1907 Tiny Bradshaw*
1907 Albert Ammons*
1921 Joe Hill Louis*
1927 Mighty Joe Young*
1930 Ray Charles*
1934 Little Joe Blue*
1935 Fenton Robinson*
1937 Larry "Big Twist" Nolan*
1939 Roy Buchanan*
1946 Duster Bennett*
1957 Charles Elam*
1968 Bjørn Berge*
1970 Peter Levin*
1972 Calvin Frazier+
1980 Houston Stackhouse+
1995 Booker T. Laury+
2006 Etta Baker+
2007 Gary Primich+
Heinz-Udo Weinert*
1907 Albert Ammons*
1921 Joe Hill Louis*
1927 Mighty Joe Young*
1930 Ray Charles*
1934 Little Joe Blue*
1935 Fenton Robinson*
1937 Larry "Big Twist" Nolan*
1939 Roy Buchanan*
1946 Duster Bennett*
1957 Charles Elam*
1968 Bjørn Berge*
1970 Peter Levin*
1972 Calvin Frazier+
1980 Houston Stackhouse+
1995 Booker T. Laury+
2006 Etta Baker+
2007 Gary Primich+
Heinz-Udo Weinert*
Happy Birthday
Joe Hill Louis *23.09.1921
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Joe Hill Louis (* 23. September 1921 in Raines, Tennessee, als Lester (bzw. Leslie) Hill; † 5. August 1957 in Memphis, Tennessee) war ein US-amerikanischer Blues-Musiker. Er war auch bekannt als der Be-Bop Boy.
Mit 14 Jahren lief Lester Hill von zu Hause weg. Er lebte bei einer Familie in Memphis. Nach einem gewonnenen Kampf mit einem anderen Jungen bekam er den Spitznamen „Joe Louis“ (nach dem gleichnamigen Boxweltmeister).
Joe Hill Louis lernte mehrere Instrumente zu spielen. Seine Auftritte als Ein-Mann-Band im Handy Park in Memphis waren beim Publikum beliebt. Beim lokalen Radiosender WDIA hatte er eine 15-Minuten-Show namens The Pepticon Boy.
1949 machte Louis erste Aufnahmen, denen etliche weitere folgten. Sein bekanntestes Stück dürfte Hydramatic Woman sein.
Joe Hill Louis starb 1957 im Alter von nur 35 Jahren an den Folgen einer entzündeten Wunde am Finger.
Joe Hill Louis (September 23, 1921 – August 5, 1957), born Lester Hill, was an American singer, guitarist, harmonica player and one-man band. He is significant, along with fellow Memphis bluesman Doctor Ross, as one of only a small number of one-man blues bands to have recorded commercially in the 1950s, and as a session musician for Sun Records.
Early life
Louis was born Lester (or possibly Leslie) Hill[3] on September 23, 1921[4] in Raines, Tennessee.[5] His nickname “Joe Louis” arose as a result of a childhood fight with another youth.[3] At the age of 14 he left home to work as a servant for a wealthy Memphis family,[6] and also worked in the Peabody Hotel, Memphis, in the late 1930s. From the early 1940s onwards he worked as a musician and one-man band.[4]
Recording and radio career
Louis’ recording debut was made for Columbia in 1949, and his music was released on a variety of independent labels through the 1950s, most notably recording for Sam Phillips’ Sun Records,[3] for whom he recorded extensively as a backing musician for a wide variety of other singers as well as under his own name.[7]
His most notable electric blues single "Boogie in the Park" (recorded July 1950 and released August 1950) featured Louis performing "one of the loudest, most overdriven, and distorted guitar stomps ever recorded" while playing on a rudimentary drum kit at the same time. It was the only record ever released on Sam Phillips' early Phillips label before founding Sun Records.[1] Louis' electric guitar work is also considered a distant ancestor of heavy metal music.[8]
His most notable recording at Sun Records was probably as guitarist on Rufus Thomas’s “Bear Cat”, recorded as an answer record to Big Mama Thornton’s “Hound Dog”, which reached No. 3 on the R&B chart[9] and resulted in legal action for copyright infringement. He also shared writing credit for the song “Tiger Man”, which has been recorded by Elvis Presley, among others. Around 1950 he took over the Pepticon Boy radio program on WDIA from B. B. King.[10] He was also known as “The Pepticon Boy” and “The Be-Bop Boy”.[3]
Death
Louis died on August 5, 1957 in John Gaston Hospital, Memphis,[11] at the age of 35, from tetanus contracted as a result of an infected cut to his thumb, sustained while working as an odd job man.
Early life
Louis was born Lester (or possibly Leslie) Hill[3] on September 23, 1921[4] in Raines, Tennessee.[5] His nickname “Joe Louis” arose as a result of a childhood fight with another youth.[3] At the age of 14 he left home to work as a servant for a wealthy Memphis family,[6] and also worked in the Peabody Hotel, Memphis, in the late 1930s. From the early 1940s onwards he worked as a musician and one-man band.[4]
Recording and radio career
Louis’ recording debut was made for Columbia in 1949, and his music was released on a variety of independent labels through the 1950s, most notably recording for Sam Phillips’ Sun Records,[3] for whom he recorded extensively as a backing musician for a wide variety of other singers as well as under his own name.[7]
His most notable electric blues single "Boogie in the Park" (recorded July 1950 and released August 1950) featured Louis performing "one of the loudest, most overdriven, and distorted guitar stomps ever recorded" while playing on a rudimentary drum kit at the same time. It was the only record ever released on Sam Phillips' early Phillips label before founding Sun Records.[1] Louis' electric guitar work is also considered a distant ancestor of heavy metal music.[8]
His most notable recording at Sun Records was probably as guitarist on Rufus Thomas’s “Bear Cat”, recorded as an answer record to Big Mama Thornton’s “Hound Dog”, which reached No. 3 on the R&B chart[9] and resulted in legal action for copyright infringement. He also shared writing credit for the song “Tiger Man”, which has been recorded by Elvis Presley, among others. Around 1950 he took over the Pepticon Boy radio program on WDIA from B. B. King.[10] He was also known as “The Pepticon Boy” and “The Be-Bop Boy”.[3]
Death
Louis died on August 5, 1957 in John Gaston Hospital, Memphis,[11] at the age of 35, from tetanus contracted as a result of an infected cut to his thumb, sustained while working as an odd job man.
