amerikanischer Blues-Gitarrist. Carter war zwar gelegentliches Mitglied der Mississippi Sheiks, der Musikgruppe der Chatmon-Familie, war aber auch solo erfolgreich. Zwischen 1928 und 1940 nahm er über 100 Stücke unter eigenem Namen auf.
Die bekanntesten Songs von Bo Carter sind seine Hokum-Aufnahmen, darunter Banana in Your Fruit Basket, Pin in Your Cushions, Your Biscuits Are Too Big und Please Warm My Wiener. Daneben gehörte auch Mainstream-Blues zu seinem Repertoire.
Armenter "Bo Carter" Chatmon (June 30, 1893
– September 21, 1964)[2] was an American early blues musician. He
was a member of the Mississippi Sheiks in concerts, and on a few of
their recordings. Carter also managed that group, which included his
brother, Lonnie Chatmon, on fiddle and occasionally Sam Chatmon on
bass, along with a friend, Walter Vinson, on guitar and lead
vocals.[1][2]
Career
Since the 1960s, Carter has become best known for his bawdy songs such as "Let Me Roll Your Lemon",[3] "Banana in Your Fruit Basket", "Pin in Your Cushion", "Your Biscuits Are Big Enough for Me", "Please Warm My Wiener" and "My Pencil Won't Write No More".[1][4] However, his output was not restricted to risqué music.[1] In 1928, he recorded the original version of "Corrine, Corrina", which later became a hit for Big Joe Turner and has become a standard in various musical genres.[2]
Carter and his brothers (including pianist Harry Chatmon, who also made recordings), first learned music from their father, ex-slave fiddler Henderson Chatmon, at their home on a plantation between Bolton and Edwards, Mississippi. Their mother, Eliza, also sang and played guitar.
Carter made his recording debut in 1928, backing Alec Johnson. Carter soon was recording as a solo artist and became one of the dominant blues recording acts of the 1930s, recording 110 sides.[1] He also played with and managed the family group, the Mississippi Sheiks, and several other acts in the area. He and the Sheiks often played for whites, playing the pop hits of the day and white-oriented dance material, as well as for blacks, using a bluesier repertoire.
Carter went partly blind during the 1930s.[1] He settled in Glen Allan, Mississippi[5] and despite his vision problems did some farming but also continued to play music and perform, sometimes with his brothers. Carter moved to Memphis, and worked outside the music industry in the 1940s.
Carter suffered strokes and died of a cerebral hemorrhage at Shelby County Hospital, Memphis, on September 21, 1964.
Career
Since the 1960s, Carter has become best known for his bawdy songs such as "Let Me Roll Your Lemon",[3] "Banana in Your Fruit Basket", "Pin in Your Cushion", "Your Biscuits Are Big Enough for Me", "Please Warm My Wiener" and "My Pencil Won't Write No More".[1][4] However, his output was not restricted to risqué music.[1] In 1928, he recorded the original version of "Corrine, Corrina", which later became a hit for Big Joe Turner and has become a standard in various musical genres.[2]
Carter and his brothers (including pianist Harry Chatmon, who also made recordings), first learned music from their father, ex-slave fiddler Henderson Chatmon, at their home on a plantation between Bolton and Edwards, Mississippi. Their mother, Eliza, also sang and played guitar.
Carter made his recording debut in 1928, backing Alec Johnson. Carter soon was recording as a solo artist and became one of the dominant blues recording acts of the 1930s, recording 110 sides.[1] He also played with and managed the family group, the Mississippi Sheiks, and several other acts in the area. He and the Sheiks often played for whites, playing the pop hits of the day and white-oriented dance material, as well as for blacks, using a bluesier repertoire.
Carter went partly blind during the 1930s.[1] He settled in Glen Allan, Mississippi[5] and despite his vision problems did some farming but also continued to play music and perform, sometimes with his brothers. Carter moved to Memphis, and worked outside the music industry in the 1940s.
Carter suffered strokes and died of a cerebral hemorrhage at Shelby County Hospital, Memphis, on September 21, 1964.
Trixie Smith +21.09.1943
Trixie Smith (* 1895 in Atlanta, Georgia; † 21. September 1943 in New York City) war eine US-amerikanische Blues-Sängerin.