LITTLE JOE BLUE just look at you woman / little baby MOVIN'
Mighty Joe Young *23.09.1927
Mighty Joe Young (* 23. September 1927 in Shreveport, Louisiana; † 25. März 1999 in Chicago, Illinois) war ein US-amerikanischer Blues-Gitarrist, Sänger und Songschreiber.
Young, geboren in Louisiana, wuchs in Milwaukee auf. Ab Mitte der 1950er spielte er in Chicago u. a. bei „Joe Little & his Heart Breakers“, Billy Boy Arnold, Jimmy Rogers und Otis Rush.
1961 erschien seine erste Soloaufnahme Why Baby. Weitere Singles während der 1960er waren u. a. I Want a Love, Voo Doo Dust, Sweet Kisses, Henpecked und Guitar Star. Youngs Debütalbum als Solist, Blues With a Touch of Soul, erschien 1971.
Ende der 1980er ließ Young einen eingeklemmten Nerv im Halswirbelbereich operieren. Komplikationen beeinträchtigten seine Fähigkeit, Gitarre zu spielen. Dennoch veröffentlichte er 1997 das Album Mighty Man, an dem er über die Jahre, auch als Teil seiner Therapie, gearbeitet hatte.
1999 starb Mighty Joe Young in Chicago.
Young, geboren in Louisiana, wuchs in Milwaukee auf. Ab Mitte der 1950er spielte er in Chicago u. a. bei „Joe Little & his Heart Breakers“, Billy Boy Arnold, Jimmy Rogers und Otis Rush.
1961 erschien seine erste Soloaufnahme Why Baby. Weitere Singles während der 1960er waren u. a. I Want a Love, Voo Doo Dust, Sweet Kisses, Henpecked und Guitar Star. Youngs Debütalbum als Solist, Blues With a Touch of Soul, erschien 1971.
Ende der 1980er ließ Young einen eingeklemmten Nerv im Halswirbelbereich operieren. Komplikationen beeinträchtigten seine Fähigkeit, Gitarre zu spielen. Dennoch veröffentlichte er 1997 das Album Mighty Man, an dem er über die Jahre, auch als Teil seiner Therapie, gearbeitet hatte.
1999 starb Mighty Joe Young in Chicago.
Mighty Joe Young (September 23, 1927 – March 24, 1999)[2] was an American Chicago blues guitarist.[1]
Joseph Young was born in Shreveport, Louisiana, but was raised in Milwaukee. He was an amateur boxer in the 1940s, but he later recalled that "It was nothing to write home about. I decided that music was the best thing to do."[3] He began his music career in the early 1950s, singing on the Milwaukee nightclub circuit. In 1955, he returned to Louisiana to make his recording debut, for Jiffy Records.[4]
Young worked as a sidemen in Chicago, starting in the 1950s.[5] He was occasionally a sideman with Otis Rush in the 1960s, playing on Rush's album Cold Day in Hell. He played on Magic Sam's albums West Side Soul and Black Magic[5][6] and also worked with Billy Boy Arnold, Jimmy Rogers, and Willie Dixon.[5]
Young's album Blues with a Touch of Soul was released by Delmark Records in 1971.[5]
His song "Turning Point" was used in the feature film Thief (1981), directed by Michael Mann.
Young died of pneumonia at the age of 71, which developed after he underwent spinal surgery meant to relieve numbness in his fingers that prevented him from playing the guitar.
Joseph Young was born in Shreveport, Louisiana, but was raised in Milwaukee. He was an amateur boxer in the 1940s, but he later recalled that "It was nothing to write home about. I decided that music was the best thing to do."[3] He began his music career in the early 1950s, singing on the Milwaukee nightclub circuit. In 1955, he returned to Louisiana to make his recording debut, for Jiffy Records.[4]
Young worked as a sidemen in Chicago, starting in the 1950s.[5] He was occasionally a sideman with Otis Rush in the 1960s, playing on Rush's album Cold Day in Hell. He played on Magic Sam's albums West Side Soul and Black Magic[5][6] and also worked with Billy Boy Arnold, Jimmy Rogers, and Willie Dixon.[5]
Young's album Blues with a Touch of Soul was released by Delmark Records in 1971.[5]
His song "Turning Point" was used in the feature film Thief (1981), directed by Michael Mann.
Young died of pneumonia at the age of 71, which developed after he underwent spinal surgery meant to relieve numbness in his fingers that prevented him from playing the guitar.
Duster Bennett *23.09.1946
Anthony "Duster" Bennett (* 23. September 1946 in Welshpool, Powys, Mid Wales; † 26. März 1976 in Warwickshire)[1] war ein britischer Bluesmusiker. Er spielte als Oneman Band, indem er mit einem Fuß die Trommel schlug, die Mundharmonika auf einem Gestell spielte und dazu seine Gitarre bediente. Diese Mischung war fesselnd und einzigartig, so dass er in den Bluesclubs ein gerne gesehener Gast war.
Karriere
Seine Karriere begann an der Kunstschule in Kingston upon Thames und Guildford. In seinen Liveauftritten kombinierte er Eigenkompositionen im Stil von Jimmy Reed mit Bluesstandards. Dabei wurde er oft von seinen Freunden Peter Green und Top Topham[2] unterstützt. In den frühen 1960er-Jahren spielte er auch oft als Sessionmusiker an der Mundharmonika. 1970 wurde er Mitglied von John Mayalls Bluesbreakers[3] und ging mit ihnen auf Amerikatournee. Nach einem Auftritt mit Memphis Slim fuhr er nach Hause, schlief am Lenkrad ein und kollidierte mit einem Lastwagen, wobei er getötet wurde.
Karriere
Seine Karriere begann an der Kunstschule in Kingston upon Thames und Guildford. In seinen Liveauftritten kombinierte er Eigenkompositionen im Stil von Jimmy Reed mit Bluesstandards. Dabei wurde er oft von seinen Freunden Peter Green und Top Topham[2] unterstützt. In den frühen 1960er-Jahren spielte er auch oft als Sessionmusiker an der Mundharmonika. 1970 wurde er Mitglied von John Mayalls Bluesbreakers[3] und ging mit ihnen auf Amerikatournee. Nach einem Auftritt mit Memphis Slim fuhr er nach Hause, schlief am Lenkrad ein und kollidierte mit einem Lastwagen, wobei er getötet wurde.
Anthony "Duster" Bennett (23 September 1946 – 26 March 1976) was a British blues singer and musician. Based in London, his first album Smiling Like I'm Happy saw him playing as a one-man band, playing a bass drum with his foot and blowing a harmonica on a rack while strumming a 1952 Les Paul Goldtop guitar given to him in 1968 by Peter Green.[1] Backed by his girlfriend Stella Sutton and the original Fleetwood Mac on three tracks, the album was well received. He remained popular on the local blues club scene until his death in a car crash in 1976.
Early career
Bennett was born in Welshpool, Powys, Mid Wales. Emerging in the late 1960s from the art school music scene of Kingston-upon-Thames and Guildford, Bennett was a one-man blues band with virtuosity and co-ordination on drums, guitar and harmonica. His live sets combined his own compositions with Jimmy Reed-style blues standards often aided by friends Peter Green and Top Topham. He was a session musician in the early 1960s playing harmonica. Between 1968 and 1970 he was played on John Peel's Top Gear, toured and eventually joined John Mayall's Bluesbreakers as band member/solo act on a US tour in 1970. In the 1970s he drifted off into more mainstream material.
Musical style
Bennett's music was country blues with the occasional gospel music offering, but his last album Fingertips (1975) differs from the earlier records; it was made with influences of soul, R&B and funk. Bennett recorded three albums and a string of singles for Blue Horizon. Bright Lights was recorded live at the Gin Mill Club in Godalming, Surrey. Bennett's "Jumping at Shadows" was subsequently covered by Fleetwood Mac and revived in 1992 by Gary Moore, who covered it in his After Hours album. Attempts to gain wider appeal with Mickie Most were unsuccessful. For decades, a clutch of live and home recordings on Indigo seemed to be all that remained of his work until the 2006 release of the Complete Blue Horizon Sessions.
Death
After performing with Memphis Slim on 26 March 1976, Bennett was driving home in a Ford Transit van in Warwickshire when he apparently fell asleep at the wheel. The van collided with a truck and Bennett was killed.
Early career
Bennett was born in Welshpool, Powys, Mid Wales. Emerging in the late 1960s from the art school music scene of Kingston-upon-Thames and Guildford, Bennett was a one-man blues band with virtuosity and co-ordination on drums, guitar and harmonica. His live sets combined his own compositions with Jimmy Reed-style blues standards often aided by friends Peter Green and Top Topham. He was a session musician in the early 1960s playing harmonica. Between 1968 and 1970 he was played on John Peel's Top Gear, toured and eventually joined John Mayall's Bluesbreakers as band member/solo act on a US tour in 1970. In the 1970s he drifted off into more mainstream material.
Musical style
Bennett's music was country blues with the occasional gospel music offering, but his last album Fingertips (1975) differs from the earlier records; it was made with influences of soul, R&B and funk. Bennett recorded three albums and a string of singles for Blue Horizon. Bright Lights was recorded live at the Gin Mill Club in Godalming, Surrey. Bennett's "Jumping at Shadows" was subsequently covered by Fleetwood Mac and revived in 1992 by Gary Moore, who covered it in his After Hours album. Attempts to gain wider appeal with Mickie Most were unsuccessful. For decades, a clutch of live and home recordings on Indigo seemed to be all that remained of his work until the 2006 release of the Complete Blue Horizon Sessions.
Death
After performing with Memphis Slim on 26 March 1976, Bennett was driving home in a Ford Transit van in Warwickshire when he apparently fell asleep at the wheel. The van collided with a truck and Bennett was killed.