Nach ihrem Studium in Alabama zog Trixie Smith 1915 nach New York. Sie arbeitete in Minstrel-Shows und im T. O. B. A. Circuit. 1922 machte sie ihre ersten Aufnahmen für Black Swan Records, darunter My Man Rocks Me With One Steady Roll, angeblich die erste Aufnahme, die den Ausdruck "Rock and Roll" erwähnt. Im gleichen Jahr gewann Smith den ersten Blues-Wettbewerb im Inter-Manhattan Casino in New York mit ihrem Stück Trixie's Blues.
1923 folgten weitere Aufnahmen für Black Swan. 1924–25 machte Smith mit dem Fletcher Henderson Orchestra Aufnahmen für Paramount Records. Sie trat in Musik-Revuen und Broadway-Shows auf. Zwischen 1932 und 1938 spielte sie in vier Filmen mit. Ihre letzte Aufnahmen hatte sie in den Jahren 1938 und 1939.
Als Trixie Smith 1943 in New York starb, war sie weitgehend in Vergessenheit geraten.
Trixie Smith (1895 – September 21, 1943) was an African-American blues singer, recording artist, vaudeville entertainer, and actress. She made four dozen recordings.
Biography
Born and raised in Atlanta, Georgia, Smith came from a middle class-background.[1] She attended Selma University in Alabama before moving to New York around 1915.[2] Smith worked in minstrel shows and on the TOBA vaudeville circuit, before making her first recordings for the Black Swan label in 1922.[3]
Amongst these were "My Man Rocks Me (With One Steady Roll)" (1922),[4] written by J. Berni Barbour, of historic interest as the first secular recording to reference the phrase "rock and roll".[5] Her record inspired various lyrical elaborations, such as "Rock That Thing" by Lil Johnson and "Rock Me Mama" by Ikey Robinson. Also in 1922, Trixie Smith won first place and a silver cup in a blues singing contest at the Inter-Manhattan Casino in New York, sponsored by dancer Irene Castle, with her song "Trixie's Blues," singing against Alice Leslie Carter, Daisy Martin and Lucille Hegamin.[6] She is most remembered for "Railroad Blues" (1925),[3] a song that featured one of Smith's most inspired vocal performances on record, and "The World Is Jazz Crazy and So Am I" (1925). Both songs feature Louis Armstrong on cornet. She was a highly polished performer, and her records include several outstanding examples of the blues on which she is accompanied by artists such as James P. Johnson, and Freddie Keppard.[7] She recorded with Fletcher Henderson's Orchestra for Paramount Records in 1924–25.
As her career as a blues singer waned, mostly she sustained herself by performing in cabaret revues, and starring in musical revues such as New York Revue (1928) and Next Door Neighbors (1928) at the Lincoln Theatre in Harlem.[8] Smith also appeared in Mae West's short-lived 1931 Broadway effort, The Constant Sinner. Two years later, Smith was elevated to the stage of the Theatre Guild for its production of Louisiana.[9]
She appeared in four movies: God's Step Children (1938), Swing! (1938), Drums o' Voodoo (1934), and The Black King (1932). Two of these films were directed by Oscar Micheaux.[10] She appeared at John H. Hammond's "From Spirituals to Swing" concert in 1938, and recorded seven titles during 1938–1939. Most of her later recordings were with Sidney Bechet for Decca in 1938. In 1939 she cut "No Good Man" with a band including Red Allen and Barney Bigard.[11]
Trixie Smith died in New York in 1943, after a brief illness, aged 48.
Sam Carr +21.09.2009
Sam
Carr (* 17. April 1926 in Friar's Point, Mississippi; † 21. September
2009 in Clarksdale, Mississippi) war ein US-amerikanischer
Bluesschlagzeuger. Bekannt wurde er durch seine lebenslange
Zusammenarbeit mit dem Mundharmonikaspieler Frank Frost. Sein Vater ist
der Bluesgitarrist Robert Nighthawk.