Duster Bennett Jumpin' At Shadows (1968)
Peter Levin *23.09.1970
Equally at home on the Hammond organ as he is on a Fender Rhodes or various synths, you’ll find Peter Levin currently on tour with the Gregg Allman Band and The Blind Boys of Alabama. Peter has performed with a genre-busting who’s who of music: The Allman Brothers Band, Crosby, Stills and Nash, Lou Reed, The Doobie Brothers, Aaron Neville, Levon Helm, Allen Toussaint, Phil Lesh, Bernard “Pretty” Purdie, Snow, Mike Gordon (Phish), Eric Krasno (Soulive). Peter has also toured in support of such Mega Artists as Tom Petty, Robert Plant and George Clinton and the P-Funk All Stars. When not on tour with the Gregg Allman Band or the Blind Boys of Alabama, Peter performs nationally with his own band, The Peter Levin Band. P.L.B. plays a unique blend of blues inspired funk and soul music. Peter writes and produces the music for his band at his recording studio in Brooklyn NY, MOON PALACE NYC. Peter’s production credits at Moon Palace NYC include artists such as the Beastie Boys, Public Enemy, Korn, Garbage, Train, Fun Lovin Criminals, Gym Class Heroes, The Blind Boys of Alabama, and Gregg Allman. Peter received a platinum record in 2014 for his collaboration with the band Train on the album “Save Me San Francisco,” and a Gold record in 2012 for his collaboration with Gym Class Heroes. Whether playing keyboards, drums, singing, programming or producing, Peter is an asset to have on any stage or in any studio.
Peter Levin sits in with The Allman Brothers Band @ Mtn Jam
Larry "Big Twist" Nolan *23.09.1937
Big Twist and the Mellow Fellows waren eine US-amerikanische Blues- und Rhythm-and-Blues-Gruppe.
Ihr Frontmann war der Sänger und Mundharmonikaspieler Larry "Big Twist" Nolan (* 23. September 1937, Terra Haute, Indiana † 14. März 1990, Broadview, Illinois). Er begann im Alter von sechs Jahren in der Kirche zu singen. Danach sang er in einer Barband, alles von Rhythm & Blues, Blues bis zu Countrymusik.[1] Am Beginn der 1970er- Jahre trat er mit dem Gitarristen Pete Special und dem Tenorsaxophonisten Terry Ogolini auf, sie nannten sich Big Twist & The Mellow Fellows. Gegründet wurden sie in Carbondale, Illinois, nach Chicago kamen sie erst 1978. Im Verlauf des Jahrzehnts erspielte sich diese Gruppe eine treue Anhängerschaft und wechselten von Privatparties auf die großen Bühnen. Ihr Repertoire war eine Mischung von Soul, Rhythm and Blues, Blues und Rock, eine Mischung, die bei Alt und Jung gleichermaßen beliebt war.[2]
Sie nahmen für Flying Fish Records und Alligator Records Alben auf. Larry Nolan starb im März 1990 an einem Herzinfarkt, die Gruppe spielte aber mit dem neuen Sänger Martin Allbritton, der schon vor Nolans Tod mit der Band aufgetreten war, weiter. Der Saxophonist und Produzent Gene "Daddy G" Barge trat oft als Gastsänger auf. Nachdem das Gründungsmitglied Peter Special die Band verlassen hatte, nannte sie sich in „Chicago Rhythm And Blues Kings“ um und ist noch heute eine beliebte Band in Illinois.
Ihr Frontmann war der Sänger und Mundharmonikaspieler Larry "Big Twist" Nolan (* 23. September 1937, Terra Haute, Indiana † 14. März 1990, Broadview, Illinois). Er begann im Alter von sechs Jahren in der Kirche zu singen. Danach sang er in einer Barband, alles von Rhythm & Blues, Blues bis zu Countrymusik.[1] Am Beginn der 1970er- Jahre trat er mit dem Gitarristen Pete Special und dem Tenorsaxophonisten Terry Ogolini auf, sie nannten sich Big Twist & The Mellow Fellows. Gegründet wurden sie in Carbondale, Illinois, nach Chicago kamen sie erst 1978. Im Verlauf des Jahrzehnts erspielte sich diese Gruppe eine treue Anhängerschaft und wechselten von Privatparties auf die großen Bühnen. Ihr Repertoire war eine Mischung von Soul, Rhythm and Blues, Blues und Rock, eine Mischung, die bei Alt und Jung gleichermaßen beliebt war.[2]
Sie nahmen für Flying Fish Records und Alligator Records Alben auf. Larry Nolan starb im März 1990 an einem Herzinfarkt, die Gruppe spielte aber mit dem neuen Sänger Martin Allbritton, der schon vor Nolans Tod mit der Band aufgetreten war, weiter. Der Saxophonist und Produzent Gene "Daddy G" Barge trat oft als Gastsänger auf. Nachdem das Gründungsmitglied Peter Special die Band verlassen hatte, nannte sie sich in „Chicago Rhythm And Blues Kings“ um und ist noch heute eine beliebte Band in Illinois.
Larry "Big Twist" Nolan heartily epitomized the image "300 pounds of heavenly joy." Based in Chicago, the huge singer and his trusty R&B band, the Mellow Fellows, were one of the hottest draws on the Midwestern college circuit during the 1980s with a slickly polished sound modeled on the soul-slanted approach of Bobby Bland, Little Milton, and Tyrone Davis.
Twist started out singing and playing drums in rough-and-tumble country bars in downstate Illinois during the late '50s and early '60s (chicken wire-enclosed stages were a necessity on this raucous scene). Young saxist Terry Ogolini jammed often with the big man at a joint called Junior's in a Prairie State burg called Colp. Ogolini and guitarist Pete Special spearheaded the nucleus of the first edition of the Mellow Fellows in the college town of Carbondale during the early '70s, with Twist doubling on drums. After taking southern Illinois by storm, the unit relocated en masse to Chicago in 1978.
Their eponymous 1980 debut album for Flying Fish accurately captured the group's slick sound, while the 1982 follow-up, One Track Mind, attempted to be somewhat more contemporary without losing the band's blues/R&B base. A move to Alligator in 1983 elicited an album co-produced by Gene "Daddy G" Barge, whose sax solos previously enlivened R&B classics by Chuck Willis, Gary (U.S.) Bonds, Little Milton, and countless more. The group's final album with Twist up front was the Live From Chicago! Bigger Than Life!!
Numerous personnel changes over the years failed to scuttle the band, and neither did the death of Twist in 1990 from diabetes and kidney failure. Martin Allbritton, an old singing buddy of Twist's from downstate who had previously gigged around Chicago as frontman for Larry & the Ladykillers, had already been deputizing for the ailing Twist, so it fell to Allbritton to assume the role full-time. Barge shared the singing duties at selected gigs and on the band's 1990 album Street Party.
Special left the organization not long after that, taking the name Mellow Fellows with him when he hit the door. That's when the remaining members adopted the handle of the Chicago Rhythm & Blues Kings. With Ogolini and longtime trumpeter Don Tenuto comprising a red-hot horn section, they're still a popular, dance-friendly fixture around the Chicago scene.
Big Twist and the Mellow Fellows - The Sweet Sound of Rhythm and Blues
Bjørn Berge *23.09.1968
Bjørn Berge (* 23. September 1968 in Sveio) ist ein norwegischer Blues-Gitarrist.
Sein erstes Soloalbum erschien im Jahr 1999 unter dem Titel Blues Hit Me. Berge tourte unter anderem durch Dänemark, Belgien, die Niederlande, England und Frankreich. Er wurde zweimal mit dem renommierten norwegischen Musikpreis Spellemannprisen in der Kategorie Blues ausgezeichnet. Im Jahre 2001 erhielt er den Preis für sein Album Stringmachine, im darauffolgenden Jahr für sein Album Illustrated Man. In Frankreich hatte er 2005 mit seinem Album St. Slide größeren Erfolg und konnte mehr als 10.000 Kopien absetzen. Im Jahr 2007 wurde er mit seinem Album I'm the Antipop ein weiteres Mal für den Spellemannprisen nominiert.
Auszeichnungen
2002: Spellemannprisen 2002 für das Album Illustrated Man
2001: NBFs Bluespris
2001: Spellemannprisen 2001 für das Album Stringmachine
1998: Musiktalent des Jahres der Tageszeitung Dagbladet
Sein erstes Soloalbum erschien im Jahr 1999 unter dem Titel Blues Hit Me. Berge tourte unter anderem durch Dänemark, Belgien, die Niederlande, England und Frankreich. Er wurde zweimal mit dem renommierten norwegischen Musikpreis Spellemannprisen in der Kategorie Blues ausgezeichnet. Im Jahre 2001 erhielt er den Preis für sein Album Stringmachine, im darauffolgenden Jahr für sein Album Illustrated Man. In Frankreich hatte er 2005 mit seinem Album St. Slide größeren Erfolg und konnte mehr als 10.000 Kopien absetzen. Im Jahr 2007 wurde er mit seinem Album I'm the Antipop ein weiteres Mal für den Spellemannprisen nominiert.
Auszeichnungen
2002: Spellemannprisen 2002 für das Album Illustrated Man
2001: NBFs Bluespris
2001: Spellemannprisen 2001 für das Album Stringmachine
1998: Musiktalent des Jahres der Tageszeitung Dagbladet
Der Norweger knüpft an große Traditionen an: Deltablues-Heroen wie Robert Johnson, Mississippi John Hurt oder Skip James verschlingt Bjørn Berge genauso wie John Hammond, Johnny Winter, Stevie Ray Vaughan oder seinen absoluten Liebling, den Slide-Gitarristen Roy Rogers.
1968 in Hausegesund an der Westküste des skandinavischen Landes geboren, greift Berge im Alter von 13 zur Gitarre und der Blues nach ihm. Der programmatisch ehrliche Titel seines Major-Debüts von 1999 lautet nicht umsonst: "Blues Hit Me". Im Laufe der Jahre wechselt der Tattoo-Fan und Autodidakt ins Profilager.
Berge tritt zwar bevorzugt solo in Erscheinung, allein mit seiner Stimme, Gitarren und Effektgeräten ausgerüstet. Er arbeitet im Studio aber gerne mit Gästen zusammen. Einzelne Musiker begleiten ihn zuweilen auf seinen Konzertreisen, die ihn im neuen Jahrtausend durch ganz Europa und die USA führen.
So grast er Belgien, Dänemark, Deutschland, Frankreich, Großbritannien, Italien oder die Niederlande ab und spielt ab Mitte des Jahrtausends auch auf großen Festivals.
Rock und Blues - ob in Balladenform oder fast mit Metal-Antlitz dargeboten - sind die Spezialität des Nordmannes. Dabei interpretiert er eigene Stücke oder er covert, etwa Motörhead oder Frank Zappa. Oder er arbeitet mit Kollegen zusammen. Bei seinen Landsleuten hat er längst einen Stein im Brett, wie zwei Spellemannsprisen, das norwegische Grammy-Pendant, für die Alben "String Machine" und "Illustrated Man" dokumentieren.
Für sein 2007 erscheinendes achtes Cover-Album "I'm The Antipop" nimmt er sich Audioslave, Black Sabbath, Rage Against The Machine, Led Zeppelin, Primus oder die Red Hot Chili Peppers vor. Dabei unterstützt ihn der Perkussionist Harald Levang.