Er wurde in Mississippi als Sohn von Robert Nighthawk unter dem Namen Samuel Lee McCollum geboren.Seine Mutter überließ ihn im Alter von eineinhalb Jahren der Obsorge der Familie Carr, die ihn adoptierte und auf ihrer Farm aufzogen. Bereits im Alter von sieben Jahren nahm ihn sein Vater zu Auftritten mit, wo er in den Pausen tanzte. Nach seinem Umzug nach Helena, dem Ort, wo auch sein Vater wohnte, wurde er Türsteher und spielte auch Bass in der Gruppe seines Vaters.[1]
Im Alter von 20 Jahren heiratete er Doris und wurde Pachtfarmer, nach einem Streit mit dem Verwalter ging das junge Paar nach Chicago, nach kurzer Zeit übersiedelten sie nach St. Louis, wo sie mit Carrs Mutter lebten. Hier spielte er Bass in der Band des Mundharmonikaspielers Tree Top Slim. Auch bildete er seine erste eigene Band Little Sam Carr and the Blue Kings, in der Early Bea, die Frau von Robert Nighthawk, Schlagzeug spielte, bevor Carr auf dieses Instrument umstieg.
Von 1956 an spielte er regelmäßig mit Frank Frost. Mit dem Gitarristen Big Jack Johnson bildeten die drei die Jelly Roll Kings. Ihre Zusammenarbeit dauerte bis zum Tod Frosts 1999 an. Danach spielte Carr mit verschiedenen Künstlern aus Arkansas und war Leader seiner Delta Jukes. Seinen letzten Auftritt hatte er 2009 beim Mother's Best Festival in Helena, Arkansas. Er starb am 21. September 2009 in einem Pflegeheim in Clarksdale, Mississippi an einem Herzinfarkt.[2][3]
Auszeichnungen
zahlreiche Blues Music Awards Nominierungen als bester Schlagzeuger
Mississippi Heritage Award 2007
zahlreiche Living Blues Awards Nominierungen als bester Drummer
Er wurde in Mississippi als Sohn von Robert Nighthawk unter dem Namen Samuel Lee McCollum geboren.Seine Mutter überließ ihn im Alter von eineinhalb Jahren der Obsorge der Familie Carr, die ihn adoptierte und auf ihrer Farm aufzogen. Bereits im Alter von sieben Jahren nahm ihn sein Vater zu Auftritten mit, wo er in den Pausen tanzte. Nach seinem Umzug nach Helena, dem Ort, wo auch sein Vater wohnte, wurde er Türsteher und spielte auch Bass in der Gruppe seines Vaters.[1]
Im Alter von 20 Jahren heiratete er Doris und wurde Pachtfarmer, nach einem Streit mit dem Verwalter ging das junge Paar nach Chicago, nach kurzer Zeit übersiedelten sie nach St. Louis, wo sie mit Carrs Mutter lebten. Hier spielte er Bass in der Band des Mundharmonikaspielers Tree Top Slim. Auch bildete er seine erste eigene Band Little Sam Carr and the Blue Kings, in der Early Bea, die Frau von Robert Nighthawk, Schlagzeug spielte, bevor Carr auf dieses Instrument umstieg.
Von 1956 an spielte er regelmäßig mit Frank Frost. Mit dem Gitarristen Big Jack Johnson bildeten die drei die Jelly Roll Kings. Ihre Zusammenarbeit dauerte bis zum Tod Frosts 1999 an. Danach spielte Carr mit verschiedenen Künstlern aus Arkansas und war Leader seiner Delta Jukes. Seinen letzten Auftritt hatte er 2009 beim Mother's Best Festival in Helena, Arkansas. Er starb am 21. September 2009 in einem Pflegeheim in Clarksdale, Mississippi an einem Herzinfarkt.[2][3]
Auszeichnungen
zahlreiche Blues Music Awards Nominierungen als bester Schlagzeuger
Mississippi Heritage Award 2007
zahlreiche Living Blues Awards Nominierungen als bester Drummer
Sam Carr (born Samuel Lee McCollum, April 17, 1926 - September 21, 2009) was an American blues drummer best known as a member of The Jelly Roll Kings.
Largely self-taught, Carr is noted for his "mimimalist" three-piece drum kit consisting of a snare drum, a bass, and high hat cymbal.[1]
Early life
Born near Marvell, Arkansas, McCollum was adopted as a toddler into the Carr family and raised on their farm near Dundee, Mississippi.[2] He also took their last name.