Der Pickingexperte veröffentlicht weiter Album um Album und tritt regelmäßig in Europa und Nordamerika auf. 2012 berichtet er seinen Fans online, er habe just in zwei Tagen sein bis dato schnellstes Album eingespielt. Auf "Mad Fingers Ball", das im Februar 2013 erscheint, zeigt er mal wieder, das er an der Akustikgitarre wenig Konkurrenz zu fürchten braucht.
Dabei lohnt es sich besonders, ihn auf der Bühne zu erleben. Seine Live-Show hinterlässt offene Münder, ersetzt der Norweger dank seiner Power doch ein komplettes Trio: Mit dem Daumen zupft er den Bass, mit den Fingern die Solo-Gitarre und stampft dazu auf wie ein Drumkit - ganz in der Tradition der alten Blueser.
1968 in Hausegesund an der Westküste des skandinavischen Landes geboren, greift Berge im Alter von 13 zur Gitarre und der Blues nach ihm. Der programmatisch ehrliche Titel seines Major-Debüts von 1999 lautet nicht umsonst: "Blues Hit Me". Im Laufe der Jahre wechselt der Tattoo-Fan und Autodidakt ins Profilager.
Berge tritt zwar bevorzugt solo in Erscheinung, allein mit seiner Stimme, Gitarren und Effektgeräten ausgerüstet. Er arbeitet im Studio aber gerne mit Gästen zusammen. Einzelne Musiker begleiten ihn zuweilen auf seinen Konzertreisen, die ihn im neuen Jahrtausend durch ganz Europa und die USA führen.
So grast er Belgien, Dänemark, Deutschland, Frankreich, Großbritannien, Italien oder die Niederlande ab und spielt ab Mitte des Jahrtausends auch auf großen Festivals.
Rock und Blues - ob in Balladenform oder fast mit Metal-Antlitz dargeboten - sind die Spezialität des Nordmannes. Dabei interpretiert er eigene Stücke oder er covert, etwa Motörhead oder Frank Zappa. Oder er arbeitet mit Kollegen zusammen. Bei seinen Landsleuten hat er längst einen Stein im Brett, wie zwei Spellemannsprisen, das norwegische Grammy-Pendant, für die Alben "String Machine" und "Illustrated Man" dokumentieren.
Für sein 2007 erscheinendes achtes Cover-Album "I'm The Antipop" nimmt er sich Audioslave, Black Sabbath, Rage Against The Machine, Led Zeppelin, Primus oder die Red Hot Chili Peppers vor. Dabei unterstützt ihn der Perkussionist Harald Levang.
Der Pickingexperte veröffentlicht weiter Album um Album und tritt regelmäßig in Europa und Nordamerika auf. 2012 berichtet er seinen Fans online, er habe just in zwei Tagen sein bis dato schnellstes Album eingespielt. Auf "Mad Fingers Ball", das im Februar 2013 erscheint, zeigt er mal wieder, das er an der Akustikgitarre wenig Konkurrenz zu fürchten braucht.
Dabei lohnt es sich besonders, ihn auf der Bühne zu erleben. Seine Live-Show hinterlässt offene Münder, ersetzt der Norweger dank seiner Power doch ein komplettes Trio: Mit dem Daumen zupft er den Bass, mit den Fingern die Solo-Gitarre und stampft dazu auf wie ein Drumkit - ganz in der Tradition der alten Blueser.
Bjørn Berge (born in Sveio, Norway on 23 September 1968) is a Norwegian guitarist and blues artist.[1]
Career
After being named "Best Musician of the Year" by Dagbladet in 1998, In 2001, he won Spellemannprisen for his album Stringmachine and in 2002 for his album Illustrated Man.[2] He also toured all over Europe gaining more popularity, and won the NBFs Bluespros in 2001. In 2014 Berge replaced Torbjørn Økland as guitarist in the Norwegian band Vamp.[1][3][4]
Honors
1998: Named "Best Musician of the Year" by Dagbladet
2001: Spellemannprisen in the category Blues
2001: NBFs Bluespros
2002: Spellemannprisen in the category Blues
Career
After being named "Best Musician of the Year" by Dagbladet in 1998, In 2001, he won Spellemannprisen for his album Stringmachine and in 2002 for his album Illustrated Man.[2] He also toured all over Europe gaining more popularity, and won the NBFs Bluespros in 2001. In 2014 Berge replaced Torbjørn Økland as guitarist in the Norwegian band Vamp.[1][3][4]
Honors
1998: Named "Best Musician of the Year" by Dagbladet
2001: Spellemannprisen in the category Blues
2001: NBFs Bluespros
2002: Spellemannprisen in the category Blues
Who would have thought the Man from the North was a highly sensitive soul ?
This is the major revelation from the Norwegian bluesman’s 10th album. Throughout Fretwork, Bjørn Berge reveals a hidden side of his artistic personality that is both intimate and mature. Whereas his guitar remains as quick and forceful as ever, this highly personal set (most of the songs here bear his signature) provides his fans with a fine mix of folk ballads and strong blues tunes.
Fretwork was produced by Bjørn Berge and Kjetil Ulland, with additional help from two Berge compatriots, Oyvind Staveland (violin and alto) and Vidar Johnsen (vocals). The combination of Bjørn¹s playing and Oyvin¹s violin gives some of the compositions on this album an atmospheric feel that will alter lastingly our perception of the Viking guitarist.
Born 40 years ago in a large town on the southwestern coast of Norway, Bjørn has gained notoriety since he started performing at major European festivals, singing cutting edge lyrics in a modern day version of the blues that largely transcends the scope of the genre. An adept at spreading confusion among his listeners, he will deliver robust Robert Johnson and Elmore James covers alongside brilliant acoustic versions of Red Hot Chili Peppers ("Give It Away") and Motörhead ("Ace of Spades") compositions, demonstrating that a lone 12-string guitar player can be as flamboyant as a entire rock band.
In spite of his broad shoulders and gigantic hands that remind us of the hulking green giant of a cult TV series, Bjørn proves that he is a true master of finesse on this album, displaying a commanding mastery of the guitar (the instrumentals on Fretwork sometimes sound like classical guitar compositions). Berge can do it all with an acoustic 12-string, a bottleneck and metal picks, reminding us that he started out as a bluegrass player, picking the 5-string banjo, before turning into a hard rock-blues hero !
Don¹t make the mistake of missing Bjørn Berge should he give a concert anywhere near you. The stage has always been his natural element, and nothing can beat the orgiastic performances of this Norwegian guitar-wielding tornado.
This is the major revelation from the Norwegian bluesman’s 10th album. Throughout Fretwork, Bjørn Berge reveals a hidden side of his artistic personality that is both intimate and mature. Whereas his guitar remains as quick and forceful as ever, this highly personal set (most of the songs here bear his signature) provides his fans with a fine mix of folk ballads and strong blues tunes.
Fretwork was produced by Bjørn Berge and Kjetil Ulland, with additional help from two Berge compatriots, Oyvind Staveland (violin and alto) and Vidar Johnsen (vocals). The combination of Bjørn¹s playing and Oyvin¹s violin gives some of the compositions on this album an atmospheric feel that will alter lastingly our perception of the Viking guitarist.
Born 40 years ago in a large town on the southwestern coast of Norway, Bjørn has gained notoriety since he started performing at major European festivals, singing cutting edge lyrics in a modern day version of the blues that largely transcends the scope of the genre. An adept at spreading confusion among his listeners, he will deliver robust Robert Johnson and Elmore James covers alongside brilliant acoustic versions of Red Hot Chili Peppers ("Give It Away") and Motörhead ("Ace of Spades") compositions, demonstrating that a lone 12-string guitar player can be as flamboyant as a entire rock band.
In spite of his broad shoulders and gigantic hands that remind us of the hulking green giant of a cult TV series, Bjørn proves that he is a true master of finesse on this album, displaying a commanding mastery of the guitar (the instrumentals on Fretwork sometimes sound like classical guitar compositions). Berge can do it all with an acoustic 12-string, a bottleneck and metal picks, reminding us that he started out as a bluegrass player, picking the 5-string banjo, before turning into a hard rock-blues hero !
Don¹t make the mistake of missing Bjørn Berge should he give a concert anywhere near you. The stage has always been his natural element, and nothing can beat the orgiastic performances of this Norwegian guitar-wielding tornado.
Bjørn Berge på TV Scenen
Bjørn Berge "Zebra" (John Butler)
Heinz-Udo Weinert *23.09.
BLUES BUREAU – das Quintett aus den Arbeitervierteln des Reviers – begeistert seit mehr als 10 Jahren europaweit Freunde des Blues & Boogierock.
“Blues-Udo” Weinert und seine Mannen zelebrieren eine euphonische Mixtur aus Eigenkompositionen und klassischen Blues- und Boogierock-Songs mit Freude am Experiment, mit dem besonderen Reiz zweier Lead-Gitarristen (Rolli “Vibrato” Borchert und Warner B.). Mit ihrer Virtuosität, “Blues-Udo’s emotional-melancholischem Vortrag und der “Groove-Abteilung”, Winus Rilinger an den Drums und Heinz “T-Duck” Lentzen am Tieftöner, kleiden sie die Songs in ihr unverkennbares BLUES BUREAU – Gewand.
http://blues-bureau.de/?page_id=7544“Blues-Udo” Weinert und seine Mannen zelebrieren eine euphonische Mixtur aus Eigenkompositionen und klassischen Blues- und Boogierock-Songs mit Freude am Experiment, mit dem besonderen Reiz zweier Lead-Gitarristen (Rolli “Vibrato” Borchert und Warner B.). Mit ihrer Virtuosität, “Blues-Udo’s emotional-melancholischem Vortrag und der “Groove-Abteilung”, Winus Rilinger an den Drums und Heinz “T-Duck” Lentzen am Tieftöner, kleiden sie die Songs in ihr unverkennbares BLUES BUREAU – Gewand.
BLUES BUREAU – the quintet out of the working class neighborhood from the Ruhr Area – has been carrying away the friends of Blues & Boogie-Rock live for more than 8 years european wide.
“Blues-Udo” Weinert and his “vassals” celebrate a euphonic mixture of self-composed and classic Blues and Boogie-Rock songs, taking pleasure in experimenting. With the special charm of two lead-guitarists (Rolli “Vibrato” Borchert and Warner B.) and their virtuosity, front man “Blues-Udo” Weinert’s emotional and melancholic recital and the “Groove-Department” Winus Rilinger at the drums and Heinz “T-Duck” Lentzen on the “sub-woofer” they dress their songs into the unmistakable BLUES BUREAU garment.
“Blues-Udo” Weinert and his “vassals” celebrate a euphonic mixture of self-composed and classic Blues and Boogie-Rock songs, taking pleasure in experimenting. With the special charm of two lead-guitarists (Rolli “Vibrato” Borchert and Warner B.) and their virtuosity, front man “Blues-Udo” Weinert’s emotional and melancholic recital and the “Groove-Department” Winus Rilinger at the drums and Heinz “T-Duck” Lentzen on the “sub-woofer” they dress their songs into the unmistakable BLUES BUREAU garment.