At 16, Carr returned to Arkansas where he played bass for his biological father, Robert Nighthawk, an established blues musician. He also worked as a chauffeur. Carr married his wife Doris in 1946, and they began sharecropping in Helena, Arkansas. He was involved in a dispute over a borrowed mule team with the plantation owner, who attempted to beat him. Carr later stated: "I wasn't going to let him whoop me, that was plumb out of the question. From that day on, white people called me crazy."[2][3]
The Carrs moved to Chicago, and then St. Louis to live with Carr’s biological mother. In St. Louis, Carr began playing bass guitar with harmonica player Tree Top Slim. Carr formed his own band, Little Sam Carr and the Blue Kings, which initially featured Nighthawk's second wife Early Bea on drums, until Carr decided to take on that role.[2] The band played mostly "low-class clubs" in poor neighborhoods of St. Louis.
In 1956, Carr began working regularly with Frank Frost, who played both harmonica and guitar.
The Jelly Roll Kings
In 1962, the Carrs and Frost moved to Mississippi where they joined with Clarksdale-based guitarist Big Jack Johnson to form The Jelly Roll Kings. For several years, Doris sang with the band. They recorded the album Hey Boss Man, on the Phillips International label. One of the album's songs, "Jelly Roll King," inspired the band's name, and has been noted as a classic of electric juke joint blues.[1]
In 1966, the band had a minor hit with "My Back Scratcher".
The Jelly Roll Kings continued to play together throughout the 1960s and 1970s, though Carr also worked as a tractor driver from his home in Lula, Mississippi.
In the mid-1970s, the band released the LP Rockin' the Juke Joint Down on the Earwig label.[2]
Carr and Frost were featured with guitarist Ry Cooder on the soundtrack to the 1986 movie Crossroads.[1]
The trio would re-unite on various occasion, producing the albums Midnight Prowler (1988), Daddy When Is Mama Comin’ Home (1991), and Yonder Wall (1996). They also contributed to the PBS documentary River of Song in 1996.
Delta music
Carr is known to have contributed his unique drumming sound to albums by blues musicians T-Model Ford, Asie Payton, Robert Walker, Paul "Wine" Jones, Lonnie Shields, Sonny Boy Williamson II, "Honeyboy" Edwards, and Buddy Guy.[2][4]
In his later years, Carr led his own group, The Delta Jukes, working often with Dave Riley on guitar and vocals. The group recorded a number of albums, including Working for the Blues (2002), Down in the Delta (2004), and Let the Good Times Roll (2007).[2]
Carr has been featured in film and television documentaries about the Mississippi blues, including Martin Scorsese's The Blues: Feel Like Going Home (2003).[1]
Honors
In 2007, Carr received a Heritage Award from Mississippi Governor Haley Barbour at the Governor's Awards for Excellence in the Arts ceremony in Jackson. He has also received awards from Living Blues magazine.[5] Carr is mentioned on several Mississippi Blues Trail markers.
Death
Carr died in a nursing home in Clarksdale of congestive heart failure at age 83. He had no children.
Largely self-taught, Carr is noted for his "mimimalist" three-piece drum kit consisting of a snare drum, a bass, and high hat cymbal.[1]
Early life
Born near Marvell, Arkansas, McCollum was adopted as a toddler into the Carr family and raised on their farm near Dundee, Mississippi.[2] He also took their last name.
At 16, Carr returned to Arkansas where he played bass for his biological father, Robert Nighthawk, an established blues musician. He also worked as a chauffeur. Carr married his wife Doris in 1946, and they began sharecropping in Helena, Arkansas. He was involved in a dispute over a borrowed mule team with the plantation owner, who attempted to beat him. Carr later stated: "I wasn't going to let him whoop me, that was plumb out of the question. From that day on, white people called me crazy."[2][3]
The Carrs moved to Chicago, and then St. Louis to live with Carr’s biological mother. In St. Louis, Carr began playing bass guitar with harmonica player Tree Top Slim. Carr formed his own band, Little Sam Carr and the Blue Kings, which initially featured Nighthawk's second wife Early Bea on drums, until Carr decided to take on that role.[2] The band played mostly "low-class clubs" in poor neighborhoods of St. Louis.
In 1956, Carr began working regularly with Frank Frost, who played both harmonica and guitar.
The Jelly Roll Kings
In 1962, the Carrs and Frost moved to Mississippi where they joined with Clarksdale-based guitarist Big Jack Johnson to form The Jelly Roll Kings. For several years, Doris sang with the band. They recorded the album Hey Boss Man, on the Phillips International label. One of the album's songs, "Jelly Roll King," inspired the band's name, and has been noted as a classic of electric juke joint blues.[1]
In 1966, the band had a minor hit with "My Back Scratcher".
The Jelly Roll Kings continued to play together throughout the 1960s and 1970s, though Carr also worked as a tractor driver from his home in Lula, Mississippi.
In the mid-1970s, the band released the LP Rockin' the Juke Joint Down on the Earwig label.[2]
Carr and Frost were featured with guitarist Ry Cooder on the soundtrack to the 1986 movie Crossroads.[1]
The trio would re-unite on various occasion, producing the albums Midnight Prowler (1988), Daddy When Is Mama Comin’ Home (1991), and Yonder Wall (1996). They also contributed to the PBS documentary River of Song in 1996.
Delta music
Carr is known to have contributed his unique drumming sound to albums by blues musicians T-Model Ford, Asie Payton, Robert Walker, Paul "Wine" Jones, Lonnie Shields, Sonny Boy Williamson II, "Honeyboy" Edwards, and Buddy Guy.[2][4]
In his later years, Carr led his own group, The Delta Jukes, working often with Dave Riley on guitar and vocals. The group recorded a number of albums, including Working for the Blues (2002), Down in the Delta (2004), and Let the Good Times Roll (2007).[2]
Carr has been featured in film and television documentaries about the Mississippi blues, including Martin Scorsese's The Blues: Feel Like Going Home (2003).[1]
Honors
In 2007, Carr received a Heritage Award from Mississippi Governor Haley Barbour at the Governor's Awards for Excellence in the Arts ceremony in Jackson. He has also received awards from Living Blues magazine.[5] Carr is mentioned on several Mississippi Blues Trail markers.
Death
Carr died in a nursing home in Clarksdale of congestive heart failure at age 83. He had no children.
Frank Frost and Sam Carr at King Biscuit II
Richard "Rabbit" Brown *ca.1880 +ca.1937
Richard "Rabbit" Brown (c. 1880 – c. 1937)[1] was an American blues guitarist and composer. His music was characterized by a mixture of blues, pop songs, and original topical ballads. On May 11, 1927, he recorded six singles for Victor Records. "James Alley Blues" is included in the Anthology of American Folk Music and has been covered by Bob Dylan and others.
Rabbit Brown was most likely born around 1880 in or near New Orleans, Louisiana. He did live in New Orleans from his youth on, and eventually moved to a rough district called the Battlefield. Here, several events inspired some of his future songs.[1]
Rabbit Brown mainly performed at nightclubs and on the street. A couple of his most popular songs were his topical ballads, "The Downfall of the Lion" and "Gyp the Blood", which were based on actual events that occurred in New Orleans.[1]
Brown died in 1937, probably in New Orleans.[1]
Five of his recordings appear on the compilation album The Greatest Songsters: Complete Works (1927-1929).[1]
In 2003 an anthology collection of rural acoustic gospel music titled Goodbye, Babylon was released, bringing to renewed public attention one of the two known recordings made by an otherwise undocumented singer named Blind Willie Harris. This piece, "Where He Leads Me I Will Follow," was recorded in New Orleans in 1929, and in describing it, the authors of the CD liner notes pointed out its "strikingly similar" resemblance to the 1927 New Orleans recordings of Richard Rabbit Brown. Since then, more discussion has ensued among early blues and gospel collectors and scholars, leading some to state without equivocation that Harris was a pseudonym of Brown's. Each listener will have to decide for him or herself the truth of the claim, as no documentation has been found to link Harris with Brown.
Richard "Rabbit" Brown - James Alley Blues
https://www.youtube.com/watch?v=y3JEVhOAyMo
Happy Birthday
Little George Sueref *21.09.1965
How I came to this music:
I've always liked music. When I was a kid in Cardiff I used to like the Mowtown stuff, but I never had anything to do with music. My parents really liked music too, but they didn't play. My dad had an accordion but it never saw the light of day much. He was too busy working. I moved to London when I was 17 and used to go out to a lot of shows in the 1980s with a friend. One day he lent me a harmonica and once I picked the harp up I was hooked. Until I took music up, I didn't realise how much I'd missed it. I struggled away for about four months trying to teach myself and eventually got a few lessons from another friend, who (more importantly) also turned me onto the Chicago and Delta blues. I've never really got into the British blues thing; it was straight to the source, and it just happened by accident. When I first started playing in 1987, it just took over my life and everything else suffered, including my day job. Before I knew it, I only had the music. It was tough getting started, but after being with my first band for a year, I wound up joining my favourite blues band, Big Joe's Blues Kings, who introduced me to a lot of other music. Once I joined them, I knew there was no going back. There were no more day jobs. We toured all over and I stayed with them for about twelve years before going solo to concentrate on my own thing. People sometimes ask me about the fact that both my parents come from Greece and how that's affected my music. I heard a bit of rembétika and so on as a kid and though I wasn't interested in it at the time, I think it all goes in, deep in your brain somewhere and stays. Anyway, I'm starting to like it a lot more now.