Blues Bureau live at the Bluescafe, video JRobert
BLUES BUREAU - Roadhouse Blues
R.I.P.
Calvin Frazier +23.09.1972
http://www.wirz.de/music/frazifrm.htm
Calvin H. Frazier (February 16, 1915 – September 23, 1972)[2] was an American Detroit blues and country blues guitarist, singer and songwriter. Despite leaving a fragmented recording history, both as a singer and guitarist, Frazier was an associate of Robert Johnson, and recorded alongside Johnny Shines, Sampson Pittman, T.J. Fowler, Alberta Adams, Jimmy Milner, Baby Boy Warren, Boogie Woogie Red, and latterly Washboard Willie. His early work was recorded by the Library of Congress (now preserved by the National Recording Registry) prior to the outbreak of World War II, although his more commercial period took place between 1949 and 1956.
Frazier was born in Osceola, Arkansas,[2] and originally performed with his own brothers. Befriending Johnny Shines, in 1930 they jointly travelled to Helena, Arkansas where they met Robert Johnson. The threesome moved on to Detroit, Michigan, with Frazier bringing his wife Gussie Mae and their children. Here they performed hymns on local radio stations. Frazier and Johnson returned south where they played along with the drummer, James 'Peck' Curtis.[1]
In 1935, Frazier was involved in a dispute in Memphis, Tennessee, where he was wounded, and his only brother and another man shot dead. Frazier returned to Detroit with his wife, but then wed Shines' cousin resulting in an invalid marriage. He played guitar as an accompanist to Big Maceo Merriweather, Sonny Boy Williamson II and Baby Boy Warren before being recorded in 1938 by the folklorist Alan Lomax for the Library of Congress. His recordings included "Lily Mae", dedicated to his wife and which was a revised version of Johnson's "Honeymoon Blues"; and "Highway 51", another variant, this time of Johnson's track, "Dust My Broom".[1]
His unique style combined slide guitar work with unusual lyrics, and a vocal phrasing that was difficult to decipher.[1] He released three singles under his own name in 1949 and 1951 on the Alben and New Song labels, including "Got Nobody To Tell My Troubles To", which he recorded in Toledo, Ohio in 1951.[3] Between 1951 and 1953, Frazier was a recording member of T.J. Fowler's jump blues combo, then recorded with Warren in 1954, whilst his final sessions in the studio appear to be in 1956 backing Washboard Willie.[3] Without any tangible success on record or otherwise, Frazier nevertheless performed around Detroit taking his youngest daughter Carol Frazier along on his venture's until his death.[1]
Calvin Frazier died in Detroit of cancer in September 1972, at the age of 57.[2]
His most notable work was "This Old World's in a Tangle"; both the title of the first song he recorded, and of the compilation album issued by Laurie Records in 1993, which included some of his earliest work.[3][4] Nine of his full length original recordings were included in the JSP Records 2005 compilation, Detroit Blues: Blues from the Motor City 1938–1954.[5]
In 2009, the Detroit Blues Society instigated an appeal to raise monies to mark Frazier's previously unmarked grave with a headstone.[6] By December that year a granite slab was in place.
Frazier was born in Osceola, Arkansas,[2] and originally performed with his own brothers. Befriending Johnny Shines, in 1930 they jointly travelled to Helena, Arkansas where they met Robert Johnson. The threesome moved on to Detroit, Michigan, with Frazier bringing his wife Gussie Mae and their children. Here they performed hymns on local radio stations. Frazier and Johnson returned south where they played along with the drummer, James 'Peck' Curtis.[1]
In 1935, Frazier was involved in a dispute in Memphis, Tennessee, where he was wounded, and his only brother and another man shot dead. Frazier returned to Detroit with his wife, but then wed Shines' cousin resulting in an invalid marriage. He played guitar as an accompanist to Big Maceo Merriweather, Sonny Boy Williamson II and Baby Boy Warren before being recorded in 1938 by the folklorist Alan Lomax for the Library of Congress. His recordings included "Lily Mae", dedicated to his wife and which was a revised version of Johnson's "Honeymoon Blues"; and "Highway 51", another variant, this time of Johnson's track, "Dust My Broom".[1]
His unique style combined slide guitar work with unusual lyrics, and a vocal phrasing that was difficult to decipher.[1] He released three singles under his own name in 1949 and 1951 on the Alben and New Song labels, including "Got Nobody To Tell My Troubles To", which he recorded in Toledo, Ohio in 1951.[3] Between 1951 and 1953, Frazier was a recording member of T.J. Fowler's jump blues combo, then recorded with Warren in 1954, whilst his final sessions in the studio appear to be in 1956 backing Washboard Willie.[3] Without any tangible success on record or otherwise, Frazier nevertheless performed around Detroit taking his youngest daughter Carol Frazier along on his venture's until his death.[1]
Calvin Frazier died in Detroit of cancer in September 1972, at the age of 57.[2]
His most notable work was "This Old World's in a Tangle"; both the title of the first song he recorded, and of the compilation album issued by Laurie Records in 1993, which included some of his earliest work.[3][4] Nine of his full length original recordings were included in the JSP Records 2005 compilation, Detroit Blues: Blues from the Motor City 1938–1954.[5]
In 2009, the Detroit Blues Society instigated an appeal to raise monies to mark Frazier's previously unmarked grave with a headstone.[6] By December that year a granite slab was in place.
Washboard
Willie & Calvin Frazier Rock House (1955)
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