Where I play:
Touring up and down this country is the most immediate thing I do. Funnily enough, the place I play least is probably London. I make my money from playing clubs all round the country, and in Europe and Scandinavia, where there's a big blues scene. We've played in Sweden, Norway, Denmark, Italy, Switzerland, Holland, Belgium, Germany and even Russia. Obviously we've also been to the States - this summer was our third trip, and time by time it's getting bigger and bigger over there. I'm also keen to go further to places like Japan and Australia.
A favourite song:
I Feel So Lonesome is from my album Little George Sueref & The Blue Stars. It's kind of an 'early blues'. About the time that I wrote this song, I literally was feeling quite lonesome. I had stuff going down in my life, and the people that I would have liked to have had around weren't around and I didn't feel like going anywhere. I was feeling kind of inward bound, and the words just came right out of my mouth and I knew that was the song. I think the trouble today with a lot of people playing the blues is that they fixate on the misery side of it, and blues and soul music is not really about that. It's about expression and just getting it out of your system. And it's joyful, too. I don't wanna make it a misery, I wanna make it joyfull! Having said that, this song really is kind of blues.
I've always liked music. When I was a kid in Cardiff I used to like the Mowtown stuff, but I never had anything to do with music. My parents really liked music too, but they didn't play. My dad had an accordion but it never saw the light of day much. He was too busy working. I moved to London when I was 17 and used to go out to a lot of shows in the 1980s with a friend. One day he lent me a harmonica and once I picked the harp up I was hooked. Until I took music up, I didn't realise how much I'd missed it. I struggled away for about four months trying to teach myself and eventually got a few lessons from another friend, who (more importantly) also turned me onto the Chicago and Delta blues. I've never really got into the British blues thing; it was straight to the source, and it just happened by accident. When I first started playing in 1987, it just took over my life and everything else suffered, including my day job. Before I knew it, I only had the music. It was tough getting started, but after being with my first band for a year, I wound up joining my favourite blues band, Big Joe's Blues Kings, who introduced me to a lot of other music. Once I joined them, I knew there was no going back. There were no more day jobs. We toured all over and I stayed with them for about twelve years before going solo to concentrate on my own thing. People sometimes ask me about the fact that both my parents come from Greece and how that's affected my music. I heard a bit of rembétika and so on as a kid and though I wasn't interested in it at the time, I think it all goes in, deep in your brain somewhere and stays. Anyway, I'm starting to like it a lot more now.
Where I play:
Touring up and down this country is the most immediate thing I do. Funnily enough, the place I play least is probably London. I make my money from playing clubs all round the country, and in Europe and Scandinavia, where there's a big blues scene. We've played in Sweden, Norway, Denmark, Italy, Switzerland, Holland, Belgium, Germany and even Russia. Obviously we've also been to the States - this summer was our third trip, and time by time it's getting bigger and bigger over there. I'm also keen to go further to places like Japan and Australia.
A favourite song:
I Feel So Lonesome is from my album Little George Sueref & The Blue Stars. It's kind of an 'early blues'. About the time that I wrote this song, I literally was feeling quite lonesome. I had stuff going down in my life, and the people that I would have liked to have had around weren't around and I didn't feel like going anywhere. I was feeling kind of inward bound, and the words just came right out of my mouth and I knew that was the song. I think the trouble today with a lot of people playing the blues is that they fixate on the misery side of it, and blues and soul music is not really about that. It's about expression and just getting it out of your system. And it's joyful, too. I don't wanna make it a misery, I wanna make it joyfull! Having said that, this song really is kind of blues.
Little George Sueref & The Blue Stars -- WOMAD 2002
Little George Sueref and The Blue Stars at the Atomic Vintage Festival 2014
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